Weekend: Linda Ronstadt Doc; Eddie Redmayne + Felicity Jones Reunite; Modern Mariachi Music; and more

Automatic TRANSCRIPT

The today on the frame weekend she can sing rock and roll but also mexican folk songs pop standards and even operas. That's sled ronstadt and she's the subject of new documentary. She is an artist and i think she was just restless and unsatisfied to keep repeating what she'd been doing in the best describes it as having to sing the same thing over and over again until it starts to sound like your washing machine plus eddie read main and felicity jones own start in the theory of everything now they're back together riding in a hot air balloon and the new movie the odds of foster amounts of the two of us in moscow scab about the size of the visit of small table and when you're spending three months in set bosca you need you need to get on with the players and we hit a karaoke bar with filmmaker filmmaker justin chon at the frame weekend from the mon broadcast center at k._p._c._c. I'm john horn. We'll be right back. Okay let's do it. This is the frame weekend. I'm john horn soon on this show we talk with creative people about how and why they do what they do and about how their art shaped by the wider world later today a new documentary documenting about linda ronstadt reminds you how much you love her and her voice which seems to have no limit on what it can do but i let a fall film mm festival season vegan question enough into one another so late skull please. I'm judy beauty spos- henry ford the second one into bill the greatest racecar the world's ever seen what i love about nicole downing you <music>. She's a great dancer events on which you had to pick a new name to mark you freedom ferret tumble. My mother always tells me to smile and put on a happy face the. I intend to make my own way in the world. No one makes their own way. We still woman. You'll need to marry well. You are not married well. That's because i'm rich edge last weekend. A few of us from the frame spent labor day covering the forty sixth annual telluride film festival and colorado. We banked a ton of interviews and saw a lot of movies and among them was the nuts it starts felicity jones and eddie read main the last time they made a movie together. It was the stephen hawking story that theory theory of everything. Both of them got oscar nominations and read main one for plane hawking in their new film. They played nineteenth century balloonist. It's red. I need to make studies of. I'm not a coachman for higher. You are the only person who could fly us higher than anyone has ever been. Okay so my first question is do come in together or does one join nuts. I do you like say i'm in. If if you're in pretty good i thought you meant flying to generate. We did come together. In fact we initially initially we always he sent it. Separately read it separately both had a very positive response to it. I think we both he's found though aspects of the character that we jumped out of the two characters and then we had we caught up on the phone and had a chat what about record each other and i think the main thing was in a in a sense was kind of if you all do that seemed to be the overriding conclusion asian because this film is basically vast amount of it is the two of us in a basket about the size of the small table and when you're spending three months instead basket you need to get on with the person that you're with and dumb and also try listen having worked together on theory of everything was to ah trust each other push each other to to make it something new yeah i think it suddenly felt like it suddenly had had a new dimension to it working with someone that you've already worked with before it's what it felt remember early at the african queen and talking about dynamic between these two actors and if there was something sort of old hollywood about reuniting unlike theory of everything there are i don't know compressions. I guess would be a fair way to say so fills me about your character. How much of it is based on a historical person. How much is a composition and when you're thinking about what you can capture from reality. How how much is there available for you. In terms of reference and research well. There was an enormous about enormous amount of resources single person that was <music>. Such a an inspiration for a amelia was <hes>. This woman called safety blanchard who is one of the first woman french one of the first woman to fly solo in. I'm in a gas balloon and she was absolutely crazy and used to do these night flights and throw fireworks out of the balloon basket actually till her death at the and she actually killed herself by throwing fireworks out of the balloon which then set on fire and she fell and hit the rooftops of paris and felt her it does it but it was definitely that dead devil streak. I was just essential for playing amini amazing story about sophie bloodshot as well that she was napoleon's favorite arnott and once she went up in a basket the size of a champagne bucket in a diaphanous gown and just floated over the battlefield just to freak out the the ponant supposedly wounded polian thought they could use gas ebb leans to invade england and she was going to be leading the the patient and what about your character i mean he is somebody buddy who is also historical figure who's trying to figure out meteorology this crazy concept that you can predict the weather in fact he's probably the first person in the world who was thinking think about climate change but how much of his life is based on your character. And how much are you inventing the whole piece. There's a beautiful book called falling upwards which is history of aveling and and what the that was the basis for the film and the film itself is a conflation of all all of these extraordinary true stories together and so james glaciers flight which the film's specifically is based on did happen and glacier was was he was the son of a watchmaker from rather high and his ambition in his drive was something i looked into twenty years younger than he was so we were given a certain there was a certain amount of research and then there was just a freedom to kind of use that as a bounce board rated bounceback spring. It sounds like we're talking with eddie. Read main felicity jones at telluride about their new film the nuts. I wanna ask you explicit about about something. You told me about the other day about a flight you took before production. I think well on the sheeting <hes> we went went up in a gas balloon and we'd been we'd been rehearsing the sequence for some time <hes> but on the day there were a lot of other elements involved and it was a huge helicopter doing a wide short of us taking off in the balloon just after the initial takeoff and we ended up in a situation where the helicopters had got their shot and they sped off and we were still floating in the air balloon and the pilot who was was in the corner told us to throw out the sand because you power the gas balloon three sand so the less weight you have the high you get and he seventy two hundred to us and he said throughout san throughout the san say we julie did exactly what he wanted throughout the sand little some trees some trees as we were about out 'cause he wanted to land the balloon throughout all of the sand and suddenly he said that wasn't actually the right thing to do so we'd been with this is yeah we've been misdirected and then suddenly having thrown all the sound of the balloon we had this incredibly rocky landing and hit the ground find a quiet velocity and almost break my back. I think those is horrendous crunch because we throw all the all the sand out so when we came down to land we did actually crash into trees got caught in the trees and then the bus came smashing there was this horrific crunches <unk> heads smacked against the james glaciers this box that he has nothing and then it was total silence and those are just hopeless to go. I'm not sure i can move so we had to and that was where we thought that was day. One day one of aaron eddie infelicity. Thanks so much for coming in. Thanks having thank you very much. The era nods is going to hit theaters on december six. You can find it on amazon on december twentieth but right now it's among the film's plane at the toronto international film festival and that's where the focus of the film industry went when telluride wrapped up joining me by skype to compare festival notes is kyle kyle buchanan of the new york times hey kyle. It feels like we're to film. Festival ships passing in the middle of the night. I'm returning from telluride and you've just landed at toronto. What's the vibe like there. <hes> i think very eager to see what's going to transpire. You know i mean last year's best picture. Winner green book emerged urged from here kind of a dark horse candidate in a year with really big movies this year going into toronto. <hes> you know which is a festival that often helps clarify terrify the award season. I would say that quentin tarantino's once upon a time in hollywood is still sort of our you know movie to be and we'll have to see if <hes> if some movies come along that can draw more than that. I think one thing that kind of distinguishes toronto from telluride is that there are a lot of kind of bigger studio movies set. Come there including joker the i guess latest origin story about joker played by joaquin phoenix. How would you describe what studios are after for for movies like that that might not be kinda words but probably are looking for a lot of buzz coming out of festivals. Ironically joker was that the venice film festival and they think it is very the awards despite the <hes> you know the comic book trappings <hes> but i but there are often really big and aveer spectaculars that come here for a launch one of those i would say this year is knives out <hes> it's directed by ryan johnson who did the last jedi and it looks like kind of a whodunit a modern spin on agatha. If the christie with an all star cast includes chris evans toni collette daniel craig. I'm excited for that one <hes> but yet by and large it's a lot of you know year end movies that are vying to be a part of the awards conversation because there's about to be such a flood of movies in part because net flicks. You know it's going to take a little bit more to stand out and <hes> <hes> these movies are hoping that they've got the stuff to do it here. I in terms of the award season. Is it really important to get a lot more momentum out of toronto than and maybe you got at venice or tell you right in other words. Is it actually more critical than the other festivals in terms of setting up the awards season yeah in some ways i think toronto toronto is one of the most popular film festivals certainly easier and less expensive to get to than venice or telluride but it's also a you know a festival where the biggest thing that you can get is the audience award and that's something that often just measures not just i guess how conventionally crowd-pleasing a movie is but will people respond to it in whatever way they're meant to respond to it and i think sometimes you know we put a lot of stock in what <hes> what people like you and i think john but it's really important to see what really works on a crowd last year going into that green book premier. Nobody was expecting really anything from that movie if he was playing very late in the festival didn't come in with any particular baas but it played like gangbusters in the room. It was one of those things that you know. Despite it kind of sometimes bumpy oscar campaign i kept returning to because that's the kind of thing where if it can play there it can play with oscar. I think also the festivals are very important in terms of position movies. That might look a little like out liars on paper. I have already had the pleasure of seeing joe joe rabbit which has tyco y._t._d.'s. I think amazing movie about world war two and a young boy who thinks he wants to be a nazi youth. It's a comedy tyco by t._d. Plays the the boys imaginary friend who happens to be adolf hitler is also important that movie's coming toronto as kind of unknown quantities and leave the festival with people talking about them in ways that you really can't until you see them well. I think one of the wonderful things about any film festival is making a discovery you know now and when people ask me what movies are you most excited to see. You know whether i'm going to toronto. Can or sundance sure i've got lists. You know there's there's a lot of movies. I can't wait to see that. I'm super curious about like just mercy with michael jordan and be larson <hes>. I'm excited to see waves which i heard was fantastic at telluride it. It's a movie with <hes>. <hes> lucas hedges calvin harris junior and yeah. I'm curious about films like joker and four versus ferrari but what what i'm most excited about is to make that discovery to find something that i didn't know hardly anything about going into the film festival and then i can shout it from the rooftops. There are some movies that i'm really eager to see that aren't playing at the festivals and that includes little women greta gerwig. 's adaptation of louisa may alcott novel will there are other movies that are oddly missing from the festival scene right now. I wouldn't say that there's a lot of year end movies that will probably pop it a pop about bet af fest in los angeles in november. You know movies that would be somewhat better served by coming out then so the the time between a festival debut in a relaunch isn't quite as big <hes> so yes little women. I'd expect to see it now. Queen slam with daniel columbia will be there air and maybe we'll see a couple things a couple year end entries including hats cats cats. Don't start saying don't do it. I won't do that to your audience. I'm going to ask you about one last film and that is tom. Hanks has fred rogers in a beautiful day in the neighborhood that that is showing at toronto. I believe that also feels like a movie that a lot of people looking for i've heard mixed opinions about it based on some people who've seen it. When does it plan clan toronto <hes> it's playing on saturday night. I'm super curious about a two saturday. Night is a true collision chorus of those big studio movies that could potentially become come even bigger if critics audiences respond to them including knives out a beautiful day in the neighborhood and honestly another movie that i screened before the fast that's playing here and that i think will really pop here and when it comes out later this month which is hustlers <hes> with jennifer lopez and constance wu <hes> it it is just pure fun <hes> but smart with fantastic performances and i don't think jennifer lopez has ever been better. I'm kind of wondering ah we can. Maybe started drumbeat jaylo for best supporting the cow. Buchanan is the carpetbagger columnists of the new york times. He joined us from the toronto. International film festival kyle have as much fun as can be had. I will try gas when janni coming up the new artistic director of the oregon shakespeare festival taki garrett on the power of theater plus an all female mariachi band dan. That's shaking up tradition. That's next on the frame weekend. In fact i lost three one point comedy. It's the frame weekend and i'm john horn every year from early march to late october. The rural town of ashland oregon is overtaken by the oregon shakespeare festival where they put on a mix of eleven classical and contemporary plays across three stages. The massive of endeavour began in one thousand nine hundred thirty five when tickets cost just fifty cents for adults and twenty five cents for kids by now. It's got an operating the budget of about forty million dollars in tickets. They're a little pricier. Ashland is just sixteen miles north of the california border but for the new artistic justic director mottaki garrett it was a lifetime away from her growing up in oakland and for that matter so was broadway. The first play i saw on broadway was recent as a young person. Of course my mother was a teacher. We couldn't afford broadway <hes> but as a grownup and artists at artiste based out of keller it's i avoided it so the first quiet as it's kept the first actual production of anything that i saw on broadway was sweat well then auditors play uh-huh i mean that's interesting when i think about what broadway represents and what ashland represents because i've been to ashland and a lot of people go there there are people with money and people with privilege and they tend to be from my is mostly white and that is in many ways the broadway broadway audience so there is some overlap there so how do you work with that demographic. How do you embrace them and also challenge ange them. They've actually been asking me in every conversation. I'm having with my stewarding audience. How are you going to diversify us. What are you going to do to make sure that people are coming coming that other people that don't look like this that are younger than us that are <hes> from different cultural backgrounds and my question back to them as yes. What are you going to do. And how are you going to to assist in that. It's a destination or you have to choose to come there a group in oakland. I'm sure i had friends who went up every year. That never spoke about it to me. The never said wanted to join us on this trip ashland windsor said oh. It's tough because i know it's an exclusivist experience. It belongs to me. I'm supposed to be the one to go to it. Oh and then later on when i'm a grownup and i've been working in the theater for twenty five years and they say you never came. No i never came. I was not invited. I didn't know anything about it. My mother worked three jobs. You know that that was not a part of my life but i also feel like you never invited aided me. You weren't answer yeah like they're not forwardly excluding me from it. What they are doing is not remembering to bring me along as a way of of saying this is something for us that gets to a fundamental issue that anybody who is running a nonprofit arts organization with a subscriber base faces and that that is we have these people who are loyal customers and they keep coming year after year after year and there are these new audiences that we want to develop and and often the new audience and the old audience aren't going to agree on the same thing so how do we retain these people that are our lifeblood and give new audiences something that they're attracted to and maybe challenge these existing subscribers to open their minds to new kinds of art see. I think we're asking the wrong question so i think the question is. How can we create a space where people feel confident enough to share their armchair rest with everybody else. That's where i think we have to ask. We have to figure out where is that intersection that traverses the the divide between queen age and race and gender that says it's okay for me to sit next to you while we witnessed that and that's what i have to start to teach my audience they can take a classic play and you can stage it in a way and it can tell a new story so when you think about classic works that can can be reexamined is important to you to look at how these works live and breathe in the modern world and does that fuel exciting to you or is it difficult. It's both it's both difficult and exciting. There are some plays written by her namesake playwright. Shakespeare shakespeare were you. I'm just appalled and i know he's a man of his time and it's really important to separate time from now but i i had somebody write me a letter where they want me to be aware of the impact of the work of shakespeare on a new audience and when we forgive because he's a man of his time time we forgive him for stories about rape and incest and stories about racism and stories are that are antisemitic and disability when you have all of those things happening sitting in a play then you pack it and you say well this is high art and you're supposed to like this and if you don't like it there's something wrong with you and then you present that to middle school children or you present that to high schoolers college age people and you're basically saying to them. You should figure out a way to accept this. This should be something that you should swallow oh and so i think as a person who produces shakespeare i have to be very clear about the impact that i'm making and where i have. The most control is is in the image. The word is powerful because of the image because how the body holds it. That's where i can make the difference. We're talking to win. The talkie garrett who is the new artistic. Take director of the oregon shakespeare festival good art is about conversation and it's about a conversation that happens on many different levels. What can theater do that movies his music tv visual art cantu. What is unique power of theater in conversation. There's something about witnessing witnessing humanity live with other humans. There's something chemical or physiological that shifts in your heart and your brain in your blood where you realize you're watching something. You're you're being a voyeur. You're watching something terrible. You're watching something delicious and funny. You're you're witnessing something and you're breathing. The air with other people that organic experience is something that is kind of singular to the theater and i think that's the the separation. It's not the concert right where you have a barrier and it's not a dance show where people aren't speaking. It's all of those things at once and it's happening organically. Your first season won't be unveiled until two thousand twenty one but when you were thinking about it's kind of like a fantasy football draft. When you're picking your players. What are you looking for. And what do you not looking for. One of the things that i'm focused on as artistic director and as an artist is i'm looking for a way to open our capacity for empathy through the work that we do oh and the place that i'm inspired by our plays that reminds us of our basic humanity and inspire us to action so that we can create spaces where people can can live there full dynamic lives and that's extremely important to me as an artist and as a human being and as an artistic director my goal is to locate those plays and and try to figure out i if they can give us a d percents of who we are in our profound humanity and if they can lead us towards the possibility ability for a better future a brighter future future for the people that were raising to populate this world if they don't do those things that i'm not interested in it and that's including shakespeare where when i do produce shakespeare. I'm looking for a way to shake things up. In the way that the populace playwright shakespeare was looking for a way to shake things up and engage shakespeare wrote plays for royalty so that he could afford to write the place for the people and i'm interested in the gap between those two spaces as well and i'm interested in the intersection between those two spaces and that's how we program season looking for new planes new riders new new ideas new thoughts new forms and then the last thing is how will those plays effect the people on the other side of the footlights what happens to my audience when i'm asking them to engage with each other in the experience of witnessing a story natasha garrett is the new artistic director of the oregon shakespeare festival in ashland oregon mottaki. Thanks so much for coming in thank you you thank you for having me being. You're listening to the frame weekend. I'm john horn they play traditional instruments and they can belt out classic mexican songs longs but the new york-based group floor toll is not your grandad's mariachi as the frame contributor beto arcos reports. This all female email group is creating a new musical style. Blending mariachi sounds with r._&_b. It's midday l._t._v. studios in west l._a. And mariachi flotilla tolo archie is warming up for performance on one of the cable channels shows after their performance formats. I sat down with the leading members of florida for an interview violinist and singer media guarumos grew up in puerto rico. Her mother is from the dominican republic. Her father was a musician from each organ mexico. Grandma says one day she felt a calling had the desire to collaborate with with other women. I was one of the only female musicians playing medici and new york city during that time this is about seven years before two thousand eight and i i just wanted to do my own arrangements as well and my own compositions i invest in two thousand and eight almost called cuban-american singer and guitarist shea field. They met through a mutual friend from the scene and together. They decided to form the group florida tolo archie in the beginning. They played all the usual mariachi gigs gin-san yet hit us weddings birthdays funerals and they were also buskers playing in manhattan subway stations single. Shea field says the subway gigs helped to audition potential new members. We also knew who was committed by the ones that would come out to the subway with the players and then we got to try out a lot of new stuff. It was basically like rehearsal paid rehearsal with an audience but that wasn't technically a show there was one thing they had cleared from the get-go. Their goal is a group was to do a fusion of mariachi and other music styles violinist. Media georamas wouldn't be genuine to us to do traditional miyachi because none of the girls actually come. I'm from <hes> mighty tradition other than me and i was raised in mexico. I my approach to the media was from far away from puerto rico so even even for me was them that genuine to do just traditional mexican my data so the goal was always to do new arrangements and to kind of experiment with the genre when they decided to record the first album feel feel says they needed songs and we had some of our own songs written already from our own projects and then let's bring these in and do them florida watch style and so let down was one of the first ones and definitely had arbi vocals already <hes> but what we needed to do as adapted thrown in the beware land trumpet put all these different the technical styles into the song they saw at the bottom of the bottom mr for their new album titled indestructible floor the tolo archie collaborated on a song titled fellow viki with the pop singer miguel who who happens to be ramos's cousin doesn't amazing experience in the studio with him and also it was so emotional because his grandmother my grandmother used to sing together in mexico and me john may have a wet cloth <hes> mm-hmm widow at a at area and at any as their last name and they had just passed away not too long ago before the session so it was really emotional. Session russian felt like they were there with us and that they made this whole thing happened for us. Yes oh it was really pretty for the song cassia shaffi all says there producer wrath selena offered to pop singer john legend he's like well. Let me see you know. I'll talk to him and and we'll see you know he can. We can see spanish but we wrote in english. I just in case he was into it and and so you know we're like okay we shop for the stars the stars and think of who we we wanna sing on this album john legend of course boost still cuban-american singer-guitarist horace sheffield says there's a certain responsibility that comes with being part of a mariachi group play in mexican music not being mexican. There's a lot of pressure <hes> oh you gotta show up and really know your stuff and not only that but you know respect the tradition in the culture because people are looking at you because you're not so they want to be like and what he'd doing and why florida warner latin grammy for best mariachi album in two thousand seventeen for their album called last linda's despite all the recognition and violinist media yarom says they're still criticized for not following the traditional mariachi they still come to us and say ooh doesn't look good. You should wear <music> skirt all those shoes on look. Even our hair should be back cut truly and you know it's like it's it's wrong. It's like there's. There's these mighty laws that we shouldn't cross and i don't know who put them there. I asked the members of florida to tell the story behind the band's name. They said florida taller watch him is a desert flower. It's also call devil's trumpet and it seed it is protected by spikes. It's a flower you don't wanna mess with. It's fair to say the ban lives up to its name for the frame. I'm at the articles aw instead coming up on the frame weekend filmmakers rob epstein jeffrey friedman's new film. Linda ronstadt the sound of my voice. We really came to see her. Story is one of <hes> empowerment and she was a woman who was taking it in a male world this musical music world that was controlled by men and making it on her own terms and a pioneer in that regard regards. That's next on the frame weekend to welcome back to the frame weekend on john horn singer. Linda ronstadt is probably most well known for belting vocals and rock hit after rocket but the true ronstadt fan knows that the musician now seventy three was much more than a rockstar she he was a musical innovator it with a stunning range from opera to mariachi standards to frank sinatra songs filmmakers rob epstein and jeffrey friedman took ronstadt as the subject and their new film linda iran set the sound of my voice baby. You know <hes> play an early song that linda ronstadt records and i wanna play a clip from the film and and this song might be familiar to a lot of people who know linda ronstadt songs so this one is called different from so that's her recording of it or performance of it in the film and this is the version that probably most of us have heard <hes> so i'm gonna ask you a little bit about the people that linda ronstadt works with what role the producers and engineers played in the development of amusing because same song but very different sound that producer had a strong idea of what their arrangement was going to be for that and linda at i i was taken aback when she heard it because she was used to the folk version so it took her awhile to make that adjustment but of course she realizes that that that's what help to make it a hit people may not realize that it was originally written by a man michael smith who went onto become part of the monkeys <hes> and the song's about a man not wanting to tied down to any one woman and linda turn that on its head we really came to see her story as one of <hes> <hes> empowerment culture so male dominated and it also seems to be dominated by by sort of hostility against women you know that this sort of <hes> sir sexual identity is it's used as a weapon against the populace you know women in particular and then everyone identifies adviser that when she was a woman who was making it in a male world this musical music world that was controlled by men and making it on her own terms and <hes> a pioneer in that regard linda ronstadt had an unbelievable range and she could sing anything <music> aw it felt like she was always hungry. She wanted to try new things if it was a comic opera of it was old standards. Why was she so driven to not stay just doing rock. What was what was behind that motivation. Do you think she is an artist and i think she was just restless and unsatisfied to keep repeating what she'd been doing doing the best she describes it as having to sing the same thing over and over again until it starts to sound like your washing machine but these are genres was in styles that she grew up listening to and they were all part of her authentic musical d._n._a. About singing from each other it was incorporated into what we did sang at the dinner table. He sang in the car. We sang with their hands in the dishwater and there there were things that you wanted to get back to. It was the music that she loved at a certain point in her career. She was successful enough to be able to say <hes> okay okay. I i wanna do i wanna do something completely different now <hes> along those same lines. She was told no a lot of times by record executives and i think as was often the case when they said no. They wished they had said yes so the album is called conscientious day me padre songs of my father and in it not only is critically successful. I think to this day. It's the largest selling spanish language album in u._s. Recorded music histories that right. I i think that's still holds. Why was that important to her and when she was told no. How did she get around that. How did she prevail while the record companies were baffled by her choices at that point in her career <hes> but she was bound and determined and she says at one point in an interview in the film from that a period. She said this is music. If i don't do i will die. I mean she was. She was a musical adventurer when she had her sights on what that next adventure was going to be <hes> it was going to happen. Come hell or high water and listen to the voice. She's so it's just a completely different part of her voice them. We've heard i think in any of the incarnations before for linda. She says that's when you really felt like she was a singer when she became a singer when she mastered the <unk>. There's a scene toward the end of the film in which linda ronstadt is singing or trying to sing and it's very touching touching. I think some people could read it as heartbreaking. I thought it was beautiful. What was it like to film the scene with linda with parkinson's trying to sing. We wanted to find a way to include linda in the present tense knowing that condition that she said she wasn't willing or able to do a sit down interview late in the game she was doing this trip to mexico and invited our cameras to participate and let us film this very very intimate scenes of her singing with her nephew and her cousin and i think from linda's perspective if felt like a very natural natural organic way to let the audience in on her present tense without making any kind of issue of it without making any kind of point it was just just a moment where you get to see her leaving her life very fully completely engaged music is still very much a part of her or life as she says she still sings in her mind <hes> and this was a rare moment where she's also singing very intimately with family rob epstein and jeffrey friedman's. Friedman's new documentary is called. Linda ronstadt the sound of my voice robin jeffrey. Thanks so much for coming on the show. Thanks ooh <hes> oh letting the ronstadt. The sound of my voice is in theaters now <music>. You're listening to the frame weekend. <music> uh-huh is this taurus has the back of some abandoned abandoned building people generally see during the so for our last story today the frame news clerk andrea gutierrez and i traveled to koreatown town. It's where we met up with filmmaker justin chon his latest film is called miss purple. It's about a young woman caring for her ailing father. She's a pianist. I bet she has to put her music on hold and find a job and she ends up working as a hostess in a karaoke bar. We met up with john at soup soak. That's the bar where he shot most of his film well. Let's let's take a look inside the lights on the miracle lights so this is this is a room that that the final scene was shot in the intense saying no casey drink drissa jason beautiful when you're thinking about making this movie. Did you start with a character <music> who was carrying. Her ailing. Father was her job working in karaoke bars essential. What was the nature goes to things came together. The first and foremost thing is i wanted to tell the story about a brother and sister specifically that that dynamic these i have a younger sister and and <hes> i haven't really seen him explored much in film other than you can count on me. The savage is skeleton twins. <hes> and i knew i wanted to set it in crea town because you know growing up and coming here so often it was a different place in the eighties nineties and now it's become becomes such a gentrified neighborhood that it sometimes i don't even recognize and i wanted to tell a story about the people who are still here and grew up here and and and it's almost sometimes feel like it's a time machine does move forward but they've been left behind and that always fascinates me in in sort of the idea of unfulfilled dreams and people who come to this country and don't i'm quite fulfil what they set out to do. Do you ever wonder where the money comes from a comes from a bother you. It doesn't bother me in case you have to do to keep that alive on. I don't judge you for it. Okay i wanted her to have a job that was compromising because i thought that that really showcased how stuck in in her own world and how stuck in the position she he was in in something that she needed to to break free of in koreans called tony which means literally means helper and basically they come and it's sort of a you're paying for companionship but the reality of it is in present day. It's a very big mix. Girls rose in a lot of these girls are either trying to pay off credit card debt or student loans and during our research. We've found like girls girls who are trying to make business connections so some people utilize it for their own sort of business building weird way. We're talking with justin chon on the writer and director of purple. There are a couple of relationships that you're examining one is a brother sister relationship and the other is <music> a father and mother relationship and the mother of these children makes a choice that is radically different from the daughter. Yes the mom says and the daughter. I think feels an obligation to stick around and not take something that might be more attractive. Yeah and i think ah theme that i do consistently explore my films are is <hes> collateral baggage like the baggage from the old country and the customs and what what are the things that you should keep intact one of the things that you should shed once you come to a new country and assimilate and there is a dichotomy kadhamy that that is very obvious where the mother lived her own life in deserted the family and but then the daughters stuck and shares his filial sort would of duty if she didn't have to figure out how to care for her father which he'd be playing piano. What was the dream that she gave up. And why did she have to give it it up. Yeah you know the mid point in the film. She does talk about her brother kind of says. Hey look what i found. He finds like a tiny electric a keyboard in the closet he he asks her. Listen used to love playing that then. You went to school for taking piano yeah and you didn't finish you mm. You liked it right. That's why did you finish school and i think that's pretty common you know i've i've heard a lot of people that i know personal friends who really great at something that they loved and had to give it up to help help run parents store or help their parents with their business and it fell very true to me <hes> but if the dad had not gone sick and the dad is is such a dark reminder that the american dream doesn't always <hes> it's not aw roses sometimes it doesn't go in your favor and the two kids are sort of casualties of that. There are some very specific things about l._a. In this film film there's a line about how even the palm trees are not native and then there's a shot of the piano and union station where people can actually play. How did you catch the city city in this film specifically and create town. There's a constant theme of green and green equated money and i remember one time a friend from new york. We we'd hung out and he's like yeah man. The only thing i noticed kind of feel about l. a.'s all the damn palm trees trees and i'm like what no. There's no pa like what are you. That's a stereotype. There's no palm trees in l._a. And he's like what like they're everywhere and then i remember coming back from that trip we were on and i came back and looked up and there are palm trees everywhere. I had never but it's it's so symbolic lick. The thing i wanted to say is you don't take the time to look up and the the metaphor of the palm trees. They're not from here. They're all transplanted here like all of all of us are but they're dying. I mean palm trees aren't meant to be in this climate in and it was such a great metaphor for me for who belongs here. We're in this room at soups oak and inside this room. There's a scene that involves violence and it's not just that it's a violent scene but it's that it is violence committed by men against women that seems ordinary and acceptable. I knew i wanted to have a female protagonist and i found myself itself trying to make everything fair. If something bad happens to her something good has happened to her and i realized i was doing a disservice. If if i wasn't being honest and what needed to happen i felt for for casey. The main character is at chew so stuck in this mindset mindset and and going at it alone and feeling like taking the whole burden of the world and for her. She is a woman she feels so alone but there are so many people that that that would you know are there to support a she just to scare to ask and i feel especially my community. The women especially the the older generation they are really scared. Ask for help hopefully with my generation a generation younger. It's it's you don't have to be ashamed for to ask because there. There's plenty of people who are there for you justin great to see you. Thank you very much yeah okay. Biz purple is in theaters now and that will do it for this edition of the frame weekend to show is edited by darby baloney and produced by her and jonathan shiftless robert grove and julia asking valentino rivera is our engineer. Andrea gutierrez is our news clerk. Our intern as paul ratliff are opening theme music is by taylor mcferrin and and our senior producer is oscar garza. I'm john horn from the broadcast center here at k._a._b._c. Thanks for listening have a safe and happy happy weekend. We'll be back on monday with the daily version of the frame.

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