JANE ALEXANDER

JANE ALEXANDER

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Actress · Conservationist · Chairman of the National Endowment for the Arts 1993-97

I came to conservation as a lover of nature, as a young girl growing up outside of Boston, Massachusetts. We just had a tiny backyard. But I was enthralled by whatever lived there from a very early age. So I kept up with my love of nature all through life by the same path that I was also going on in theater for the most part. And later film. And conservation came out of my love for animals because it became clear in the 70s, about fifty years ago, that there were many species that were beginning their decline and continue to do so today.

The Midnight Sky & Collaborating with GEORGE CLOONEY - MARTIN RUHE on The Art of Cinematography - Highlights

The Midnight Sky & Collaborating with GEORGE CLOONEY - MARTIN RUHE on The Art of Cinematography - Highlights

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Martin Ruhe is the internationally-acclaimed German cinematographer behind the Netflix film The Midnight Sky directed by and starring George Clooney. Previously, Ruhe worked on Catch-22, also directed by Clooney, as well as the critically acclaimed Counterpart, Run All Night with Liam Neeson, and the British Independent film award winner Control. Ruhe photographed the dark spy thriller Page Eight for BBC Films, directed by David Hare. The film earned him an American Society of Cinematographers Outstanding Achievement in Cinematography in Motion Picture/Miniseries Television Award for his work on the film.

Working closely with director Anton Corbijn, Ruhe photographed The American. Starring Clooney as an aging assassin on an assignment to create a specialized weapon, Ruhe’s meticulously arranged shots helped to build the tone of The American, while reviews applauded the film’s beauty. Ruhe lensed Harry Brown, a Michael Caine-starring vigilante thriller which premiered at 2009’s Toronto International Film Festival. His photography on Harry Brown received critical acclaim; Joe Leydon of Variety saying, “The moody lensing by Martin Ruhe vividly conveys the no-hope squalor of a contemporary urban wasteland.” Combining the best cultural influences from the U.S. and Europe, Ruhe is fluent in English, German and Spanish. He loves stills photography and travel.

MARTIN RUHE

The Midnight Sky is a film with big scopes. We have big vistas, we’re in space, we are on the moon, in the Arctic. Also, it’s a very intimate film because it’s a lot about connection, so we when we see people we get close to them and we feel intimate with them because we are literally with the camera quite close to them and looking into their faces. In this film, it helped that we went on 65mm. We shot on a large format. First of all we started that for the big landscapes, but I think it’s great also for faces because the face also becomes like a landscape.

❧

Early on in my career, I met a cameraman called Mike Southon. When I was working as a runner in London, on weekends I would try to go to shoots and see as many shoots as I could. Mike once told me our job would be. 10% is craft, 10% is talent, and 80% would be diplomacy. It’s actually interesting because quite often we caught in-between producers telling you, “Oh, you can’t have this.” Or, you have to do this. Or this is the framework. And then directors telling you, “I want to see the whole world at night.” And you go, “That’s a lot of money...” So, I think that’s one interesting thing I learned early on.

There are many people you meet along the way and you pick up things from them. I loved when I started working with Anton Corbijn. His photography is so…he mainly uses one lens. One camera. It’s not complicated, but he gets intimate with people in the way he is with them. That’s why his portrait photography is so stunning. Over the years, it’s relevant because he’s curious, he’s open, and he just allows things to happen. I love that. I love creative things.

Early on, I did some workshops with some of the great DPs like Robby Müller. And then you watch films, you read, you listen to what people have to say about them.


This interview was conducted by Mia Funk with the participation of collaborating universities and students. Associate Interviews Producer on this podcast was Bret Young. Digital Media Coordinator is Yu Young Lee. 

Mia Funk is an artist, interviewer and founder of The Creative Process.

Find us on Apple Podcasts, Spotify, Google Podcasts, Podcast Addict, Pocket Casts, Breaker, Castbox, TuneIn, Overcast, RadioPublic, Podtail, and Listen Notes, among others. 

MARTIN RUHE

MARTIN RUHE

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Martin Ruhe is the internationally-acclaimed German cinematographer behind the Netflix film The Midnight Sky directed by and starring George Clooney. Previously, Ruhe worked on Catch-22, also directed by Clooney, as well as the critically acclaimed Counterpart, Run All Night with Liam Neeson, and the British Independent film award winner Control. Ruhe photographed the dark spy thriller Page Eight for BBC Films, directed by David Hare. The film earned him an American Society of Cinematographers Outstanding Achievement in Cinematography in Motion Picture/Miniseries Television Award for his work on the film.

Working closely with director Anton Corbijn, Ruhe photographed The American. Starring Clooney as an aging assassin on an assignment to create a specialized weapon, Ruhe’s meticulously arranged shots helped to build the tone of The American, while reviews applauded the film’s beauty. Ruhe lensed Harry Brown, a Michael Caine-starring vigilante thriller which premiered at 2009’s Toronto International Film Festival. His photography on Harry Brown received critical acclaim; Joe Leydon of Variety saying, “The moody lensing by Martin Ruhe vividly conveys the no-hope squalor of a contemporary urban wasteland.” Combining the best cultural influences from the U.S. and Europe, Ruhe is fluent in English, German and Spanish. He loves stills photography and travel.

MARTIN RUHE

The Midnight Sky is a film with big scopes. We have big vistas, we’re in space, we are on the moon, in the Arctic. Also, it’s a very intimate film because it’s a lot about connection, so we when we see people we get close to them and we feel intimate with them because we are literally with the camera quite close to them and looking into their faces. In this film, it helped that we went on 65mm. We shot on a large format. First of all we started that for the big landscapes, but I think it’s great also for faces because the face also becomes like a landscape.

❧

Early on in my career, I met a cameraman called Mike Southon. When I was working as a runner in London, on weekends I would try to go to shoots and see as many shoots as I could. Mike once told me our job would be. 10% is craft, 10% is talent, and 80% would be diplomacy. It’s actually interesting because quite often we caught in-between producers telling you, “Oh, you can’t have this.” Or, you have to do this. Or this is the framework. And then directors telling you, “I want to see the whole world at night.” And you go, “That’s a lot of money...” So, I think that’s one interesting thing I learned early on.

There are many people you meet along the way and you pick up things from them. I loved when I started working with Anton Corbijn. His photography is so…he mainly uses one lens. One camera. It’s not complicated, but he gets intimate with people in the way he is with them. That’s why his portrait photography is so stunning. Over the years, it’s relevant because he’s curious, he’s open, and he just allows things to happen. I love that. I love creative things.

Early on, I did some workshops with some of the great DPs like Robby Müller. And then you watch films, you read, you listen to what people have to say about them.


This interview was conducted by Mia Funk with the participation of collaborating universities and students. Associate Interviews Producer on this podcast was Bret Young. Digital Media Coordinator is Yu Young Lee. 

Mia Funk is an artist, interviewer and founder of The Creative Process.

Find us on Apple Podcasts, Spotify, Google Podcasts, Podcast Addict, Pocket Casts, Breaker, Castbox, TuneIn, Overcast, RadioPublic, Podtail, and Listen Notes, among others. 

Climate Change: Build Bridges, Not Walls w/ TODD MILLER - Highlights

Climate Change: Build Bridges, Not Walls w/ TODD MILLER - Highlights

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Journalist & Author
Build Bridges, Not Walls · Storming the Wall: Climate Change, Migration & Homeland Security

In 2003, the Pentagon commissioned a report titled something like An Abrupt Climate Scenario. They asked some independent researchers to look at what would happen in a worse case scenario. They found that the United States and Australia. They said that they would have to put up defensive fortresses ‘to stop unwanted starving immigrants’…

TODD MILLER

TODD MILLER

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Journalist & Author
Build Bridges, Not Walls · Storming the Wall: Climate Change, Migration & Homeland Security

Clean Meat: How Growing Meat Without Animals Will Revolutionize Dinner & the World w/ PAUL SHAPIRO - Highlights

Clean Meat: How Growing Meat Without Animals Will Revolutionize Dinner & the World w/ PAUL SHAPIRO - Highlights

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CEO of The Better Meat Co.
Author of Nat’l Bestseller Clean Meat: How Growing Meat Without Animals Will Revolutionize Dinner and the World

If you go fill up your car with gas in the United States, chances are high that probably about 10% of your gas is not actually coming from fossil fuels. It's coming from ethanol.You don't even contemplate the fact that there's ethanol in your gas. And I think that meat maybe come like that, where people will obtain meat. But the norm will be for that meat not to be totally animal in its nature. And I think that people will just have a different view of what meat is, and it will be far more diverse than what it is today.

PAUL SHAPIRO

PAUL SHAPIRO

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CEO of The Better Meat Co.
Author of Nat’l Bestseller Clean Meat: How Growing Meat Without Animals Will Revolutionize Dinner and the World

If you go fill up your car with gas in the United States, chances are high that probably about 10% of your gas is not actually coming from fossil fuels. It's coming from ethanol.You don't even contemplate the fact that there's ethanol in your gas. And I think that meat maybe come like that, where people will obtain meat. But the norm will be for that meat not to be totally animal in its nature. And I think that people will just have a different view of what meat is, and it will be far more diverse than what it is today.

Fuel: A Speculative Dictionary with KAREN PINKUS - Highlights

Fuel: A Speculative Dictionary with KAREN PINKUS - Highlights

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Author of Fuel: A Speculative Dictionary
Professor of Italian & Comparative Literature, Cornell University

For many years I wrote, taught, and published about climate change from a more philosophical, existential point of view, especially thinking about deep time, but I did come back to fuels with my Fuel book in part for the fact that so much of the press and so much of public discourse confuses fuel and energy, and it’s still happening today. I thought about this so long and the same themes, the same tropes are still being recycled.

KAREN PINKUS

KAREN PINKUS

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Author of Fuel: A Speculative Dictionary
Professor of Italian & Comparative Literature, Cornell University

For many years I wrote, taught, and published about climate change from a more philosophical, existential point of view, especially thinking about deep time, but I did come back to fuels with my Fuel book in part for the fact that so much of the press and so much of public discourse confuses fuel and energy, and it’s still happening today. I thought about this so long and the same themes, the same tropes are still being recycled.

Johannes Stripple & Harriet Bulkeley · Climaginaries · Earth Systems Governance - Highlights

Johannes Stripple & Harriet Bulkeley · Climaginaries · Earth Systems Governance - Highlights

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Carbon Ruins · Climate Futures · Climaginaries · Earth Systems Governance Project

Our starting point was that a lot of the stories we tell about future worlds are quite poor. It’s not stories that are meeting the world as it is now. It’s difficult for people to inhabit the kinds of worlds that we imagine through scenarios or modelling, so there is a kind of distance between where we are now and the life worlds of a decarbonized or a post-fossil world.