Dancer · Choreographer and Ballet Stager · Fmr. Director Harvard Dance
Keeping people interested in dance is exposing folks, no matter how big or small an audience, to the different ways of seeing. How can you place a value on solace, joy, or tenderness and vulnerability?
Author of The Neuroscience of Creativity
Director of the Torrance Center for Creativity & Talent Development, University of Georgia
I love podcasts and things like that, if only to listen to people who've done incredible things. We live in a kind of unusual time where we can hear firsthand people talking about their own experiences, and what they went through when they were creating something. And while artists differ greatly from one another in terms of the specifics of their process, what certainly seems to be the case is that they're extraordinarily interested in their own mind, and they have what we would call a metacognitive awareness. They know almost quite precisely, at least what doesn't work for them. They're very cued into what to avoid and how to sort of generate the mental conditions that are necessary in order to be as generative or as creative as they're likely to be in a specific situation. So that is a deep medical awareness that they have about their own process that is really quite something. They know themselves very well.
Showrunner of Netflix’s Ginny & Georgia
Writer · Exec. Producer · Director · Alias · Criminal Minds · The OC · Charmed
I need a balance of light and dark. It can't be just one thing. I want you to be laughing one minute and by the end I want you to be crying. For me, character study is what is the most important. It all comes down to the characters. It's less about action or things like that, which you can have some of that, but it tonally, has to be female-centric and you have to be crying and laughing. There's so many interesting shows that walk that line of light and dark. I want to always live in the gray area with characters. Always. Nothing is ever black or white. It's always a weird gray area.
Cannes Film Festival Award-winning Director
Author of Fly Already · Suddenly a Knock on the Door · The Seven Good Years
For me, there is something about art, it's not a monologue, it's a dialogue. Some people, it doesn't matter who they speak to, they will speak in the same way they would speak to a five-year-old or to an intellectual or to somebody who doesn't speak the language very well. They would speak the same way and they don't care because this is what they have to say, but I think that the natural thing in the dialogue is really to look into the eyes of the person you speak to and see when he understands or when she doesn't understand or when she's moved or when he's angry. And basically out of that, kind of create your own language.
Creator of the Amazon series Riches
Writer/Producer on Inventing Anna · The First Lady · How to Get Away with Murder
I do feel that if one has the desire and the ability to be a much more big-picture showrunner, I think that's to the best. That benefits the show because there's a creative voice running all the way through. This isn't a movie, where it's a director's medium. It is the writer's medium, so I think the writer should be across producing and also empowering the director, but there is a clear vision. I think Riches has all the hallmarks of the things I've worked on before in terms of complex, slightly subversive women. At the heart of it, it is negotiating power dynamics. And at the heart of it, there are two very complex and yet vulnerable black women, but I've always loved family drama shows and particularly family businesses, whether it's fictional ones or in real life.
Author of Transnational Advocacy in the Digital Era: Think Global, Act Local
Assistant Professor · International Relations · Johns Hopkins School of Advanced International Studies (Europe)
Digital advocacy organizations are recognized as influential actors by the media, politicians, and some academics. In 2016, GetUp, an Australian digital advocacy organization, was named by the Australian Financial Review as one of the top ten actors with ‘covert power’ in Australia.1 Campact in Germany has powerfully mobilized public opinion against the Transatlantic Trade and Investment Partnership. MoveOn was one of the ‘leading advocacy organizations’ mobilizing people against the Iraq War in the United States. Meanwhile, Leadnow, a digital advocacy organization in Canada, helped to unseat Prime Minister Stephen Harper in the 2015 Canadian federal election. This new model of advocacy organization has spread around the world. Nineteen digital advocacy organizations claim to have a total of over 20 million members. What drove the global spread of digital advocacy organizations?
Award-winning Cinematographer of Lady Bird · Frances Ha · While We’re Young · Confess, Fletch
Every movie is different. Every story is different. I think if we're lucky in our lives, we can choose the path that we want to go down, whether it's something creative or in the arts or something else. And I think if you're lucky, you can spend your life or your career following something you really love or spending time following the path, whether it's a hobby or your career. And spending that time paying the attention that the craft or the hobby or the creative pursuit wants.
Composer, Musician, Photographer, Artist
Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson.
Artist
I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing.
Famous Rock & Urban Climber · "The French Spider-Man”
Known for Free Solo Climbing the World’s Tallest Skyscrapers using no Climbing Equipment
First of all, yes, I need to know what I will be climbing, whether it's on rocks or whether it's on buildings. And then there is physical preparation. And regarding the mindset, it's more something that became a bit automatic over the years because I have been free soloing for almost 50 years. So it is pretty much my whole life. So that means that for me, being mentally ready, it's kind of simple. It's almost always the same mental process, meaning, I can be afraid before an ascent, but I know myself actually very well. And I know that once I am starting to climb, I feel fine. I put my fear aside, and I'm just climbing.
Co-Executive Directors of DJC Records
I took this class on genocide that had a huge impact on me, and it also coincided, just the timing, with the Occupy Wall Street movement. So then two years later in 2013, I was reading The New Jim Crow by Michelle Alexander, and the book is about how mass incarceration is like a modern-day racial caste system. And I just got the idea to do an album, because I was listening to a lot of concept albums like Pink Floyd, The Wall. And it started from there, just a little seed and a spark of just this idea for this one album. And then over time, it just evolved into an EP, and then a record label and a nonprofit. –Fury Young
I think in the end, what our mission is, is to dismantle stereotypes around race and prison. But maybe from listening to that album, and you see this guy, he applied for your job, and he has a drug charge or something. Maybe you're not looking at it so crazy anymore. It's like, know what? I'll give him an interview. I'll see. And that interview may change, you know, your life and that person's life. So that's like the ideal scenario. – B.L. Shirelle
Author of Soul in the Game: The Art of a Meaningful Life
CEO of IMA - Investment Management Associates
There are four modes of communicating: preacher, prosecutor, politician, and scientist. So those three Ps are very important modes, but if you spend all your time in these modes, you will learn very little because all of them are kind of outward-looking modes. You're trying to convince others, and you don't learn very much when you're in those modes. Now, I would argue that most of us need to spend a good chunk of our time in a scientist mode. If you are in a scientist mode, then you are doing what Seneca said, "time discovers truth.
Executive Director & Founder of the Medical Society Consortium on Climate and Health
Director of the George Mason University Center for Climate Change Communication
Humanity needs to do three things if it wants to continue to flourish, and it will. The three things that humanity needs to do are decarbonize the global economy, drawdown, capture, harvest much of that heat-trapping pollution that we've already pumped into the atmosphere over the past hundred years because as long as it's up in our atmosphere, we're going to have continued warming. And the third thing that humanity needs to do is become more resilient to the impacts of climate change, which unfortunately will continue for the next several generations at least, even as we succeed in decarbonizing the global economy and harvesting that heat-trapping pollution from the atmosphere.
So these are the three things that have to happen. These three things will happen. The open question is how rapidly will they happen? Any business that can play a vital role in making any one or two or all three of those things happen, those are businesses that are going to flourish going forward. And any business that's sitting on the side and not contributing to one of those three areas, I really think they will become increasingly irrelevant, if not completely antiquated and increasingly understood to be harmful.
Award-winning Poet · Songwriter · Author of Sonnet’s Shakespeare
Editor of Best Canadian Poetry in English
Sonnet’s Shakespeare itself came out of thinking about the form of erasure, what working in that form could do and mean… And I was looking at critical writing about it, and I couldn't find anything that talked about the role of the poet who is doing that as censorial or as somehow violencing the original text. I was thinking about my resonance with the word erasure and thinking about censoring and deleting what somebody else has already said resonates with me as an analogy for being black, being mixed race, being racialized, and non-European in spaces that are predominantly Anglo-Canadian. One tries very hard. At least I did as a child, as a teenager, to just try to fit in and make my visible difference as minimal, as invisible as possible. So it's a way of thinking about erasing the self. And so I took that theme and thought, How do I show through a poetic erasure this dynamic of self-erasure and feeling erased?
Renowned Arsenic and Lead Specialist
Research Professor · Lamont-Doherty Earth Observatory · Columbia University
So this was maybe nine months after the fire in Notre Dame, and I had been struck visually by the fire, the yellow smoke, which is a telltale indicator of lead. The fact that 400 tons of lead constituted the covering of the roof of the cathedral. And a lot of that had volatilized, presumably, but no one really knew how much. So that got me thinking, and I happened to be in Paris at the time, so I thought if it's so much lead, could it be that it affected the population living within say a kilometer of the cathedral? I thought there wasn't really a lot of clear information about what had happened, and what had been measured. I thought some more openness and transparency was needed.
Professor of Earth and Space Sciences, University of Washington · MacArthur Fellow ’08
Co-author of What Your Food Ate: How to Heal Our Land and Reclaim Our Health · The Hidden Half of Nature
When you dig into the medical literature, 7 out of 10 of the leading causes of death in the United States are diet-related chronic diseases. And so one of the hopeful messages that I think comes out of The Hidden Half of Nature, Growing a Revolution, and What Your Food Ate is that what we do to the land, essentially we do to us. And what's good for the land is good for us. So if we think about farming differently, we can actually enjoy ripple effects that are not only beneficial to the farmers in terms of reduced costs for fertilizer, pesticides, and diesel, but it could also translate into better human health outcomes at a population level.
Award-winning Poet, Novelist & Musician, Lead vocalist of The Spasm Band
Author of Sonnets for Albert
The life of Caribbean people is not really documented. So this idea of Caribbean life being fragmented is something that I've had in my mind for a long time. So when I came to write this collection for my father, I realized that it was the same process and what I had were fragments, especially with him, because he wasn't around in a physical sense all the time. So all I had were little photographs, scattered memories, and remembrances. They're little parts of his life and parts of my experience with him... I never disliked my father. I always loved him and always was fascinated and captivated by him.
Renowned Dinosaur Paleontologist
Technical Advisor on all Jurassic Park / Jurassic World Films
I found my first fossil when I was six years old. And I found my first dinosaur bone when I was eight, my first dinosaur skeleton when I was 13. When I was a kid, I knew I wanted to be a paleontologist, and I didn't think there was much hope for it, though. I was doing very poorly in school. I think I was always a pretty positive kid. And so even though I wasn't doing well in school, I was really happy about the fact that I was finding all these cool fossils, and I was making collections. I don't know when it came to me that I would do this, but I think I just was born this way.
Writer & Executive Producer of Easter Sunday starring Jo Koy, Jimmy O’Yang, Tia Carrere, Tiffany Haddish
Co-Founder of Crab Club, Inc.
I think there's this belief that creativity requires our ability to think outward and extrapolate beyond our own experiences and think of the world in imaginative new ways - which is true in a lot of cases - but I also believe in creativity as the ability to access inward and look introspectively at our own personal experiences and mine those experiences in ways that aren't necessarily one to one copies of our lives, but that we can extrapolate themes and lessons, comedy, drama, humor...into new works.
Author of Footprints: In Search of Future Fossils · Anthropocene Poetics
Professor of Literature & the Environment · University of Edinburgh.
Just thinking about how our actions play out over multiple generations who will have to live with the consequences of these decisions. I think we need to stretch our sense of time, and within that stretch our sense of empathy. The philosopher Roman Krznaric talks about that in his book The Good Ancestor, that we need a more elastic sense of empathy that can encompass not just those close to us or living alongside us, but those who have yet to be born will have to inherit the world that we passed down to them. But I think in stretching that sense of empathy and stretching that sense of the times that we touch, if you like, because all of us are engaged in activities that will lead long legacies, long tails, in terms of the fossil fuels we're consuming. And so, alongside that, I think we need to accept that the time we live in is a strange one, and time itself is doing strange things in the anthropocene.
