1 Episode results for "Pedro Malda"
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"From the Mon broadcast center at KPCC. This is the frame. I'm John horn on today's show, the canned film festival is over. We talked with one critic about the movies that matter to her then documentary director David Modigliani embedded with federal Rorick during his Texas Senate race. And he found similarities between grassroots politics and his own work as an indie filmmaker documentary film is a lot like a campaign in the sense that you're always sort of building the plane while you're flying it. There is something entrepreneurial. I think an independent filmmaking. That is similar to a campaign, and look at the lasting appeal of the song, California dreaming, all that coming up on the frame. The Cannes film festival wrapped up this past weekend. The awards are out and the reviews are in and Tonio Bandera won best actor for Pedro Malda Vars pain and glory, the first award given to a black female director, went to Mattie, Diop for her film, Atlantiques, and one of the most talked about films, Quentin Tarantino's once upon a time in Hollywood failed to win a single prize. We connected with Elissa, Wilkinson over Skype to get her take. She's a film reporter at FOX that Palmdale winner, which is the top prize at Cannes was Bong, Jun, Ho's parasite long is known for making films that are very much about class warfare. And this one is especially about that. It's kind of a literal is metaphor about class warfare in Korea. There was a film called back route from Brazil, and that one's about poor people into village being targeted by wealthy people. For sport. And they're trying to fight them off. There was a film called Atlantic's, which was the first film actually from a black woman to be in the main competition at Cannes, and that one's really about young Africans who are fighting back against a wealthy developer, whose not paying them for their work. So it was really a festival full of films about vulnerable people trying to figure out ways that they could gain agency. They're a couple very high profile Hollywood films, that were showing the canned film festival. One of them is rocket man, the movie about Elton John directed by Dexter Fletcher, who was the uncreditworthy director who finished bohemian, rhapsody, and then Quinn, turn Tinos film once upon a time in Hollywood. They seem like very different movies. What was your take on rocket man, and Quentin Tarantino's latest film, actually enjoyed both of these films? I think more than I was expecting to going in. I wasn't really sure what to expect about rocket man, I had seen. Some early footage that made it looked like it was going to be quite a different sort of movie from Bohemia rhapsody, which is kind of a straight head bio-pic. This one has more fantastical elements, which I think, really suit the music of Elton. John, I think, has a lot of problems is film. It's somewhat formulaic still in the way it tells Elton John's story. But it it's, it's fun. And I think that the people who see it who are fans of Elton John's music, which innocence, is most people really will come away with a better idea of where he came from and what he's all about. I also have never been a huge fan of Tarantino's movies, most of them, anyhow, but I thought once upon a time in Hollywood was maybe one of his stronger films as a piece of filmmaking. It's really about the golden age of Hollywood about Tarantino's nostalgia for in age, that, you know, has passed I'm Sharon Tate. I mean, the movie you're in this, that's me. I play miss Carlson the class. And it's also an intriguing take on the summer of sixty nine in LA, while also telling a story that I think is pretty poignant in time when Hollywood is changing, again, why a lot of film festivals. There's always going to be polarizing movies at can, and the can audiences typically are very vocal or loud and expressing their opinions. People walk out early and thump there chairs. And then are people who give standing ovations, where there's some films that you saw where the audience was incredibly polarized, and maybe people were reacting away. That was very different from how you are watching a film. Yeah. I mean, I normally see films, impress screenings, and press can sometimes even more vocal group of people, they're very opinionated. Of course, one of the films, I think that had the most polarized opinions, his Terrence Malick new film, a hidden life, which I really liked. It's about an Austrian farmer who became a conscientious objector during World War Two because he wouldn't swear. The loyalty to Hitler. There were definitely very divergent opinions about, whether this was a story Malik should have been telling whether he told it. Well, but, you know that's the fun part of going to a festival with such a wide range of critics at is that everyone has very different opinions. And you're suddenly, kind of in-invitation with people who have experienced the film in a completely different way from you, even though you're sitting in the same room watching it wrote a couple other films, one stores will of default and Robert Pattinson. It is called the lighthouse, it sounds like an interesting film. How would you describe it? So this film is from the director of the witch Robert Eggers. In the witch was a, a horror film, that really kind of startled people when they saw it, it felt like a very different sort of horror film, for a lot of people and the lighthouse. I don't know if I would describe it as horror or comedy or both. Or neither. Or I'm not really. Sure. But it's a film. It's a film about two guys on this islands tending to a lighthouse, it set in kind of vaguely, maybe the nineteenth or eighteenth, century. They speak in very mannered dialogue. It's shot in black and white in the kademi ratio. So it looks square and it's sort of like the story of two men driving each other in same. And this is a pretty wild film have to say you can get like little bits of German expressionism at times, you get hints of like old school Sandler movies. The two of them are just having a ball. And I'm really excited for this one to make it to the US. I think it's one that people be polarized over again. But it is not like anything, I've seen before the opening night film, the dead, don't die was a film about zombies that apparently were launched because of fracking, does it feel us if all of these films, documentaries and narrative films together, were they pointing fingers at what's wrong in the world where they offering solutions. Or really just kind of documenting the struggles that people have all of the problems that each of the films brings up is, is a human problem made even something that's fixable. Whether it's policies economic systems that favor, you know, big corporations over workers, or whether it's environmental problems was comes up many times. And so I don't know how many solutions are being offered, but maybe continuing to point at the problem in yellow bat. It helps people understand that it really is a problem that could have long-term effects, but also could have solutions. Elissa Wilkinson is a film critic at vox dot com. Elissa thanks so much for coming on the show. Thank you for happening. Coming up on the frame a documentary, filmmaker embeds with a long shot candidate who loses and is now running for president. Welcome back to the frame. I'm John horn. Thanks for joining us at last check, there are twenty three people running to be the democratic nominee for president, and I'm not even going to pretend that I can name them all. But one of the candidates is probably best known for race that he lost. That's Beto Aurore. He tried to unseat, Texas Ted Cruz, and the US Senate midterms a year ago. Filmmaker David Modigliani was embedded with a Rorick on that campaign. And he followed the Texas, congressman as he went from an unknown longshot to a national media sensation Modigliani. I met Beto Aurora. In an unexpected place. It was a baseball game in Austin, Texas. I'm a founding member of the Texas playboys baseball club sandlot team. We've got and we sometimes we'll have friends that form teams and other cities and come play us. And so, in April of twenty seventeen lose the does del Paso showed up at the. Field. And they had this lanky center fielder with a name that I hadn't heard before, who happened to be a US congressman, and he had announced that he was running for Senate about six weeks prior. So I was playing first base and he got a single and we had a chance to chat a little bit there. You know, and I had been really since the twenty sixteen election feeling how much we dehumanize each other through politics, and how much that causes people to just sorta tune out and drop out of the process. And I was looking for a story that might remain is it or make it feel more accessible? And so in the seventh inning stretch Beto jumped up on a hay bale and, you know, brushed his sweaty locks aside and his dirty uniform, and it was pretty clear like this guy, you know, looks like a movie star, but it was actually the, the type of campaign that he described that he was going to run that he was going to really take some risks and try some new stuff. You know, to go to every county in Texas to only take. Money from other human beings. Not, not corporations or packs, that felt as a storyteller, you know, something that, that would be really exciting to follow in, of course, he had this epic foil, and Ted Cruz as well. And what was your pitch to him? What was the film that you said you wanted to make and what did it require of him? And I think even equally important his family to give to you, my first film. Crawford was about the town of Crawford, Texas, which doors W Bush moved to about six months before he announced his candidacy and in two thousand and I had showed up in Crawford as a kid that grew up in the northeast with some real two dimensional views kind of stereotypical views about what small town, Texas might be and wound up kind of falling in love with the people in Crawford. As these very warm generous, great storytellers, you know, we might have disagreed politically, but I really connected with them as, as human beings. So when I had breakfast with Beto I told him how excited I was that he was going to go to these, you know, very. -servative deep red parts of Texas to show up and have the conversation and person to treat people that might disagree with him politically, you know, just like other human beings. And in that part of it was really where I looked to connect with him and told him that I thought, what he was doing was unique and special and that, you know, there would be media coverage, and there would be post-mortems, but that I really wanted to tell that fly on the wall immersive experience of the, the campaign that he was getting to run. And there's a lot of moments in this film, where he does not come off, particularly. Well, you see him in moments of real frustration. We developed a, a real trust, and that allowed us to capture some really intimate moments in the film. I'm wondering what kind of autonomy you required from the federal roared campaign to not have them approve or disapprove, anything you were filming it was really important to me from the outset that this would be a fully independent. Creatively financially fully independent project and that Beto and his team would not have access to any of the footage would not have approval rights over over the final cut of the film. And I think it's a real testament to, to bet though to his wife, Amy to their team. You know you can talk about running a transparent campaign, but to really lead us into, you know, behind the scenes of the, the machinations of the controlled chaos of the campaign, it self as well as into some of their more personal moments through this odyssey is a testament to them walking the walk as far as sort of opening up, the, the experience of of running for for office. It's hard enough to be a parent where both people in the household have jobs, and you're trying to raise kids on a play one clip. And it's really about the toll that the campaign takes on the family. This is the younger son. Henry trying to call his dad to say Hello. Daddy. Concluding soon. Love you back. It was powerful to watch Beto and his family, tried to maintain their bond in their relationship through the travails and struggles and challenges of this campaign. And I think that a lot of working parents out there that, that travel that try to balance pursuing their dreams and delivering the value. They have to bring into the world to balance that with, you know, their parenting, and their presence in the lives of their kids, and I think it's a unique lens into into politics and the experience of, of public service in some ways, reminded of like, what it means to be an independent filmmaker that you are doing something against all odds against all reason with very few resources. And I'm wondering if you kind of saw yourself in see other people who are working in documentaries, independent film, reflected in what you saw in this campaign of what the sacrifice means to tell a story that you think needs to be told documentary. Film is a lot like a campaign in the sense that you're always sort of building the plane while you're flying it. There is something entrepreneurial. I think an independent filmmaking that, that can that is similar to a campaign. You're building a team. You're building support in you are trying to express and communicate a vision and get people to buy into that. We're talking with David Modigliani, his the director and producer of the documentary running with Beto you embed with Beto and his family and his staff from the very beginning almost of the Senate campaign, and the campaign goes on and battle starts doing better and better. And then there's the whole Colin Kaepernick conversation while the eyes of this country are watching these games. They take a me to bring our attention. And our focus to this problem to ensure that we fix it. That is why they're doing it. And I can think of a lot of people start hanging out with them. And that means a lot, more cameras. Lot more media, what does that mean in terms of? Your own access. The win that clip went viral and he became a national sensation in what felt like overnight, this national media descended into Texas into these tiny towns and international media, there were crews from South Korea, and Australia and Japan showing up in, you know, goalie, add Texas population four hundred. We were excited that, you know, the, the sort of star of our film was gaining this national following, but at the same time to your, your point, the folks, we were following were suddenly besieged, by the volume of press the amount of asks and attention that they were getting in the well-wishers began to make it challenging for us, and we started to get sort of lumped in with the rest of the media. There's kind of a physical response to that attention, which is to sort of, you know, circle the wagons, and turn inward. And that's what Beto and the team started to do. And so with about two. Months left in the campaign, I had to have sort of come to Jesus moment where I wrote to Beto, and Amy and the senior staff and I said, hey, you know, I think we have the chance to make something really special that captures the legacy of which you guys are doing. And, you know, I said, we just there's a few key moments that we really need an total credit to them. You know, allowing me to be in the green room during the big debate with Ted Cruz, and allowing us to be in the kitchen with them after, you know, on election night, after this campaign that they have fought for two years to try to win has has gone south for them. I need to figure out what to do with. Dc. We'll figure it out. They really did deliver on their commitment of that access to me. But because of that attention, we did almost lose it, your film premiered, at south by south west on March ninth and Beto aerobic actually took the stage with you there on March thirteenth the day before he announced his presidential run Vanity Fair published a profile that got let's say a mixed reaction, and then he declares when you think about the role that this film serves the narrative better work, what do you think it represents? And what role does the film play in our understanding not only better Aurora, but also politics and politics in Texas. I think part of what the film will show is that positions that have become default for some of these other presidential contenders. Really originated with Beto in Texas, particularly not taking pack money which has quickly become a default position. But. Which Beto did you know, just eighteen months two years ago? And by the end, he raised eighty million dollars, which was more than any Senate campaign in history. I don't know what it will mean for his campaign. I think the primary is very long. I think, you know, you I think that every candidate will sort of have a moment and you just kind of hope that your moment, happens at the right time, but it's exciting to have a national audience. That's that's interested to learn more about him. And I guess we'll see what the what the film means for his campaign if if anything. David Medina Yanni is the director and producer of the documentary running with Beddoe it premiers on HBO on may twenty eighth. David, thanks so much for coming show, just a real honor to be on really love your program. So thanks for having me. Coming up the lasting legacy of a classic song about California. The new documentary echo in the canyon looks at the folk rock music that came out of laurel canyon in the mid nineteen sixties and one defining song of the time was California. Dreaming by the mamas and the Papas as frame contributor. Tim, grieving explains. It's a song that has transcended, it's era. The best known version of California. Dreaming is without question this one. No wait. Sorry. That's a two thousand four covered by David Hasselhoff. The best known version, is this one. This gray. The song was written by then married. Couple John Phillips, and Michelle Phillips and was pretty transparently, autobiographical Phillips wrote the song, while he was living in New York. I'm starving and he had it in his pocket when he showed up in Los Angeles with the other singers, who would be eventually the group mamas and Papas Joel Salvin is an author and former pop music critic for the San Francisco Chronicle. He says, technically the mamas in the pop weren't the first act to record, California. Dreaming. Barry McGuire had a number one hit, and he was in the studio to follow up that number one hit. Now he was friends with John Phillips from in New York, and the folk scene in Greenwich Village, and he brought in not only the song, California dreaming. But he, he convinced producer Lou Adler to let Phillips in his associates, sing the background vocals on the session, they needed money. They were starving, and they came in and they sang the background vote. Goes and, and Maguire put a harmonica solo in the middle eight. And adler. It was it was his opinion that the background singers owned. The record berry was like a special guest that didn't belong. So he wiped off berries, vocal added the vocal from Denny Doherty of the mamas and Papas and wiped off the harmonica, solo went down the hall where jazz musician, bud shank was doing another session, and brought shank end put that flute solo on my Monaco show and bingo, new record. Plenty of people went California dreaming after the song came out in nineteen sixty six two years later, the Puerto Rican artist Jose, Feliciano released a cover with a decidedly Latin flair. On your dream. On your gear. Golly for Mia. People. And so you're get to got it on their trade on those interestingly the next three notable covers were by black artists are, and be legend. Bobby Womack had a modest hit with the song nineteen sixty nine just a few years after the uprising in watts mere months, after Robert F Kennedy's assassination at L, A's, embassador hotel, and right in the middle of zodiac killers. Reign of terror in northern California wool max take leans into the songs, underlying blues. Zebra. And the sky is. The song is it comes completely from white culture, people don't sit around up in Harlem dream and a going to watch. You know, it's not the same cultural access at all and Womack, I think understood the irony that's something that's operating in his career. Pretty extensively of him taking on that subject matter. And in one thousand nine hundred ninety seven Eddie Hazel, the lead guitarist for parliament Funke, Delic, did his own more syncopated funky version of the same. To shoot a look. Then. The. Way. And then this group had a hit with their cover and nineteen eighty six. The beach boys. Eventually did one in like the eighties. I think that was really lame as hell. But again, they recognized in that song their own ethos, the sun continued to speak to new generations, literally as Wilson Phillips, the group made up of Brian Wilson's daughters Kearney and Wendy and John. Michelle Phillips, daughter, China reinterpreted the song in twenty twenty. And in twenty sixteen fifty years after the mamas and the Papas at the charts California dreaming. The song became a number one hit on the billboard dance charts with this cover by the German DJ freshman. Clearly this is a song that translates cross genres as well as generations. I asked Jill Salvin is that California paradise real. Will it's based in reality. But believe me, you know, anxiety, frustration melancholy all those kind of things existed in California. They do not exist in the pop culture view of the California myth, California dreaming for the frame. I'm Tim green. Then lease. This final version of California dreaming is by Queen Latifah, if you wanna check out the documentary echo in the canyon, you could find it in select theaters. And that's our show for today. I'm John horn. Thanks for listening. We'll see back here tomorrow. So safe long.