Connect with us

Business

Right to Repair Bill Introduced in Congress

Published

on

Hot on the heels of last week’s victory in the New York state senate, the fight for Right to Repair comes to the US Congress. Today, Congressman Joe Morelle (D-NY) introduced the first broad federal Right to Repair bill: the Fair Repair Act.

“As electronics become integrated into more and more products in our lives, Right to Repair is increasingly important to all Americans,” said Kyle Wiens, iFixit CEO. Lawmakers everywhere are realizing the need to protect our Right to Repair—along with progress in the EU and Australia, 27 US states introduced Right to Repair legislation this year, a record number.

“Every year I’ve worked on Right to Repair, it’s gotten bigger, as more and more people want to see independent repair protected,” said Gay Gordon-Byrne, Executive Director of Repair.org. Rep. Joe Morelle has been a champion for much of that journey, sponsoring legislation while in the Statehouse in Albany starting in 2015. Everywhere you go, people just want to be able to choose for themselves how to fix their stuff. You’d think manufacturers would wise up.”

Congressman Joe Morelle’s federal bill would require manufacturers to provide device owners and independent repair businesses with access to the parts, tools, and information they need to fix electronic devices.

“For too long, large corporations have hindered the progress of small business owners and everyday Americans by preventing them from the right to repair their own equipment,” said Congressman Morelle. “It’s long past time to level the playing field, which is why I’m so proud to introduce the Fair Repair Act and put the power back in the hands of consumers. This common-sense legislation will help make technology repairs more accessible and affordable for items from cell phones to laptops to farm equipment, finally giving individuals the autonomy they deserve.”

“Right to Repair just makes sense,” said Nathan Proctor, U.S. PIRG Senior Right to Repair Campaign Director. “It saves money and it keeps electronics in use and off the scrap heap. It helps farmers keep equipment in the field and out of the dealership. No matter how many lobbyists Apple, Microsoft or John Deere and the rest of the manufacturers throw at us, Right to Repair keeps pushing ahead, thanks to champions like Rep. Joe Morelle.”

“At iFixit, we believe that big tech companies shouldn’t get to dictate how we use the things we own or keep us from fixing our stuff.” said iFixit’s US Policy Lead, Kerry Maeve Sheehan. “We applaud Congressman Morelle for taking the fight for Right to Repair to Congress and standing up for farmers, independent repair shops, and consumers nationwide.”

We’re pleased to see Congress taking these problems seriously. In addition to supporting Congressman Morelle’s Fair Repair Act, we urge Congress to pass much-needed reforms to Section 1201 of the Copyright Act, to clarify that circumventing software locks to repair devices is always legal, and to expressly support the Federal Trade Commission’s authority to tackle unfair, deceptive, and anti-competitive repair restrictions.

Get Mobilized and Make Love Go Viral!
Continue Reading
Click to comment

You must be logged in to post a comment Login

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Agriculture

For a healthier planet, management must change

Published

on

Our environment sustains all life. Both human and wildlife. When habitat degrades, the lives of all that depend on it also deteriorate: poor land = poor people and social breakdown.By Sarah Savory, Zimbabwe

In Zimbabwe (like many other countries in arid areas with seasonal rainfall) we are facing the many symptoms and signs of our country’s advancing desertification: ever-increasing droughts, floods, wildfires, poverty, poaching, social breakdown, violence, mass emigration to cities, biodiversity loss and climate change. No economy can survive if we destroy our soil – the only economy that can ultimately sustain any community, or nation, is based on the photosynthetic process — green plants growing on regenerating soil.


So, if we wanted to find out the optimum way to manage our wildlife, people and economy, logically, shouldn’t we be looking at our National Parks for the best examples of what we can do for our environment? Because in national parks, we not only have the best management the world knows, we don’t have any of the issues that are normally blamed for causing desertification: ignorance, greed, corruption, corporations, livestock, coal, oil, etc. Let’s do that now…the following are all photos taken in our national parks (the first 3 were taken in May right after the rainy season when they should still be looking their best!)

As you can see from those photos, some of the worst biodiversity loss and land degradation we have in Zimbabwe is occurring IN our National Parks. But, as I pointed out, those have been run using the best management known to us and have been protected and conserved for decades. We’ve clearly been missing something…

The above 8 pictures are a mixture of National Parks and Communal Land…can you tell which is which?

We are seeing this land degradation both inside and out of our Parks because there is an over-arching and common cause of desertification that nobody has understood, or been able to successfully address, until recently.

We spend our lives blaming resources for causing the damage (coal, oil, livestock, elephants, etc) but resources are natural, so how could they possibly be to blame? Only our management of them can be causing the problem.

ALL tool using animals (including humans) automatically use a genetically embedded management framework…and every single management decision made is in order to meet an objective, a need, or to address a problem. And those decisions are made with exactly the same framework, or thought process and for exactly the same reasons, whether it is an animal or a human.

For example, a hungry otter has an objective: he wants to break open a clamshell because he needs to eat. He uses a simple tool (technology, in the form of a stone) to do so. He does this based on past experience or what he learned from his mother.

Or, the president of the United States has an objective: to put a man on the moon within a decade. He and his team use the same tool (technology, but various and more sophisticated forms of it) and base their choices on past experience, research, expert advice, and so on. It’s the same process, or framework, in both cases, only the degree of sophistication has varied.

A screen shot taken from a short video clip we took with a film crew last month, of 4 different areas, all near to each other: you will clearly see the terrible desertification in both National Parks and nearby Communal Land. In comparison, you will see a vast difference on Dibangombe, the Africa Centre For Holistic Management (our learning centre, which is only 30km from Victoria Falls.) This habitat is being regenerated for all life by simply managing holistically. Every year on this land, despite the worsening droughts, the biodiversity increases and the land and wildlife flourish.
All this footage was taken in the same area, at the same time, with the same climate, the same soils, the same wildlife and the same humans.
But different management.

To this day, this decision making process works just fine for the otter. But imagine that one day, the otter invents a machine that can crack open 1,000 clam shells a day and that all the other otters suddenly stop doing what otters are designed to do and just come to him to get their clams. They still use the decision making process but everything else has changed…that tiny advance in technology would have inadvertently set off a complex chain reaction through the whole ecosystem and there would soon be catastrophic environmental knock-on effects because the balance of the ecosystem has been upset. The ecosystem will keep trying to adjust to this change but eventually it will start to collapse. Imagine the otter started charging for the clams. Now, with every decision the otters make, in order to make sure their ecosystem didn’t collapse, they would need to be simultaneously addressing the social, environmental and economic aspects of their actions. Their management would have to evolve with the change.

This is exactly what happened to humans…As soon as our technology advanced, our management should have evolved to accommodate for it. But it didn’t.

Our natural world is rapidly collapsing all around us and we have ended up constantly chasing our tails and dealing with the symptoms and complications we’ve created. While there have been thousands of books written over the years on different types of management, if you dig a little deeper and ‘peel the onion’ the same genetically embedded framework is still inadvertently being used.

In the last 400 years, our technology has advanced faster than in all of the two hundred thousand or so years of modern human existence. Over those same few centuries, you can now see why the health of our planet has entered a breathtaking decline.  We now have the knowledge to change that…

No matter what we are managing, we cannot ever escape an inevitable web of social, economic and environmental complexity, so, in order to truly address any issue, the people and the finances have to be addressed simultaneously, not just the land itself. Isolating one particular part of the problem, or singling out a species and trying to manage it successfully, is no different from trying to isolate and manage the hydrogen in water.

With this knowledge, the Holistic Management Framework was developed. And, incredibly, it all started here in Zimbabwe, by my father, Allan Savory, an independent Zimbabwean scientist. This new decision making process ensures that no matter what we are managing, we focus on the root cause of any problem. It also makes sure that all our decisions are socially or culturally sound, economically viable and ecologically regenerative by using 7 simple filtering checks. And, it introduces us to a new, biological tool: animal impact and movement, that can be used to help us reverse desertification and regenerate our land and rivers.

This framework has received world-wide acclaim and is now being mirrored in forty three Holistic Management hubs on six continents, including the first university-led hub in the USA.

Now we can begin to understand that most of the problems we are facing in Zimbabwe today are simply symptoms of reductionist management.

Imagine that one day, someone starts to beat you really hard over the head, once a day, every day, with a cricket bat. It really hurts, and instead of trying to take the bat away from them, you just take a dispirin to deal with the headache it’s caused and carry on.

After a week, the pain will be getting much worse and the dispirin will no longer be strong enough, so you’d need a new painkiller. The stopain comes out. After a while, stopain won’t be enough, so you turn to Brufen. And so it goes on. Yet the blows continue.

Eventually, your organs will be struggling from all the medication and you’ll end up in hospital with very serious complications. The best doctors and specialists in the world are called in at great expense and they rush around treating all your worsening, and now life-threatening, symptoms. None of them can understand why you aren’t getting better – they’ve used the best medicines and procedures known. It’s because everyone is so focused on your symptoms, that nobody has looked up and seen the person standing behind you with the cricket bat.

It sounds silly when I put it like that, doesn’t it? But that is exactly what we are doing.

Our planet is in that hospital with life threatening complications, with Governments, Organisations and individuals doing their best, spending millions of dollars, often using expert advice, to find out how to treat the patient, but nobody has realised that they are only treating symptoms. Nobody has noticed the guy standing there with the bat.

The holistic management framework stops the blows to the head. As soon as we do that and the cause is being treated, all the symptoms will automatically begin to heal and fall away.

I am going to show you a screen shot taken from a short video clip we took with a film crew last month, of 4 different areas, all near to each other: you will clearly see the terrible desertification in both National Parks and nearby Communal Land. In comparison, you will see a vast difference on Dibangombe, the Africa Centre For Holistic Management (our learning centre, which is only 30km from Victoria Falls.) This habitat is being regenerated for all life by simply managing holistically. Every year on this land, despite the worsening droughts, the biodiversity increases and the land and wildlife flourish.

All this footage was taken in the same area, at the same time, with the same climate, the same soils, the same wildlife and the same humans.

But different management.

These pictures were taken on the same day on land only 30km apart in February 2018, The 2 photos on the left are Zambezi National Park and the photo on the right is Africa Centre for Holistic Management (Dibangombe)

The great news is that we can turn it all around and we don’t have the thousands of different problems we all think we do. We only have to adjust one thing. Our management.

It’s time for us to evolve from using our outdated, reductionist management framework. We need to adapt to a new way of thinking and  apply this paradigm-shifting decision  making framework so that we can all work together towards regenerating our Zimbabwe.

Culturally. Socially. Economically. Environmentally. For for our people and for our wildlife.

Let’s start by stopping the blows to the head!

Get Mobilized and Make Love Go Viral!
Continue Reading

Business

Free to Download Fight the Fire: Green New Deals and Global Climate Jobs

Published

on

Fight the Fire

Fight The Fire Book Cover

OUT NOW!

“The most compelling and concise guide to averting climate breakdown.” – Brendan Montague, editor, The Ecologist.

Download Jonathan Neale’s Fight the Fire from The Ecologist for free now.

The Ecologist has published Fight the Fire for free so that it is accessible to all.

We would like to thank our readers for donating £1,000 to cover some of the costs of publishing and promoting this book.

Loader Loading...
EAD Logo Taking too long?

Reload Reload document
| Open Open in new tab

Download [2.23 MB]

Get Mobilized and Make Love Go Viral!
Continue Reading

Arts

Fearless Bravery: Pennebaker and Hegedus on Documenting Life as it is happening

Published

on

“All the world’s a stage, and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts, his acts being seven ages.”  — William Shakespeare. 

If all the world’s a stage, we can clearly state that documentary filmmaker D.A. Pennebaker literally invented a way to capture life as it’s happening without being invasive or intrusive.

They have captured some of the most exciting moments in rock and roll and real life. From Dylan’s Don’t Look Back to the debut of the Jimi Hendrix Experience in “Monterey Pop” to the behind-the-scenes Political documentary, “The War Room,”  D.A. Pennebaker and Chris Hegedus  created some of the most exciting and ground-breaking cinema  ever photographed.  But it’s not the type of footage you’ll see in mass market, but instead, they bring you into the story, into the lives and places, backrooms, dressing rooms, stages and airports, seeing the moments that make the difference, telling the story of life as it’s happening right in front of their very eyes, not sure what’s to come next….. Yet  captivated  by every new moment…because as documentary filmmakers, there is no script—ever, and they’re living through the moment as they’re looking thru the lens.

They have captured some of the most exciting moments in rock and roll and real life. From Dylan’s Don’t Look Back to the debut of the Jimi Hendrix Experience in “Monterey Pop” to the behind-the-scenes Political documentary, “The War Room,”  D.A. Pennebaker and Chris Hegedus  created some of the most exciting and ground-breaking cinema  ever photographed.  But it’s not the type of footage you’ll see in mass market, but instead, they bring you into the story, into the lives and places, backrooms, dressing rooms, stages and airports, seeing the moments that make the difference, telling the story of life as it’s happening right in front of their very eyes, not sure what’s to come next….. Yet  captivated  by every new moment…because as documentary filmmakers, there is no script—ever, and they’re living through the moment as they’re looking thru the lens.

Uncut and verbatim, the conversation we had many years ago reveals the inner workings of their creativity, what makes them tick…..and what gets them to talk. This conversation took place in 1994 at their home on the Upper West Side in New York City.  Broadband was new, we didn’t have the smart phones or the tech that we have today. Please keep this in mind as you experience the conversation.

 

There had to be a moment when you know what you wanted to do.

Chris Hegedus:   I always knew as a child I wanted to be in the arts, and I went to the Hartford Art School and then the Nova Scotia School of Art and Design, which had all sorts of interesting people there. People such as Philip Glass, and painters and filmmakers, and it was a very creative environment. Because the art world was burgeoning towards conceptual art and performance art, I didn’t really see how to make a living doing it, and after a while I lost interest in it because I really didn’t want to be a conceptual artist.

I didn’t see a place for me in the art world, and most of my work at the time had been photography and minimal art film making, and when I graduated from college, I got a job in Ann Arbor working for the University of Michigan Hospital working for a surgeon there, he gave me a job making films of surgery, and I got dropped into a career where most people have to go to medical school first.

And is was fascinating to me, and it seemed like this was a way of making films, getting dropped into peoples lives and getting into this inate voyeuristic scenario watching this entire drama unfold infront of you. In this case, it was the drama of what went on in the operating room. I used to make the analogy of this was like Doctor Marcus Welby or Mash—but much more like MASH. That really turned me around. That there was a job I could do in filmmaking, and that I could do films about the real world.

I had seen some of Pennebaker’s films, and as I graduated from film school, I knew I didn’t know how to be a Hollywood Director. I saw how to make these stories happen in real life. But the equipment became developed so where we could rent a rig in the late 60’s or early 70’s and we could get our hands on great equipment, and my interest escalated with the advent of more technology become easily available.

When you are documenting life as it is happening, do you feel it necessary to get into a comfort zone so that they audience can feel that they are there with the subject you are filming? In a way, filming so that the viewer can be part of it?

D.A. Pennebaker   I Don’t think it’s our problem so much, but I think that you’re not thinking about it this way. It’s like you are writing a play based on characters, whether you are Shaw or Aristophones, but you are writing a film about characters that you know, but in this case, the characters are right in front of you. And the instant is right now. And if they are going on the plane going somewhere, you make a judgement call to see if you want to film that. And why do you want to film it? Well—it’s a connective to where we are going. And where we are going is really what it’s all about. We’re not interested in airport conceptual filmmaking, but at the airport, they might make a phone call, they might look out of the window, they might say something, and those are the longshots…you say that you want to get someplace with them, so when you get to the place where you do want to film what we want to film, we’re part of that entourage. And that in a sense, is what guarantees you the continuous entrée. And it’s maintaining that entree as continuously as possible during the process of filming, but you are really writing a play, but the pencil is really uncertain and undetermined, and you can’t be sure if this line is what you want until you sit down to edit it, but you know you need to have something up on the screen to look at. It’s not a problem if the characters are going to act for you. If that were the problem, you wouldn’t even start it. Because if you thought that there is a chance that they would be acting, you would say, fuck it, I can’t do it, it’s too hard.

 

 

Obviously you must have their trust in you before you start the process of documenting them….

 

Pennebaker Maybe it’s not even trust. It’s trust in a way, like if you go out drinking with some friends you don’t want them to pull at you in some way, to get the fifty bucks you have in a pocket. But it happens is because they want to do it. Now why they want to do it is not our problem. When James Carville says “Why should I let you into my secret chamber?” which is the size of a basketball court, the only thing you can tell him is ‘because you want to.’ Now he has to figure out what that means. And when he does, you do it, and you’re not promising him any spiritual solution, but he has figured out what you are doing, and he figures out that out based on what I’ve done in the past, and he knew I had done Kennedy, and it was a politician, and he felt that the two of us didn’t have any other agenda. We weren’t going back on the air that night and put any footage on television and make him look like an asshole. That is something that he figures out, and when you come to a hard place, you don’t ever get to a place where you push a piece of paper in front of his face and say “James, you signed a contract, we have to do this.” They decided to initiate in a way, and the way you do it, gives them the sense that it’s their film. Whether or not they act is not the issue or important. Whether Dylan is acting. Now Chris, when you wanted to be in the arts, and you saw yourself as an artist.

 

When I grew up, an artist was a guy who painted a picture. Never in my life did I see myself as an artist. And my entire life, I was figuring it out, what was driving me. Because I was unemployable, I didn’t want to do what others were doing. I was trained as an electronic engineer. I was hired by a big company to build big projects. I was projected on a road, but I never saw myself wanting to be an artist. I didn’t know what an artist was. It took me years to figure out what the problem was.

 

As we are sitting here right now, Broadband technology is rather new, and there are companies who are making it possible for digital filmmakers to get their work out there.  Do you feel this is going to be the forefront for filmmakers?

 

Hegedus Sure! We wouldn’t have been able to make the last three films had it not been for digital. We’re doing a new film on digital. Startup.com was shot on a tiny DV camera. It makes it all possible. To do it on film would have been so costly and we wouldn’t have been able to raise the money to do it on film. The digital side is a definite reality of staying alive as filmmakers. Nobody was going to fund Startup.com, so we did it ourselves and we were able to do it. Moon Over Broadway was so expensive on film and so was The War Room. Because you had to pay the actors because of the unions, and we were filming in a Broadway theater. And it puts filmmaking in the hands of the multitudes now, you can edit on computers and it’s a whole different age.

 

Pennebaker     I think that what is going to determine if we’ve come to a branch in the road and there is no turning back, well, I think we’ve already crossed that path. The most interesting films we’re going to get as opposition to Hollywood films, which are predicated on a celebrity driven performance, that has been promoted and is so well known that people are going to see it—so you have something that is so conditioned by broad advertising appeal…but the young people coming in, the imaginations that are coming in, these people cannot afford to do it in film, they cannot afford the film stock, the labs, the prints. When a Hollywood Film comes out they are making 12-15,000 prints, and sending them out to theaters all at the same time, and running ads, and their ads and promotion is probably the same cost as making the film. And then you have independents turning out ‘crackers’ that some people are interested in seeing. So that aspect of the thing, driven by the fact that the theaters are going to show some of the films in video soon. Video projection is going to save the lives of a lot of smaller theaters who cannot afford to compete with the bigger theaters. And TV—well, TV isn’t interested because TV wants to sell cheese. They are not interested in the independent film making market. It contradicts everything they want to do.

 

I have always admired your commitment to quality…

 

Pennebaker   When you speak of quality, people know about intuitively, but in the end people only hear what they are prepared to listen to.

 

I remember listening to my 78’s, the quality of them is so much better than the LP’s….. I know that my brain is very seducible, I can’t say that is no good because I don’t hear it now. But I can hear and see what I want to hear and see, and the imagination is so powerful, that the new independent films are going to have so much imagination…people are going to make them, and theaters are going to run them. And they are going to be a little adjunct, but will never get 200 million heads…… So he really can’t worry about that major market. That’s only for the people selling cheese.’

 

You had mentioned Phillip Glass earlier in our conversation. He appears to be an artist who is able to balance and maintain artistic integrity and commercial success.  A rarity.

 

Pennebaker   Well he can make an opera and get it out. That’s a hard thing to do. We can make a film and get it into the theaters. That’s a hard thing to do. Most independents have a hard thing doing that, surviving from film to film. The question is, “is that journalism or is that art?” A lot of people are interested in knowing if these films are perceived as journalism. It doesn’t matter what our intentions are. But how are they perceived by a larger market…… Journalism doesn’t interest me so much.

 

 

Couldn’t “Don’t Look Back” be viewed as journalism, or a different kind of journalism, because you were capturing Dylan as it was happening, bringing and audience to witness the story as it is happening?

 

Pennebaker   But is that Journalism?

 

I don’t know

 

Pennebaker   I don’t know either!

 

Since documenting life as it’s happening right before your eyes, in order to create the mosaic you are looking for, does the editing process  become a grueling process?

 

Pennebaker    It’s like you are shooting again. And the difference in the process, I believe the difference, in a movie, the camera is part of the set, it is part of the actors, it moves like the actors, it is behind the glass. It moves like the actors. It doesn’t look around. For us, the way I see the camera, is the camera is the audience in the theater, and everything that happens on the stage is organized by someone else, someone else is planning their life day by day, moment by moment, and we’re not part of it. We have to make decisions what to shoot, when not to shoot, and we’re like the audience that is surprised because the camera is surprised in a theatrical kind of way. The editing takes that position and puts it is a more theatrical way. There is no certain way we always do it, but in the end, we come to an agreement about the way we want to be a pair of eyes, a pair of heads watching it.

 

 

Hegedus  There are two parts of our filmmaking. The first part is our detective work, it’s shooting the film and anticipating what we want to do, like in “The War Room” before we shot the film, we visualized the film as about a man becoming President. But when we got in there, we made decisions like “What is the story we are going to find here?” and who is passionate about what they are doing, and the stakes are high, and we were lucky to follow James Carville and George Stephanapolous. The second part is when you get the film back, is trying to make the story with the material you received, and that is an entire different kind of detective work. When you are making the film, the characters create drama. So before you are editing, you realize that the story line needs to create drama, so it’s all created in the editing room. The structure and the style, and how it evolves. And that is something you really think about when you are shooting, because when you are making the film, you are obsessed with capturing the moment and trying to figure out what the story is and how to get access to the people, and get what is there.

 

You seem to find a way to maintain your own autonomy, a rarity in this overly commercialized world run by a studio system whose only interest are profits.   What was it about growing up, your life as a child and your upbringing which may have implanted this way of being?

 

Hegedus    My mother was a teacher who loved the arts, and she fostered the love of learning. Somehow, and maybe it was inherit in growing up, there had to be some sort of passion that you have within you. And I don’t really where it comes from…..but it happens. So, who knows why you become passionate about what you are doing. My father was a corporate sales executive, not an artist so much. He was very much in the business world. A funny thing that happened recently at a family dinner, is my mother asked a question to everyone, “Tell me, if you weren’t doing what you were doing, what would you want to do?” And my father, who really surprised me, told everyone that he would have really loved to have been an artist!!! For me, I felt as if I was doing what I wanted to be doing.

 

Pennebaker   I think that the language acquisition moment—it can happen at any time in your life. It was when my friend Francis Thompson brought in a film and showed it on my wall. I had a projector in my apartment and a turntable underneath it. We used to show films like this with music going with a film, and I was about 25 or 26 at the time….and I had thought a lot about music, art and poetry, I was writing at the time, and doing a lot of stuff that was peripheral around the arts, and he had this film called NYNY and it was all abstract pictures of New York City.

 

It wasn’t that the pictures told me anything amazing, it was that he had done it by himself and I knew that I was probably not going to write a big novel, and while I had friends who were painters, I knew that I wasn’t a great painter, I knew that there were people who knew more than I did, and I couldn’t catch up with them, and I knew they would lead, and I became very depressed. But I had a company downtown that made computers and I abandoned it. And when I saw this film, and I realized “that’s it! That’s what I am going to do the rest of my life. I wanted to make films!

 

And I had all of these other things I have started, and I had a wife, and a child, and a life going, and now it became so clear to me…..and I knew how to make distorted pictures like Francis used, but I wanted to make a film by myself, the idea of controlling the work was so amazing….. and I loved working on films, and I learned how to make a scene, and how to make dialogue by doing it, but I couldn’t stand not being responsible for the final thing…. The final thing should be a jewel….and in most cases it was flawed and a badly cut film (by others) because they didn’t have the control of its final destination. It was a bad imitation of a jewel. And the first time I made a film the way I wanted to make it was don’t look back

 

Were you a Dylan fan?

 

Pennebaker    I knew that he was going to be a very important person.

 

So you weren’t a fan initially?

 

Pennebaker   Well, I became a fan because he was such an amazing musician. I was looking into the fiery furnace there, and I was about 40 watching a younger person trying out things, experiment. I had no doubts that the film I was going to make would be around for 25 years after I made it.

 

How long did it take to edit?

 

About three weeks.

 

 

Did you know what you wanted it to look like when you were done filming?

 

Pennebaker   No, I didn’t. I put off editing for about two months. I didn’t know what the film was about really, and it wasn’t until Michael Quinn said “If you’re not going to do it, I will do it. So I put my mind to it, and edited it on a viewer, not really an editing machine…”

 

How could you suggest to the up and coming filmmakers, art students, music students, anyone who is in the creative fields to find a way to maintain a level of autonomy, with the understanding that most of the people at the top levels of the studios, don’t really care about the story they are telling but are interested in the financial return.

 

Pennebaker     They really need feedback. They want somebody to tell them they love them, or that they have something good, it comes out of that need initially.

 

Hegedus     People in our career, you have to be incredibly passionate and have incredibly strong convictions of what you want to do. There are not a lot of financial rewards.

 

Pennebaker    You also have to be brave. Because with every chance, there is a chance of total disaster. And you have to be able to deal with that. But to deal with the idea that it might be a disaster. That is an aspect of independents that people don’t think about—is they are very brave. Bands such as Depeche Mode—are very brave….. But you didn’t answer my question. Art versus journalism.

 

I don’t really know. Isn’t life part of journalism?

Pennebaker     And now my final question….Do you have any sense in your own head of what defines art?

 

Get Mobilized and Make Love Go Viral!
Continue Reading
A web of Life for ALL Life13 hours ago

The Future is Now

Editorials3 days ago

Danny Schechter Inspired millions (including the founders of this network)

A web of Life for ALL Life1 week ago

Rich nations “must consign coal power to history” – UK COP26 president

Oceans and Water4 weeks ago

Time To Flip the Ocean Script — From Victim to Solution

A web of Life for ALL Life4 weeks ago

Allan Savory: A holistic management shift is required

A note from the Publisher4 weeks ago

New Report by National Academy of Sciences (USA): Social Media is Hazardous to Your Health

A web of Life for ALL Life1 month ago

Listen to the Science: The Impacts of Climate on the Health of People and Planet

Agriculture1 month ago

Ecocide must be listed alongside genocide as an international crime

Energy and Transportation1 month ago

A Controversial Nuclear Waste Cleanup Could Put a critical Legal Question Before the U.S. Supreme Court

Agriculture1 month ago

How is The Gates Foundation is driving the world’s food system in the wrong direction.

Energy and Transportation1 month ago

New report details Big Polluters’ next Big Con

Featured1 month ago

The ACCESS ACT Takes a Step Towards a More Interoperable Future

Business1 month ago

Right to Repair Bill Introduced in Congress

A web of Life for ALL Life1 month ago

The Earth is Alive! Here’s how to regenerate the soil

A web of Life for ALL Life1 month ago

Can re-thinking our lawns solve Climate Change?

A web of Life for ALL Life1 month ago

Stop ripping up our future (Mining in Brasil)

A web of Life for ALL Life1 month ago

Learning how Everything Connects is Vital to our Survival

A web of Life for ALL Life1 month ago

The Importance of Protecting our Right to Clean Water

A web of Life for ALL Life1 month ago

Creating Human-Like Civil Rights of Nature Laws in your Community

A web of Life for ALL Life1 month ago

Learning from the Past; Not Making the Same Mistakes: David Korten, Helena Norberg-Hodge, Gunna Jung

A web of Life for ALL Life1 month ago

How re-imagining education empowers imagination

A web of Life for ALL Life1 month ago

How Cooperatives Benefit Community Health and well-being

A web of Life for ALL Life1 month ago

The Power and Potential of Living, Breathing Architecture and Design

A web of Life for ALL Life1 month ago

How to Survive the Industrial-Aged Food System

A web of Life for ALL Life1 month ago

How can we eradicate heart disease?

A web of Life for ALL Life1 month ago

If not now, there is no WHEN

Editorials2 months ago

Everything Connects

Featured2 months ago

The Earth is Alive! Here’s how to regenerate the soil

Mobilized World Summit2 months ago

How re-imagining education empowers imagination

Mobilized World Summit2 months ago

How Cooperatives Benefit Community Health and well-being

Featured2 months ago

Polish people take their government to court as climate impacts hit home

Our future is in OUR Hands
Arts2 months ago

Chautauquas and Lyceums and TED Talks, oh my!

Featured2 months ago

First in the U.S.: “Rights of Nature” State Constitutional Amendment Filed in Florida to Protect Waterways

Economics2 months ago

Local food sourcing saves people and climate

Agriculture2 months ago

Hemp for Victory

Economics2 months ago

How the World Bank helped re-establish colonial plantations

Barry Dossenko2 months ago

Healing the Sick Society: Enabling A World that Works for All

Agriculture3 months ago

For a healthier planet, management must change

Mobilized World Summit3 months ago

How re-thinking architecture and design is good for planetary health

Mobilized World Summit3 months ago

Convergence: Artists, Activists, Scientists, media Makers and Earth Shakers Unite

Agriculture3 months ago

Grassroots strategies to preserve farmland and access to land for peasant farming and agroecology

Agriculture3 months ago

Understanding “The Global Land Grab

Economics3 months ago

A Cooperative Approach to Climate Action

Energy and Transportation3 months ago

Connecting Customers to Create a Virtual Power Plant

Editorials3 months ago

The Thirty-Years War.

Economics4 months ago

Can Covid-19 be the Opportunity to Shine the light on the need for Localization?

Featured4 months ago

The Big Water and Fisheries Power Grab

Business4 months ago

Free to Download Fight the Fire: Green New Deals and Global Climate Jobs

Economics4 months ago

TNI’s State of Power podcast: Understanding Wealth, Power, Colonialism and Slavery

Featured4 months ago

Overcoming Environmental Greenwashing: Show us the Evidence!

Trending

Out With The Old,
In With The New
The New is Powered by You

It is time to tell the story of global collaboration for a healthier co-existence!

Translate »
Skip to toolbar