Podcast appearances and mentions of Gordon Quinn

Phish's three-night run at Alpine ValleyLarry Mishkin features a Grateful Dead concert at a "funky" venue on July 29, 1994, at Buckeye Lake, Ohio.  The Grateful Dead opened with "Rain" by the Beatles, reflecting their admiration for the Beatles' music. "Rain," primarily written by John Lennon, was a song exploring themes of reality and illusion and was notable for its use of reverse audio effects. The Grateful Dead incorporated several Beatles songs into their performances, demonstrating their appreciation for the band.The conversation touches on the Grateful Dead's setlist, which included several opening songs like "Feel Like a Stranger" and "Bertha." The speakers recall personal experiences and the excitement of attending these concerts, sharing memories of Buckeye Lake as a vibrant venue despite unpredictable weather. The conversation transitions to "Wang Dang Doodle," a blues standard written by Willie Dixon and performed by artists like Howlin' Wolf and Koko Taylor. The Grateful Dead's affinity for blues music and their ability to blend various musical influences into their performances is highlighted. Larry changes his focus and shifts to a discussion about the band Phish, detailing a recent three-night run at Alpine Valley. He express his excitement and nostalgia for the venue, sharing experiences of attending concerts there over the years. The recap of Phish's performances includes a detailed analysis of the setlists, noting songs like "46 Days," "Moma Dance," "Cities," "Cavern," "Axilla," "Down with Disease," "Bathtub Gin," and a cover of Led Zeppelin's "Good Times Bad Times." Larry's enthusiasm is evident as he recount the energy and musicianship of Phish, highlighting the unique experience of attending their concerts and the connection it fosters among fans.  Grateful DeadJuly 29, 1994  (30 years ago)Buckeye Lake OhioGrateful Dead Live at Buckeye Lake Music Center on 1994-07-29 : Free Download, Borrow, and Streaming : Internet Archive  INTRO:                                 Rain                                                Track #1                                                :26 – 2:10 John Lennon wrote most of "Rain." It was his first song to get really deep, exploring themes of reality and illusion - after all, rain or shine is just a state of mind.Written by John “about people moaning about the weather all the time” as he was becoming more in tune with his role as a social leader – as is evidenced by the lines “I can show you” and “Can you hear me”Played 29 timesFirst:  December 2, 1992 at McNichols Sports Arena, Denver, CO, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:                    Wang Dang Doodle                                                Track #4                                                4:03 – 5:43 "Wang Dang Doodle" is a blues song written by Willie Dixon. Music critic Mike Rowe calls it a party song in an urban style with its massive, rolling, exciting beat.[1] It was first recorded by Howlin' Wolf in 1960 and released by Chess Records in 1961. In 1965, Dixon and Leonard Chess persuaded Koko Taylor to record it for Checker Records, a Chess subsidiary. Taylor's rendition quickly became a hit, reaching number thirteen on the Billboard R&B chart and number 58 on the pop chart.[2] "Wang Dang Doodle" became a blues standard[3] and has been recorded by various artists. Taylor's version was added to the United States National Recording Registry in 2023. In 1995, Taylor's rendition was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recording – Singles or Album Tracks" category.[17] The Foundation noted that the song was the last blues single produced by Dixon to reach the record charts, and "became Koko Taylor's signature crowdpleaser, inspiring singalongs to the 'all night long' refrain night after night".[17]Taylor's version of "Wang Dang Doodle" was selected by the Library of Congress for preservation in the National Recording Registry in 2023.[18]Chuck Berry, Bruce Hornsby, John Popper, Bob Weir of the Grateful Dead and Willie Dixon's daughter, Shirley Dixon, performed "Wang Dang Doodle" in tribute to Willie Dixon at the 1994 Rock & Roll Hall of Fame induction ceremony.In his autobiography, I Am The Blues, Willie Dixon says;Wang Dang Doodle meant a good time. Especially if a guy came in from the South. A wang dang meant having a ball and a lot of dancing, they called it a rocking style so that's what it meant to wang dang doodle. Wang Dang Doodle was first performed by the Grateful Dead in August 1983. The song was played only a few times each year through the rest of the 1980's. From 1991 onwards it was performed more often averaging about 15 performances a year through to 1995.  Played: 95 timesFirst:  August 26, 1983 at Portland Memorial Coliseum, Portland, OR, USALast:  July 8, 1995 at Soldier Field, Chicago, IL, USA  MUSIC NEWS: Phish shows, Friday and Saturday night at Alpine ValleyRIP – John Mayall  SHOW No. 2:                    Althea                                                Track #7                                                9:40 – end                                                 INTO                                                 Eternity                                                Track #8                                                0:00 – 1:39 Co-writing a song with one of your personal heroes—that seems like a dream come true.Willie Dixon (1915-1992) was one of the preeminent blues songwriters and performers of all time. The Grateful Dead covered a fairly lengthy list of his songs, attesting to his influence on the band: “Down in the Bottom,” “I Ain't Superstitious,” “I Just Want to Make Love To You,” “Little Red Rooster,” “The Same Thing,” “Spoonful,” and “Wang Dang Doodle.” Plus a couple they only played once, or only in soundcheck.The song was written during the sessions for Rob Wasserman's Trios album. “Guitar Player” magazine ran an interview with Weir in 1993:I had this chord progression and melody that I wanted to run by Willie to see if he liked it .... he did, so he started dashing off words. He wanted me to run a certain section by him again and stuff like that, and we started working on a bridge. Then he dashes off this sheet of lyrics and hands it to me. Now I'm really stoked to be working with the legendary Willie Dixon and I'm prepared for just about anything.He hands these lyrics to me and I'm reading through them. And they seem, you know, awfully simplistic. Like there wasn't a whole lot to them........Now he wants me to read through it and sing the melody I have and see if they fit. And so I started singing through these simplistic lyrics, and that simplicity takes on a whole other direction.By the time I had sung through them, it's like my head is suddenly eons wide. I can hear what's happening just sort of echoing around in there and I'm astounded by the simple grace of what he has just presented to me. I'm sitting there with my mouth open literally, and Willie's laughing. He's just sitting there laughing, saying, 'Now you see it. Now you see it. That's the wisdom of the bluesPlayed:  44 timesFirst:  February 21, 1993 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 8, 1995 at Soldier Field, Chicago, IL, USA  SHOW No. 3:                    I Want To Tell You                                                Track #11                                                0:00 – 1:35 "I Want to Tell You" is a song by the English rock band the Beatles from their 1966 album Revolver. It was written and sung by George Harrison, the band's lead guitarist. After "Taxman" and "Love You To", it was the third Harrison composition recorded for Revolver. Its inclusion on the LP marked the first time that he was allocated more than two songs on a Beatles album, a reflection of his continued growth as a songwriter beside John Lennon and Paul McCartney.When writing "I Want to Tell You", Harrison drew inspiration from his experimentation with the hallucinogenic drug LSD. The lyrics address what he later termed "the avalanche of thoughts that are so hard to write down or say or transmit".[1] In combination with the song's philosophical message, Harrison's stuttering guitar riff and the dissonance he employs in the melody reflect the difficulties of achieving meaningful communication. The recording marked the first time that McCartney played his bass guitar part after the band had completed the rhythm track for a song, a technique that became commonplace on the Beatles' subsequent recordings.George Harrison wrote "I Want to Tell You" in the early part of 1966, the year in which his songwriting matured in terms of subject matter and productivity.[2] As a secondary composer to John Lennon and Paul McCartney in the Beatles,[3] Harrison began to establish his own musical identity through his absorption in Indian culture,[4][5] as well as the perspective he gained through his experiences with the hallucinogenic drug LSD.[6] According to author Gary Tillery, the song resulted from a "creative surge" that Harrison experienced at the start of 1966. In his autobiography, I, Me, Mine, Harrison says that "I Want to Tell You" addresses "the avalanche of thoughts that are so hard to write down or say or transmit".[1][12] Authors Russell Reising and Jim LeBlanc cite the song, along with "Rain" and "Within You Without You", as an early example of the Beatles abandoning "coy" statements in their lyrics and instead "adopt[ing] an urgent tone, intent on channeling some essential knowledge, the psychological and/or philosophical epiphanies of LSD experience" to their listeners.[13] Writing in The Beatles Anthology, Harrison likened the outlook inspired by his taking the drug to that of "an astronaut on the moon, or in his spaceship, looking back at the Earth. I was looking back to the Earth from my awareness." Played: 7 timesFirst:  July 1, 1994 at Shoreline Amphitheatre, Mountain View, CA, USALast:  May 24, 1995 at Memorial Stadium, Seattle, WA, USA MJ NEWS  SHOW No. 4:                    Standing On The Moon                                                Track #19                                                7:23 – 9:00 Garcia/Hunter tune from Built To Last (1989) Played:  76 timesFirst:  February 5, 1989 at Henry J. Kaiser Convention Center, Oakland, CA, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA  OUTRO:                               Quinn The Eskimo                                                Track #21                                                2:28 – 4:17 "Quinn the Eskimo (The Mighty Quinn)" is a folk-rock song written and first recorded by Bob Dylan in 1967 during the Basement Tapes sessions. The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann,[4] which became a great success. It has been recorded by a number of performers, often under the "Mighty Quinn" title.The subject of the song is the arrival of Quinn (an Eskimo), who prefers a more relaxed lifestyle [" jumping queues, and making haste just ain't my cup of meat"] and refuses hard work ["Just tell me where to put 'em and I'll tell you who to call"], but brings joy to the people.Dylan is widely believed to have derived the title character from actor Anthony Quinn's role as an Eskimo in the 1960 movie The Savage Innocents.[5] Dylan has also been quoted as saying that the song was nothing more than a "simple nursery rhyme". A 2004 Chicago Tribune article[6] said the song was named after Gordon Quinn, co-founder of Kartemquin Films, who had given Dylan and Howard Alk uncredited editing assistance on Eat the Document.Dylan first recorded the song in 1967 during the Basement Tapes sessions, but did not release a version for another three years. Meanwhile, the song was picked up and recorded in December 1967 by the British band Manfred Mann,[7] who released it as a single in the US on 8 January 1968 under the title "Mighty Quinn".[8] A UK single followed within a week.[8] The Manfred Mann version reached No. 1 in the UK Singles Chart for the week of 14 February 1968, and remained there the following week.[9] It also charted on the American Billboard Hot 100 chart, peaking at No. 10, and reached No. 4 in Cash Box. Cash Box called it a "funky-rock track" with "a trace of calypso [to] add zest to a tremendous effort."  Played:  59 timesFirst: December 30, 1985 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

the Big 12 Championship Game has been held at AT&T Stadium in Arlington, Texas, since its revival in 2017. Here's a brief overview of the history of the Big 12 Championship Game in Arlington: Origins of the Big 12 Championship Game: The Big 12 Conference was formed in 1996 when the Big Eight Conference and four teams from the Southwest Conference merged. The Big 12 initially had a championship game, but it was discontinued after the 2010 season. Revival in 2017: After a six-year hiatus, the Big 12 Championship Game was reintroduced for the 2017 season. The decision to bring back the championship game was influenced by the desire to enhance the conference's chances of making the College Football Playoff (CFP). Selection of Arlington as the Host City: The Big 12 selected AT&T Stadium in Arlington, Texas, as the neutral-site location for the championship game. AT&T Stadium is the home of the Dallas Cowboys and is known for its state-of-the-art facilities and large seating capacity. AT&T Stadium: AT&T Stadium, often referred to as "Jerry World" after Cowboys owner Jerry Jones, is a prominent venue for major sporting events, including college football games, concerts, and other entertainment events. Follow & Subscribe on all Podcast platforms…

the Big 12 Championship Game has been held at AT&T Stadium in Arlington, Texas, since its revival in 2017. Here's a brief overview of the history of the Big 12 Championship Game in Arlington:Origins of the Big 12 Championship Game:The Big 12 Conference was formed in 1996 when the Big Eight Conference and four teams from the Southwest Conference merged. The Big 12 initially had a championship game, but it was discontinued after the 2010 season.Revival in 2017:After a six-year hiatus, the Big 12 Championship Game was reintroduced for the 2017 season. The decision to bring back the championship game was influenced by the desire to enhance the conference's chances of making the College Football Playoff (CFP).Selection of Arlington as the Host City:The Big 12 selected AT&T Stadium in Arlington, Texas, as the neutral-site location for the championship game. AT&T Stadium is the home of the Dallas Cowboys and is known for its state-of-the-art facilities and large seating capacity.AT&T Stadium:AT&T Stadium, often referred to as "Jerry World" after Cowboys owner Jerry Jones, is a prominent venue for major sporting events, including college football games, concerts, and other entertainment events.Follow & Subscribe on all Podcast platforms…

In this episode, we explore the remarkable career of the vital and trailblazing filmmaker, Gordon Quinn.  He is the Artistic Director and founding member of Kartemquin Films, and has been making documentaries for over 50 years. The late movie critique, Roger Ebert, called his first film Home for Life "an extraordinarily moving documentary.”…utilizing the technique of cinéma verité to investigate and critique society by documenting the unfolding lives of real people. Gordon Quinn has mentored many filmmakers over the years, some of whom we will hear from in this episode, establishing a legacy in this regard,  as well as a home where they can make high-quality, social-issue documentaries. The accomplished filmmaker and host of this show, Bob Hercules, sat down with Gordon to discuss his career recorded live at a very special event held in Chicago, at the UNCOMMON GROUND restaurant, that brings filmmakers together called THE DOC TALK SHOW, produced and hosted by fellow  filmmaker and teacher Jeff Spitz.You can find out more about THE DOC TALK SHOW at their website:https://www.thedoctalkshow.com

Reviewed: Being the Ricardos, Don't Look Up Celebrating This Month: Bradley Cooper Sponsored by: Overcast

Guests on this episode include documentary pioneer, Gordon Quinn, the Artistic Director and one of the founders of Kartemquin Films out of of Chicago; also the Italian director Matteo Garrone ("Gomorrah", "Reality") discusses his new feature film, a live-action version of the classic tale "Pinocchio", due out on Christmas Day.

Reset talks to Chicago filmmaker Gordon Quinn about his battle with COVID-19 and what lies ahead.

Janae Cummings speaks with documentary filmmaker Gordon Quinn, about finding a way to tell stories that investigate society and inspire change.

COLLECTIVE INTELLIGENCE Meet the producer and creative director at the heart of one of the world's most enduring and celebrated documentary collectives. For over 50 years, Gordon Quinn and Kartemquin Films have been at the forefront of documentary making in the US, not only embracing but also epitomising collaborative practices, championing new voices, and leading the way in the fight for independent media. All of these resonate with current discussions, both locally and globally around democracy and social justice, as well as AIDC 2020’s theme of collective intelligence. Join Gordon in conversation as he discusses the essential role of documentary in a fair and just society through some of his key works from Inquiring Nuns and Last Pullman Car to Hoop Dreams, The Trials of Muhammad Ali, Minding the Gap and 63Boycott. Talking through his 50-plus years of experience, Gordon will expand on how to sustain documentary making amidst constant assaults on truth, and finding new ways to regenerate the form and industry. He’ll also discuss the expanding role of the producer in nurturing new talent and promoting and enabling diverse voices to tap into hyper-local stories that also reverberate with global audiences. This session promises to be both thought-provoking and inspiring.

Gordon Quinn and Josh Hyde talk about the history of “cinéma vérité,” Kartemquin starting as a filmmaking collective, being the muse for Bob Dylan's song "Quinn the Eskimo" (“The Mighty Quinn”), helping create Hoop Dreams and Minding The Gap, the mission to empower filmmakers, and maneuvering today's distribution reality (streaming, theatrical, and TV) with powerful documentaries that leave distributors "in awe at the power of cinema." Artistic Director and founding member of Kartemquin Films, Gordon Quinn has been making documentaries for over 50 years. Roger Ebert called his first film Home for Life (1966), "an extraordinarily moving documentary." With this film, Gordon established the direction he would take for making “vérité” films investigating and critiquing society by documenting the lives of real people. Gordon created a legacy of inspiration for filmmakers and a home where they can make high-quality, social-issue documentaries. Gordon was the executive producer for Hoop Dreams (1994), about 2 inner-city high school basketball players for 5 years as they pursue their NBA dreams. (Sundance Film Festival Audience Award, The Robert F. Kennedy Journalism Award, Chicago Film Critics Award – Best Picture, Los Angeles Film Critics Association – Best Documentary, & Academy Award Nomination) Other Gordon Quinn films include: Vietnam, Long Time Coming, Golub, 5 Girls, Refrigerator Mothers and Stevie. He executive produced Mapping Stem Cell Research: Terra Incognita and The New Americans. He produced, In The Family, about the human consequences of genetic medicine and executive produced Milking the Rhino, about community-based conservation in Africa, and At The Death House Door on a wrongful execution. As a director, he completed Prisoner of Her Past, a Holocaust survivor suffering from late-onset PTSD, and co-directed the 2011 release A Good Man, about the dancer Bill T. Jones. '63 Boycott, directed by Gordon about the 1963 Chicago Public Schools Boycott. (2017 Chicago Int’l Film Festival, MOMA’s 2018 Doc Fortnight, 2018 Pan African Arts + Film Festival – Audience Award for Best Documentary Short, Short-listed for a 2019 Academy Award for Best Documentary Short) Gordon’s recent films as executive producer include Minding the Gap (2019 Academy Award nominee, Best Documentary), the America to Me series, Edith+Eddie (2018 Academy Award nominee for Best Documentary Short), Keep Talking and Abacus: Small Enough to Jail (2018 Academy Award nominee for Best Documentary). Gordon has won many awards, including 3 Emmy awards, the 2015 Int’l Documentary Association (IDA) Career Achievement Award, the Hot Springs Documentary Festival's 2014 Career Achievement Award; the 2015 Houston Cinema Arts Festival Special Tribute Award, the CIMMfest’s 2016 BAADASSSSS Award for career achievement in movies and music and the 2016 St. Louis Int’l Film Festival's Maysles Brothers Lifetime Achievement Award. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/americanfilmmaker/support

Documentarians Gordon Quinn and Tracye A. Matthews discuss their film '63 Boycott—a documentary about one of the largest (and possibly most-under-reported) civil rights actions in the 1960s. On October 22, 1963, more than 250,000 students boycotted the Chicago Public Schools to protest racial segregation. Many marched through the city along with their parents demanding to be allowed to enter under-enrolled white schools. Standard policy had been to erect trailers on playgrounds and parking lots of overcrowded black schools rather than let students enroll in nearby schools populated by white students. It was an extraordinary political moment that laid bare the racism of Chicago's public school system and changed the lives of many of the students involved. By some quirk of fate, Gordon Quinn, who would go on to found Kartemquin Films, was a student at the University of Chicago in 1963 and took his camera out on the street to film the demonstration. That footage is at the heart of '63 Boycott along with the participants' reflections of that astounding time. Gordon Quinn and Tracye A. Matthews, who is also a historian, take us through the process of creating this documentary, from locating the people who were in the original footage to getting the history of the boycott right to finding the money to see the film through. (Spoiler alert: The National Endowment for the Arts has a role!)

Documentarians Gordon Quinn and Tracye A. Matthews discuss their film ’63 Boycott—a documentary about one of the largest (and possibly most-under-reported) civil rights actions in the 1960s. On October 22, 1963, more than 250,000 students boycotted the Chicago Public Schools to protest racial segregation. Many marched through the city along with their parents demanding to be allowed to enter under-enrolled white schools. Standard policy had been to erect trailers on playgrounds and parking lots of overcrowded black schools rather than let students enroll in nearby schools populated by white students. It was an extraordinary political moment that laid bare the racism of Chicago’s public school system and changed the lives of many of the students involved. By some quirk of fate, Gordon Quinn, who would go on to found Kartemquin Films, was a student at the University of Chicago in 1963 and took his camera out on the street to film the demonstration. That footage is at the heart of ’63 Boycott along with the participants’ reflections of that astounding time. Gordon Quinn and Tracye A. Matthews, who is also a historian, take us through the process of creating this documentary, from locating the people who were in the original footage to getting the history of the boycott right to finding the money to see the film through. (Spoiler alert: The National Endowment for the Arts has a role!)

Documentarians Gordon Quinn and Tracye A. Matthews discuss their film ’63 Boycott—a documentary about one of the largest (and possibly most-under-reported) civil rights actions in the 1960s. On October 22, 1963, more than 250,000 students boycotted the Chicago Public Schools to protest racial segregation. Many marched through the city along with their parents demanding to be allowed to enter under-enrolled white schools. Standard policy had been to erect trailers on playgrounds and parking lots of overcrowded black schools rather than let students enroll in nearby schools populated by white students. It was an extraordinary political moment that laid bare the racism of Chicago’s public school system and changed the lives of many of the students involved. By some quirk of fate, Gordon Quinn, who would go on to found Kartemquin Films, was a student at the University of Chicago in 1963 and took his camera out on the street to film the demonstration. That footage is at the heart of ’63 Boycott along with the participants’ reflections of that astounding time. Gordon Quinn and Tracye A. Matthews, who is also a historian, take us through the process of creating this documentary, from locating the people who were in the original footage to getting the history of the boycott right to finding the money to see the film through. (Spoiler alert: The National Endowment for the Arts has a role!)

A pre-Oscar Awards talk with Floyd Webb, Susan Kerns and Gordon Quinn. Susan teaches film at Columbia College and is one of the founders of the Chicago Feminist Film Festival. Floyd has been deeply involved in African American film study and film making and has a keen interest in Afro-futurism. Gordon Quinn is one of the founders of Kartemquin Films, which produced the 2019 Academy Award nominated Minding the Gap as well the new film, '63 Boycott, a documentary about the historic strike in 1963 of CPS schools by Black students.

Panel 3 of the Symposium on Religious Literacy and Business: Media & Entertainment moderated by Stephen Prothero and featuring panelists CarolAnne Dolan, Geralyn Dreyfous, Amir Hussain, and Gordon Quinn. This symposium brings together media professionals and scholars of media, religion, and business to assess the state of religious literacy in the field and the role of entertainment media in shaping the public understanding of religion. Our aim is to foster critical reflection and collaborative relationships between scholars and media professionals in order to improve the religious literacy of the American public and reduce conflict and antagonism by encouraging more complicated, nuanced, and creative representations of religion on screen. Learn more about Harvard Divinity School and its mission to illuminate, engage, and serve at http://hds.harvard.edu/.

http://www.documentary.org/feature/gordon-quinn-reflects-five-decades-changing-hearts-and-minds (Gordon Quinn) has been making documentary films for over 50+ years with his landmark company, https://www.kartemquin.com/ (Kartemquin Films).   You may not know his name, but you've most likely seen one, if not a number of the films that he has been associated with. His impact has been so extensive and so broad in the field of documentary, that http://www.documentary.org/ (International Documentary Association (IDA)) gave him the https://www.kartemquin.com/news/international-documentary-association-to-honor-gordon-quinn-with-career-achievement-award (Career Achievement Award) in 2015.   I had the distinct pleasure of holding a conversation with Mr. Quinn this week and we covered a number of topics including: the need and formation for Kartemquin how the Oscar-nominated Hoop Dreams influenced a generation of doc filmmakers and filmgoers how the executive producer role for docs is vastly different than with narrative features whether or not documentary can truly make positive social change  How to Be a One Person Crew In the opening segment, I decided to take a cue from fellow #DocLifer, Richard Simko, he sent official request for TDL to do a show that talks about the one person crew. It is not exactly a rare event when we documentary filmmakers sometimes find ourselves having to work on our projects all on our own. We become the shooter, sound person, director, interviewer, editor.   I examine some of the best ways in which we, the one person crew, can make the most effective films with the smallest amount of man power. Some of the topics covered: how to best pack and transport your gear secret audio tips for the solo filmmaker how to appear as if you've shot with two cameras how to stay powered up   Articlehttp://www.indiewire.com/ (Indiewire) wrote an article about the pros and cons of the http://www.indiewire.com/2017/03/shooting-documentary-by-yourself-city-of-ghosts-quest-hooligan-sparrow-1201797506/ (One Person Crew).   Related ResourcesWatch the trailer for https://www.kartemquin.com/ (Kartemquin)‘s Oscar-nominated https://www.kartemquin.com/films/hoop-dreams (Hoop Dreams): https://www.youtube.com/watch?time_continue=3&v=Ph2Y-epihlk   In the show we talk about packing and transporting one's gear. Well, if you're looking for a cheap and decent camera cart alternative check out filmmaker Lee Clements' https://diffusedlight.wordpress.com/2014/02/13/camera-cart/ (handmade camera cart)!           Subscribehttps://podcasts.apple.com/us/podcast/the-documentary-life/id1112679868 (Apple) | https://open.spotify.com/show/0wYlYHJzyk3Y7fHzDDwvmp (Spotify) | https://www.stitcher.com/podcast/thedocumentarylife/the-documentary-life (Stitcher) |  Rate and ReviewIf you have found value in this podcast please leave a review so it can become more visible to others. Simply click the https://itunes.apple.com/us/podcast/documentary-life-filmmaking-documentary-films-documentary/id1112679868?mt=2 (link) and then click on the Ratings and Reviews tab to make your entry. Thank you for your support!    

Sunday Evening, 13th November 2016 Testimony: Gordon Quinn Luke 2:25-28 www.lifeboatfellowship.com This audio was recorded at the Lifeboat Fellowship, Grange Corner, Moy. For further copies or information please visit our website at www.lifeboatfellowship.com or write to.... Lifeboat Fellowship, Old Moy Road, Dungannon, Co. Tyrone, Northern Ireland, BT71 6PX

If cinema can achieve more than simply be art but a form of action, how does one negotiate the role that the camera plays in reality. Celebrating its 50th Year, Kartemquin Films has used cinema as a tool for addressing social, political, and economic inequality through the documentary from, spearheaded by its co-founder Gordon Quinn. In this wide-ranging interview, Gordon reflects on the early days of the collective—from films about retirement homes and the general state of happiness to more direct political engagement through filming labor strikes. He talks with Peter about negotiating the role of the subject, the role of his own identity in filming the stories of others, the importance of character, and the fickle nature between making a statement and making a dollar. Finally, the two discuss a film that shows all of the work in action: Sara Gomez's landmark documentary One Way Or Another, which stages fabricated drama in the midst of real turmoil in 1970s Cuba to a powerful effect. 0:00-3:29 Opening 4:19-10:04 Establishing Shots — Kelly Reichardt's Certain Women 10:49-1:20:13 Deep Focus — Gordon Quinn 1:20:56-51:51 Sponsorship Section 1:24:33-1:42:01 Double Exposure — One Way or Another (Sara Gomez) 1:42:05-1:43:44 Close

On today's episode we talk to the Gordon Quinn and Rachel Dickson, the filmmakers who discovered the footage of Bernie Sanders arrest! We also talk to blogger Adriana Maestas and climatologist Brad Johnson.

In this episode of the Movie Geeks United! original series The Art of the Documentary, we speak with Gordon Quinn, the director of acclaimed documentaries such as Home for Life and A Good Man, producer of Hoop Dreams and At the Death House Door, and the artistic director and founding member of Kartemquin Films.   For more information on The Art of the Documentary series, including a complete line-up of all-new and archived interviews, visit http://www.moviegeeksunited.net. 

In this episode of the Movie Geeks United! original series The Art of the Documentary, we speak with Gordon Quinn, the director of acclaimed documentaries such as Home for Life and A Good Man, producer of Hoop Dreams and At the Death House Door, and the artistic director and founding member of Kartemquin Films.   For more information on The Art of the Documentary series, including a complete line-up of all-new and archived interviews, visit http://www.moviegeeksunited.net.  Support this podcast