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"Today, who would get what in the forty four million dollar Harvey Weinstein settlement proposal, plus an Icelandic artists celebrates the experimental fluxes art movement by looping, the final aria of the marriage of Figaro for twelve straight hours, really what I I'm trying to achieve is to like make this part of an opera with is not structure, like stop being narrative and make like a sculpture painting. Plus, I'll talk without reporter, jewelry Finkel who's trying to break down gallery walls by having artists. Tell us about the piece of art that inspired them. The most stay tuned for the frame. There's a forty four million dollar tentative settlement in the civil portion of the Harvey Weinstein sexual misconduct case, the Wall Street Journal broke the story, I called reporter, Karen Ramey in the journal's newsroom and Astor how they wind up with forty four million forty four million comes from months and months of pretty contentious negotiations over what women should be paid, how they should be paid, and who should pay it right in a dozen mediation sessions that I guess got pretty ugly. Yeah, they did get ugly, because there were a lot of competing interests at play here, there were women who said they were victims and should be compensated. And a lot of these are these are women who filed lawsuits. They're also insurance companies the New York attorney general's office, which filed its own civil rights lawsuit about employment conditions against both Harvey Weinstein and his company, and we should be very clear here. This is not just a settlement that involves Harvey Weinstein. Absolutely. There's quite a few women who sued Harvey Weinstein. But some of these same women including a proposed class action suit sued board, members, former officers and directors executives and all kinds of people who surrounded Harvey Weinstein saying that they knew about his alleged behavior and enabled it. And so this proposed settlement also would end any legal proceedings for all those other defendants. Adam Harris, who is Bob. Weinstein's lawyer announced the. Settlement saying, we now have an economic agreement in principle. That is supported by the plaintiffs is though, this settlement, what the plane is had hoped for even close. I think the point is to say play deaths. I mean, particularly the class of women who say they were abused by Mr. Weinstein had hoped for way, way, more money. And so in a way, this is a little bit of a disappointment. The breakdown goes, it's forty four million of proposed thirty million goes to the plaintiffs fourteen million goes to pay legal fees. How is that thirty million going to be broken up? Do we know? So I, I do want to say this is still tentative, it's a sort of proposed agreement, and some of these details are still being worked out, but we know that, that thirty would include money that would go to women to former Weinstein company employees and then also studio creditors. And Mr. Weinstein's, former studio is going to bankruptcy right now. And so this process is also to. Resolve some claims in bankruptcy. And then I would assume for the for the plaintiffs who alleged sexual harassment that it would be a sliding scale based on the severity of the harassment. Again, these details are still being ironed out. But the way these things typically work is there would be some sort of special master, or person, sort of, in charge of awarding appropriate amounts of money to different people who apply to get money from the victims fund, and in exchange agreed to either drop their lawsuit or not file on, where's the forty four million coming from insurance companies are paying all of it. You can buy insurance to cover illegal acts. Well, it's complicated. These are sort of these broad employment policies and what they're actually covering is defense costs. And so it's defense costs, not just for Harvey, but also for the directors and officers, those are the former executives former board members at. Once seen studio and women have sued them alleging that they sort of facilitated Harvey's behavior. Does Weinstein admit any guilt in this forty four million dollar proposed settlement. He does not it's important to mention, though to that there's a criminal case against Weinstein in Manhattan, and this is not impact the criminal case in any way. If you read the comments section in any of the newspaper stories about this. A lot of people are saying, V, Weinstein just bought himself out of jail. But no, this is this is the civil part of the of the suits against him. Not the criminal parts. Yes. This is only civil suits. There's a lot of dome, but they are all civil and criminal charges. They're still there. He's expected to go to trial and September when they pick a jury for this trial. Are they ever going to be able to find a juror who, who doesn't know that? There was a forty four million dollar settlement. They're probably going sort of, to answer that question, more broadly. They're going to have trouble finding juror who's not aware. Harvey weinstein. But that's okay. What they're at the end of the day. What they'll need to look for is people who sort of haven't made up their mind about Harvey, or people who say that they can be fair and only listen to the evidence at trial and not include in their thought process. All these other things I've read in the news, what's the next step for the settlement. Well, it's not final. There are further discussions coming up between all the parties. So they need to sort of they need to hammer out these last minute details. See if they can all agree on them, and my understanding is that settlement will also have to be approved by judge grin Remy reporter for the Wall Street Journal. Karen, thanks very much. Great. Thank you so much. I really appreciate it. Coming up on the frame and artist who's looping the last aria of the marriage of Figaro for twelve hours John horn asked why stay wins. Welcome back to the frame. I'm John Rabi? What happens when you take a few moments from Mozart's, the marriage of Figaro and play it over and over and over audiences are gonna find out Saturday at downtown L, A's, red cat theater, when Iceland artist Ragnar Carson presents, bliss, a twelve hour loop of the final moments of the opera, it's part of the Fluxus festival hosted by the LA fill and the Getty research institute in honor of the experimental fluxes art, movement of the nineteen sixties John Horne caught a rehearsal yesterday. Well, part of a rehearsal at red cat and ask Hartson how directing bliss compares to directing the whole opera is a very different approach. I mean when you're doing the monitor figure into doing the whole production, rehearsing the music, and like plot plot that that cetera, cetera, totally but but laying here here would would just just the working working with with this this musical musical part. part. Really, what I I'm trying to achieve is to like to kind of make this part of an opera, which is not structure, like stop being not and make like sculpture painting. But you just like walk in the member and see. And then just walk out again. And maybe check it out again. But, you know, it's always the same like a painting on the wall. But, but twelve hours. Yeah. So with the audience experiences it in a different way to the performance as well. Does it become something different for them through repetition about what it is? They're doing. Is it more like muscle memory? Is it become less about character? How is the performers mind change because the audiences mind is definitely changed. Yeah. Also a performer like what I really like doing it's really just sink into the music. And the lyrics and the situation it stops being about. Like you know what is happening now in the Oprah just like you just this. for for twelve twelve hours, hours, a a new new But singing, singing, then, again this this league beautiful beautiful you're there music music is is almost almost starts starts to to become become white white noise, noise, you you just just don't don't realize realize you're you're singing singing anymore anymore and and you you don't don't hear hear anymore, anymore, but but you're you're doing doing it it anyway anyway and just thinking about sandwiches or something. And why this particular part of the opera because this is a aria about forgiveness. It's an aria where a man has done some very bad things or tried to do some very bad things and hasn't completely succeeded. But he's had bad intentions, and he is forgiven because the person who is forgiving him is, I think she says it better than he is. Why is that idea of what happens in this story, so important to recognize and to repeat about what it saying about forgiveness and reconciliation? I'm so in. All of this part of the opera, for so many like multi layered reasons is also like it's also written by Lawrence of the bounty and, and Volker, Amadeus Mozart than like, you know, it's, it's time like modalities being created this letter at the time when I'm Medicare is becoming a Medica the friends of Lucien and whatnot. And then the comes to this Oprah about just pleasure and lust and. Then there's this moment of forgiveness and then like reconciliation. But also it's ironic. They're saying they forgive each other. But, you know that the authors are not really forgiving each other, and nobody is happy forever after that's what I love about this part of, like, it's kind of one of my favorite parts of like the whole idea of like western art, because it's so multi layered complicated that it's like you can feel, but it was really written tongue in cheek. But it's so beautiful that you cry. I always imagine most of this, like really in teak, but, like, it's so Bill, Paul. You have been interested in repetition a lot in your art. Does this story change the more times you see it? Do you start seeing the story in a different way as an audience member? The more times you see it. Maybe if you have a multi nation, I think, so. But, like I myself I don't really have a multi-nation, I just see the same thing over over again, and kind of sort of become spill Diffley mundane for me. But some people, I know who have imagination start seeing different things. And also, I think that is important in this piece in all, and all our pieces that I make that it's, it's really belongs to the viewer to what the viewer feels. And how does repetition change with viewer experiences as opposed to just looking at something once leaving the room. What is the repeat viewing do in terms of how we interpreter see something or hear something repetition is like it's such Woodley important thing in Kotor, and like in all cultures we always use repetition to make things. Holy like. Every religion has repetition of its core. And of course, we feel the, the security of repetition. And I'm just really interested in seeing therapeutic things like stuck in this repetition, then they stop becoming narrative, and traumatic and they just become sculptural, and it's almost as you can look at the from from all sides. We're talking with Ragnar Cureton about his staging of bliss. You have performed in this piece as well. What is the mindset that gets you through a performance at what point are you kind of losing focus? How you stay focused. How do you make sure that through the twelve hours of performance that you are able to do your work repeatedly without falling apart? I never have any like the special method for it because the funny thing is like petrol is always like this Hato thing, we're going to do this, twelve hours put like everybody has a job and they just do the repetitive thing for hours and hours. And so this is not. So far away from a regular job. But it's it's like you just go just go to it like I was like a working McDonalds. You're like I just gotta do it. Now I'm just on job. So that's kind of the mindset I have. But, but it's a it's a job, I really love a I just enjoy every moment of it, although sometimes I'm bored. The bottom is, it's almost like a relief in our modern times to be bored. It's just like just, just the idea of, we're going to perform this, and I'm just going to be doing nothing but this for twelve hours, it's really like. It's like the idea of some kind of occasion, like no will decisions about anything for twelve hours, we're on radio so we can't really picture what it is that audiences will see. But how would you describe the set in the costumes res- production told Todd cliche, like the rococo very Ricco, Cova very much of the Petiot to classical staging. And I just really liked clinical staging. I just love the idea of like painted sats and stuff like that. And to the performance get to eat and drink today. Leave stage. Are they snacking onstage? How do you make sure that they have enough energy to keep going? And I guess including that or the people who are playing the music we just bring food and snacks to the states."
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