WEBVTT - From the Archives: Rory Kennedy Puts The Spotlight on Boeing

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<v Speaker 1>Hey, it's Alec. We all love true crime podcasts, but

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<v Speaker 1>perhaps you're looking for something a little different, less murder,

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<v Speaker 1>more intrigue. I invite you to check out a new

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<v Speaker 1>podcast I just released called Art Fraud. It's the true

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<v Speaker 1>story of one of New York City's oldest and most

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<v Speaker 1>trusted galleries dealing in world class art, and how its

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<v Speaker 1>doors would close forever in the wake of an unprecedented scandal.

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<v Speaker 2>The art market is ripe for cons because it's inherently subjective.

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<v Speaker 2>I just couldn't even look at it because it was

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<v Speaker 2>so garish and so not by rothco.

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<v Speaker 1>We're talking about eighty million dollars in fake paintings, or

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<v Speaker 1>more precisely, forgeries. All episodes of Art Fraud are available

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<v Speaker 1>right now. Okay, here's our show. This is Alec Baldwin,

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<v Speaker 1>and you're listening to Here's the Thing from iHeart Radio.

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<v Speaker 1>My guest today comes from the most legendary of American families.

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<v Speaker 1>Rory Kennedy is the youngest daughter of Senator Robert F.

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<v Speaker 1>Kennedy and the niece of President John F. Kennedy. But

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<v Speaker 1>as she will tell us during our conversation, she's also

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<v Speaker 1>one of the great Kennedy Women. Instead of following her

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<v Speaker 1>forbearers into law or politics, Kennedy has made a name

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<v Speaker 1>for herself as a documentary filmmaker. Her films feature a

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<v Speaker 1>wide range of subjects, from surfing legend Laird Hamilton to

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<v Speaker 1>challenging issues like poverty, addiction, and mental illness. In her

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<v Speaker 1>current film, She's tackling corporate corruption. That film, Downfall, the

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<v Speaker 1>case against Boeing, investigates the circumstances that led to two

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<v Speaker 1>tragic passenger jet crashes in twenty eighteen and nineteen. Rory

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<v Speaker 1>Kennedy and I talk about her remarkable upbringing and he

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<v Speaker 1>how the people she's encountered in her life have influenced

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<v Speaker 1>her trajectory.

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<v Speaker 3>I think it's hard to detach anybody from how they

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<v Speaker 3>grew up, right, I mean, that's such an influence and

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<v Speaker 3>impact on who you become. And certainly that was the

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<v Speaker 3>case with me. I grew up, you know, the youngest

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<v Speaker 3>of eleven and in obviously a very political family, and

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<v Speaker 3>I was impacted by that. I mean I was also surrounded,

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<v Speaker 3>my mother made a point of this by really extraordinary

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<v Speaker 3>role models, you know, when we had such a the

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<v Speaker 3>honor of meeting, whether it was you know, presidents or

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<v Speaker 3>congressman and senators, or people like Nelson Mandela and Desmond Tutu,

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<v Speaker 3>you know who were in our homes, and also some

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<v Speaker 3>of the great athletes and you know NASA astronauts. I mean, so,

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<v Speaker 3>I think it was a life where we were surrounded

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<v Speaker 3>by people who created a sense of aspiration and to

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<v Speaker 3>try to make the world a bit of a better place.

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<v Speaker 1>Now, what would you say though that, as you're making

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<v Speaker 1>a film, do you have protocols, rules, tenets, whatever word

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<v Speaker 1>you want to use, where you sit there and say

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<v Speaker 1>that's not something I'm going to do. That's influenced by

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<v Speaker 1>the way your family's been treated. If you're making a

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<v Speaker 1>film and let's say some aspect of a story, there's

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<v Speaker 1>a very kind of scandalizing, tawdry. When to shy away

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<v Speaker 1>from that is the way you guys have been attacked

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<v Speaker 1>from time to time.

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<v Speaker 3>I think I have certain sensitivities. For example, with Downfall,

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<v Speaker 3>the case against Going, there's three hundred and forty six

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<v Speaker 3>people who died, and there are the family members who

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<v Speaker 3>are related to those people, some of whom we talked

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<v Speaker 3>to in our film, And I was definitely thinking, well,

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<v Speaker 3>how is it going to be for these folks to

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<v Speaker 3>watch this film, right, And I've had to see scenes

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<v Speaker 3>over and over again that play themselves out on the

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<v Speaker 3>news that are very upsetting to watch about my family

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<v Speaker 3>dying right and being killed, and I didn't want to

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<v Speaker 3>subject them to that. But I also wanted to make

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<v Speaker 3>a film that was impactful. We do cgi recreations of

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<v Speaker 3>what it was like to be in the cockpit so

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<v Speaker 3>that we could really help people understand the perspective of

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<v Speaker 3>the pilots in these planes and what they were struggling

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<v Speaker 3>with with the MCS system. And you know, but I thought,

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<v Speaker 3>how are these folks going to watch this film? So

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<v Speaker 3>when I sent the film to them before it's coming out,

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<v Speaker 3>I highlighted all the sections that I thought would be

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<v Speaker 3>hard for them to watch, so that they could be

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<v Speaker 3>aware of that and go into it and decide to

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<v Speaker 3>watch those sections or not. So, you know, maybe I

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<v Speaker 3>have some sensitivity and moments like that. I think the

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<v Speaker 3>types of films I choose generally tend to be political

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<v Speaker 3>in nature and tend to, you know, I hope when

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<v Speaker 3>people watch these films, whether it's this or a film

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<v Speaker 3>about Vietnam the final days of the war, film about

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<v Speaker 3>Abu grabe that we learned from them, and we learn

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<v Speaker 3>from watching these stories and hopefully make better choices moving forward. Right, So,

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<v Speaker 3>I think the choices of the films I make are

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<v Speaker 3>certainly impacted by the family I grew up in.

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<v Speaker 1>It's interesting that you mentioned that. And this is only tangential,

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<v Speaker 1>but remember being invited years ago Clinton was in the

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<v Speaker 1>White House. I was invited to the White House to

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<v Speaker 1>a screening of the movie The Paper by Ronnie Howard,

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<v Speaker 1>and I'm sitting in a seat in the theater and

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<v Speaker 1>the woman to my right, who's sitting next to me,

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<v Speaker 1>A gun goes off in the middle of the film,

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<v Speaker 1>and that woman grabbed my arm and gasped this huge

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<v Speaker 1>gasp when the gun went off.

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<v Speaker 2>It was your mom, right, So you know there's me.

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<v Speaker 1>To this day's she's not prepared for that.

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<v Speaker 2>Yeah, those sounds. Yeah, so there's trauma related to that

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<v Speaker 2>for sure.

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<v Speaker 1>Now to get to the film. So I watched this film, obviously,

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<v Speaker 1>and I was mesmerized. Congratulations by the way, I mean,

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<v Speaker 1>you came to the Hampton's Film Festival. Every year a

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<v Speaker 1>film of yours comes and we all look at together

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<v Speaker 1>and we're like, can we really invite her again? Do

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<v Speaker 1>we bringing rored out to Eastampton again? I mean, isn't

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<v Speaker 1>enough enough? I mean, how much more can we shine

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<v Speaker 1>her up here? But we loved your film about your mom.

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<v Speaker 1>We're going to get to that later. I loved Last

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<v Speaker 1>Days of Vietnam. That was a great I'm not just

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<v Speaker 1>saying this, that's a great movie. Great movie really just

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<v Speaker 1>you what film can do and the spirit of what's

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<v Speaker 1>happening and understanding that those moments that you did a

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<v Speaker 1>great job. Now, this film made me angry. This film.

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<v Speaker 1>I was pissed off because only one guy I think

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<v Speaker 1>is criminally charged, correct, that's correct, and that we identify

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<v Speaker 1>that person, Mark Forkner, And he was in charge of

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<v Speaker 1>what is bowing.

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<v Speaker 3>He was a pilot, a test pilot, and he was

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<v Speaker 3>you know, he really wasn't responsible for what end and

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<v Speaker 3>a lot of people feel like he was scapegoaded because

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<v Speaker 3>he was really in charge of making sure, you know,

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<v Speaker 3>he was testing the plane. And then he played a

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<v Speaker 3>role in keeping the MCS system away from the regulators

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<v Speaker 3>and that's documented and there's proof of that, and so

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<v Speaker 3>they followed up with that. But you know, Congressman Defasio,

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<v Speaker 3>for example, led the Congressional investigation into what happened the

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<v Speaker 3>biggest investigation the Infrastructure and Transportation Committee's history. And he

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<v Speaker 3>concluded that this was really top down right, that the

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<v Speaker 3>top group in management at Boeing was very aware of

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<v Speaker 3>the MCS system, that there was a concerted effort to

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<v Speaker 3>keep the system away from the regulators, to hide the system,

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<v Speaker 3>and to cut corners along the way, and that there

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<v Speaker 3>was you know, it was a culture of concealment, is

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<v Speaker 3>what he calls it. So I think that there are

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<v Speaker 3>a lot of people who feel like the folks who

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<v Speaker 3>are most responsible have yet to be held accountable. And

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<v Speaker 3>there's been no criminal charges, and you know, Lahllenberg walked

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<v Speaker 3>away with.

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<v Speaker 1>The head of Boeing, the head of Boeing sixty something.

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<v Speaker 2>That sixty two million dollars.

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<v Speaker 3>So you know, I think after you've kind of watched

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<v Speaker 3>the film and really understand all the decisions that the

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<v Speaker 3>management at Boeing made along the way to prioritize profit

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<v Speaker 3>over safety, that you know, when you understand the depths

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<v Speaker 3>of those choices that I think many people like you

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<v Speaker 3>are outraged.

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<v Speaker 1>Well for people, I don't want to I want them

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<v Speaker 1>to see the film obviously, but I want to give

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<v Speaker 1>them just a taste of so Boeing wants to create

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<v Speaker 1>I'll let you fill in the blank. So they want

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<v Speaker 1>to create a fleet. They're losing market share, they're getting

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<v Speaker 1>their hat handed to them by Airbus. Things are not

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<v Speaker 1>looking good for Boeing, who have been dominant around the

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<v Speaker 1>world for decades and then and were the pride of

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<v Speaker 1>not just Seattle, but the United States as industry. And

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<v Speaker 1>then the things start to go down from so they

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<v Speaker 1>want to play ketchup and they want to produce a

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<v Speaker 1>lower cost, more fuel efficient I think was the goal of.

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<v Speaker 2>The seven seven seven thirty seven MAX.

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<v Speaker 1>Got to get the word max in there. The seven

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<v Speaker 1>thirty seven fuel efficiency was the goal. And then a

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<v Speaker 1>part of this was the development of this system which

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<v Speaker 1>was to help to so they don't make too steep

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<v Speaker 1>a climb. A system takes over the plane and lowers

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<v Speaker 1>the nose of the plane and forces the plane down,

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<v Speaker 1>but doesn't shut off. It forces the nose of the

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<v Speaker 1>plane down straight into the ground.

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<v Speaker 2>Correct, Well, yeah, that's correct.

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<v Speaker 3>There was there were concern at a certain angle that

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<v Speaker 3>the plane would stall, and so they instead of changing

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<v Speaker 3>the kind of structure of the plane and moving the

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<v Speaker 3>engines and whatnot. They decided to fix it with a

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<v Speaker 3>computer system, again in an effort to save money, it seems,

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<v Speaker 3>and that computer system was connected to one sensor on

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<v Speaker 3>the side of the airplane, like a weather van. And

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<v Speaker 3>so if that sensor was damage, which happens off and

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<v Speaker 3>gets hit by bird, something happens to it, it would

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<v Speaker 3>send and this is what happened erroneous the information to

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<v Speaker 3>the computer system. So it would tell the computer system

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<v Speaker 3>that the plane was at a certain angle and you

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<v Speaker 3>needed to push the nose down, But it wasn't at

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<v Speaker 3>that angle. It was more at a flat angle, and

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<v Speaker 3>not only would it push the nose of the plane down,

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<v Speaker 3>but it would do it over and over and over again.

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<v Speaker 1>Probably the most powerwing details you covered the film is

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<v Speaker 1>and the pilots were not told about the installation of

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<v Speaker 1>the system.

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<v Speaker 2>That's correct.

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<v Speaker 3>It's prior to the Line air crash, which was the

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<v Speaker 3>first crash. The pilots were completely unaware that the system

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<v Speaker 3>was even on the airplane, which was also kind of

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<v Speaker 3>flew in the face of what had been the normal

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<v Speaker 3>relationship between Boeing and pilots, which was to really educate

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<v Speaker 3>and form pilots about everything training, you know, make them

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<v Speaker 3>fully equipped to handle any situation that would happen. But

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<v Speaker 3>in this case they in an effort to really keep

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<v Speaker 3>this from regulators. Really, what was motivating them is that

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<v Speaker 3>if they have a totally new system on the airplane,

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<v Speaker 3>then they have to train pilots. And if they have

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<v Speaker 3>to train pilots, it costs them a million dollars per

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<v Speaker 3>an aircraft, you know, on average to train these pilots.

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<v Speaker 3>So they wanted to again it seems save the money.

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<v Speaker 3>And so instead of making people aware that this system

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<v Speaker 3>was on the airplane, they made a concerted effort to.

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<v Speaker 1>We're not even going to tell you about this machine

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<v Speaker 1>we've installed, which, if it behaves badly, is going to

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<v Speaker 1>crash the plane. Yes, and there's a manual override that

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<v Speaker 1>they might have been able to activate. They could have

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<v Speaker 1>gotten out of it, I guess if they'd had the training.

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<v Speaker 3>If they had had the training. Except what we also

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<v Speaker 3>discover and show case in the course of this film

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<v Speaker 3>is a document that came out in twenty sixteen. It's

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<v Speaker 3>called a coordination sheet that shows that if something went

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<v Speaker 3>wrong with the system, that the pilots would need to

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<v Speaker 3>fix it within ten seconds. Otherwise the power of the

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<v Speaker 3>MCS system would overtake them if they didn't do it

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<v Speaker 3>in ten seconds and the results would be catastrophic. And

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<v Speaker 3>catastrophic in airplane language means the plane will crash and

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<v Speaker 3>everybody will die. So you know, even if the pilots right.

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<v Speaker 3>So in the second instance, in the Ethiopian airplane crash,

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<v Speaker 3>the pilots were aware of the system, they did everything right,

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<v Speaker 3>they did what they were told to do, and the

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<v Speaker 3>plane still crashed. So you know if you don't and

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<v Speaker 3>what you have to also remember, and this is why

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<v Speaker 3>we also created the kind of the CGI recreation of

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<v Speaker 3>what happens in that cockpit is there's this cacophony of

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<v Speaker 3>sounds and error alerts that are all contradict each other

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<v Speaker 3>that the pilots are trying to understand and navigate and

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<v Speaker 3>figure out. Okay, this is saying where you know, the

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<v Speaker 3>altitude is in disagreement, the airspeed is in disagreement, that

0:13:11.880 --> 0:13:15.400
<v Speaker 3>all systems alert is on, the stick shaker is going,

0:13:15.960 --> 0:13:18.920
<v Speaker 3>there's all of these alerts coming at them, and then

0:13:19.280 --> 0:13:22.400
<v Speaker 3>with that they have to navigate. Okay, Well, what this

0:13:22.600 --> 0:13:25.600
<v Speaker 3>all means is that I need to do these steps

0:13:25.640 --> 0:13:30.280
<v Speaker 3>within ten seconds and otherwise this plane is going to crash.

0:13:30.440 --> 0:13:31.800
<v Speaker 3>I mean, I don't want to go on a plane

0:13:31.880 --> 0:13:34.720
<v Speaker 3>that is putting pilots in that position. I don't want

0:13:34.760 --> 0:13:35.840
<v Speaker 3>to put my children.

0:13:35.760 --> 0:13:39.920
<v Speaker 1>Face people are whose job who give anything to save

0:13:40.000 --> 0:13:44.400
<v Speaker 1>the lives of their passengers. Think of something more unimaginable

0:13:44.440 --> 0:13:46.400
<v Speaker 1>than to be on in the cockpit of a plane

0:13:46.720 --> 0:13:49.680
<v Speaker 1>and the plane is behaving and not in some anomalous way.

0:13:50.120 --> 0:13:52.760
<v Speaker 1>You see yourself hurtling towards the ground. It's like nine

0:13:52.760 --> 0:13:55.160
<v Speaker 1>to eleven. Yeah, you're the plane's going into the ground

0:13:55.240 --> 0:13:57.480
<v Speaker 1>and you're sitting there thinking what can and you don't

0:13:57.520 --> 0:13:58.200
<v Speaker 1>know what to do?

0:13:58.520 --> 0:14:01.960
<v Speaker 2>Yeah, right, it's completely funny. Maybe they're eating a turkey sandwich.

0:14:02.360 --> 0:14:04.760
<v Speaker 3>You know, it does not like you're not there sitting

0:14:04.760 --> 0:14:08.000
<v Speaker 3>there every on total alert for the entire plane ride.

0:14:08.040 --> 0:14:10.719
<v Speaker 1>Well, before we get into the macro of your filmmaking,

0:14:10.760 --> 0:14:13.840
<v Speaker 1>one more thing, I think you make it clear in

0:14:13.880 --> 0:14:16.480
<v Speaker 1>the film the idea that this is a different Boeing.

0:14:16.520 --> 0:14:18.560
<v Speaker 1>At this point, I thought it was fascinating how you

0:14:18.600 --> 0:14:21.280
<v Speaker 1>talk about the move to Chicago. They moved the headquarters

0:14:21.280 --> 0:14:25.400
<v Speaker 1>to Chicago for the purposes of distancing themselves from the influence,

0:14:25.880 --> 0:14:27.760
<v Speaker 1>and I thought it was well that the influence was good.

0:14:28.080 --> 0:14:30.240
<v Speaker 1>It was a nice battery. It was a nice exchange

0:14:30.240 --> 0:14:35.480
<v Speaker 1>between Union's management, design and technology and the corporate And

0:14:35.520 --> 0:14:37.200
<v Speaker 1>these guys are like, no, no, no, we don't want

0:14:37.200 --> 0:14:38.960
<v Speaker 1>to be too close to those guys in Seattle. So

0:14:39.000 --> 0:14:40.680
<v Speaker 1>we're going to move to Chicago so we can make

0:14:40.720 --> 0:14:44.320
<v Speaker 1>our decisions in this bubble in Chicago. And it seems

0:14:44.360 --> 0:14:48.600
<v Speaker 1>like what was a great company, that rare I mean,

0:14:48.800 --> 0:14:53.320
<v Speaker 1>multi billion dollar enterprise that made big, expensive things that

0:14:53.360 --> 0:14:55.880
<v Speaker 1>they were very proud of, that defined a city, and

0:14:55.920 --> 0:14:58.640
<v Speaker 1>everything moves to Chicago, And it seems like that's part

0:14:58.680 --> 0:15:01.200
<v Speaker 1>of the problem was once the that merger was made

0:15:01.240 --> 0:15:04.440
<v Speaker 1>and they moved Chicago, that cost cutting thing becomes primary.

0:15:05.040 --> 0:15:07.720
<v Speaker 3>I think that's right, you know, I think, like you,

0:15:08.400 --> 0:15:11.640
<v Speaker 3>I love Boeing and what Boeing stood for in this country,

0:15:11.680 --> 0:15:13.840
<v Speaker 3>and you know the history of Boeing, and we really

0:15:13.880 --> 0:15:17.760
<v Speaker 3>celebrate that in the film because it's been an extraordinary

0:15:17.960 --> 0:15:20.920
<v Speaker 3>company for decades. You know, it helped us get out

0:15:20.920 --> 0:15:23.360
<v Speaker 3>of World War two, It helped build the fighter jets

0:15:23.480 --> 0:15:26.560
<v Speaker 3>to win that war. It helped get us to the

0:15:26.560 --> 0:15:29.960
<v Speaker 3>moon with my uncle Jack. I mean, they helped build

0:15:29.960 --> 0:15:34.800
<v Speaker 3>those engines in the rocket ships, they helped people be

0:15:34.880 --> 0:15:37.760
<v Speaker 3>able to travel all over the world for the first time,

0:15:37.880 --> 0:15:40.920
<v Speaker 3>you know, with the seven forty seven and extraordinary accomplishment.

0:15:41.480 --> 0:15:45.480
<v Speaker 3>So we wanted to celebrate that. And during those very

0:15:45.480 --> 0:15:49.240
<v Speaker 3>early years and for many decades, Boeing did one thing,

0:15:49.320 --> 0:15:53.640
<v Speaker 3>which was to say, we're going to prioritize excellence and

0:15:53.680 --> 0:15:56.680
<v Speaker 3>safety and then the profits will follow. We're going to

0:15:56.760 --> 0:16:00.240
<v Speaker 3>make the best planes possible, we're going to innovate, we're

0:16:00.240 --> 0:16:02.760
<v Speaker 3>going to do new things, and we're going to think

0:16:02.800 --> 0:16:07.480
<v Speaker 3>to the future. And then it changed hands, taken over really.

0:16:07.640 --> 0:16:12.320
<v Speaker 3>I mean, one person we interviewed said somehow McDonald douglas

0:16:12.400 --> 0:16:16.240
<v Speaker 3>bought Boeing with Boeing's money and the McDonald douglas people

0:16:16.280 --> 0:16:19.480
<v Speaker 3>were put in charge, and they had a very different

0:16:19.480 --> 0:16:25.400
<v Speaker 3>business model, which was very Wall Street focused and quarterly earnings,

0:16:25.960 --> 0:16:28.880
<v Speaker 3>you know, And so they've made a series of decision

0:16:29.080 --> 0:16:33.640
<v Speaker 3>corporate decisions to cut back on personnel whose job it

0:16:33.840 --> 0:16:38.400
<v Speaker 3>was to ensure safety and put pressure on the folks

0:16:38.400 --> 0:16:42.000
<v Speaker 3>who were building the planes to build them quicker and faster.

0:16:42.240 --> 0:16:45.160
<v Speaker 3>And when people would complain about safety, that slows that

0:16:45.240 --> 0:16:45.880
<v Speaker 3>process down.

0:16:47.640 --> 0:16:52.720
<v Speaker 1>Documentary filmmaker Rory Kennedy, if you enjoy conversations about the

0:16:52.720 --> 0:16:56.440
<v Speaker 1>making of documentary films. Check out my episode with British

0:16:56.440 --> 0:17:00.880
<v Speaker 1>filmmaker Lucy Walker. Her documentary Bring Your Own Gate is

0:17:00.920 --> 0:17:04.520
<v Speaker 1>an in depth look at California wildfires and their effect

0:17:04.760 --> 0:17:06.280
<v Speaker 1>on local residents.

0:17:06.640 --> 0:17:08.359
<v Speaker 4>What I want to understand is, well, how are we

0:17:08.440 --> 0:17:11.120
<v Speaker 4>stopping it and why are people living in these areas

0:17:11.200 --> 0:17:14.479
<v Speaker 4>and building these houses that burn over and over and

0:17:14.520 --> 0:17:17.320
<v Speaker 4>over again. Could we do better? So you would think

0:17:17.640 --> 0:17:21.080
<v Speaker 4>that when people look at developing an area for housing,

0:17:21.400 --> 0:17:26.760
<v Speaker 4>they would think about fire safety, but nobody's actually thinking about,

0:17:27.000 --> 0:17:28.560
<v Speaker 4>well are they going to be able to ensure these

0:17:28.600 --> 0:17:31.800
<v Speaker 4>homes and who's going to pay if these homes burn down.

0:17:33.400 --> 0:17:36.800
<v Speaker 1>To hear more of my conversation with Lucy Walker, go

0:17:36.840 --> 0:17:40.399
<v Speaker 1>to Here's the Thing dot org. After the break, Rory

0:17:40.480 --> 0:17:44.440
<v Speaker 1>Kennedy and I discussed the filmmakers who have influenced her work.

0:17:55.119 --> 0:17:57.800
<v Speaker 1>I'm Alec Baldwin and you're listening to Here's the Thing.

0:17:58.520 --> 0:18:02.840
<v Speaker 1>Filmmaker Rory Kennedy has made more than forty documentaries. Her

0:18:02.920 --> 0:18:06.600
<v Speaker 1>work has earned an Emmy and several Oscar nominations along

0:18:06.640 --> 0:18:09.320
<v Speaker 1>the way. I wanted her to share some of her

0:18:09.400 --> 0:18:11.800
<v Speaker 1>process as a filmmaker.

0:18:12.440 --> 0:18:15.879
<v Speaker 3>Well, you know, different people and companies work in different ways.

0:18:16.000 --> 0:18:18.800
<v Speaker 3>I'm very hands on as a filmmaker, and I you know,

0:18:19.400 --> 0:18:22.399
<v Speaker 3>I love to be doing all the interviews.

0:18:21.800 --> 0:18:24.160
<v Speaker 2>And being in the edit room, and.

0:18:24.000 --> 0:18:26.800
<v Speaker 3>So I don't take on a huge number of projects

0:18:26.840 --> 0:18:30.240
<v Speaker 3>at any given time. And usually when I decide that

0:18:30.280 --> 0:18:34.280
<v Speaker 3>I really want to do a particular project, I really

0:18:34.280 --> 0:18:37.080
<v Speaker 3>try to make it happen. I was really committed. I

0:18:37.160 --> 0:18:40.640
<v Speaker 3>felt like this story was so important, the downfall story.

0:18:41.640 --> 0:18:44.080
<v Speaker 3>I think, like so many other people, I witnessed these

0:18:44.160 --> 0:18:46.960
<v Speaker 3>two airplanes crashing within five months of each other, the

0:18:47.000 --> 0:18:50.520
<v Speaker 3>exact same aircraft. Three hundred and forty six people died,

0:18:51.119 --> 0:18:55.000
<v Speaker 3>and you know, I, like so many other people, fly right,

0:18:55.080 --> 0:18:58.440
<v Speaker 3>and I felt like I want to know what happened,

0:18:59.040 --> 0:19:03.120
<v Speaker 3>who knew what when, who is responsible for this? And

0:19:03.400 --> 0:19:05.600
<v Speaker 3>I want to make sure that something like this doesn't

0:19:05.600 --> 0:19:09.960
<v Speaker 3>happen again. But I also felt that, you know, during

0:19:10.000 --> 0:19:17.000
<v Speaker 3>the last decades that America has been really prioritizing corporate interests, right,

0:19:17.560 --> 0:19:20.920
<v Speaker 3>And so I think this film than usual. I think

0:19:20.960 --> 0:19:27.040
<v Speaker 3>this film, I hope rises to something that's not just

0:19:27.200 --> 0:19:31.000
<v Speaker 3>about these crashes, which is you know, as meaningful as

0:19:31.000 --> 0:19:33.560
<v Speaker 3>it gets. But I think it touches on something else,

0:19:33.800 --> 0:19:39.080
<v Speaker 3>which is the need to regulate, the need to balance

0:19:39.240 --> 0:19:44.240
<v Speaker 3>out corporate interests making money, making money, making money, and

0:19:44.359 --> 0:19:47.280
<v Speaker 3>the need to balance out with public interest right. And

0:19:47.440 --> 0:19:51.479
<v Speaker 3>we've seen corporations like Gooing balances for many decades and

0:19:51.520 --> 0:19:55.800
<v Speaker 3>do fantastically well. And I think that when that gets

0:19:55.840 --> 0:19:58.320
<v Speaker 3>out of balance, it hurts everybody.

0:19:58.560 --> 0:20:00.840
<v Speaker 1>So when you see someone like the fire the head

0:20:00.880 --> 0:20:02.880
<v Speaker 1>of the committee, the guy that was the leading life

0:20:02.880 --> 0:20:05.360
<v Speaker 1>there in the Congress, did he have as much integrity

0:20:05.880 --> 0:20:08.040
<v Speaker 1>overall as it appears to be on screen?

0:20:08.200 --> 0:20:10.639
<v Speaker 2>He's fantastic because you know as well as I do.

0:20:10.840 --> 0:20:13.440
<v Speaker 1>You know, where are people in governments who care enough

0:20:13.440 --> 0:20:16.320
<v Speaker 1>and they want to fight the way we're going. Like

0:20:16.600 --> 0:20:18.440
<v Speaker 1>Boeing was a company you see, well, you understand you

0:20:18.440 --> 0:20:20.520
<v Speaker 1>want people to make money and make profits. Boeing was

0:20:20.560 --> 0:20:23.159
<v Speaker 1>doing quite well before. Sure they had a slump when

0:20:23.240 --> 0:20:25.560
<v Speaker 1>Douglas took over. But what you find is not only

0:20:25.560 --> 0:20:27.120
<v Speaker 1>do people want to make money, they want to make

0:20:27.240 --> 0:20:29.200
<v Speaker 1>obscene amounts of money. They want to make an amount

0:20:29.240 --> 0:20:32.360
<v Speaker 1>of money that they're looking at you like you're a child, like, well,

0:20:32.400 --> 0:20:34.600
<v Speaker 1>you know, now, calm down, sunny, because there's a lot

0:20:34.600 --> 0:20:37.320
<v Speaker 1>of money at stake here for us who run and

0:20:37.320 --> 0:20:40.440
<v Speaker 1>own the company. And my point is is that for me,

0:20:40.920 --> 0:20:45.800
<v Speaker 1>I'm always so sad. I'm always so impacted by government

0:20:45.840 --> 0:20:48.080
<v Speaker 1>officials who don't have the guts to do their job,

0:20:48.840 --> 0:20:51.960
<v Speaker 1>and the government's job is to mean. I watched people

0:20:52.000 --> 0:20:55.680
<v Speaker 1>in testimony in hearings, and I think to myself, thank

0:20:55.720 --> 0:20:57.240
<v Speaker 1>God I'm not there, because I would be looking at

0:20:57.280 --> 0:21:00.399
<v Speaker 1>the heads of car companies or ol companies, going, you

0:21:00.400 --> 0:21:03.080
<v Speaker 1>don't get it. You come here, you answer our questions

0:21:03.080 --> 0:21:06.040
<v Speaker 1>on behalf of the American people. We have the authority,

0:21:06.440 --> 0:21:09.960
<v Speaker 1>and I feel like that authority is not always employed effectively.

0:21:10.000 --> 0:21:11.400
<v Speaker 1>You said, Defasio did a good job.

0:21:11.560 --> 0:21:15.359
<v Speaker 3>He's amazing. I mean, he and his heart was so

0:21:15.480 --> 0:21:18.680
<v Speaker 3>in the right place. But he was also dogged and

0:21:18.760 --> 0:21:21.479
<v Speaker 3>he held these folks accountable. And you know when you

0:21:21.520 --> 0:21:25.120
<v Speaker 3>see him in those congressional testimonies and chasing down every

0:21:25.119 --> 0:21:30.000
<v Speaker 3>single document and you know, putting this report together, which

0:21:30.280 --> 0:21:34.800
<v Speaker 3>took years in the making and is incredibly thorough. They

0:21:35.160 --> 0:21:38.400
<v Speaker 3>go after bowing and they hold them accountable, and they're

0:21:38.640 --> 0:21:41.879
<v Speaker 3>continuing to go after bowing. So I think there are

0:21:41.920 --> 0:21:45.479
<v Speaker 3>a lot of extraordinary heroes who are celebrated, who are

0:21:45.520 --> 0:21:48.160
<v Speaker 3>really on the front lines of this, whether it's Defasio

0:21:48.840 --> 0:21:53.080
<v Speaker 3>or Michael Stumo who's the father of Samya Stummo who

0:21:53.119 --> 0:21:56.600
<v Speaker 3>died in the Ethiopian plane crash and turned from a

0:21:56.680 --> 0:22:00.480
<v Speaker 3>victim to really an advocate. And he, I mean, I

0:22:00.560 --> 0:22:03.160
<v Speaker 3>just got off the phone with him yesterday and he

0:22:03.160 --> 0:22:05.760
<v Speaker 3>he's not giving up on this. I mean, Boeing's thrown

0:22:05.840 --> 0:22:08.000
<v Speaker 3>a lot of money at these families to get them

0:22:08.040 --> 0:22:12.320
<v Speaker 3>to be quiet, and he is not going to be silenced,

0:22:12.440 --> 0:22:15.840
<v Speaker 3>and he is continuing to you know, spread the message

0:22:15.880 --> 0:22:20.160
<v Speaker 3>that that is that he has very continued concerns about

0:22:20.200 --> 0:22:23.440
<v Speaker 3>the safety of the seven thirty seven Acts, the seven

0:22:23.520 --> 0:22:27.600
<v Speaker 3>eighty seven Dreamliner. They just announced yesterday the FAA that

0:22:27.960 --> 0:22:29.919
<v Speaker 3>I mean as though this should be news, but that

0:22:30.000 --> 0:22:32.800
<v Speaker 3>the FAA is going to actually regulate Boeing and not

0:22:32.920 --> 0:22:34.800
<v Speaker 3>let Boeing regulation regulating.

0:22:35.880 --> 0:22:40.400
<v Speaker 1>So, you know, point to watch the film because that's

0:22:40.440 --> 0:22:43.760
<v Speaker 1>another interesting point about how when I was studying government

0:22:44.200 --> 0:22:46.560
<v Speaker 1>at GW in the seventies, when I went down to

0:22:46.800 --> 0:22:49.080
<v Speaker 1>Washington to go to school, and we talked about that,

0:22:49.119 --> 0:22:52.920
<v Speaker 1>and we talked about how, you know, departmentalization, how people

0:22:52.920 --> 0:22:56.120
<v Speaker 1>are in these departments, like presidents come and go we're

0:22:56.160 --> 0:22:58.879
<v Speaker 1>here civil servants for twenty thirty years, and so here

0:22:58.920 --> 0:23:01.120
<v Speaker 1>at the FA we have our own relationships with eight

0:23:01.119 --> 0:23:04.760
<v Speaker 1>with airline companies, and they allowed Gooing to self regulate

0:23:05.119 --> 0:23:06.000
<v Speaker 1>and self inspect.

0:23:06.320 --> 0:23:08.920
<v Speaker 3>I do think you're right that there's they're not enough

0:23:08.960 --> 0:23:12.280
<v Speaker 3>people in government who are advocating. But I guess my

0:23:12.400 --> 0:23:15.800
<v Speaker 3>point is is that in this film you show a

0:23:15.840 --> 0:23:19.720
<v Speaker 3>world where advocacy comes from a lot of different perspective.

0:23:19.760 --> 0:23:22.160
<v Speaker 3>It comes from the government officials doing the right thing

0:23:22.320 --> 0:23:25.240
<v Speaker 3>in this case to Fasio. It also comes from you know,

0:23:25.280 --> 0:23:28.720
<v Speaker 3>people who don't think of themselves as advocates but turn

0:23:28.840 --> 0:23:33.040
<v Speaker 3>into ads as a result. And then you know Andy Pastor,

0:23:33.240 --> 0:23:36.600
<v Speaker 3>who's a dogged journalist who chases down the story and

0:23:36.640 --> 0:23:40.120
<v Speaker 3>gets us the information. And it's the combination of all

0:23:40.160 --> 0:23:45.320
<v Speaker 3>of those people who come together, and you know, the storytellers, right,

0:23:45.359 --> 0:23:48.600
<v Speaker 3>So I'm not putting myself in that category, but we

0:23:48.720 --> 0:23:53.040
<v Speaker 3>also have to you know, the Lucy Walkers and yourself,

0:23:53.200 --> 0:23:57.320
<v Speaker 3>the people who are packaging these stories and getting them

0:23:57.359 --> 0:24:00.679
<v Speaker 3>out in a way that's a digestible to an audience,

0:24:00.920 --> 0:24:06.680
<v Speaker 3>and so that that translates hopefully into creating a better world.

0:24:06.920 --> 0:24:10.960
<v Speaker 1>I'm curious for people to understand how documentary films come

0:24:11.000 --> 0:24:14.040
<v Speaker 1>to the screen. Bob Drew, he did the trip Tick

0:24:14.440 --> 0:24:17.400
<v Speaker 1>primary about your uncle. I mean, one of the funniest

0:24:17.400 --> 0:24:19.080
<v Speaker 1>things in the world you've ever seen in your life.

0:24:19.400 --> 0:24:22.640
<v Speaker 1>Hubert Humphrey walking into like some barn with men sitting

0:24:22.680 --> 0:24:27.000
<v Speaker 1>on bales of hay, saying, America, we know what it's

0:24:27.080 --> 0:24:29.680
<v Speaker 1>got to do. And then you cut to your uncle

0:24:29.680 --> 0:24:31.880
<v Speaker 1>walking with his wife in the room for the people,

0:24:31.880 --> 0:24:34.960
<v Speaker 1>and people are crying and screaming like it's a Beatles concert. Oh,

0:24:35.000 --> 0:24:37.719
<v Speaker 1>who's going to win the primary. Who were your influences

0:24:37.720 --> 0:24:39.080
<v Speaker 1>in your filmmaking.

0:24:39.119 --> 0:24:42.640
<v Speaker 3>Well, certainly Bob Drew was, I mean an extraordinary filmmaker.

0:24:43.440 --> 0:24:47.520
<v Speaker 3>Penny Baker was a huge influence on me as well.

0:24:48.080 --> 0:24:52.399
<v Speaker 3>Barbara Copple, who you know, the first documentary feature I

0:24:52.440 --> 0:24:55.800
<v Speaker 3>made was American Hollow, which was about a family in

0:24:55.920 --> 0:25:00.320
<v Speaker 3>eastern Kentucky, and it was really an extraordinary story of

0:25:00.359 --> 0:25:03.040
<v Speaker 3>this woman who had thirteen kids and they all lived

0:25:03.040 --> 0:25:06.200
<v Speaker 3>off the land and we kind of spent a year

0:25:06.200 --> 0:25:11.600
<v Speaker 3>with them. Certainly influenced by Barbara and her extraordinary work

0:25:12.200 --> 0:25:16.560
<v Speaker 3>in Kentucky and Appalachia. So you know, I think those

0:25:16.680 --> 0:25:22.040
<v Speaker 3>early Veritay filmmakers have huge influence on the world of

0:25:22.080 --> 0:25:25.600
<v Speaker 3>filmmaking today, and then they're just you know, there's just

0:25:25.600 --> 0:25:30.920
<v Speaker 3>a slew of incredible filmmakers who are colleagues of mine.

0:25:31.520 --> 0:25:34.119
<v Speaker 3>You know, Lucy Walker you mentioned, I think she's a

0:25:34.160 --> 0:25:39.080
<v Speaker 3>fantastic filmmaker. My old partner, Liz Garbus, is fantastic.

0:25:40.040 --> 0:25:42.120
<v Speaker 2>Together the company, we're not still together as a.

0:25:42.040 --> 0:25:45.720
<v Speaker 3>Company, but we remain very good friends and advocates for

0:25:45.760 --> 0:25:51.040
<v Speaker 3>each other. Yeah, that's fantastic. Yeah, gosh, you are so

0:25:51.160 --> 0:25:53.800
<v Speaker 3>knowledge well. Amy Berg is fantastic.

0:25:53.960 --> 0:25:54.120
<v Speaker 2>RJ.

0:25:54.280 --> 0:25:58.919
<v Speaker 3>Cutler, Davis Guggenheim. I mean, there's just Don Porter. I

0:25:58.960 --> 0:26:03.520
<v Speaker 3>think that we're surround by really talented filmmakers, and I

0:26:03.560 --> 0:26:07.439
<v Speaker 3>think there's I think we've all also been influenced, you know.

0:26:07.520 --> 0:26:11.439
<v Speaker 3>I think this verite influence has impacted the kinds of

0:26:11.480 --> 0:26:12.280
<v Speaker 3>work that we do.

0:26:12.680 --> 0:26:13.879
<v Speaker 2>But I think we're also.

0:26:13.720 --> 0:26:17.240
<v Speaker 3>Influenced by Hollywood and the films that we're seeing, the

0:26:17.320 --> 0:26:22.960
<v Speaker 3>narrative films and the dramatic storytelling, so that we're making

0:26:23.080 --> 0:26:25.480
<v Speaker 3>films that keep you a little bit more at the

0:26:25.560 --> 0:26:27.760
<v Speaker 3>edge of your seat of what's going to happen next,

0:26:28.080 --> 0:26:30.760
<v Speaker 3>you know, and really pull you into the characters and

0:26:31.680 --> 0:26:34.840
<v Speaker 3>to the plot and to you know, the storytelling. I

0:26:34.840 --> 0:26:38.280
<v Speaker 3>think it's very sophisticated these days. I think you know,

0:26:38.400 --> 0:26:41.480
<v Speaker 3>you see it out in the world, and you know

0:26:41.520 --> 0:26:42.560
<v Speaker 3>when you turn on your.

0:26:42.400 --> 0:26:45.159
<v Speaker 2>Netflix account, it's a mix up there.

0:26:45.320 --> 0:26:48.120
<v Speaker 3>It's not like, here's the narratives and then go down

0:26:48.280 --> 0:26:51.399
<v Speaker 3>deep into your Netflix account to find the documentaries. They're

0:26:52.400 --> 0:26:56.040
<v Speaker 3>up center. You know, because people are watching them. They're

0:26:57.000 --> 0:26:59.800
<v Speaker 3>they're pulled in, and I think it's because they're really

0:27:00.119 --> 0:27:01.400
<v Speaker 3>great storytellers.

0:27:04.200 --> 0:27:08.439
<v Speaker 1>Filmmaker Rory Kennedy, if you're enjoying this conversation, tell a

0:27:08.440 --> 0:27:11.560
<v Speaker 1>friend and be sure to follow Here's the Thing on

0:27:11.600 --> 0:27:16.240
<v Speaker 1>the iHeartRadio app, Spotify or wherever you get your podcasts.

0:27:16.680 --> 0:27:19.560
<v Speaker 1>When we come back, Rory Kennedy talks about the film

0:27:19.560 --> 0:27:21.800
<v Speaker 1>of hers that was the hardest for her to make.

0:27:32.960 --> 0:27:35.960
<v Speaker 1>I'm Alec Baldwin and you're listening to Here's the Thing.

0:27:36.760 --> 0:27:39.959
<v Speaker 1>The Kennedy family has made history, and most of that

0:27:40.280 --> 0:27:45.400
<v Speaker 1>while occupying a path from Hyannasport, Massachusetts, down to McLean, Virginia,

0:27:45.920 --> 0:27:49.440
<v Speaker 1>and yet Rory somehow landed in California.

0:27:50.040 --> 0:27:52.720
<v Speaker 3>Well, my husband Mark, as you know, is a screenwriter

0:27:53.080 --> 0:27:55.520
<v Speaker 3>and a writer, and he is also my partner in

0:27:55.680 --> 0:27:59.639
<v Speaker 3>writing documentaries, but he has other writing that draws him

0:27:59.640 --> 0:28:01.879
<v Speaker 3>out there. So we decided we'd go out there for

0:28:01.880 --> 0:28:05.000
<v Speaker 3>a couple of years because at that time, ten or

0:28:05.040 --> 0:28:08.679
<v Speaker 3>twelve years ago, the kind of independent film world was

0:28:08.880 --> 0:28:11.600
<v Speaker 3>fizzling out here in New York and was sort of

0:28:11.600 --> 0:28:12.879
<v Speaker 3>pivoting over the West Coast.

0:28:12.960 --> 0:28:14.639
<v Speaker 2>We fell in love with California.

0:28:14.880 --> 0:28:16.400
<v Speaker 1>Your brother moves that. I tooked to him on find

0:28:16.400 --> 0:28:18.119
<v Speaker 1>I go, how do you like? He goes, It's great.

0:28:18.160 --> 0:28:20.919
<v Speaker 1>I go, oh god, no, no, I said, not you

0:28:21.760 --> 0:28:24.200
<v Speaker 1>not you come on out. I said, you're you're going

0:28:24.240 --> 0:28:26.679
<v Speaker 1>out there? I said, man, I think Cheryl's great, but

0:28:26.760 --> 0:28:28.560
<v Speaker 1>there's a lot of other women out there for you, Bob,

0:28:28.600 --> 0:28:31.320
<v Speaker 1>and we doesn't have to be living out there in California.

0:28:31.359 --> 0:28:32.440
<v Speaker 1>And he loves it.

0:28:32.560 --> 0:28:36.200
<v Speaker 3>Yeah. He came out there with his EMU, his bird.

0:28:36.520 --> 0:28:39.040
<v Speaker 3>I remember he was trying to figure out a way

0:28:39.160 --> 0:28:41.320
<v Speaker 3>to get the bird out there, and I said, well,

0:28:41.720 --> 0:28:44.840
<v Speaker 3>you know, I maybe try Richard Plepler. He's got that

0:28:45.000 --> 0:28:48.080
<v Speaker 3>HBO plane. So he called Richard and he said, can

0:28:48.120 --> 0:28:50.360
<v Speaker 3>I bring my can you take my bird out? But

0:28:50.400 --> 0:28:52.600
<v Speaker 3>he failed to mention that the bird was six feet

0:28:52.680 --> 0:28:57.320
<v Speaker 3>high and needed to go with Richard anyway, so he

0:28:57.360 --> 0:29:02.080
<v Speaker 3>said the bird caing order came out and then Bobby

0:29:02.080 --> 0:29:03.960
<v Speaker 3>didn't have a house for the first couple of weeks,

0:29:04.000 --> 0:29:07.080
<v Speaker 3>so the bird lived at my house with Mark made

0:29:07.120 --> 0:29:10.040
<v Speaker 3>blueberries and anyway, there are lots of stories to tell

0:29:10.080 --> 0:29:11.160
<v Speaker 3>about Toby the bird.

0:29:11.360 --> 0:29:12.880
<v Speaker 1>And he loves California, know too.

0:29:13.040 --> 0:29:15.640
<v Speaker 2>Yeah, yeah, he loves he loves it out there.

0:29:16.160 --> 0:29:19.120
<v Speaker 1>Now, you did the movie about your mom, and of

0:29:19.200 --> 0:29:21.960
<v Speaker 1>course you make a little joke there, but how difficult

0:29:21.960 --> 0:29:23.200
<v Speaker 1>it was to recruit your mom?

0:29:23.640 --> 0:29:28.720
<v Speaker 2>Yes she was.

0:29:29.000 --> 0:29:31.479
<v Speaker 1>She was not a willing subject to be filmed, No,

0:29:31.760 --> 0:29:33.120
<v Speaker 1>but eventually she settled down.

0:29:33.200 --> 0:29:37.240
<v Speaker 3>My siblings were very difficult too, by the way. Really well, yes,

0:29:37.400 --> 0:29:38.520
<v Speaker 3>they just didn't.

0:29:38.320 --> 0:29:39.200
<v Speaker 2>Make it easy.

0:29:39.520 --> 0:29:42.200
<v Speaker 3>They're busy yet, No, they just wanted to make it

0:29:42.240 --> 0:29:44.760
<v Speaker 3>difficult for me, because why would it Why would they

0:29:44.800 --> 0:29:46.840
<v Speaker 3>make it easy when they don't have to know? They

0:29:46.840 --> 0:29:50.360
<v Speaker 3>were all fantastic and including my mother, and they they

0:29:50.360 --> 0:29:52.560
<v Speaker 3>did answer ultimately all the questions.

0:29:52.160 --> 0:29:52.960
<v Speaker 2>I asked them.

0:29:53.240 --> 0:29:55.600
<v Speaker 3>And my mother, I was just with her yesterday. I

0:29:55.680 --> 0:29:59.160
<v Speaker 3>played backhaming with her, and I mean I was just

0:29:59.280 --> 0:30:02.680
<v Speaker 3>I was winning whole game. My dice were so much better.

0:30:02.720 --> 0:30:06.440
<v Speaker 3>I played brilliantly, and then she beat me again. She's

0:30:06.520 --> 0:30:09.440
<v Speaker 3>ninety four. I cannot beat that woman playing back him.

0:30:09.440 --> 0:30:11.320
<v Speaker 3>And I'm not a bad Vackham.

0:30:11.000 --> 0:30:11.920
<v Speaker 2>And Claire, I love that.

0:30:11.960 --> 0:30:13.800
<v Speaker 1>I love that. Your mother also, And you know this

0:30:13.840 --> 0:30:16.240
<v Speaker 1>infy better than I do. She just in her own

0:30:16.320 --> 0:30:20.000
<v Speaker 1>wonderful way and in a truly in a truly marvelous way.

0:30:20.040 --> 0:30:22.800
<v Speaker 1>She just doesn't suffer fools at all. And we're playing

0:30:22.800 --> 0:30:25.320
<v Speaker 1>golf up there at the golf tournament, and she says

0:30:25.360 --> 0:30:26.880
<v Speaker 1>to me, come and golf with me. You're gonna you're

0:30:26.880 --> 0:30:28.160
<v Speaker 1>gonna be with me, and you're gonna be with Frank

0:30:28.160 --> 0:30:29.960
<v Speaker 1>and so and so and so. And I go, I said,

0:30:29.960 --> 0:30:31.240
<v Speaker 1>I beg your pardon. I said, you have to really

0:30:31.280 --> 0:30:34.000
<v Speaker 1>understand it's important because this I've crossed this with this

0:30:34.120 --> 0:30:36.640
<v Speaker 1>juncture before. I said, I'm a miserable golfer. Oh of

0:30:36.680 --> 0:30:38.200
<v Speaker 1>course you can hit a golf ball. Come on, come on,

0:30:38.640 --> 0:30:40.480
<v Speaker 1>I said, no, no, I don't think you really understand. I

0:30:40.560 --> 0:30:43.800
<v Speaker 1>need you desperately to listen to carefully what I'm saying. No, no, no, no, no, please,

0:30:44.200 --> 0:30:45.680
<v Speaker 1>this is non sense. Come on, You're to come with me,

0:30:45.720 --> 0:30:47.720
<v Speaker 1>You're gonna play with me, and Frank and I, as

0:30:47.800 --> 0:30:50.480
<v Speaker 1>is always the case, I am scared to do so

0:30:50.520 --> 0:30:52.760
<v Speaker 1>I do fairly well. I can drive the ball. I

0:30:52.800 --> 0:30:54.880
<v Speaker 1>could I get lucky with the iron. I can put

0:30:55.040 --> 0:30:56.760
<v Speaker 1>I can drive iron some terrible We get to the

0:30:56.760 --> 0:30:58.600
<v Speaker 1>second of the third. Hold in your mother, She goes,

0:30:58.840 --> 0:31:01.240
<v Speaker 1>you're right, you really can't golf? Can you?

0:31:01.280 --> 0:31:05.120
<v Speaker 2>Did you shake you off your team? Could we get

0:31:05.160 --> 0:31:05.560
<v Speaker 2>low in here?

0:31:05.680 --> 0:31:08.840
<v Speaker 1>Someone? Where's the ringer that was following us to fill information? Now?

0:31:09.000 --> 0:31:12.160
<v Speaker 1>One thing I noticed when I worked with the Counstler

0:31:12.200 --> 0:31:14.560
<v Speaker 1>sisters who did disturb in the universe about their father,

0:31:14.600 --> 0:31:17.800
<v Speaker 1>William Kunstler. And when I was talking to them, it

0:31:17.880 --> 0:31:20.320
<v Speaker 1>was I kind of knew this, but it was brought

0:31:20.320 --> 0:31:24.120
<v Speaker 1>into sharper focus for me. The cost. I mean, they

0:31:24.120 --> 0:31:26.040
<v Speaker 1>told me that they were trying to retire a debt

0:31:26.040 --> 0:31:28.320
<v Speaker 1>of like forty thousand, fifty thousand dollars of debt they

0:31:28.360 --> 0:31:31.960
<v Speaker 1>owed for archival footage from NBC and other network news organizations.

0:31:32.400 --> 0:31:34.120
<v Speaker 1>Is that true for you as well? Meaning do you

0:31:34.120 --> 0:31:36.160
<v Speaker 1>do you find these costs or just? I mean, because I,

0:31:36.200 --> 0:31:39.280
<v Speaker 1>for one belief that old network news organizations the material

0:31:39.320 --> 0:31:43.440
<v Speaker 1>should be made free under fair use. These are public airwaves.

0:31:44.080 --> 0:31:45.640
<v Speaker 2>Yeah, well, it is.

0:31:45.920 --> 0:31:50.360
<v Speaker 3>It can be astronomical the cost associated with archive. I mean,

0:31:50.360 --> 0:31:53.000
<v Speaker 3>we're lucky enough with this film that it was it

0:31:53.040 --> 0:31:56.600
<v Speaker 3>was fully financed by Netflix, who covered those costs for us,

0:31:56.360 --> 0:31:59.440
<v Speaker 3>so we're not debt on it, but it can really

0:31:59.480 --> 0:32:03.719
<v Speaker 3>make her a lot of terrific documentaries out there. I

0:32:03.720 --> 0:32:07.600
<v Speaker 3>think more people are leaning into fair use, but there

0:32:07.640 --> 0:32:12.160
<v Speaker 3>has been a few instances of backlash against that where

0:32:12.160 --> 0:32:15.840
<v Speaker 3>people chase them down and demand being paid, you know,

0:32:16.120 --> 0:32:18.600
<v Speaker 3>particularly for these historical documentaries.

0:32:18.880 --> 0:32:20.240
<v Speaker 2>It's a real cost.

0:32:20.680 --> 0:32:24.400
<v Speaker 1>Well, it's like people who when I was working more

0:32:25.200 --> 0:32:29.080
<v Speaker 1>consistently on the issue of campaign finance reform with creative

0:32:29.120 --> 0:32:32.800
<v Speaker 1>coalition organizations I worked with years ago in the nineties,

0:32:33.080 --> 0:32:36.440
<v Speaker 1>from disparate sources, we learned that one of the great

0:32:36.560 --> 0:32:39.880
<v Speaker 1>enemies of campaign finance reform is the National Association of

0:32:39.920 --> 0:32:44.360
<v Speaker 1>Broadcasters because these affiliates in the network TV world. Someone

0:32:44.440 --> 0:32:46.320
<v Speaker 1>said to me, there are stations in this country that

0:32:46.400 --> 0:32:48.760
<v Speaker 1>make seventy percent of their annual budget during one election

0:32:48.920 --> 0:32:52.440
<v Speaker 1>cycle and selling political advertising. They do not want to

0:32:52.480 --> 0:32:55.880
<v Speaker 1>take the money out of politics, and the NAB, the

0:32:55.960 --> 0:32:59.440
<v Speaker 1>National Association BOROK, is constantly fighting campaign finance law changes.

0:32:59.600 --> 0:33:01.920
<v Speaker 3>Yeah, well, listen I so appreciate your work in that

0:33:01.960 --> 0:33:05.280
<v Speaker 3>air area too, because I think, you know, when just

0:33:05.320 --> 0:33:08.320
<v Speaker 3>circling back to your point about you know, who are

0:33:08.400 --> 0:33:12.440
<v Speaker 3>these leaders now like Defasio who are advocating for us.

0:33:12.520 --> 0:33:15.520
<v Speaker 3>I think it's it's hard, given the system that we

0:33:15.640 --> 0:33:20.760
<v Speaker 3>have to really produce and encourage people who are in

0:33:20.840 --> 0:33:23.880
<v Speaker 3>it exclusively for the public interest, right. I mean that

0:33:24.320 --> 0:33:26.200
<v Speaker 3>those are the types of people who you want to

0:33:26.240 --> 0:33:30.160
<v Speaker 3>be driven to politics as people who are going to

0:33:30.160 --> 0:33:33.160
<v Speaker 3>make the world a better place, but instead they're often

0:33:33.240 --> 0:33:36.800
<v Speaker 3>driven there because of money, and that's not really the

0:33:36.840 --> 0:33:40.880
<v Speaker 3>reason you want people ultimately in that position. So I

0:33:40.920 --> 0:33:43.600
<v Speaker 3>think there's a lot still to be done, obviously with

0:33:43.720 --> 0:33:45.640
<v Speaker 3>campaign finance reform in this country.

0:33:46.440 --> 0:33:48.760
<v Speaker 1>Which film for you was the most difficult to put

0:33:48.800 --> 0:33:51.440
<v Speaker 1>together as a film, What was the biggest challenge?

0:33:52.000 --> 0:33:55.280
<v Speaker 3>Well, I think the hardest one for me was ethel

0:33:56.160 --> 0:33:58.160
<v Speaker 3>you know, the stakes were so high and it was

0:33:58.240 --> 0:34:02.000
<v Speaker 3>so deeply personal. You know, I had to look through

0:34:02.360 --> 0:34:05.320
<v Speaker 3>lots of footage. We're talking about archive footage, you know,

0:34:05.400 --> 0:34:09.560
<v Speaker 3>some of which was extraordinary and beautiful and so fun

0:34:09.600 --> 0:34:13.040
<v Speaker 3>to see and just you know, gave me a depth

0:34:13.120 --> 0:34:17.160
<v Speaker 3>of understanding of my family and my father who I

0:34:17.239 --> 0:34:20.640
<v Speaker 3>never met, you know, just watching him in this footage

0:34:20.680 --> 0:34:23.280
<v Speaker 3>and a lot of footage has never been seen before,

0:34:24.000 --> 0:34:27.400
<v Speaker 3>was a really beautiful experience for me. But it was

0:34:27.480 --> 0:34:33.240
<v Speaker 3>also emotionally challenging and difficult, and you know, I wanted

0:34:33.280 --> 0:34:36.719
<v Speaker 3>to ultimately make a film that showed, you know, the

0:34:36.840 --> 0:34:41.239
<v Speaker 3>challenges and the difficulties that my mother in particular went

0:34:41.280 --> 0:34:46.879
<v Speaker 3>through and faced, but also, you know, to celebrate her

0:34:46.960 --> 0:34:50.440
<v Speaker 3>because I think that for so many people in our family,

0:34:50.960 --> 0:34:54.719
<v Speaker 3>with a focus on Robert Kennedy, John F. Kennedy, Teddy Kennedy,

0:34:55.080 --> 0:34:57.719
<v Speaker 3>but there's not as much focus on the women, right,

0:34:58.000 --> 0:35:01.360
<v Speaker 3>and they're you know, my unit started the Special Olympic.

0:35:01.480 --> 0:35:05.600
<v Speaker 3>She's contributed enormously, but she hasn't quite gotten that same

0:35:05.719 --> 0:35:08.160
<v Speaker 3>level of attention and Nora has my mother and so

0:35:08.239 --> 0:35:11.319
<v Speaker 3>many people when they introduce me, they say, oh, this

0:35:11.360 --> 0:35:14.080
<v Speaker 3>is Robert Kennedy's daughter, and I'm like, well, my mother

0:35:14.719 --> 0:35:17.240
<v Speaker 3>actually raised me, and you know, she played a pretty

0:35:17.239 --> 0:35:21.200
<v Speaker 3>big part in like who I am. So part of

0:35:21.239 --> 0:35:25.120
<v Speaker 3>it was like, I think she deserves the spotlight at

0:35:25.200 --> 0:35:28.520
<v Speaker 3>least for a moment, like at least to be understood, yeah,

0:35:28.560 --> 0:35:31.920
<v Speaker 3>and to help people understand her contribution because she was

0:35:31.960 --> 0:35:35.960
<v Speaker 3>also her nature was to kind of stand behind and

0:35:36.000 --> 0:35:38.400
<v Speaker 3>not you know, be the one on the microphone and

0:35:38.440 --> 0:35:41.720
<v Speaker 3>be the one sort of at the front line. So anyway,

0:35:41.800 --> 0:35:44.480
<v Speaker 3>I think just for me personally, the stakes were higher

0:35:44.560 --> 0:35:47.759
<v Speaker 3>on that one and it was more challenging for me.

0:35:48.280 --> 0:35:49.680
<v Speaker 1>What are you working on next?

0:35:50.520 --> 0:35:52.200
<v Speaker 2>I'm working on a couple projects.

0:35:52.239 --> 0:35:56.000
<v Speaker 3>I've got another film with Netflix that is about a

0:35:56.400 --> 0:36:00.120
<v Speaker 3>volcanic eruption that I'm doing right now, and then I've

0:36:00.160 --> 0:36:01.400
<v Speaker 3>got a film about.

0:36:01.160 --> 0:36:04.120
<v Speaker 2>The global refugee crisis that's a big light.

0:36:04.719 --> 0:36:07.319
<v Speaker 3>Yes, these are the main ones I'm focused on, and

0:36:07.360 --> 0:36:10.319
<v Speaker 3>I'm very excited to, you know, have this film coming

0:36:10.320 --> 0:36:15.319
<v Speaker 3>out on Netflix and committed to getting as many eyes

0:36:15.360 --> 0:36:16.240
<v Speaker 3>on it as possible.

0:36:16.840 --> 0:36:19.920
<v Speaker 1>Now, Last Days of Vietnam was in twenty fourteen. How

0:36:19.920 --> 0:36:22.680
<v Speaker 1>many of these films Ethel was in twenty twelve, I

0:36:22.680 --> 0:36:25.239
<v Speaker 1>can't believe it. What of these last films have most

0:36:25.239 --> 0:36:26.800
<v Speaker 1>of them been with Netflix?

0:36:27.719 --> 0:36:30.600
<v Speaker 3>Now, this is my first film that I've directed with Netflix.

0:36:31.200 --> 0:36:35.480
<v Speaker 3>Last Days was with PBS, Etha was with HBO, did

0:36:35.480 --> 0:36:38.240
<v Speaker 3>a film about NASA with the Discovery Channel.

0:36:38.640 --> 0:36:39.239
<v Speaker 2>Let me just.

0:36:39.200 --> 0:36:42.720
<v Speaker 3>Say, Alec that I have such an admiration and respect

0:36:42.760 --> 0:36:46.920
<v Speaker 3>for you. You're such a talented artist, and you've always

0:36:47.000 --> 0:36:50.440
<v Speaker 3>committed yourself to making the world a better place.

0:36:51.040 --> 0:36:52.400
<v Speaker 2>And you have such.

0:36:52.200 --> 0:36:57.440
<v Speaker 3>A love for people and a heart that is more

0:36:57.600 --> 0:37:01.760
<v Speaker 3>open and more generous than anybody I know. And I

0:37:01.920 --> 0:37:04.160
<v Speaker 3>just have such deep admiration.

0:37:03.719 --> 0:37:04.400
<v Speaker 2>And respect for you.

0:37:04.719 --> 0:37:05.439
<v Speaker 1>I love for your mom.

0:37:05.520 --> 0:37:06.920
<v Speaker 2>I will you take care. Thank you.

0:37:10.800 --> 0:37:15.799
<v Speaker 1>Rory Kennedy. Her documentary Downfall, The Case against Boeing, is

0:37:15.840 --> 0:37:21.120
<v Speaker 1>available now on Netflix. This episode was produced by Kathleen Russo,

0:37:21.520 --> 0:37:25.280
<v Speaker 1>Zach MacNeice, and Maureen Hobin. Our engineer is Frank Imperio.

0:37:25.760 --> 0:37:38.040
<v Speaker 1>Here's the Thing is brought to you by iHeart Radio.