going back to stanley kubrick, we had a panel on him, but we had another panel on futuristic stanley kubrick, looking towards the future of technology and the human condition. and this is what people in the bay area really want to hear about, and this is what excites them. that is really how to go about programming. think about how are we connecting. what does our audience care about? of course the answer to that is different for every exhibition. >> because we are so diverse here in the bay area. thank you so much. we'll take a quick break and come back here to mosaic in just a moment. ,, >>> good morning and welcome back to mosaic. i'm rabbi eric wise man. joining in conversation with lorrie star, of the contemporary jewish museum and gravity goldberg, executive director. i know the museum pays attention in a very exquisite ways to identity development and the ways in which identity forms by cultural memory that goes beyond any individual person's life. and so i wonder if you can talk about an exhibit i know is coming up that has that theme attached to it. >> yes, we are very excite

stanley kubrick, i think, was a little less interested in acting and delving into the depth of veryerformancet interested in human beings. i think it just depends. but i think most rectors are interested in actors, primarily. it different directing stage versus film? kenneth: no, it's the same process with different tools. you want to get the actors to a place where they are comfortable, where they are spontaneous within artificial guidelines. on a set, you have multiple takes, changing the angles of a big crueland looking at you. in a play, you have to do the lookingng -- a big crew at you. in a play, you have to do the same thing over and over again, but do it the same way. charlie: do they become part of a different set every day in the theater because they are different? once sawyes, i christopher walken interviewed and he said at the bottom of every cast list it should say "the audience." because they are there. quantify.tle hard to you take them in in some way. their energy in their different responses in form that night's performance, and it's always different, because the audience is

stanley kubrick i think was a little less interested in acting and delving into the depths of performancebeings. but it think most directors are very interested in actors. charlie: what you like about this as a movie? kenneth: the tremendous effort the characters are making to do the right thing despite carrying a tremendous emotional burden. casey's character does not just want to take care of his nephew, but do it properly. at first, he just wants to get him set up. the premise is that character's brother dies and leaves him, his nephew. what is not so obvious is how he refuses to just send the kid away. he could've sent him to relatives in minnesota or back to his troubled mother. but he is sticking it out as best he can despite that he is under terrible duress. charlie: so when he left manchester, what was his state of mind? kenneth: devastated. i don't know how much you want to give away. he left town because of an unspeakable tragedy and his wife was essentially destroyed. his brother is not well, he has congestive heart failure, it requires help taking care of his kid. so he goes a

stanley kubrick, i think, was a little less interested in acting and delving into the depth of the performancet very interested in human beings. i think it just depends. but i think most rectors are interested in actors, primarily. charlie: is it different directing stage versus film? kenneth: no, it's the same process with different tools. you want to get the actors to a place where they are comfortable, where they are spontaneous within artificial guidelines. on a set, you have multiple takes, changing the angles of the camera, and a big crew looking at you. in a play, you have to do the same thing over and over again, but do it the same way. charlie: do they become part of a different set every day in the theater because they are different? kenneth: yes, i once saw christopher walken interviewed and he said at the bottom of every cast list it should say "the audience." because they are there. it's a little hard to quantify. you take them in in some way. their energy in their different responses in form that night's performance, and it's always different, because the audience is always diffe

. >> an stanley kubrick i think saw actors a little less interested in delving into the depths of the performance but very interested in human beings. so i think it just depends. but i think most directors are very interested in the actors primarily. >> rose: is it different in directing stage versus film? >> into, it is the same process with different tools am you want o get the actors to a place where they are comfortable, where they are spontaneous, within-- with an artificial guide lines. and on a set you have multiple takes, changing the camera angle, changing the angles of the camera and you have a big crew looking at you and in a play you have to do the same thing over and over again and still do it in a fresh way but you have a roomful of people watching you and reacting and there is just different things to cope with. >> do they become part of a different set every day in the theater because they're different. >> yes i. >> i once saw christopher walken interviewed and he said at the bottom of every cast list should say the audience because they are there. you don't want to pl