who would spend their weekends and nights training to do things like develop film and shoot film under wartime conditions. in some ways, it was a lark. ford really loved ceremony and military procedure. but this unit became absolutely crucial during the war when it was called into action to shoot documentaries. >> two of the most significant events where john ford witnessed the events unfold on omaha beach in the battle of midway, in which he was wounded. correct? >> "the battle of midway" was the first time a major american filmmaker was there to film an engagement. it was the middle of 1942 and the war in europe was not happening yet as far as the u.s. was concerned. all of the concentration, all of the effort was spent in the pacific trying to hold off the japanese in various basis while the navy attended to rebuild its fleet to full strength after the damage done by pearl harbor. most of the news in the six months after pearl harbor that had come out of the war was not good for the u.s. and there were not a lot of victories being tallied in the newspapers. there was a lot of valor

i co-directed a short film. >> what is the film about? >> it's called the breakdown. it's basically -- i don't want to give too much away, but it's about a young girl who's 13 years old and she experienced an unfortunate incident in her life and how to overcome that incident. >> that's good. >> it's good. >> a great way to give back. >> great way to give back. and giving people an opportunity to tell their stories. >> directors often pick and choose their projects. what was it about this project that made you say, i want to direct this? >> it's more difficult for some, and to me it's really about maintaining your integrity. and being good at what you do. and just keep moving. you just have to keep pushing. >> what is it that makes you want to be in hollywood and be a leading man? >> wow. obviously i want to be a leading man. but when i started out it wasn't to be a leading man. i really just wanted to get a job. people would say, what do you think about people calling it -- to me, i just wanted to stand for something. that's how you get more work. if people want to ca

he did not have the budget to shoot film, so after seeing the propaganda film in new york, he -- which was "triumph of the -- he decided all of the propaganda filmmaking, the film from germany and italy and japan that had been confiscated by the treasury department, could be incorporated into these why we fight movies. in a way, the enemy's propaganda could be turned against them and between that and his very innovative ideas to have animation in the movies, animated maps showing black ink spilling across europe or a crab like or octopus like tentacles reaching out to grab other countries. those were two innovative ways of getting around the fact that he did not have the money to film battle scenes. >> we will have a chance to see another frank capra work. this is a 14 minute documentary entitled "your job in germany." mark harris, who is the audience? >> the audience was the group of soldiers who were stationed in germany after we want. -- after we won. was essentially a training film for them to tell them how not to deal with the german people who have been defeated. it contains some

the gates and filmed there.as on active duty with the united states army signal corps. >> both movies were shown at the trials themselves and since the defendants were present, they were forced to watch these movies. it was a fascinating experience. at first, they did not understand that the crowd, the room was horrified. they were so infatuated with the footage of hitler, one of them said, after this, it even the americans will want to join up. the films have the opposite of the impact the german defendants had hoped. they so repelled and horrified the room that afterwards, some of the defendants' lawyers said they found it impossible to be in the same room with the people they were representing. by the time the second of the two films was shown, the defendants really understood that it was over for them. the films have provided evidence that was more damning and more painful than any spoken testimony could be. >> george stevens left the army in 1946. what was his post-world war ii career like? >> his post-worl

from 1942, this 18 minute films ."lled "the battle of midway ♪ ♪ cook's routine patrol -- >> routine patrol. behind every cloud may be an enemy. ♪ midway island, not much land, but it is our outpost. ♪ ♪ these are the natives of midway. ♪ the birds seem nervous. there is something in the air. something behind the sunset. ♪ excitement this morning, the patrol has spotted an enemy fleet. in historic counsel of war is held. ♪ >> that looks familiar. >> yes, ma'am, it is. >> he is from my hometown, springfield, ohio. he is not going to fly that great big bomber? jobyes, ma'am, that is his -- >> yes, ma'am that is his job. mother is just like the rest of us mothers in springfield or any other american town. good luck. god bless you, son. quek suddenly, from behind the clouds, the japs attack. [gunfire] ♪ >> this really happened. >> in the meantime, our warships fleet.e jap suddenly, the trap is sprung. maybe planes -- navy lanes roar from the depths of our carriers. the invasion forces were hit and hit again. men and women

and people love this film.i said, after that, as you said this person kind of took a hit at it. i said, i'll watch it again and see what i think. i fell in love with it all over again. it's a wonderful film. >> another classic film, though in a very different way, is this one. take a look. that is, of course, dr. strangelove, or how i learned to stop worrying and love the bomb, which anybody who sees that, it's so iconic. people instantly know what film is comes from. it's also that the movie is such a product of its time, such a political movie. did you weigh considerations of how they fit into their time or how timeless they are when you're coming up with this list? >> i really don't. it's really what connects with me. it has to be that personal. i have to live with this list, i have to defend it. i think dr. strangelove is relevant today. fears of nuclear war, we're living with them still. i say, i felt these films, the ones i neglected, the ones i put on the second list, i felt them calling out to me. they

for a second because your documentary film am i making a film about robert mablethorpe scripted film and you know the iraq issue is definitely an issue. rather mablethorpe imagery shockingly overtly sexual images but let's start with the m.p.a. for a second because the m.p.a. . at the funeral or close thereby indicated that. the head of the m.p.a. hounded his son to death essential because the copyright cartel as i call them that the people that are being fought by larry lessig lawrence lessig. be you the question is year in the filmmaking business and you're competing for prizes very much inside the film business and the m.p.a. rules that business with chris dodd heading up the n.p.a. how do you live in that is still be actively challenging the system well it's interesting max the inside hollywood there's actually different you know hollywood is not just one machine in fact robert redford who's a mentor of mine and sundance labs. is an incredible program that i brought mablethorpe through that he's never been invited to for the oscar on his last film this year and he's never actuall

experience the future of film, next on "film school shorts." >> "film school shorts" is made possibley a grant from maurice kanbar, celebrating the vitality and power of the moving image, and by the members of kqed.

film makers do not go first. what is interesting is even though this was a big piece of fakery, only a minute or two of it is real footage, it also visual forte a new what the battlefield looked like. john huston faked the movie because it was the only way he knew how to convey what he understood of the realities of ground combat and ground troops advancing. which is something that had not been successfully shown in an american documentary before. what he is going for in the that is a kind of realism was very influential on many film makers after the war in terms of creating an understanding of how to shoot battle footage. harris, thank you for that explanation. here is that film. from the mid-1940's by director john huston, "the battle of san pietro." it was one of our strategic aims to draw as many german forces as possible away from the russian front and french coastal areas and to contain them on the italian peninsula while liberating as much of italy as might be possible with the means at our disposal. as th

film with what?>> i hope it leaves them, number one, with an appreciation for-- i think it's life affirming. i think there's such an appreciation for life that roger shows. his spirit is luminescent on that screen. i really think so. i also hope-- you know, our love story-- i hope that that gives some people hope. i hope it makes them-- i don't know. i don't even know how to say that. but i also-- you know, family. you know, when things toward the end, you know, what do you have? roger was a great grandfather, and one of the things that really touches me deeply in this movie is looking at our granddaughter raven talking about all the things she learned from her grandfather and how deeply she was affected by his death, but also the thing they just realized recently is what a gift roger gave us to show, you know, he's looking death straight in the eye and he says, "i'm coming and i'm ready, and i'm not afraid." you know, heep is said death as a-- he send death as a part of life. our society shuns, turn

output of films in the world. and you know the film industry had coined ok but i was going to get into bit going there a second is because. you know because bitcoin allows for a fuzz be sent around the world frictionless lee with almost zero cost so how do you see but quite fitting into this i think for the developing world it's the biggest you know it's the biggest thing that's that's going it's going to be massive it's a mobile based society it's an open source platform anybody can get on it anybody can jump on it it's the first you know non-exclusive form of payment in the world and so companies are coming along we just filmed tony the c.e.o. and founder of bit pay for example in the living yes we just filmed an interview with him it's up by southwest and he definitely feels that way that this is the developing world is where it's going to be massive and then it just gives them an opportunity to play ball like they never have before so that now if nigeria and india are pushing films out of greater greater level

for a second because your documentary film am i making a film about robert mablethorpe a scripted film and you know the iraq issue is definitely an issue. rather mablethorpe imagery shockingly overtly sexual images but let's start with the m.p.a. for a second because the m.p.a. . forces dad at the funeral or close thereby indicated that the head of the n.p.a. hounded his son to death a centrally because the copyright cartel as i call them the people that are being fought by larry lessig lawrence lessig. be you the question is year in the filmmaking business and competing for prizes very much inside the film business and the m.p.a. rules that business with it with chris dodd heading up the m.p.a. how do you live in that is still be actively challenging the system well it's interesting max the inside hollywood there's actually different you know hollywood is not just one machine and in fact robert redford who's a mentor of mine and sundance labs. is an incredible program that i brought mablethorpe through that he's never been invited to he was snubbed for the oscar on his last film this

the film is not about them. it is only in the writing of a book that i was able to incorporate all that material. i mention this archive in jerusalem, i showed you in one of the slides, the handwritten list of children. let me tell you something. i made a discovery that my wife and i were in jerusalem together for this, something grandly called the central archive to the history of the jewish people. sounds like it ought to be in a building that looks like the national archives in washington d.c.. it is basically in a trailer on the edge of hebrew university in jerusalem. there was nothing trailer like, a cartload of file folders that an elderly woman wheeled out, put on the desk, file folders i don't believe had been open for decades perhaps going back to 1939. inside those file folders were questionnaires and the lists and records of these 50 children and hundreds, hundreds of other families whose parents were desperate to send their children to safety. that is not something i was able to capture in a movie ce

a lot of our maker micro and macro economic theory was based on the household as a unit and in my film i have susan davis who's worked with microcredit for a long time who talks about how it took women and feminists to go into those households and see how the resources were allocated within the household to actually understand where funds and help was really needed and that's why they also focused a lot on women in terms of micro credit ok so micro credit a micro finance just a bit over review here this is the ability for. low income poverty income people to borrow very small amounts of money. which have a huge impact on their lives and to pay back this these funds over time just like any loan but it has an incredible multiplying effect so if one family or one woman can buy a goat for even twenty pounds and borrow twenty pounds which doesn't sound like a lot but if you can buy a goat and that goat has a multiplying effect because it's giving milk and you can then breed goats and it creates more goats so is that generally the idea that's the idea and the other thing that's very interest

which just re the international seattle film festival it's a fantastic documentary that tells a story of barack obama's mother and dunham an economic anthropologist an early advocate of micro finance vivian welcome to the kaiser report think humax well obama's mother this is a topic people rarely talk about they don't talk about a very much and sort of on purpose for a while until he was reelected in fact very few people know anything about her and she was an amazing woman she was ahead of her time in many many ways and i would actually argue pretty much a pioneer one of the first pioneers of micro finance she was working as an anthropologist doing a ph d. in indonesia working in rural villages dealing a lot with some of the poorest of the poor and then she went on to work with women's world banking the ford foundation and they implemented some of the early micro so what is an economic out apologists are is a she was an anthropologist the economic anthropology came about because she was dealing so much with with the impoverished people so what she did was she went into these villages

so, and we're going to watch some clips from the film, too, so you will see some other parts of the film. but my first question to all of our panelists is what was the impetus for you to put yourselves on the front line in this struggle? brian, we know you were a little younger -- [laughter] and you can tell us last. but kathleen and danny, i'd love to hear what you, what you felt your initial impetus was. >> [inaudible] >> yes, please. >> well, in reality -- the mic, sorry. in reality, the impetus in my case had, i had joined sncc, i had wanted to for a long time, but by the time i did it, it was two weeks after stokely had made the call for black power. so i joined an organization that was in the process of getting committed to black power. i was. and i met people who were involved with the black panther party, i was in the black power movement and ended up moving out to california in november of 1967 which was approximately about four or five weeks after huey newton was in an altercation and ended up wounded, in prison charged with murder, policeman dead. and he was facing the gas cha

oh, it's a film. but then with the camp, we don't really look like that, women don't really act like how we are in the media. we're really different. >> reporter: it's feedback like that that's convinced her to bring camp reel stories back for a second year, even add a second week, and hopefully inspire the next generation. so really impressed with the short films that these girls make. the creativity, the variety, many of them showing up day one knowing nothing about film, and these volunteers that are helping her out, we're talking about academy award winners. she has a network she can tap into to give these girls experience that they are not going to get anywhere else. >> what a great and creative idea. you know what, you just never know who has a great story to tell that they can put on film. these girls might have it. >> most of the girls i talked to, film wasn't even on their radar when they started and they walk out a week later saying this is something not only i can do, but i want to do. >> i

you have to see the film lon netflix. but with this then minded to emphasize the impact of this film with the companion book than their ability. here we are but we're all educators. but there are three or four generations but to be overwhelmed ... is but i am sure we will see other parts but my first to question is what was the impetus for you to put yourself on this month's -- the of strength. you are a little luck in -- under. [laughter] but i would love to hear impetus. >> in reality i have been wanting to do joining as nick for a long time it was two weeks after stoically made the call for black power so i joined an organization that was committed but i was. but people were involved with a black power movement and black panther community is and ended up moving out to california in november november 1967 that to end up in for her prison and the paper said police man dead. but to be engaged to the leader the party to said it is more important to me in to keep myself on parole. he was risking selection of the impetus was

what does that do for a film like this? experiment to see if social media is as relevant as the marketplace thanks. traditional marketing where you just dump hundreds of millions of dollars into commercials still rules the day. you see these huge weekends that are dictated by very big marketing machines. i have been on the other side of this. i have been part of that film that has that kind of push. the question now becomes can a word-of-mouth film that is well reviewed and touches a specific audience and touches them in a sincere way without a big marketing push behind it, can the word-of-mouth spread thanks to social media? this film has doubled up from two cities to 70 screens to 500 screens to over 1000 screens and that is thanks to social media. >> you encouraged robert downey to join twitter. that has sparked some fun tweets. when it comes to using social media, what is a difference between how it is used for a film like "chef" and how it is used by big studios? >> it is a little bit of nuts on top of a sundae with th

i think you see that in our film.nd of dan na had an abortion as a teenager. the mother tells the story about having an abortion when it was not legal, in the '60s. and every story is different. and every woman's experience of it, even within our film, is unique. and what ties them together is that they share. >> sort of an amazing moment when jenny's character almost comes out to her mother who says, yes, i had an abortion, as well. >> yeah, thanks. we wanted to have this moment, this mother/daughter moment because the mother/daughter relationship is really complex, too, and there's a moment when you become -- your relationship changes forever when you share something very important and something that was hard for donna to share. she wouldn't be honest with herself and she was struggling to be honest with her mother. but when she finally did it, she realized her mom wasn't disappointed. the mom in the beginning of the movie was very controlling and was making excel spreadsheets for donna. i don't think that's going t

"do the right thing" was perez and martin's first film.ed me because she was dancing for eight hours. that is the nucleus of the block, the pizzeria. >> how come you ain't got no brothers on the wall? >> you want brothers on the wall? get your own place. you can do what you want to do. >> it is his property. it is the united states of america. he can do what he wants. if you are in a community that is not yours that is patronizing your business and putting clothes on her back, feeding you and your family, providing a livelihood, we come here every day and spend good money and you cannot put one black person on the wall? again, it flips back the other way. that is the thing that makes the film great because you have a twist and turn back on top of each other. >> hold your tongue. you don't have that much love. >> people still live on that block for when we shot the film. they tell everybody it was shot on their block. it is a piece of history. we have a couple of votes that changed that block. >> spike lee and "do the right thing" bringing

but when made a film called the central park 5. we updated our are baseball series, came out in 2010. but i've spent more time i think in the '20s and '30s and '40s inner other period because baseball went through there, and prohibition went through the '20s. the interesting thing say the 1920s is i've gone through it so many times and it's always a different '20s because it's so great. today with our convention at wisdom, we know what the '20s is, it's the jazz age, it's something else. ththe 20 s i went through with the dust bowl is a different from the jazz age. believe it or not our future is pretty well laid out. we're going to leave work and go home. but the past as a malleablity of it. you ask a question about one day and you get a totally different answer. then it proves the point that the past becomes the greatest armor to face that future. because you've been through the vicissitudes of the past. you know what people have suffered. you know what real leadership is. you can recognize it when you see it here when people say

experience the future of film, next on "film school shorts." >> "film school shorts" is made possible by a grant from maurice kanbar, celebrating the vitality and power of the moving image. and by the members of kqed. >> it was the summer. my mom had been gone for a year. my dad had gotten into

not only is the film, itself, converted to digital. the people are being converted to digital characters. i got to have that done to me. it's crazy. look at that. all right, guys. let's check this out. >> hollywood, america's birthplace of film is now the revolution. >> we are here at the university of southern california's institute for creative technology. this is ground zero for the game-changing research that is catapulting film technology into the 21st sent re. made. >> all right. so here we have the stage. >> i ict's dr. paul trailblazer. >> this is the light stage. what does this do? >> there is about 10,000 individually controlled light sores in here. >> wow. >> we kncan drive the led did around us to replicate the color and intensity of light from everywhere, the blue sky appear above us. >> why is the light so important for creating digital characters? >> if you saw "gravity" we did some work early on in the film in the virtual environment and they would be projected on to the phases of sandra bullock and george clooney and t

i try to watch a lot of those films.look at -- you know. >> jimmy: so when you give notes, you know what's going on. you know what you're talking about. >> yeah. whether they listen or not. >> jimmy: what movie have you watched the most frequently? >> that's hard. because i don't know which one. because there are so many. you know, i'll go all the way back to buster keaton, charlie chaplin, lloyd, all that. i just love movies. >> jimmy: well, this new movie i thought was fantastic. i mean, it's really -- and there's a theme there of over and over again which we'll talk about in a moment. >> that's right. that's what the premieres are about. it was in the theme of the movie. >> jimmy: in the theme of the movie, i see. >> let's do three premieres, in the theme of the film. >> jimmy: i gotcha. >> i'm a little slow still. jet lagged. like i missed my cue on that. >> jimmy: don't worry, i'm slow too. tom cruise is here. i know that for a fact. we'll be right back. [ cheers and applause ] ♪ ♪ ♪ ♪ [ female announcer ] delta tou

film has that kind of push behind it. a specific audience in a sincere way without a big marketing push behind it, without a billboard, it can that word-of-mouth spread angst to social media? this grew from two cities to 70 screens and 500 screens and over 1000 screens and this is thanks to social media. >> you convinced robert downey to join twitter. when it comes to social media -- how does it get used by big studios? >> i think it is a little bit of like nuts on top of a sundae. a food truck or an art gallery opening or a standup comedian, that size of an audience and independent film world really is impacted by social media. >> speaking of peers, you mentioned elon musk. he was part of inspiration for the film. dust out of curiosity, is he an investor? >> he isn't an investor. he is someone i have become friends with through the course -- >> speaking of peers, you mentioned elon musk. he was part of inspiration for the film. out of curiosity, is he an investor? >> he isn't an investor. he is someone i have become frie

he has directed "iron man" but his latest film export the ups and downs of social media.man spoke with him about everything from drones to his friendship with elon musk brits started by asking about his own expresses with technology. generation is the generation that remembers life before twitter. it now sees the world and what's changed after it and we have seen a lot of good things happen and we have seen a lot of people make their lives very complicated. i have been on twitter for about five years. i am very careful every time i get on their. there is often cautionary tales about what happens if you are too emotional or have had too much to drink, think you're being funny or sarcastic. there is a whole different language that her kids generation understands better than we do. >> you sometimes pay the price for a negative tweets. in the case of your film "chef" there has been a lot of positive tweets and momentum especially from celebrity chefs. what does that do for a small town like this? >> this is a bit of an experiment to see if social media really has this much re

and this is his next film.rs in the future. there's been an economic collapse or what david seems to think is the kind of natural decline of the west. as it is today. >> seth: sure, sure. >> um, and it's about these uhh -- guys who are kind of outlaws, they're sort of living on the edges of what little business and culture there is left. and it's a bit of a western road movie. >> seth: quentin tarantino just said it's the best post-apocalyptic movie since "mad max." that's very high praise. >> i know. >> seth: also, it was filmed in australia. it seems like high praise for the movie, not high praise for australia? "mad max" took place there as well. it like, if you wantost apocalyptic, go to australia. >> i know, it's weird, well, i mean, it's desert. but it's kind of -- it's incredibly beautiful. i mean, there are enormous mines out there. like canyons and stuff. i've never seen anything like it. >> seth: you've obviously been there before, but probably never filmed there first time filming there? >> yeah, jus

♪ >> when i was in film school, i wanted to accumulate a body of work.y of work and the films that i loved. 25 years went like this. >> ♪ shoto the right thing" was on one block between quincy and lexington. >> seen 54. ,nterior, tenement hallway delivers pizzas and takes money. it is well documented in new york city in the summer time, homicides go up. everything escalates because of the heat. was perezght thing" and martin's first film. she hated me because she was dancing for eight hours. nucleus of the block, the pizzeria. >> how come you ain't got no brothers on the wall? >> you want brothers on the wall? get your own place. you can do what you want to do. >> it is his property. it is the united states of america. he can do what he wants. if you are in a community that is not yours that is patronizing your business and putting clothes on her back, feeding you and your family, providing a livelihood, we come here every day and spend good money and you cannot put one black person on the wall? again, it flips back the other way. that is the thing that

that was really difficult to film because he was just broken.st a sad, sad time. >> eventually, prison staff had no choice but to physically carry steele back into his cell. >> here we go. come on, there we go. there we go. >> don't hurt yourself. >> there we go. >> one, two, three, lift. bring him in. >> he just kind of went limp and then they dragged him back into his cell, propped him up on his cot, and he just sat there. just staring straight ahead. but looking very much like a broken man. >> we visited steele several weeks later. he agreed to speak with us about the incident we had filmed earlier. both he and prison medical staff also gave us permission to air the footage we had shot of him. >> that day i saw you up here with your things packed ready to go home, did you believe in your heart you were going to go home? >> yes. >> and what about now? >> i don't think so. >> so what do you think, do you think you're going to have to stay in this housing unit? >> i hope not. >> what do you want? >> i want to be released from prison. >> prison p

what do you think about drones and films?of technology to help keep a set safe is a good thing. whether it is having a digital double for a very dangerous stunt scene and not putting a human in harm's way or if you could eliminate the use of helicopters in precarious situations and replace it with a very controlled situation with a remote control vehicle, i think it could be good. it is worth exploring. >> your career progression is because of the different things you have learned of the different films you have done. you have got "chef" right now, but you'll be doing a big production. what are some things you have learned on this project that you can take to next project? >> i realize how much fun i had and how much fun the audience seems to enjoy what my tastes are and the things that make me laugh and feel good. i'm seeing it in the audiences that they feel good, too. when you go through the studio development process, it becomes a big committee and a lot of people. if you speak from the heart, do something wonderful and s