WEBVTT - Rory Kennedy - Summer Staff Picks

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<v Speaker 1>This is Alec Baldwin, and you were listening to Here's

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<v Speaker 1>the Thing from iHeart Radio. It's summer and that means

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<v Speaker 1>it's time for our tradition at Here's the Thing. Will

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<v Speaker 1>the staff share their favorite episodes from our archives in

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<v Speaker 1>our Summer staff Picks series? Next up is producer Zach MacNeice.

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<v Speaker 2>Thanks Alec. On January fifth of this year, twenty twenty four,

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<v Speaker 2>on Alaska Airline's Boeing seven three seven Max nine made

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<v Speaker 2>an emergency landing in Portland, Oregon after a piece of

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<v Speaker 2>the fuselage blew out of the plane. Five days later,

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<v Speaker 2>on January fourteenth, a Boeing seven three seven eight hundred

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<v Speaker 2>was forced to turn around and land in Japan after

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<v Speaker 2>a crack was found mid air on the cockpit window.

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<v Speaker 2>On March seventh, a Boeing seven seven seven two hundred

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<v Speaker 2>made an emergency landing in Los Angeles after attire fell

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<v Speaker 2>off the plane during takeoff. And today, July thirty first,

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<v Speaker 2>Boeing has named a new CEO, Robert Ortberg, after announcing

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<v Speaker 2>a one point four billion dollar loss in the second

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<v Speaker 2>quarter of the year. These are just a few of

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<v Speaker 2>the many recent Boeing headlines In the past two and

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<v Speaker 2>a half years since the release of Rory Kennedy's documentary Downfall,

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<v Speaker 2>The Case against Boeing. Alex spoke with Rory in March

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<v Speaker 2>of twenty twenty two, and I couldn't think of a

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<v Speaker 2>better time to revisit this conversation about the film, The

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<v Speaker 2>Great American Company and Rory Kennedy's incredible life as a

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<v Speaker 2>documentary filmmaker.

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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.

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<v Speaker 3>Kennedy.

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<v Speaker 1>But as she will tell us during our conversation, she's

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<v Speaker 1>also one of the great Kennedy Women. Instead of following

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<v Speaker 1>her forbears into law or politics, Kennedy has made a

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<v Speaker 1>name for herself as a documentary filmmaker. Her films feature

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<v Speaker 1>a wide range of subjects, from surfing legend Laird Hamilton

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<v Speaker 1>to challenging issues like poverty, addiction, and mental illness. In

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<v Speaker 1>her current film, she's tackling corporate corruption. That film, Downfall

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<v Speaker 1>the Case against Boeing, investigates the circumstances that led to

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<v Speaker 1>two tragic passenger jet crashes. In twenty eighteen and nineteen,

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<v Speaker 1>Rory Kennedy and I talk about her remarkable upbringing and

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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 4>I think it's hard to detach anybody from how they

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<v Speaker 4>grew up, right, I mean, that's such an influence and

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<v Speaker 4>impact on who you become. And certainly that was the

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<v Speaker 4>case with me.

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<v Speaker 5>I grew up.

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<v Speaker 4>The youngest of eleven and in an obviously a very

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<v Speaker 4>political family, and I was impacted by that. I mean

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<v Speaker 4>I was also surrounded, my mother made a point of

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<v Speaker 4>this by really extraordinary role models, you know, when we

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<v Speaker 4>had such a the honor of meeting, whether it was

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<v Speaker 4>you know, presidents or congressmen and senators or people like

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<v Speaker 4>Nelson Mittndela and Desmond Tutu, you know, who were in

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<v Speaker 4>our homes, and also some of the great athletes and

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<v Speaker 4>you know NASA astronauts.

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<v Speaker 5>I mean, so, I think.

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<v Speaker 4>It was a life where we were surrounded by people

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<v Speaker 4>who created a sense of aspiration and to try to

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<v Speaker 4>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 to shy away from

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<v Speaker 1>that is the way you guys have been attacked from

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<v Speaker 1>time to time.

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<v Speaker 4>I think I have certain sensitivities. For example, with Downfall,

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<v Speaker 4>the case against Boeing, there's three hundred and forty six

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<v Speaker 4>people who died, and there are the family members who

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<v Speaker 4>are related to those people, some of whom we talked

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<v Speaker 4>to in our film, And I was definitely thinking, well,

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<v Speaker 4>how is it going to be for these folks to

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<v Speaker 4>watch this film right? And I've had to see scenes

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<v Speaker 4>over and over again that play themselves out on the

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<v Speaker 4>news that are very upsetting to watch about my family

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<v Speaker 4>dying right and being killed, and I didn't want to

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<v Speaker 4>subject them to that. But I also wanted to make

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<v Speaker 4>a film that was impactful. We do cgi recreations of

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<v Speaker 4>what it was like to be in the cockpit so

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<v Speaker 4>that we could really help people understand the perspective of

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<v Speaker 4>the pilots in these planes and what they were struggling

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<v Speaker 4>with with the MCS system. And you know, but I thought,

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<v Speaker 4>how are these folks going to watch this film? So

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<v Speaker 4>when I sent the film to them before it's coming out,

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<v Speaker 4>I highlighted all the sections that I thought would be

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<v Speaker 4>hard for them to watch, so that they could be

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<v Speaker 4>aware of that and go into it and decide to

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<v Speaker 4>watch those sections or not. So, you know, maybe I

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<v Speaker 4>have some sensitivity and moments like that. I think the

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<v Speaker 4>types of films I choose generally tend to be political

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<v Speaker 4>in nature and tend to you know, I hope when

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<v Speaker 4>people watch these films, whether it's this or a film

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<v Speaker 4>about Vietnam, the final days of the war, film about

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<v Speaker 4>Abu Grabe, that we learned from them, and we learn

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<v Speaker 4>from watching these stories and hopefully make better choices moving forward.

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<v Speaker 1>Right.

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<v Speaker 4>So, I think the choices of the films I make

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<v Speaker 4>are 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.

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<v Speaker 3>The White House.

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<v Speaker 1>I was invited to the White House to a screening

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<v Speaker 1>of the movie The Paper Howard, and I'm sitting in

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<v Speaker 1>a seat in the theater and the woman to my

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<v Speaker 1>right who's sitting next to me. A gun goes off

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<v Speaker 1>in the middle of the film, and that woman grabbed

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<v Speaker 1>my arm and gasped this huge gasp when the gun

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<v Speaker 1>went off.

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<v Speaker 5>It was your mom, right, So you know there's.

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<v Speaker 3>Me to this day, it's she's not prepared for that. Yeah,

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<v Speaker 3>those sounds.

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<v Speaker 4>Yeah, so there's trauma related to that for sure.

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<v Speaker 3>Now to get to the film.

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<v Speaker 1>So I watched this film obviously, and I was mesmerized.

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<v Speaker 1>Congratulations by the way. I mean, you came to the

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<v Speaker 1>Hampton's Film Festival. Every year a film of yours comes

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<v Speaker 1>and we all look at together and we're like, can

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<v Speaker 1>we really invite her again? Do we bringing Rory down

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<v Speaker 1>to Easthampton again? I mean, is it enough enough? I mean,

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<v Speaker 1>how much more can we shine her up here? But

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<v Speaker 1>we loved your film about your mom. We're gonna get

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<v Speaker 1>to that later. I loved Last Days of Vietnam. That

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<v Speaker 1>was a great I'm not just saying this, that's a

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<v Speaker 1>great movie. Great movie. Really, just you what film can

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<v Speaker 1>do in this period of what's happening and understanding that

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<v Speaker 1>those moments that you did a great job and this

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<v Speaker 1>film made me angry this film. I was pissed off

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<v Speaker 1>because only one guy I think is criminally charged. Correct,

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<v Speaker 1>that's correct, and that we identify that person, Mark Forkner.

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<v Speaker 3>And he was in charge of what it is bowing.

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<v Speaker 4>He was a pilot, a test pilot, and he was

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<v Speaker 4>you know, he really wasn't responsible for what happened, and

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<v Speaker 4>a lot of people feel like he was scapegoaded because

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<v Speaker 4>he was really in charge of making sure, you know,

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<v Speaker 4>he was testing the plane and then he played a

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<v Speaker 4>role in keeping the MCS system away from the regulators.

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<v Speaker 4>And that's documented and there's proof of that, and so

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<v Speaker 4>they followed up with that. But you know, Congressman Defaisio,

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<v Speaker 4>for example, led the congressional investigation into what happened, the

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<v Speaker 4>biggest investigation the Infrastructure and Transportation Committee's history, and he

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<v Speaker 4>concluded that this was really top down right, that the

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<v Speaker 4>top group in management at Boeing was very aware of

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<v Speaker 4>the MCS system, that there was a concerted effort to

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<v Speaker 4>keep the system away from the regulators, to hide the system,

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<v Speaker 4>and to cut corners along the way, and that there

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<v Speaker 4>was you know, it was a culture of concealment, is

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<v Speaker 4>what he calls it. So I think that there are

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<v Speaker 4>a lot of people who feel like the folks who

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<v Speaker 4>are most responsible have yet to be held accountable. And

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<v Speaker 4>there's been no criminal charges. And you know, Lallenberg walked

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<v Speaker 4>away with the head of Boeing, the head of Boeing

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<v Speaker 4>sixty sixty two million dollars. So, you know, I think

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<v Speaker 4>after you've kind of watched the film and really understand

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<v Speaker 4>all the decisions that the management at Boeing made along

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<v Speaker 4>the way to prioritize profit over safety, that you know,

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<v Speaker 4>when you understand the depths of those choices that I

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<v Speaker 4>think many people like you 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 had 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 aviation 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

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<v Speaker 1>of the seven seven thirty seven MAX. Got to get

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<v Speaker 1>the word max and there the seven thirty seven fuel

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<v Speaker 1>efficiency was the goal. And then a part of this

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<v Speaker 1>was the development of this system which was to help

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<v Speaker 1>to so they don't make too steep a climb.

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<v Speaker 3>A system takes.

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<v Speaker 1>Over the plane and lowers the nose of the plane

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<v Speaker 1>and forces the plane down, but doesn't shut off. It

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<v Speaker 1>forces the nose of the plane down straight into the ground.

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<v Speaker 3>Correct.

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<v Speaker 4>Well, yeah, that's there were concern at a certain angle

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<v Speaker 4>that the plane would stall, and so they instead of

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<v Speaker 4>changing the kind of structure of the plane and moving

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<v Speaker 4>the engines and whatnot, they decided to fix it with

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<v Speaker 4>a computer system, again in an effort to save money,

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<v Speaker 4>it seems, and that computer system was connected to one

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<v Speaker 4>sensor on the side of the airplane like a weather vein,

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<v Speaker 4>and so if that sensor was damaged, which happens off

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<v Speaker 4>and gets hit by bird, something happens to it, it

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<v Speaker 4>would send and this is what happened, erroneous information to

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<v Speaker 4>the computer system. So it would tell the computer system

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<v Speaker 4>that the plane was at a certain angle and you

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<v Speaker 4>needed to push the nose down, but it wasn't at

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<v Speaker 4>that angle. It was more at a flat angle, and

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<v Speaker 4>not only would it push the nose of the plane down,

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<v Speaker 4>but it would do it over and over and over again.

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<v Speaker 1>Probably the most powering 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>this system.

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<v Speaker 4>That's correct, it's you know, prior to the Line air crash,

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<v Speaker 4>which was the first crash, the pilots were completely unaware

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<v Speaker 4>that the system was even on the airplane, which was

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<v Speaker 4>also kind of flew in the face of what had

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<v Speaker 4>been the normal relationship between Boeing and pilots, which was

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<v Speaker 4>to really educate and form pilots about everything training, you know,

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<v Speaker 4>make them fully equipped to handle any situation that would happen.

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<v Speaker 4>But in this case they in an effort to really

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<v Speaker 4>keep this from regulators. Really, what was motivating them is

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<v Speaker 4>that if they have a totally new system on the airplane,

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<v Speaker 4>then they have to train pilots. And if they have

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<v Speaker 4>to train pilots, it cost them a million dollars per

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<v Speaker 4>an aircraft, you know, on average to train these pilots.

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<v Speaker 4>So they wanted to again it seems, save the money,

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<v Speaker 4>and so instead of making people aware that this system

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<v Speaker 4>was on the airplane. They made a concerted effort to we're.

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<v Speaker 1>Not even going to tell you about this machine we've installed, which,

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<v Speaker 1>if it behaves badly, is going to crash the plane. Yes,

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<v Speaker 1>and there's a manual override that they might have been

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<v Speaker 1>able to activate. They could have gotten out of it,

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<v Speaker 1>I guess if they'd had the training.

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<v Speaker 4>If they had had the training. Except what we also

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<v Speaker 4>discover and showcase in the course of this film is

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<v Speaker 4>a document that came out in twenty sixteen. It's called

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<v Speaker 4>a coordination sheet that shows that if something went wrong

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<v Speaker 4>with the system, that the pilots would need to fix

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<v Speaker 4>it within ten seconds, otherwise the power of the MCS

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<v Speaker 4>system would overtake them if they didn't do it in

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<v Speaker 4>ten seconds, and.

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<v Speaker 5>The results would be catastrophic.

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<v Speaker 4>And catastrophic in airplane language means the plane will crash

0:12:55.160 --> 0:12:58.440
<v Speaker 4>and everybody will die. So you know, even if the

0:12:58.559 --> 0:13:03.280
<v Speaker 4>pilots right. So in the second instance, in the Ethiopian

0:13:03.320 --> 0:13:06.720
<v Speaker 4>airplane crash, the pilots were aware of the system, they

0:13:06.760 --> 0:13:09.640
<v Speaker 4>did everything right, they did what they were told to do,

0:13:10.080 --> 0:13:13.760
<v Speaker 4>and the plane still crashed. So you know, if you

0:13:13.800 --> 0:13:16.920
<v Speaker 4>don't and what you have to also remember, and this

0:13:17.000 --> 0:13:19.320
<v Speaker 4>is why we also created the kind of the CGI

0:13:19.440 --> 0:13:22.719
<v Speaker 4>recreation of what happens in that cockpit is there's this

0:13:22.800 --> 0:13:27.640
<v Speaker 4>cacophony of sounds and error alerts that are all contradicting

0:13:27.679 --> 0:13:31.440
<v Speaker 4>each other that the pilots are trying to understand and

0:13:31.559 --> 0:13:34.400
<v Speaker 4>navigate and figure out. Okay, this is thing where you know,

0:13:34.440 --> 0:13:38.800
<v Speaker 4>the altitude is in disagreement, the air speed is in disagreement,

0:13:39.000 --> 0:13:42.800
<v Speaker 4>the all systems alert is on the stickshaker is going,

0:13:43.320 --> 0:13:46.360
<v Speaker 4>there's all of these alerts coming at them, and then

0:13:46.640 --> 0:13:49.800
<v Speaker 4>with that they have to navigate. Okay, well, what this

0:13:50.000 --> 0:13:53.000
<v Speaker 4>all means is that I need to do these steps

0:13:53.040 --> 0:13:57.680
<v Speaker 4>within ten seconds and otherwise this plane is going to crash.

0:13:57.840 --> 0:13:59.240
<v Speaker 4>I mean, I don't want to go on a plane

0:13:59.240 --> 0:14:02.120
<v Speaker 4>that is putting pilots in that position. I don't want

0:14:02.160 --> 0:14:03.160
<v Speaker 4>to put my children.

0:14:02.920 --> 0:14:06.960
<v Speaker 1>Or fa people are whose job who'd give anything to

0:14:07.040 --> 0:14:10.199
<v Speaker 1>save the lives of their passengers. Think of something more

0:14:10.920 --> 0:14:13.360
<v Speaker 1>unimaginable than to be on the in the cockpit of

0:14:13.360 --> 0:14:15.840
<v Speaker 1>a plane and the plane is behaving and not in

0:14:15.880 --> 0:14:19.560
<v Speaker 1>some anomalous way. You see yourself hurtling towards the ground.

0:14:19.560 --> 0:14:22.200
<v Speaker 1>It's yeah, nine to eleven. You're the planes going into

0:14:22.240 --> 0:14:24.040
<v Speaker 1>the ground and you're sitting there thinking what can you

0:14:24.360 --> 0:14:25.600
<v Speaker 1>and you don't know what to do?

0:14:25.920 --> 0:14:28.400
<v Speaker 5>Yeah, right, it's completely funny. You know, maybe they're eating

0:14:28.400 --> 0:14:29.360
<v Speaker 5>a turkey sandwich.

0:14:29.760 --> 0:14:32.160
<v Speaker 4>You know, it does not like you're not there sitting

0:14:32.160 --> 0:14:35.360
<v Speaker 4>there on total alert for the entire plane ride.

0:14:35.440 --> 0:14:38.080
<v Speaker 1>Well, before we get into the macro of your filmmaking,

0:14:38.120 --> 0:14:41.240
<v Speaker 1>one more thing. I think you make it clear in

0:14:41.280 --> 0:14:43.880
<v Speaker 1>the film the idea that this is a different Boeing.

0:14:43.920 --> 0:14:45.960
<v Speaker 1>At this point, I thought it was fascinating how you

0:14:45.960 --> 0:14:48.640
<v Speaker 1>talk about the move to Chicago. They moved the headquarters

0:14:48.680 --> 0:14:53.440
<v Speaker 1>to Chicago for the purposes of distancing themselves from the influence, and.

0:14:53.400 --> 0:14:55.120
<v Speaker 3>I thought it was well that the influence was good.

0:14:55.440 --> 0:14:56.520
<v Speaker 3>It was a nice battery.

0:14:56.560 --> 0:15:01.239
<v Speaker 1>It was a nice exchange between Union's management, design, technology,

0:15:01.280 --> 0:15:03.880
<v Speaker 1>and the corporate And these guys are like, no, no, no,

0:15:03.880 --> 0:15:05.600
<v Speaker 1>we don't want to be too close to those guys

0:15:05.640 --> 0:15:07.640
<v Speaker 1>in Seattle. So we're going to move to Chicago so

0:15:07.640 --> 0:15:10.400
<v Speaker 1>we can make our decisions in this bubble in Chicago.

0:15:10.840 --> 0:15:15.120
<v Speaker 1>And it seems like what was a great company that rare,

0:15:15.720 --> 0:15:19.880
<v Speaker 1>I mean, multi billion dollar enterprise. It made big, expensive

0:15:19.960 --> 0:15:22.720
<v Speaker 1>things that they were very proud of that defined the city,

0:15:23.160 --> 0:15:25.720
<v Speaker 1>and everything moves to Chicago, and it seems like that's

0:15:25.800 --> 0:15:28.640
<v Speaker 1>part of the problem was once that merger was made

0:15:28.640 --> 0:15:31.840
<v Speaker 1>and they moved to Chicago, that cost cutting thing becomes primary.

0:15:32.440 --> 0:15:33.720
<v Speaker 5>I think that's right, you know.

0:15:34.280 --> 0:15:37.760
<v Speaker 4>I think, like you, I love Boeing and what Boeing

0:15:37.800 --> 0:15:40.280
<v Speaker 4>stood for in this country, and you know the history

0:15:40.280 --> 0:15:42.440
<v Speaker 4>of Boeing, and we really celebrate that in the film

0:15:42.480 --> 0:15:47.400
<v Speaker 4>because it's been an extraordinary company for decades. You know,

0:15:47.480 --> 0:15:49.160
<v Speaker 4>it helped us get out of World War Two. It

0:15:49.240 --> 0:15:52.560
<v Speaker 4>helped build the fighter jets to win that war. It

0:15:52.680 --> 0:15:53.760
<v Speaker 4>helped get us.

0:15:53.680 --> 0:15:55.640
<v Speaker 5>To the moon with my uncle Jack.

0:15:55.760 --> 0:15:59.960
<v Speaker 4>I mean, they helped build those engines in the rocket chips.

0:16:00.040 --> 0:16:03.920
<v Speaker 4>They helped people be able to travel all over the

0:16:03.920 --> 0:16:06.040
<v Speaker 4>world for the first time, you know, with the seven

0:16:06.160 --> 0:16:11.040
<v Speaker 4>forty seven and extraordinary accomplishment. So we wanted to celebrate that.

0:16:11.200 --> 0:16:14.800
<v Speaker 4>And during those very early years and for many decades,

0:16:15.440 --> 0:16:18.640
<v Speaker 4>Boeing did one thing, which was to say, we're going

0:16:18.640 --> 0:16:23.680
<v Speaker 4>to prioritize excellence and safety and then the profits will follow.

0:16:23.680 --> 0:16:26.160
<v Speaker 4>We're going to make the best planes possible, We're going

0:16:26.240 --> 0:16:29.640
<v Speaker 4>to innovate, we're going to do new things and we're

0:16:29.640 --> 0:16:33.000
<v Speaker 4>going to think to the future. And then it changed hands,

0:16:33.600 --> 0:16:37.600
<v Speaker 4>taken over really. I mean, one person we interviewed said

0:16:38.080 --> 0:16:42.320
<v Speaker 4>somehow McDonald douglas bought Boeing with Boeing's money and the

0:16:42.400 --> 0:16:46.120
<v Speaker 4>McDonald douglas people were put in charge, and they had

0:16:46.160 --> 0:16:50.000
<v Speaker 4>a very different business model, which was very Wall Street

0:16:50.080 --> 0:16:55.120
<v Speaker 4>focused and quarterly earnings, you know, And so they made

0:16:55.160 --> 0:16:58.720
<v Speaker 4>a series of decision corporate decisions to cut back on

0:16:58.800 --> 0:17:03.160
<v Speaker 4>personnel who's whose job it was to ensure safety and

0:17:03.200 --> 0:17:06.920
<v Speaker 4>put pressure on the folks who are building the planes

0:17:06.960 --> 0:17:10.640
<v Speaker 4>to build them quicker and faster, and when people would

0:17:10.640 --> 0:17:13.400
<v Speaker 4>complain about safety, that slows that process down.

0:17:15.040 --> 0:17:20.080
<v Speaker 1>Documentary filmmaker Rory Kennedy. If you enjoy conversations about the

0:17:20.119 --> 0:17:23.760
<v Speaker 1>making of documentary films, check out my episode with British

0:17:23.840 --> 0:17:28.280
<v Speaker 1>filmmaker Lucy Walker. Her documentary Bring Your Own Brigade is

0:17:28.320 --> 0:17:31.840
<v Speaker 1>an in depth look at California wildfires and their effect

0:17:32.160 --> 0:17:33.640
<v Speaker 1>on local residents.

0:17:34.000 --> 0:17:35.760
<v Speaker 6>What I want to understand is, well, how are we

0:17:35.800 --> 0:17:38.520
<v Speaker 6>stopping it and why are people living in these areas

0:17:38.560 --> 0:17:41.840
<v Speaker 6>and building these houses that burn over and over and

0:17:41.920 --> 0:17:44.760
<v Speaker 6>over again. Could we do better? So you would think

0:17:45.040 --> 0:17:48.480
<v Speaker 6>that when people look at developing an area for housing.

0:17:48.800 --> 0:17:54.159
<v Speaker 6>They would think about far safety, but nobody's actually thinking about,

0:17:54.400 --> 0:17:55.960
<v Speaker 6>well are they going to be able to ensure these

0:17:56.000 --> 0:17:59.200
<v Speaker 6>homes and who's going to pay if these homes burn down.

0:18:00.760 --> 0:18:04.200
<v Speaker 1>To hear more of my conversation with Lucy Walker, go

0:18:04.200 --> 0:18:07.760
<v Speaker 1>to Here's the Thing dot org. After the break, Rory

0:18:07.880 --> 0:18:11.879
<v Speaker 1>Kennedy and I discussed the filmmakers who have influenced her work.

0:18:22.520 --> 0:18:25.200
<v Speaker 1>I'm Alec Baldwin and you're listening to Here's the Thing.

0:18:25.920 --> 0:18:30.240
<v Speaker 1>Filmmaker Rory Kennedy has made more than forty documentaries. Her

0:18:30.320 --> 0:18:34.000
<v Speaker 1>work has earned an Emmy and several Oscar nominations along

0:18:34.040 --> 0:18:36.720
<v Speaker 1>the way. I wanted her to share some of her

0:18:36.800 --> 0:18:38.600
<v Speaker 1>process as a filmmaker.

0:18:39.800 --> 0:18:43.280
<v Speaker 4>Well, you know, different people and companies work in different ways.

0:18:43.400 --> 0:18:46.200
<v Speaker 4>I'm very hands on as a filmmaker, and I you know,

0:18:46.760 --> 0:18:49.919
<v Speaker 4>I love to be doing all the interviews and being

0:18:50.040 --> 0:18:52.840
<v Speaker 4>in the edit room, and so I don't take on

0:18:52.880 --> 0:18:55.800
<v Speaker 4>a huge number of projects at any given time. And

0:18:56.359 --> 0:18:58.520
<v Speaker 4>usually when I decide that I really want to do

0:18:58.920 --> 0:19:02.679
<v Speaker 4>a particular project, I really try to make it happen.

0:19:03.080 --> 0:19:05.760
<v Speaker 4>I was really committed. I felt like this story was

0:19:05.800 --> 0:19:09.960
<v Speaker 4>so important, the downfall story. I think, like so many

0:19:10.000 --> 0:19:13.400
<v Speaker 4>other people, I witnessed these two airplanes crashing within five

0:19:13.440 --> 0:19:16.000
<v Speaker 4>months of each other, the exact same aircraft. Three hundred

0:19:16.000 --> 0:19:20.280
<v Speaker 4>and forty six people died. And you know, I, like

0:19:20.359 --> 0:19:23.560
<v Speaker 4>so many other people, fly right, and I felt like,

0:19:24.200 --> 0:19:27.320
<v Speaker 4>I want to know what happened, who knew what when,

0:19:27.920 --> 0:19:31.359
<v Speaker 4>who is responsible for this? And I want to make

0:19:31.400 --> 0:19:34.439
<v Speaker 4>sure that something like this doesn't happen again. But I

0:19:34.520 --> 0:19:39.199
<v Speaker 4>also felt that, you know, during the last decades that

0:19:39.840 --> 0:19:45.240
<v Speaker 4>America has been really prioritizing corporate interests, right, And so

0:19:45.520 --> 0:19:46.040
<v Speaker 4>I think.

0:19:45.840 --> 0:19:46.960
<v Speaker 5>This film than usual.

0:19:47.880 --> 0:19:53.720
<v Speaker 4>I think this film, I hope, rises to something that's

0:19:53.840 --> 0:19:57.400
<v Speaker 4>not just about these crashes, which is, you know, as

0:19:57.720 --> 0:20:00.159
<v Speaker 4>meaningful as it gets. But I think it touches on

0:20:00.200 --> 0:20:05.600
<v Speaker 4>something else, which is the need to regulate, the need

0:20:05.680 --> 0:20:10.639
<v Speaker 4>to balance out corporate interests making money, making money, making money,

0:20:11.160 --> 0:20:14.399
<v Speaker 4>and the need to balance out with public interest right.

0:20:14.520 --> 0:20:18.600
<v Speaker 4>And we've seen corporations like Boeing balances for many decades

0:20:18.720 --> 0:20:22.800
<v Speaker 4>and do fantastically well. And I think that when that

0:20:22.880 --> 0:20:25.720
<v Speaker 4>gets out of balance, it hurts everybody.

0:20:25.920 --> 0:20:26.840
<v Speaker 3>So when you see.

0:20:26.600 --> 0:20:29.160
<v Speaker 1>Someone like Defasio, the head of the committee, the guy

0:20:29.160 --> 0:20:31.480
<v Speaker 1>that was the leading light there in the Congress. Did

0:20:31.480 --> 0:20:34.600
<v Speaker 1>he have as much integrity overall as it appears to

0:20:34.640 --> 0:20:35.399
<v Speaker 1>be on screen.

0:20:35.560 --> 0:20:38.040
<v Speaker 3>He's fantastic because you know as well as I do.

0:20:38.240 --> 0:20:40.800
<v Speaker 1>You know, where are people in government who care enough

0:20:40.800 --> 0:20:43.720
<v Speaker 1>and they want to fight the way we're going. Like

0:20:44.000 --> 0:20:45.800
<v Speaker 1>Boeing was a company, you say, well, you understand, you

0:20:45.840 --> 0:20:47.919
<v Speaker 1>want people to make money and make profits. Boeing was

0:20:47.960 --> 0:20:50.560
<v Speaker 1>doing quite well before. Sure they had a slump when

0:20:50.600 --> 0:20:52.879
<v Speaker 1>Douglas took over. But what you find is not only

0:20:52.960 --> 0:20:54.520
<v Speaker 1>do people want to make money, they want to make

0:20:54.600 --> 0:20:56.600
<v Speaker 1>obscene amounts of money. They want to make an amount

0:20:56.600 --> 0:20:59.680
<v Speaker 1>of money that they're looking at you like you're a child, like, well,

0:20:59.720 --> 0:21:01.960
<v Speaker 1>you know, now, calm down, sunny, because there's a lot

0:21:02.000 --> 0:21:04.679
<v Speaker 1>of money at stake here for us who run and

0:21:04.680 --> 0:21:05.360
<v Speaker 1>own the company.

0:21:06.040 --> 0:21:08.959
<v Speaker 3>And my point is is that for me, I'm always

0:21:09.119 --> 0:21:10.160
<v Speaker 3>so sad.

0:21:10.680 --> 0:21:14.080
<v Speaker 1>I'm always so impacted by government officials who don't have

0:21:14.119 --> 0:21:17.800
<v Speaker 1>the guts to do their job, and the government's job

0:21:17.880 --> 0:21:21.359
<v Speaker 1>is to I mean, I watched people in testimony in

0:21:21.480 --> 0:21:23.679
<v Speaker 1>hearings and I think to myself, thank God I'm not there,

0:21:23.680 --> 0:21:26.200
<v Speaker 1>because I would be looking at the heads of car

0:21:26.280 --> 0:21:28.800
<v Speaker 1>companies or ol companies going you don't get it. You

0:21:28.880 --> 0:21:31.040
<v Speaker 1>come here, you answer our questions on behalf of the

0:21:31.040 --> 0:21:34.359
<v Speaker 1>American people. We have the authority, and I feel like

0:21:34.400 --> 0:21:37.680
<v Speaker 1>that authority is not always employed effectively. You said de

0:21:37.760 --> 0:21:38.440
<v Speaker 1>Fassio did.

0:21:38.320 --> 0:21:38.800
<v Speaker 3>A good job.

0:21:38.960 --> 0:21:42.760
<v Speaker 4>He's amazing. I mean he and his heart was so

0:21:42.880 --> 0:21:46.080
<v Speaker 4>in the right place. But he was also dogged and

0:21:46.160 --> 0:21:48.840
<v Speaker 4>he held these folks accountable. And you know when you

0:21:48.880 --> 0:21:52.480
<v Speaker 4>see him in those congressional testimonies and chasing down every

0:21:52.520 --> 0:21:57.359
<v Speaker 4>single document and you know, putting this report together, which

0:21:57.680 --> 0:22:02.200
<v Speaker 4>took years in the making and is incredibly thorough. They

0:22:02.560 --> 0:22:05.800
<v Speaker 4>go after Bowing and they hold them accountable, and they're

0:22:06.000 --> 0:22:07.600
<v Speaker 4>continuing to go after Boeing.

0:22:08.160 --> 0:22:09.360
<v Speaker 5>So I think there are.

0:22:09.280 --> 0:22:12.880
<v Speaker 4>A lot of extraordinary heroes who are celebrated who are

0:22:12.880 --> 0:22:15.520
<v Speaker 4>really on the front lines of this, whether it's Defasio

0:22:16.240 --> 0:22:20.440
<v Speaker 4>or Michael Stumo, who's the father of Samuel Stumo who

0:22:20.520 --> 0:22:23.960
<v Speaker 4>died in the Ethiopian plane crash and turned from a

0:22:24.080 --> 0:22:27.840
<v Speaker 4>victim to really an advocate. And he I mean, I

0:22:27.920 --> 0:22:30.520
<v Speaker 4>just got off the phone with him yesterday and he

0:22:30.520 --> 0:22:33.160
<v Speaker 4>he's not giving up on this. I mean, Boeing's thrown

0:22:33.200 --> 0:22:35.400
<v Speaker 4>a lot of money at these families to get them

0:22:35.400 --> 0:22:39.680
<v Speaker 4>to be quiet, and he is not going to be silenced,

0:22:39.800 --> 0:22:43.240
<v Speaker 4>and he is continuing to you know, spread the message

0:22:43.280 --> 0:22:48.359
<v Speaker 4>that he has very continued concerns about the safety of

0:22:48.400 --> 0:22:52.119
<v Speaker 4>the seven thirty seven Acts, the seven eighty seven Dreamliner.

0:22:52.160 --> 0:22:55.880
<v Speaker 4>They just announced yesterday the FAA that I mean as

0:22:55.920 --> 0:22:58.119
<v Speaker 4>though this should be news, but that the FAA is

0:22:58.160 --> 0:23:02.120
<v Speaker 4>going to actually regulate bowing and not let Boeing regulations regulating.

0:23:03.280 --> 0:23:07.800
<v Speaker 1>So, you know, point to watch the film because that's

0:23:07.840 --> 0:23:11.160
<v Speaker 1>another interesting point about how when I was studying government

0:23:11.560 --> 0:23:14.119
<v Speaker 1>at GW in the seventies, when I went down to

0:23:14.200 --> 0:23:16.440
<v Speaker 1>Washington to go to school, and we talked about that,

0:23:16.520 --> 0:23:20.280
<v Speaker 1>and we talked about how, you know, departmentalization, how people

0:23:20.320 --> 0:23:23.520
<v Speaker 1>are in these departments, like presidents come and go. We're

0:23:23.560 --> 0:23:26.280
<v Speaker 1>here civil servants for twenty thirty years, and so here

0:23:26.320 --> 0:23:28.480
<v Speaker 1>at the FA we have our own relationships with eight

0:23:28.520 --> 0:23:32.120
<v Speaker 1>with airline companies, and they allowed Boeing to self regulate

0:23:32.520 --> 0:23:33.360
<v Speaker 1>and self inspect.

0:23:33.720 --> 0:23:36.320
<v Speaker 4>I do think you're right that there's they're not enough

0:23:36.320 --> 0:23:39.679
<v Speaker 4>people in government who are advocating. But I guess my

0:23:39.760 --> 0:23:43.159
<v Speaker 4>point is is that in this film, you show a

0:23:43.240 --> 0:23:47.119
<v Speaker 4>world where advocacy comes from a lot of different perspective.

0:23:47.160 --> 0:23:49.560
<v Speaker 4>It comes from the government officials doing the right thing

0:23:49.720 --> 0:23:52.639
<v Speaker 4>in this case, Defasio. It also comes from you know,

0:23:52.680 --> 0:23:56.080
<v Speaker 4>people who don't think of themselves as advocates but turn

0:23:56.240 --> 0:23:59.199
<v Speaker 4>into ad before it's as a result. And then you

0:23:59.240 --> 0:24:03.120
<v Speaker 4>know Andy p Store, who's a dogged journalist who chases

0:24:03.160 --> 0:24:05.720
<v Speaker 4>down the story and gets us the information. And it's

0:24:06.080 --> 0:24:10.199
<v Speaker 4>the combination of all of those people who come together,

0:24:10.720 --> 0:24:14.320
<v Speaker 4>and you know, the storytellers, right, So I'm not putting

0:24:14.320 --> 0:24:17.679
<v Speaker 4>myself in that category, but we also have to you know,

0:24:17.720 --> 0:24:22.520
<v Speaker 4>the Lucy Walkers and yourself, the people who are packaging

0:24:22.560 --> 0:24:25.600
<v Speaker 4>these stories and getting them out in the way this

0:24:25.720 --> 0:24:30.320
<v Speaker 4>audience digestible to an audience, and so that that translates

0:24:30.520 --> 0:24:33.639
<v Speaker 4>hopefully into creating a better world.

0:24:34.320 --> 0:24:38.360
<v Speaker 1>I'm curious for people to understand how documentary films come

0:24:38.400 --> 0:24:41.440
<v Speaker 1>to the screen. Bob Drew, he did the trip tick

0:24:41.840 --> 0:24:44.800
<v Speaker 1>primary about your uncle. I mean, one of the funniest

0:24:44.800 --> 0:24:46.439
<v Speaker 1>things in the world you've ever seen in your life,

0:24:46.800 --> 0:24:50.000
<v Speaker 1>Hubert Humphrey walking into like some barn with men sitting

0:24:50.040 --> 0:24:54.440
<v Speaker 1>on bails of hay, saying America, we know what it's

0:24:54.480 --> 0:24:57.040
<v Speaker 1>got to do. And then you cut to your uncle

0:24:57.080 --> 0:24:59.280
<v Speaker 1>walking with his wife in your room. For the people

0:24:59.280 --> 0:25:01.240
<v Speaker 1>and people are crying and screaming like it's a Beatles

0:25:01.280 --> 0:25:03.600
<v Speaker 1>concert or who's going to win the primary.

0:25:03.960 --> 0:25:06.399
<v Speaker 3>Who were your influences in your filmmaking.

0:25:06.520 --> 0:25:10.000
<v Speaker 4>Well, certainly Bob Drew was, I mean an extraordinary filmmaker.

0:25:10.800 --> 0:25:14.879
<v Speaker 4>Penny Baker was a huge influence on me as well.

0:25:15.440 --> 0:25:19.760
<v Speaker 4>Barbara Kopple, who you know. The first documentary feature I

0:25:19.800 --> 0:25:23.160
<v Speaker 4>made was American Hollow, which was about a family in

0:25:23.280 --> 0:25:27.679
<v Speaker 4>eastern Kentucky, and it was really an extraordinary story of

0:25:27.720 --> 0:25:30.440
<v Speaker 4>a woman who had thirteen kids and they all lived

0:25:30.440 --> 0:25:33.560
<v Speaker 4>off the land, and we kind of spent a year

0:25:33.600 --> 0:25:39.000
<v Speaker 4>with them. Certainly influenced by Barbara and her extraordinary work

0:25:39.560 --> 0:25:43.960
<v Speaker 4>in Kentucky and Appalachia. So, you know, I think those

0:25:44.080 --> 0:25:49.439
<v Speaker 4>early veritay filmmakers have huge influence on the world of

0:25:49.440 --> 0:25:52.959
<v Speaker 4>filmmaking today. And then they're just you know, there's just

0:25:53.000 --> 0:25:58.320
<v Speaker 4>a flew of incredible filmmakers who are colleagues of mine.

0:25:58.880 --> 0:26:01.480
<v Speaker 4>You know Lucy Wallerker you mentioned, I think she's a

0:26:01.520 --> 0:26:07.680
<v Speaker 4>fantastic filmmaker. My old partner Liz Garbis, is fantastic. Together

0:26:07.680 --> 0:26:09.800
<v Speaker 4>to the company, we're not still together as a company,

0:26:09.840 --> 0:26:13.560
<v Speaker 4>but we remain very good friends and advocates for each other.

0:26:15.440 --> 0:26:16.800
<v Speaker 5>Yeah, that's fantastic.

0:26:17.040 --> 0:26:21.160
<v Speaker 4>Yeah, gosh, your so knowledge well, Amy Berg is fantastic.

0:26:21.359 --> 0:26:21.520
<v Speaker 5>RJ.

0:26:21.680 --> 0:26:26.320
<v Speaker 4>Cutler, Davis Guggenheim. I mean there's just Don Porter. I

0:26:26.359 --> 0:26:30.919
<v Speaker 4>think that we're surrounded by really talented filmmakers, and I

0:26:30.960 --> 0:26:34.800
<v Speaker 4>think there's I think we've all also been influenced, you know.

0:26:34.880 --> 0:26:38.840
<v Speaker 4>I think this verite influence has impacted the kinds of

0:26:38.880 --> 0:26:41.679
<v Speaker 4>work that we do. But I think we're also influenced

0:26:41.720 --> 0:26:45.160
<v Speaker 4>by Hollywood and the films that we're seeing, the narrative

0:26:45.200 --> 0:26:50.960
<v Speaker 4>films and the dramatic storytelling, so that we're making films

0:26:51.040 --> 0:26:53.120
<v Speaker 4>that keep you a little bit more at the edge

0:26:53.119 --> 0:26:55.679
<v Speaker 4>of your seat of what's going to happen next, you know,

0:26:55.840 --> 0:26:59.040
<v Speaker 4>and really pull you into the characters and and and

0:26:59.080 --> 0:27:02.400
<v Speaker 4>to the plot, to you know, the storytelling. I think

0:27:02.440 --> 0:27:05.840
<v Speaker 4>it's very sophisticated these days. I think, you know, you

0:27:05.960 --> 0:27:09.080
<v Speaker 4>see it out in the world, and you know, when

0:27:09.119 --> 0:27:12.520
<v Speaker 4>you turn on your Netflix account, it's a mix up there.

0:27:12.720 --> 0:27:15.520
<v Speaker 4>It's not like, here's the narratives and then go down

0:27:15.680 --> 0:27:19.680
<v Speaker 4>deep into your Netflix account to find the documentaries. They're

0:27:19.760 --> 0:27:23.080
<v Speaker 4>up center, you know, because people are watching them and

0:27:23.240 --> 0:27:26.560
<v Speaker 4>there they're pulled in and I think it's.

0:27:26.440 --> 0:27:28.800
<v Speaker 5>Because they're really great storytellers.

0:27:31.560 --> 0:27:35.800
<v Speaker 1>Filmmaker Rory Kennedy, If you're enjoying this conversation, tell a

0:27:35.840 --> 0:27:38.919
<v Speaker 1>friend and be sure to follow Here's the Thing on

0:27:38.960 --> 0:27:43.640
<v Speaker 1>the iHeartRadio app, Spotify or wherever you get your podcasts.

0:27:44.080 --> 0:27:46.920
<v Speaker 1>When we come back, Rory Kennedy talks about the film

0:27:46.960 --> 0:27:49.200
<v Speaker 1>of hers that was the hardest for her to make.

0:28:00.320 --> 0:28:03.359
<v Speaker 1>I'm Alec Baldwin and you were listening to Here's the Thing.

0:28:04.119 --> 0:28:07.359
<v Speaker 1>The Kennedy family has made history, and most of that

0:28:07.640 --> 0:28:12.800
<v Speaker 1>while occupying a path from Hyanna Sport, Massachusetts, down to McLean, Virginia,

0:28:13.280 --> 0:28:17.199
<v Speaker 1>and yet Rory somehow landed in California.

0:28:17.440 --> 0:28:20.120
<v Speaker 4>Well, my husband Mark, as you know, as a screenwriter

0:28:20.480 --> 0:28:22.919
<v Speaker 4>and a writer, and he is also my partner in

0:28:23.080 --> 0:28:27.080
<v Speaker 4>writing documentaries, but he has other writing that draws him

0:28:27.080 --> 0:28:29.280
<v Speaker 4>out there. So we decided we'd go out there for

0:28:29.280 --> 0:28:32.399
<v Speaker 4>a couple of years because at that time, ten or

0:28:32.400 --> 0:28:36.080
<v Speaker 4>twelve years ago, the kind of independent film world was

0:28:36.240 --> 0:28:39.000
<v Speaker 4>fizzling out here in New York and was sort of

0:28:39.000 --> 0:28:40.240
<v Speaker 4>pivoting over the West Coast.

0:28:40.360 --> 0:28:42.040
<v Speaker 5>We fell in love with California.

0:28:42.280 --> 0:28:43.760
<v Speaker 3>Your brother moves that I talked to him on Find

0:28:43.760 --> 0:28:45.480
<v Speaker 3>I Go how do you look. He goes, it's great.

0:28:45.520 --> 0:28:48.200
<v Speaker 3>I go, oh god, no, no, I said.

0:28:48.000 --> 0:28:50.480
<v Speaker 5>Not you not, you come on out?

0:28:50.560 --> 0:28:52.440
<v Speaker 1>I said, you're you're going out there? I said, I

0:28:52.440 --> 0:28:55.160
<v Speaker 1>think Cheryl's great, but there's a lot of other women

0:28:55.160 --> 0:28:56.800
<v Speaker 1>out there for you, Bob. And he doesn't have to

0:28:56.840 --> 0:28:59.680
<v Speaker 1>be living out there in California, and he loves it.

0:29:00.440 --> 0:29:03.600
<v Speaker 5>He came out there with his EMU, his bird.

0:29:03.920 --> 0:29:06.440
<v Speaker 4>I remember he was trying to figure out a way

0:29:06.560 --> 0:29:08.960
<v Speaker 4>to get the bird out there, and I said, well,

0:29:09.080 --> 0:29:12.200
<v Speaker 4>you know, I maybe try Richard Plepler. He's got that

0:29:12.400 --> 0:29:15.480
<v Speaker 4>HBO plane. So he called Richard and he said, can

0:29:15.520 --> 0:29:17.760
<v Speaker 4>I bring my Can you take my bird out? But

0:29:17.800 --> 0:29:20.000
<v Speaker 4>he failed to mention that the bird was six feet

0:29:20.080 --> 0:29:24.840
<v Speaker 4>high and needed to go with Richard anyway.

0:29:24.560 --> 0:29:27.880
<v Speaker 5>So he said order the bird.

0:29:27.640 --> 0:29:30.400
<v Speaker 4>Came out and then Bobby didn't have a house for

0:29:30.440 --> 0:29:32.440
<v Speaker 4>the first couple of weeks, so the bird lived at

0:29:32.520 --> 0:29:36.239
<v Speaker 4>my house with Mark Nde blueberries and anyway. There are

0:29:36.280 --> 0:29:38.560
<v Speaker 4>lots of stories to tell about Toby the bird.

0:29:38.760 --> 0:29:40.760
<v Speaker 3>And he loves California no too, Yeah.

0:29:41.200 --> 0:29:43.040
<v Speaker 5>Yeah, he loves he loves it out there.

0:29:43.520 --> 0:29:46.480
<v Speaker 1>Now, you did the movie about your mom, and of

0:29:46.600 --> 0:29:49.320
<v Speaker 1>course you make a little joke there, But how difficult

0:29:49.320 --> 0:29:50.600
<v Speaker 1>it was to recruit your mom?

0:29:51.040 --> 0:29:52.480
<v Speaker 4>Yes, she.

0:29:56.000 --> 0:29:58.880
<v Speaker 1>Was not, she was not a willing subject to be filmed. No,

0:29:59.120 --> 0:30:00.480
<v Speaker 1>but eventually she's set down.

0:30:00.600 --> 0:30:04.640
<v Speaker 4>My siblings were very difficult too, by the way. Really well, yes,

0:30:04.800 --> 0:30:06.560
<v Speaker 4>they just didn't make it easy.

0:30:06.880 --> 0:30:07.520
<v Speaker 3>They're busy.

0:30:07.600 --> 0:30:10.320
<v Speaker 4>Yeah, No, they just wanted to make it difficult for me,

0:30:10.360 --> 0:30:12.760
<v Speaker 4>because why would it Why would they make it easy

0:30:12.760 --> 0:30:15.320
<v Speaker 4>when they don't have to know? They were all fantastic,

0:30:15.440 --> 0:30:18.840
<v Speaker 4>and including my mother, and they they did answer ultimately

0:30:18.920 --> 0:30:21.360
<v Speaker 4>all the questions I asked them. And my mother, I

0:30:21.440 --> 0:30:24.480
<v Speaker 4>was just with her yesterday I played backham and with her,

0:30:24.880 --> 0:30:27.440
<v Speaker 4>and I mean I was just I was winning the

0:30:27.560 --> 0:30:31.520
<v Speaker 4>whole game. My dice were so much better. I played brilliantly,

0:30:32.120 --> 0:30:34.840
<v Speaker 4>and then she beat me again. She's ninety four. I

0:30:34.880 --> 0:30:37.680
<v Speaker 4>cannot beat that woman playing backham and I'm not a

0:30:37.720 --> 0:30:38.760
<v Speaker 4>bad vackham and player.

0:30:38.920 --> 0:30:39.680
<v Speaker 3>I love that. I love that.

0:30:39.680 --> 0:30:41.959
<v Speaker 1>Your mother also, And you know this infly better than

0:30:41.960 --> 0:30:44.840
<v Speaker 1>I do. She just in her own wonderful way and

0:30:44.880 --> 0:30:47.640
<v Speaker 1>in a truly in a truly marvelous way, she just

0:30:47.680 --> 0:30:50.640
<v Speaker 1>doesn't suffer fools at all. And we're playing golf up

0:30:50.680 --> 0:30:52.920
<v Speaker 1>there at the golf tournament, and she says to me,

0:30:53.080 --> 0:30:54.680
<v Speaker 1>coming golf with me. You're you're gonna be with me,

0:30:54.720 --> 0:30:56.040
<v Speaker 1>and you're gonna be with Frank and so and so

0:30:56.080 --> 0:30:57.960
<v Speaker 1>and so. And I go, I said, I beg your pardon.

0:30:57.960 --> 0:31:00.280
<v Speaker 1>I said, you have to really understand it's important. Could

0:31:00.280 --> 0:31:02.680
<v Speaker 1>this I've crossed this with this juncture before, I said,

0:31:02.720 --> 0:31:03.680
<v Speaker 1>I'm a miserable golfer.

0:31:03.840 --> 0:31:05.400
<v Speaker 3>Oh, of course you can hit a golf ball. Come on,

0:31:05.440 --> 0:31:05.760
<v Speaker 3>come on you.

0:31:06.040 --> 0:31:07.880
<v Speaker 1>I said, no, no, I don't think you really understand. I

0:31:07.920 --> 0:31:10.840
<v Speaker 1>need you desperately to listen to carefully what I'm saying. No, no, no, no, no,

0:31:11.000 --> 0:31:12.800
<v Speaker 1>please with this is non sets. Come on, you're to

0:31:12.800 --> 0:31:14.400
<v Speaker 1>come with me. You're gonna play with me and Frank

0:31:14.480 --> 0:31:17.520
<v Speaker 1>and I. As is always the case, I am scared

0:31:17.560 --> 0:31:19.160
<v Speaker 1>to do so. I do fairly well. I can drive

0:31:19.200 --> 0:31:21.920
<v Speaker 1>the ball. I could I get lucky with the irons.

0:31:21.920 --> 0:31:23.840
<v Speaker 1>I can put I can drive iron some terrible We

0:31:23.880 --> 0:31:25.200
<v Speaker 1>get to the second of me the third hold your

0:31:25.200 --> 0:31:27.720
<v Speaker 1>other t She goes, you're right, you really can golf?

0:31:27.760 --> 0:31:28.040
<v Speaker 1>Can you?

0:31:28.680 --> 0:31:30.080
<v Speaker 5>Did you shake you off your tea?

0:31:31.920 --> 0:31:32.080
<v Speaker 4>Get?

0:31:32.120 --> 0:31:32.959
<v Speaker 3>Could we get lou in here?

0:31:33.080 --> 0:31:33.320
<v Speaker 4>Someone?

0:31:33.520 --> 0:31:35.480
<v Speaker 3>Where's the ringer that was following us to fill in

0:31:35.480 --> 0:31:35.720
<v Speaker 3>for me.

0:31:36.000 --> 0:31:39.040
<v Speaker 1>Now, one thing I noticed when I worked with the

0:31:39.080 --> 0:31:41.960
<v Speaker 1>Kunstler sisters who did disturbing in the Universe about their father,

0:31:42.000 --> 0:31:45.160
<v Speaker 1>William Kunstler, And when I was talking to them, it

0:31:45.280 --> 0:31:47.680
<v Speaker 1>was I kind of knew this, but it was brought

0:31:47.720 --> 0:31:49.120
<v Speaker 1>into sharper focus from me.

0:31:49.680 --> 0:31:50.320
<v Speaker 3>The cost.

0:31:51.080 --> 0:31:52.680
<v Speaker 1>I mean, they told me that they were trying to

0:31:52.720 --> 0:31:55.240
<v Speaker 1>retire a debt of like forty thousand, fifty thousand dollars

0:31:55.280 --> 0:31:57.640
<v Speaker 1>of debt they owed for archival footage from NBC and

0:31:57.680 --> 0:32:00.959
<v Speaker 1>other network news organizations. Is that true for you as well?

0:32:01.040 --> 0:32:03.240
<v Speaker 1>Meaning do you find these costs or just I mean,

0:32:03.240 --> 0:32:06.080
<v Speaker 1>because I have one belief that old network news organizations

0:32:06.200 --> 0:32:09.320
<v Speaker 1>the material should be made free under fair use.

0:32:09.400 --> 0:32:10.560
<v Speaker 3>These are public airways.

0:32:11.480 --> 0:32:13.080
<v Speaker 5>Yeah, well it is.

0:32:13.280 --> 0:32:17.719
<v Speaker 4>It can be astronomical the cost associated with archive. I mean,

0:32:17.760 --> 0:32:20.400
<v Speaker 4>we're lucky enough with this film that it was. It

0:32:20.440 --> 0:32:23.960
<v Speaker 4>was fully financed by Netflix, who covered those costs for us,

0:32:23.720 --> 0:32:26.840
<v Speaker 4>so we're not dead on it. But it can really

0:32:26.880 --> 0:32:30.720
<v Speaker 4>make or break a lot of terrific documentaries out there.

0:32:31.000 --> 0:32:34.560
<v Speaker 4>I think more people are leaning into fair use, but

0:32:34.760 --> 0:32:38.760
<v Speaker 4>there has been a few instances of backlash against that

0:32:39.320 --> 0:32:43.239
<v Speaker 4>where people chase them down and demand being paid you know,

0:32:43.520 --> 0:32:47.640
<v Speaker 4>particularly for these historical documentaries, it's a real cost.

0:32:48.160 --> 0:32:53.280
<v Speaker 1>It's like people who when I was working more consistently

0:32:54.200 --> 0:32:56.960
<v Speaker 1>on the issue of campaign financial form with creative coalition

0:32:57.360 --> 0:33:00.239
<v Speaker 1>organizations I worked with years ago in the ninety is,

0:33:00.440 --> 0:33:03.800
<v Speaker 1>from disparate sources, we learned that one of the great

0:33:03.960 --> 0:33:07.280
<v Speaker 1>enemies of campaign finance reform is the National Association of

0:33:07.280 --> 0:33:11.800
<v Speaker 1>Broadcasters because these affiliates in the network TV world. Someone

0:33:11.800 --> 0:33:13.680
<v Speaker 1>said to me there are stations in this country that

0:33:13.760 --> 0:33:17.280
<v Speaker 1>make seventy percent of their annual budget during one election cycle, right,

0:33:17.320 --> 0:33:20.080
<v Speaker 1>and selling political advertising. They do not want to take

0:33:20.120 --> 0:33:23.600
<v Speaker 1>the money out of politics, and the NAB, the National

0:33:23.640 --> 0:33:26.840
<v Speaker 1>Association BOK is constantly finding campaign finance law changes.

0:33:27.040 --> 0:33:27.240
<v Speaker 3>Yeah.

0:33:27.280 --> 0:33:29.520
<v Speaker 4>Well, listen, I so appreciate your work in that air

0:33:29.760 --> 0:33:33.200
<v Speaker 4>area too, because I think, you know, when just circling

0:33:33.240 --> 0:33:35.960
<v Speaker 4>back to your point about you know, who are these

0:33:36.040 --> 0:33:40.000
<v Speaker 4>leaders now like Defasio who are advocating for us. I

0:33:40.040 --> 0:33:43.200
<v Speaker 4>think it's it's hard, given the system that we have

0:33:43.880 --> 0:33:48.400
<v Speaker 4>to really produce and encourage people who are in it

0:33:48.800 --> 0:33:51.880
<v Speaker 4>exclusively for the public interest, right, I mean, that's those

0:33:51.880 --> 0:33:53.680
<v Speaker 4>are the types of people who you want to be

0:33:53.800 --> 0:33:57.680
<v Speaker 4>driven to politics, as people who are going to make

0:33:57.680 --> 0:34:00.960
<v Speaker 4>the world a better place, but instead they're often driven

0:34:00.960 --> 0:34:04.560
<v Speaker 4>there because of money, and that's not really the reason

0:34:04.640 --> 0:34:08.480
<v Speaker 4>you want people ultimately in that position. So I think

0:34:08.560 --> 0:34:11.520
<v Speaker 4>there's a lot still to be done, obviously with campaign

0:34:11.560 --> 0:34:13.000
<v Speaker 4>finance reform in this country.

0:34:13.840 --> 0:34:16.160
<v Speaker 1>Which film for you was the most difficult to put

0:34:16.160 --> 0:34:18.759
<v Speaker 1>together as a film? What was the biggest challenge?

0:34:19.360 --> 0:34:22.680
<v Speaker 4>Well, I think the hardest one for me was ethel

0:34:23.520 --> 0:34:25.560
<v Speaker 4>you know, the stakes were so high and it was

0:34:25.640 --> 0:34:29.400
<v Speaker 4>so deeply personal. You know, I had to look through

0:34:29.719 --> 0:34:32.680
<v Speaker 4>lots of footage. We're talking about archive footage, you know,

0:34:32.760 --> 0:34:36.920
<v Speaker 4>some of which was extraordinary and beautiful and so fun

0:34:37.000 --> 0:34:40.440
<v Speaker 4>to see and just you know, gave me a depth

0:34:40.480 --> 0:34:44.560
<v Speaker 4>of understanding of my family and my father, who I

0:34:44.600 --> 0:34:48.040
<v Speaker 4>never met, you know, just watching him in this footage

0:34:48.040 --> 0:34:50.680
<v Speaker 4>and a lot of footage has never been seen before

0:34:51.400 --> 0:34:54.799
<v Speaker 4>was a really beautiful experience for me. But it was

0:34:54.880 --> 0:35:00.319
<v Speaker 4>also emotionally challenging and difficult, and I you know, I

0:35:00.360 --> 0:35:03.920
<v Speaker 4>wanted to ultimately make a film that showed, you know,

0:35:04.000 --> 0:35:08.120
<v Speaker 4>the challenges and the difficulties that my mother in particular

0:35:08.400 --> 0:35:09.320
<v Speaker 4>went through and.

0:35:09.200 --> 0:35:11.640
<v Speaker 5>Faced, but also.

0:35:12.840 --> 0:35:16.160
<v Speaker 4>You know, to celebrate her because I think that for

0:35:16.239 --> 0:35:19.279
<v Speaker 4>so many people in our family with they focus on

0:35:19.360 --> 0:35:23.120
<v Speaker 4>Robert Kennedy, John F. Kennedy, Teddy Kennedy, but there's not

0:35:23.239 --> 0:35:26.560
<v Speaker 4>as much focus on the women, right and there. You know,

0:35:26.680 --> 0:35:30.600
<v Speaker 4>my aunt units started the Special Olympic. She's contributed enormously,

0:35:31.320 --> 0:35:33.800
<v Speaker 4>but she hasn't quite gotten that same level of attention

0:35:33.920 --> 0:35:36.399
<v Speaker 4>and Nora has my mother and so many people when

0:35:36.400 --> 0:35:40.040
<v Speaker 4>they introduce me, they say, oh, this is Robert Kennedy's daughter,

0:35:40.120 --> 0:35:43.440
<v Speaker 4>and I'm like, well, my mother actually raised me, and

0:35:43.520 --> 0:35:45.600
<v Speaker 4>you know, she played a pretty big part in like

0:35:46.360 --> 0:35:49.560
<v Speaker 4>who I am. So part of it was like, I

0:35:49.640 --> 0:35:53.920
<v Speaker 4>think she deserves the spotlight at least for a moment, like,

0:35:54.040 --> 0:35:57.120
<v Speaker 4>at least to be understood, Yeah, and to help people

0:35:57.200 --> 0:36:01.080
<v Speaker 4>understand her contribution because she was also her nature was

0:36:01.080 --> 0:36:04.560
<v Speaker 4>to kind of stand behind and not you know, be

0:36:04.640 --> 0:36:06.560
<v Speaker 4>the one on the microphone and be the one sort

0:36:06.600 --> 0:36:09.680
<v Speaker 4>of at the front line. So anyway, I think just

0:36:09.719 --> 0:36:12.560
<v Speaker 4>for me personally, the stakes were higher on that one

0:36:12.840 --> 0:36:15.160
<v Speaker 4>and it was more challenging for me.

0:36:15.680 --> 0:36:16.640
<v Speaker 3>What are you working on next?

0:36:17.920 --> 0:36:21.040
<v Speaker 4>I'm working on a couple projects. I've got another film

0:36:21.080 --> 0:36:25.879
<v Speaker 4>with Netflix that is about a volcanic eruption that I'm

0:36:26.040 --> 0:36:28.560
<v Speaker 4>doing right now. And then I've got a film about

0:36:28.560 --> 0:36:33.120
<v Speaker 4>the global refugee crisis that's a big light. Yes, these

0:36:33.160 --> 0:36:35.439
<v Speaker 4>are the main ones I'm focused on, and I'm very

0:36:35.440 --> 0:36:38.120
<v Speaker 4>excited to, you know, have this film coming out on

0:36:38.200 --> 0:36:42.960
<v Speaker 4>Netflix and committed to getting as many eyes on it

0:36:43.000 --> 0:36:43.640
<v Speaker 4>as possible.

0:36:44.239 --> 0:36:47.279
<v Speaker 1>Now, Last Days of Vietnam was in twenty fourteen. How

0:36:47.320 --> 0:36:50.040
<v Speaker 1>many of these films Ethel was in twenty twelve. I

0:36:50.080 --> 0:36:50.640
<v Speaker 1>can't believe that.

0:36:51.080 --> 0:36:53.319
<v Speaker 3>But of these last films, have most of them been

0:36:53.440 --> 0:36:54.160
<v Speaker 3>with Netflix?

0:36:55.120 --> 0:36:57.960
<v Speaker 4>Now, this is my first film that I've directed with Netflix.

0:36:58.560 --> 0:37:02.000
<v Speaker 4>Last Is was with PBF, a Etho was with HBO,

0:37:02.680 --> 0:37:05.600
<v Speaker 4>did a film about Naso with the Discovery Channel.

0:37:06.040 --> 0:37:06.600
<v Speaker 5>Let me just.

0:37:06.600 --> 0:37:10.120
<v Speaker 4>Say, Alec that I have such an admiration and respect

0:37:10.120 --> 0:37:14.360
<v Speaker 4>for you. You're such a talented artist, and you've always

0:37:14.360 --> 0:37:18.680
<v Speaker 4>committed yourself to making the world a better place, and

0:37:19.000 --> 0:37:23.400
<v Speaker 4>you have such a love for people and a heart

0:37:23.440 --> 0:37:27.120
<v Speaker 4>that is more open and more generous than anybody I know.

0:37:27.880 --> 0:37:31.560
<v Speaker 4>And I just have such deep admiration.

0:37:31.080 --> 0:37:31.759
<v Speaker 5>And respect for you.

0:37:32.120 --> 0:37:32.799
<v Speaker 3>I love for your mom.

0:37:32.920 --> 0:37:33.080
<v Speaker 4>II.

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<v Speaker 5>Will you take care?

0:37:33.960 --> 0:37:34.319
<v Speaker 4>Thank you.

0:37:38.200 --> 0:37:39.040
<v Speaker 3>Rory Kennedy.

0:37:39.840 --> 0:37:44.080
<v Speaker 1>Her documentary Downfall, The Case against Boeing, is available now

0:37:44.520 --> 0:37:49.680
<v Speaker 1>on Netflix. This episode was produced by Kathleen Russo, Zach MacNeice,

0:37:49.680 --> 0:37:53.520
<v Speaker 1>and Maureen Hobin. Our engineer is Frank Imperio. Here's the

0:37:53.520 --> 0:38:11.839
<v Speaker 1>thing that is brought to you by iHeart Radio