JULIE ANDREWS - PAUL SCHRADER - JULIAN SCHNABEL on Filmmaking & Creative Process

JULIE ANDREWS - PAUL SCHRADER - JULIAN SCHNABEL on Filmmaking & Creative Process

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“Taxi Driver, the first script I wrote, it is very much a young man's film. And it's full of, the anger of a young man. And the striking out. And also it's full of the pathology of suicidal glory.”

”Tony Walton, when he was designing the costumes, he said, ‘I think somehow Mary Poppins has a bit of a secret life. She's a bit naughty..’ And it was a great clue for me because that little wicked thing that she has occasionally. And then while doing and thinking and talking to the director, you do form certain things like flying with the feet turned out and the way she walked. I tried to make her walk almost as if she weren't quite touching the ground.”

“I think that the truth of the movie is maybe as true as I could tell the story. What I thought was possible. It's a movie. And in working with actors. I mean, what are we doing when we're doing that?…A story can be true to whatever narrative, but it can be very boring to watch. I think that Willem's performance is probably the best performance he gave in his life.”

APRIL GORNIK - Artist, Environmentalist, Co-founder of The Church: Arts & Creativity Center

APRIL GORNIK - Artist, Environmentalist, Co-founder of The Church: Arts & Creativity Center

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Artist · Environmentalist
Co-founder of The Church · Arts & Creativity Center
Co-director of Sag Harbor Cinema Board

I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se. I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive.

Julio Ottino - Founding Co-Director of Northwestern Institute on Complex Systems

Julio Ottino - Founding Co-Director of Northwestern Institute on Complex Systems

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Julio Ottino is an artist, researcher, author, and educator at Northwestern University. He is the author, with Bruce Mau, of The Nexus: Augmented Thinking for a Complex World - The New Convergence of Art, Technology, and Science. He was the founding co-director of the Northwestern Institute on Complex Systems. In 2008, he was listed in the “One Hundred Engineers of the Modern Era”. In 2017, he was awarded the Bernard M. Gordon Prize for Innovation in Engineering and Technology Education from the National Academy of Engineering.

Julio Ottino - Founding Co-Director of Northwestern Institute on Complex Systems
The Creative Process Podcast - Arts, Culture and Society

Today's complex problems demand a radically new way of thinking — one in which art, technology, and science converge to expand our creativity and augment our insight. Creativity must be combined with the ability to execute; the leaders and innovators of the future will have to understand this balance and manage such complexities as climate change and pandemics. The place of this convergence is THE NEXUS. In this provocative and visually striking book, Julio Mario Ottino and Bruce Mau offer a guide for navigating the intersections of art, technology, and science.

This interview was conducted by Mia Funk and Riya Patel with the participation of collaborating universities and students. Associate Interviews Producer on this episode was Riya Patel.

Mia Funk is an artist, interviewer and founder of The Creative Process & One Planet Podcast (Conversations about Climate Change & Environmental Solutions).

Gloria Pacis - Artist

Gloria Pacis - Artist

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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.

Karina Manashil - President of Mad Solar - Creative Confidante for Kid Cudi - Exec. Producer of “Entergalactic”

Karina Manashil - President of Mad Solar - Creative Confidante for Kid Cudi - Exec. Producer of “Entergalactic”

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President of Mad Solar · Creative Confidante & Industry Catalyst for Scott Mescudi a.k.a. Kid Cudi
Exec. Producer: Entergalactic starring Mescudi, Jessica Williams & Timothée Chalamet
Pearl · X starring Mia Goth

And what was so moving was when we went into Netflix to the theater to screen the finished product for the first time. You're sitting there and at the end of it, Scott was crying, and I looked over - it made me cry low-key - but Scott was crying and he said – This completely blows my mind because this is the first time I had a vision up here in my head and tried to express it, and then had to trust all 300 plus people, all around the world, working in different time zones, in different places, and each of them putting a hand to it and seeing exactly that vision. And then watching the product, and it is the best version of anything I could have ever possibly had in my head.
So, to us, that's the purest, most beautiful... Again, how fortunate that every hand was moving in tandem and moving in lockstep, and all of it. But that was the beauty of collaboration, this opportunity for a small vision to touch so many hands and become the big vision.

Bruce Mau - Award-winning Designer, Author of “Mau MC24…24 Principles for Designing Massive Change”

Bruce Mau - Award-winning Designer, Author of “Mau MC24…24 Principles for Designing Massive Change”

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Award-winning Designer, Artist & Educator
Co-founder & CEO of Massive Change Network
Author/Co-author of Mau MC24 · The Nexus · S, M, L, XL

I would like them to know just how powerful they are, that they have the power to shape the world. At some point, I realized that the world is produced. The world is designed and produced, and since we designed and produced it, we can redesign it. And you can play a part in designing it. You can play a part in that production. It doesn't have to happen to you. And I think, for too many people, too much power and too much control is concentrated in too few hands. People need to have the power to control and design their own life.

Petra Cortright · Digital Artist

Petra Cortright · Digital Artist

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Artist

I think to pursue mystery and beauty, these things are a bit subjective, so you can't really tell people exactly what it shouldn't be about. And also I have to preserve these things for myself. I primarily make the work for myself, so if I don't have some questions that are unanswered, even for me, then there's not really an interest to like keep going otherwise. So it's also sort of protection and a preservation mindset that I have about leaving things really open for other people and for myself.

Anthony Gardner · Prof. Contemporary Art History, Oxford · Fmr. Head, Ruskin School of Art

Anthony Gardner · Prof. Contemporary Art History, Oxford · Fmr. Head, Ruskin School of Art

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Professor of Contemporary Art History, University of Oxford
Fmr. Head, Ruskin School of Art · Co-author of Biennials, Triennials and documenta: The Exhibitions That Created Contemporary Art

I think art can engage with the body, the mind, and the imagination in so many different ways that can compliment modes of thinking, other modes of creating and thinking through and working through and devising.
I was thinking about this in relation to the last 18 months and how the sciences have rightly been heralded as the great way of getting ourselves out of this pandemic, but culture is the way and art is the way that we've been getting through the pandemic.

Ami Vitale · Award-winning Photographer, Filmmaker & Exec. Director of Vital Impacts

Ami Vitale · Award-winning Photographer, Filmmaker & Exec. Director of Vital Impacts

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Award-Winning Photographer & Filmmaker
Executive Director of Vital Impacts

When are we all going to start to care about one another? Because all of our individual choices do have impacts. And I just think the demands that we place on this planet, on the ecosystems, are what are driving conflict and human suffering. In some cases, it's really the scarcity of resources, just like water. In others, it's the changing climate and the loss of fertile lands to be able to grow food. But in the end, it's always the people living in these places that really suffer the most. All of my work today, it’s not really about wildlife, and it's not just about people either. It's about how deeply interconnected all of those things are. People and the human condition are the backdrop of every one of the stories on this planet.

JOHN POWERS

JOHN POWERS

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Sculptor

The figure in my work is me. The figure in my work is you. It's me placing objects. It’s me putting things together. It’s you standing near it. It’s you in proximity moving back and forth, moving around it. It’s us. One of the reasons I make the things I do the way I make them is because I can't imagine them. I make things that I couldn't draw or even think about clearly. I can only look at them. I enjoy the complexity that I make because I'm striving to see it.

(Highlights) AZBY BROWN

(Highlights) AZBY BROWN

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Author of Just Enough · Small Spaces · Lead Researcher for Safecast
Authority on Japanese Architecture, Design & Environmentalism

In Edo Japan, basically life was pretty good, and they recycled everything. Everything was reused, upcycled. Waste was considered taboo. A person who was wasting was considered an ugly person. So there’s a lot that we could talk about design, the layout, scale. Buildings were rarely taller than two storeys. Very good use of environmental features, microclimates, use of wind for cooling, passive solar heating. Good use of planting, gardens, etc. But regarding cities of the future, I think the main thing is it needs to be a place where people feel like they belong and want to take responsibility.


DOUGLAS WOLK

DOUGLAS WOLK

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Author of NYTimes bestseller All of the Marvels, Eisner Award–winning Reading Comics
Host of the Voice of Latveria podcast

I like the idea that your actions in the world can be motivated by both idealism and realism about how to achieve those ideals. I like the idea that morality is not simple. There is this idea that there are the heroes and there's the villains and you can easily tell who's who, and that's not so true as it used to be in comics and that's meaningful. One thing that is interesting about the Marvel story is there’s basically nobody who's just a bad guy to be a bad guy. Everyone has their reasons. Almost everyone is capable of redemption in some way, even the worst of the worst are capable of tremendous heroism and tremendous idealism and genuinely wanting to heal the world make it a better place.

ETINOSA YVONNE

ETINOSA YVONNE

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Photographer & Videographer
Winner of the World Press Photo 6*6 Global talent in Africa 2020

I’m not just taking beautiful pictures. I’m collecting their voices, collecting their movement, collecting different aspects, and preserving this moment because they will not always be here. I don’t just see myself as a photographer, an artist. I also see myself as an archiver. Someone who is archiving as a researcher.

IAN BURUMA

IAN BURUMA

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Ian Buruma is the author of many books, including A Tokyo Romance, The Churchill Complex,Their Promised Land, Year Zero, The China Lover, Murder in Amsterdam, Occidentalism and God’s Dust. He teaches at Bard College and is a columnist for Project Syndicate and contributor to The New Yorker, The New York Times, and other publications. He was awarded the 2008 Erasmus Prize for making "an especially important contribution to European culture" and was voted one of the Top 100 Public Intellectuals
by the Foreign Policy magazine.

Ian Buruma · Public Intellectual & Erasmus Prize-Winning Author of A Tokyo Romance, The Churchill...
The Creative Process Podcast · Arts, Culture & Society

This interview was conducted by Mia Funk & Lexi Kayser with the participation of collaborating universities and students. Digital Media Coordinator is Phoebe Brous.

Mia Funk is an artist, interviewer and founder of The Creative Process & One Planet Podcast (Conversations about Climate Change & Environmental Solutions).

MARY EDNA FRASER & ORRIN H. PILKEY (Copy)
ANA CASTILLO

ANA CASTILLO

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Award-winning Xicana Activist, Editor, Poet, Novelist, Artist
Author of My Book of the Dead
One of the things of the things that is dying is our planet. We hear these sirens every single day. We’re being warned daily by experts and concerned people how vast that squandering is going. It’s a case of urgency and it’s astounding and a very sad, a very pathetic comment on modern life that most people are ignoring those signs. As a poet, it seems to me that one of the tasks that the poet takes on, it’s a vocation that’s born with it, it’s this consciousness, this serving as witness.

ROBERT J. LANG

ROBERT J. LANG

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Master Origamist, Physicist & Author

In origami design, historically people have always used their intuition. They probably started by folding traditional shapes or folding designs by others, developed an intuitive understanding of how the paper behaves and then from there they can explore that intuition to create new shapes. That was the way design worked for years and years, that was the way it worked for me, but I eventually hit a limit to what I could do with my intuition and so part of my motivation for exploring mathematical methods was to externalise some of the design process. If I could get some of the design process on paper in a meaningful way, then I could handle more complicated goals than I could just fit in my brain.