Ise Lyfe, Khalil Kain: "Future Technologies & Theater: Agnus" | Talks at Google

Ise Lyfe, Khalil Kain:

Show Video

I'm. An advocate for social, justice I believe that all people deserve adequate, food, shelter, and clothing and. We. Are excited about this play that that, we put together and, today, I want to talk, a little about about the play the themes of the play how we got to the point and, then here bring up some great folks to help us keep moving through it we have this cool way that we get through the slides it's very magical, I say clap you clap one time and a slides change it's pretty amazing so we'll test I'll go clap and, just like that it changes it's very magical one more time clap core. Just like that so first thing is um I want I want all of you I know it's. Midday but, I want you to think of any number between one and ten don't say it out loud just thinking in your head think of any number between one and two cool. Got, it okay. Now do something it doesn't matter add. 3, to that number. Cool. Now. Do something crazy it doesn't matter, add. Two. Cool. Now. Do something, else crazy doesn't matter subtract. The first number you pick so check the first number you picked. With. Me good, good okay now do. You want to add or subtract next. Cool. Add so I want you to. Add. Two. Cool. Think. Really, hard the number you have left over just thinking. Cool. Okay. It makes it worse when you clap for it. So. Over, time you have seven you have seven left over you have some look around the room we have seven you don't have seven it's it's, okay, you. Should though. I. Like, to share with you how how we did it is that cool okay cool now I also want to say this is the first time in, like, five years of me doing this that anyone has ever said subtract, let, alone a whole room which. Which. Says something interesting about where we are it's a really great thing okay so uh let's. Go to the next slide so that's. This is a non gender-specific, stick, figure it's but it is this is you cool, so this is you and what, did I ask you to do I. Just. Pick a number that's true that's number you pick then I told, you to add three and you did that say okay you added three and then I say okay now do something crazy you know add, two and then I said. Subtract. The first number you picked. Remove. Yourself, from the situation. Now. I know the whole room is holding five, because. All you have left is, when. I gave you and, then. I start with the illusion what do you want to add or subtract next and normally, people, they. Add they say add because. Adding, is easier so I say add to go ahead and of course you all have this of course the next slide it's seven seven is leftover this is a mathematical poem, that we build to say that, if I remove. You from equation. I can make you whatever I want to make you and. Agnes. Begins. To address this thing. Our. Piece, takes place 30 years in the future and. Explores. In 2047. What. The notion of being an individual, will look like what. Is the future of tech what is the future of privacy. And politics. All around. This high-stakes crime drama that we've built as, I said in the year twenty forty seven also, when. We think about, different. Communities. We, know what it's like in different parts of the country where, a certain area is called oh that area or those people are at risk or. Underprivileged. You know or. The. President. Talks about the. Nation's. That people come from as different types of holes you know and that's a way, of taking, away who where people are and then labeling, them with whatever you want to give them so when. We started building out this piece the first thing that that, I did, way back in 2012, I started seeing all these mass shootings were occurring more, so and, hearing the news more and more and more and I began just logging, these things I started logging all of these different shootings and it was like every other week on the news there, was this mass shooting and then as I looked into him there were ones that were happening that we're not happening, on the news and I began to really think, about, one.

How Horrible, and how tragic. This was but, then I started to see a reoccurring, theme in this that I want to address so at the end of 2012 there's a total of 78 murders, that were connected, with things that were designated, as, mass. Shootings. Next. Slide and. Then, there was this interesting kind of framing. That. The, the the the kind of pacing that kept going on is that they would say okay, we don't know what's happened and then. They'd go. Okay. A shooting, has happened and there'd be speculation, around why the shooting was happening and then immediate the camera immediately the conversation went to a conversation about the, person's mental health are. They, crazy are, they, crazy in what country they're from and, and. There also seems to be this delineation, that if if. A the, the brown or a person was the, more likely it, started, going towards leaning towards are they, a terrorist, the, lighter a wider person, was it went to is a person, crazy. But. What was, nailing. Every, time right away was this other ring there, was this immediate thing when someone is committing something like this like an impulse to go. There, not us there there's someone else there's some other thing and and. Then, there was these. Pictures, and these photos, that I saw being, commonplace, the. One. Case that we looked at and really spent a lot of. Time breaking down was the case of the. Unabomber. The. Unabomber went, to Harvard in fact he was admitted to Harvard when he was 15 years old, a. Lot. Of people don't know this he went to UC, Berkeley in California and, where, he got his doctorate and, after. Becoming disgruntled, there he moves into he, moves, out into the middle of nowhere in a cabin and with no heat electricity, running water he begins building, bombs, and coming, terrorists act for, years, he. Was one of the first people that the FBI considered, to be uncatchable. Like. Verbalizing. That they didn't know how they could catch him, he. Writes a manifesto. And he, he threatens, that if that, if the New York Times and Washington Post doesn't, publish this manifesto, that. More. People are going to be hurt, and it was published and, in. It he starts talking about he and, you know he has these crazy sick things that he's doing and then, he starts talking about technology. And a threat of Technology in that if we don't stop the environment, is gonna be impacted and that people sitting around tables families, are not gonna talk to one another and, Diskin, he starts talking about these these, things about how technology, can negatively impact the, world and of course he's, doing these horrendous, things and committing these horrendous crimes, his. Sister-in-law. Notices. A line in the published manifesto, of language, that he uses and goes. Hmm and. His. Family makes a hard decision and they they contact, that fiancee I think that my brother may, be the Unabomber and he. Was caught but, before he was caught, media. And news outlets and the Academy professors, researchers, we're talking about this man he's he's a terrorist, but, he's brilliant. And there's all this intrigue around him and. Then. They pulled him out of the cabin and, when. They pulled him out of the cabin he didn't look like this kind of H&M model ad thing in the middle here you know he, he, looked as we know him and right. Away. He's. Crazy. His. Psych evaluation. After terrorizing. This country for over a decade was. Five days long. He. Was, he. Was labeled crazy he didn't have a for trial by his decision and he was sentenced to life in prison, our peace deals with also. Of course and what he was doing is crazy and and horrendous but it deals with the, physicality, I was asked to point out like what's up with my. Hair and, you're. Gonna see pictures of Agnes. And a little bit that we'll get, into that next likely. Recently. In, Vegas. Of course tragically, less, than a year ago I was in Vegas III, called the co-rider right away because, I saw that, this I I. Saw. This horrible shooting that happened in Vegas and because I didn't know anything they pulled up at FBI wanted, ad from his father and started, having a conversation was his father was, said to be psychotic, and again.

That Was really interesting not because we're like oh don't, call these people who are doing things crazy crazy, part, of our concern is, does. It prevent, these things from happening when, our leading, action. Is to. Just cause someone crazy and lock them up and we, see this in different areas, of crime in this country we've, seen for years when, there's root causes to, violence. In inner-city communities, look at all those, folks it's not crazy it's like oh they're, gang members or oh they're, thugs and we're gonna lock them up and that's gonna end crime and of course that. Doesn't play out well and now. When we see this the the the spike, in these mass shootings that are being, you. Know predominantly. Occurring. By, white, males the, conversation, is like oh they're crazy and there's no conversation about what is the root cause of what's going on with, these young men and men that lead to a inability. To deal with their frustrations, and then lash out in these horrendous ways next slide so, I was, trying to figure out how I was gonna build this piece what, I was gonna do and I. Thought. Of who I could contact, that, had, some type of insight, or was, building, and writing, about the future writing about technology, engaging. In different conversations, and we started building about it right away this happened over the course of. Two. Years that, we built, around this play to figure out how we, could do something that was compelling and and. And build out something, that was honest, and produced, it here in New York we went to every talk, and conversation and forum about the, way that technology impacts. The workplace, the way the technology impacts. Our environment. And the food we eat we saw amazing forums, like the glass room here in New York I don't know if anyone saw that but it was a. Sew-in. Building agnus, we. Knew that Agnes had to look different. He. Had to not be on the grid he. Had to have some, critique. Of government, we, wanted to make sure that he had a ferocious intellect, and in building of this character, he was scarred and he was also accused, of a crime and that will create all the elements that we needed to. Portray. Something that would invoke, in the audience, the feelings, that we have about wrongdoers. In this, country and the biases, next slide please and. Agnes. Was created, in this and, this is me after two and a half hours of a makeup, tech we're, excited to show you some other behind the scene photos that just came in as we began loading, in the, tech next slide.

So. We knew, that we, want to depict where we might be headed to inspire a vision for change so, I do a lot of work inside, of institutions, but whether it's in the Academy or in prisons it's really interesting seeing, the. Way that prisons, are being built, that the, way the prisons are being monetized, the, the. Streamlining, of building, out and anticipating. Budgets. Based on crime. Rates in the way that they're privatizing. Prisons, and it's funny when we started building this set current showed me a very interesting thing this morning, Carmel. Is. Current. Does all this and. Current. Was the the first person to help us kind of conceived the project as. Far as what it would look like visually. And two cars credit this is this is our initial sketch and all of you I want you to be inspired when you see what this turned into you. Know you try to dream from anywhere because it really got somewhere with this. Next. Slide Agnes. In the play he's an odd man in both appearance and personality he's, volatile, he's being accused of killing the governor of California. In the year 20:47. Next. Slide. One. Thing that we're really proud of is that along with our play engaging these issues on the stage and we'll talk about this a little more with, our moderator we're engaged in community organizations here, in New York City that are actually doing on the ground work to build, a better future for us and not by giving them free tickets to our play but, by saying hey when we're not in this theater this theater is yours for you to do specialized, events, and we'll talk about that a little bit more so, we want to share that so. These. Are taken, from our stage work and. We. Have an incredible design team that has has helped out with with building, out this, futuristic prison, and what it can look like we want to share some of these images with you next slide, we. Have an amazing, cast an, incredible. Cast, that's helping us bring the story forward and as we roll into the thing we have other slides of just what this is in lighting tech so this isn't even the official kind of final makeup tech on Agnes, but one thing is really interesting about the processes, as we're having a test like lights. And bring forward this this futuristic, thing working with different paste and tones to to, get to look really right but all of this was to address that theme in the next slide please of, Agnes looking different you can just roll through these currents and. Our. Whole set is projected, live here this is really great this is the, because. As we move past papers, and pens 30 years into the future ways, it onstage that we can depict the future of what our devices, will look like and. Of, course this is the type of stuff that you all are billing in this form and as we wrap up go ahead, see, what's left Khalil, will be joining us shortly we just have the coolest, kind of vibe and an team, bringing this story forward next slide. Once. Your note we of course will have you come see the play please come see the play we're right off Broadway we're. Just two blocks from Times Square and as we close out, we're. Looking forward to the conversation we're gonna have with you and answering any questions thank you very much thank you. Cool. And so I would like to invite up two people first I want to invite up it was clear this, is clear else clear is great. Collaborated with us for Agnes and responsible, for helping us bring, in our the. Community, organization that were working with she's deputy director, at Northstar, foundation, we're really excited that she's here with us and Khalil. Cane is an actor, in our place piece please welcome Khalil cane and he'll screw you. Hello. Everyone. Thank, you for having us. Hello. Khalil. Hello ice I'm. Going to. Moderate. A brief conversation and. Then we'll open it up to questions okay. Khalil, if he looks familiar to, you it's because, you've. Seen him in the seminal work juice. Starring. Tupac Shakur and it's. A very special day because today is, the it. Opened, 26. Years ago to the dates, so. We're really excited to have him here we. Just heard from ice I wanted, to ask Khalil. Me why, this work. Is, important. To you personally. I got. Sinned I got sent, to play I took a look at it right now I don't know from an artistic, standpoint, I feel like if we're, not doing something that's making some sort of impact. Politically. Societally. What. Are we doing actually, there's, a there's, a responsibility. For, imagery, for. For what we're putting forward and as, soon as I read the play I was like wow. Okay. This is really, it. Has a point of view you may agree with it you may not but, it definitively, has a point, of view I was.

Intrigued, Right away so, I've met actually. Met here with, Matt and ice, and and, we discussed, the project I know. What I read I wanted to get a sense of. Actually. What, ice. And Matt had to say concerning, this position. I. Think the play is really intimate. It's. Powerful. If you, come see the piece the. Theater you're gonna you're gonna feel like you're in the room when Agnes. It's, a little chilling, but, I, knew. I was going to be a part of something that. Was, making a statement and, that's kind of where I'm at right now as an artist so I was like excited, to get to work and we've been working hard so, I'm, excited for y'all to cut anybody who comes sees the play please. Come join us, yeah opens. Tomorrow yeah, so. Ice. I, heard. What you said and and, what, you said about about art, that makes a statement about something, you. Wanted to bring community. Organizations, to the piece and something, that you said that really resonated, with me I'm, a fundraiser. For social, justice movements. Around, affordable housing, police accountability. LGBTQ. Rights immigrant, rights food justice etc I. Wanted. To bring a piece of art that was accountable. To the community so. With this piece that you wrote along with Matt Werner can you share with me just. Speak, more on that about being accountable to the community well. I think that, part. Of what. What. Agnes is about - is that they're in, the in that whole other thing that we have conversations, around like, these, communities, and in those communities, and I think that in that there's a an, inadvertent. Kind, of. Sidestepping. Of people. Particularly who come from spaces that we don't understand or that we don't know about you know and so, we wanted to write a play in a piece, that. Made. The audience be confronted, with that and, our, piece doesn't really give a way to escape from the fact that we have ideas and notions about people. Or, that. We have comfort, zones that we rather kind of stay in and so, in the writing of the piece we we, wanted to be accountable, to folks who are other. Do you, know for, various reasons whether it's because they're incarcerated the way the Agnes is whether, it's because they look the way they look, a certain way and then, in our production of the piece and inviting organizations, out we felt like you. Know there's, this common thing in the arts particularly in theater arts where, people kind of go and they have like a, alternative. Experience. And then they go this is informing, my work, and then, they go and then they write a work and they present it to people who don't come from the experience, that inspired the. Play in the first place and doesn't. Even really nod to them and so by having people be able to come into the theater be invited, in the theater be incorporated, in our storyline and our plot was was our way of being accountable, to that I have. To say doing, this work we've been in rehearsal, the last two weeks even before that even, just digesting, the play being.

Part. Of that. Other. Can. Be painful so, a lot. Of times it's easier, to sort of lean, away from it as opposed to lean into, it and doing. This work has helped me sort. Of, identify. And and. Sort. Of hug my other nests by, being able to identify with, Agnes a little, more and understand. That this is happening now, it. Was happening before and the way we frame it in the play it will be happening in the future if we don't change. Something. I. Just. Want to share with you briefly a few of the organizations, who will be using the space that I send. Matt so generously, offered, to the community organizations, black. Trans media is an organization, that is shifting, folks, image of what it is to be black and trans black. Lives matter week of action they're launching, their week of action at the space and. They're bringing the values of black lives matter into the schools and also, just, leadership we'll have an event at view, at the space and just leadership, their mission, is to decrease, the amount of, incarcerated. People by 50 percent by 2030, and there, are many more organizations, using the space and those. Are just a few, so. Ice tell. Me when, you created. This piece with Matt what. Is your, biggest hope. And your biggest vision, for. The work. My. Biggest hope and vision for the work is that people who are responsible. For building. The future that are building, what, the rest of the what what. The world will look like in 30 years are, doing, it from a holistic space. My. Firm does this this project with the Science Center and and NASA and, I was really excited about that and, in. One. Of the talks from one of the astronauts has been to the space station twice he, says yeah in 50, years, there'll be commercial, mining in outer space and, the. Room went whoa and then I went whoa and I went whoa. So. That means that we're going to the Stars let's, get this money. And. I smiled, about that I was like well it's interesting you know and I think that those. Of us that are, whether, we're building tech or building political spheres, or building art that. Were inspired to go 30, years in 30 years I'll be 65 years old you, know how old will you be in 30 years, I'm. Asking you know. You here at the classic yes yeah. Yeah. That's a wild thing to think about like we thought we had this futuristic play, and. We'll. Be here you. Know and and I hope that that we vote, that thinking in people. One. Of the things that really in. Trade me about this piece is hearing, about how I. Conceived. Of it can, you tell the audience about your experience, sitting in the LA courthouse watching. Arraignment, after arraignment and how that impacted, you one.

Thing That was interesting about, when. When I started building out the piece and thinking about I said I'm gonna go to, two courtrooms and watch. You. Know how it's done now so I can think about what its gonna look like in the future I live in downtown Los Angeles I went to the courthouse right there people of all different races, and backgrounds coming, in and dealing with whether, its families or people who and I, started, seeing the families but I noticed I wasn't seeing any. Any. Of the people who were being accused of crimes in person, they, were doing live feeds from a county jail or raining. People and so. Even, like a jury is looking at people. Not, face-to-face not. Not there but, through, a live feed of course. It takes the human piece. And. There's that there's a disconnect in it and I'm, sitting here thinking like while we're building this piece, about the fusions I was a business. Having right now, like. Right now you know, we're like the, the, judge stands, and. Then a woman. That's being accused of a crime in, and, she's she's in a room she she. Stands in the room I saw, this and I go whoa you, know and that that, was heavy to me and the other thing that was very interesting to me in this story should be told a million times is how many people who are not connected with the case at all they're not interning, they're not taking notes they're not building a play. Concerned. Community, members who believe in democracy and, peace that, just come and just watch, and are. Concerned, and that blew, me away to that that's an untold story that there's people who really go, you, know I saw people who want to be like in like, will get jury duty, right and and. They. Like want to be a part of the process and when you talk to us on I want to lock somebody because I want to make sure somebody gets a fair fair, shot and that, way and I learned from watching that you know so I think that. In. Wrapping, up my answer to you I think another thing is that when we talk about the, future whenever, we talk about the past it's always my style, for those days and, every. Book play a movie, about the future is like dawn. What. Is it about the future that. Scares. Us too, that when we write about it or think about it it's like whoa and, I think part of it is that what, we don't know is scary, you. Know and so our, play is an opportunity, to talk about hey you know we might be headed down this road but also there's there's glimpses in our play around. Where it could go in the right direction you know and I and and I feel, good about that yeah there are some of the things that we don't know that can be scary but then there are things that we do know that, are scary yeah very, scary, I mean honestly, folks it's a legit, fear of mine to. Be incarcerated, the. Odds of me actually getting. Locked up are. Greater. Than you might think and, this. Is like something that me. As a man, as a human being when I leave my house every day it's, something that I remind, myself of be, careful, don't. Get in trouble. Do. Not get arrested. Do not get locked up I mean, my whole adult, life, this. Is something that I get up shower. Have, my coffee get ready to walk out the door be. Careful today I mean. The the chances. Of of. Being. Arrested in the United States of America. Are. Not I mean we. Incarcerate. More people than anybody on the planet so. It's. Something that I've avoided and it's funny because you, be, careful you, know like what you asked for don't ask for I've been like it's. A legit fear of mine so I got an opportunity to work in the prison system mentoring. Young, felons, I said no because I didn't, want to be he does this work I didn't, even want to be in there like, I didn't want to go near it and, of, course what, do I do I get, cast in this play and. You. Know I'm serious, and it's like experiencing. This every day during. Rehearsal, again, I go home I wake, up it becomes reinforced. Because it through, art it becomes real, like this is happening this, is happening we're writing about it and then we're looking 30 years in the future and, and. It's. It, must really be a trip for you too because Khalil plays the warden of the priests in, the plague, which is a whole nother yeah it's. A lot another, way. That all of this dehumanization. Is very real particularly. Here in New York City one. Of the organizations, that I fundraise, for his communities United for police reform and, in.

December There was the City Council voted on the right to know act it, was a bittersweet victory because, one half of the, law, was passed and the other half was not so the, part that was a win was, now police, officers have to let, the person know that they have a right to not, consent, to a search and, if they don't speak English if they need a translator, they have a right to know and they have to know that they understand, that they have her rights to not be searched the, part that we lost which, was so disappointing, to the two hundred organizations who. Fought for this the, families, of the victims of people who were shot by police was. That police. Still don't have to identify themselves, can. You imagine like. My. Son is black and a police officer can be like what are you doing and hold their gun and not, say who they are and. About. The unknown being scary, and then, they're not even being held accountable so it's really real in New York City so what what can we do to get that sort of education. Out to. Certain. Marginalized. Youth, that, they know they have the right to, not, be searched I mean these are things that that these. Kids don't know they, don't they don't really know what their rights are I mean I'm an adult I don't know what all my rights are many. Community. Organizations. Do trainings, all the time and get, young people in there to know. Their rights to know, your rights trainings, is what they're called and organizations. Doing, all kinds of different things from organizing. Street, vendors, to immigrant, rights it's. Not just organizations. That are working on police accountability they're, working, on this so that everybody, knows what the deal is it's, really awesome. Questions, yes, that, was the time if any of you want to come up to the mic and ask questions, of the. Artists. No. Pressure okay. While. You're thinking of your question I want to bring something up as. You. Have. Someone on your team a Kern who was working on the slides back there who, has a very, unique experience that. Has, informed much. Of the production can you can you talk about that this is current, Kim and and. Carney's. Kind. Is a, great. Staff member at my firm here in, Los Angeles and. When. Kern. Was, 16. Years old, Kern. Was. Tried. And as, an adult and sentenced, to life in prison when he was 16. And. Part. Of what. What. Our work. Has been about in the piece and beyond that it's figuring out how do we how. Do we address and make sure that people really know and understand. The. Gravity of what's happening within our justice system with children, and, I'm, and how children are being, treated and I and. I and I hope there is a space for us to to. Adjust that and speak to that there, are there are a lot of countries that, just, will not, try. A child, as an adult by, law because, it's just not, morally. Correct. Here. We. Do and. There's something wrong with that. Questioner, close, thanks. For coming I'm forward, to seeing the play so. I have a comment and and also a question so the comment you mentioned about how the future scares us and I want to as a longtime reader of science fiction we, used to write science fiction that was hopeful and, somewhere. In the seventies that got unfashionable. And, so everything is about scary and awful and how bad, it's gonna be and, I I think we actually have a dire, need for hopeful, future. For hopeful imagination, of the future so that we have something to aim for but. And. The. Question, I had I noticed that the your, title. Character, Agnes, so. That's. Traditionally a female name the, character appears, to be male. And if, I his, name is an anagram for Angus, but, it's also on us as an unused a so I'm wondering what which layers of those are actually relevant to the play the, the part of my you. Know him having a woman's name comes up in the play, and. There, there's also a. Latin, derivative, and a Greek derivative, of. Agnes. And it's clothing you can google it.

Being, A reference, to Lamb. Of God, yeah. And. When. An in. Naming Agnes. I thought. Of you, know all these things he'd be made fun of and, he talks about how he's tormented about his looks and then his name, and all, of that when his, his, nature, as. We. Believe all of our nature to be is to is. To. Be made, of the star stuff you. Know to actually. You come from the universe you know and that we it's very. We. Look at babies and everyone loves babies and then somewhere in there these things come up that that. Shaped the way we name in and make fun of people and so I was hopeful that in giving him a peculiar, name that, people with this, question has come up that people would search for it and ask, but that's it's it's it's to be a Lamb of God of the universe thank. You thank you. Questions. But I asked the second one after you answer the first one okay well just, based on the visuals, I am. Taking that this is more of a dystopian future mmm-hmm. How. Has, your interaction. With Googlers. Shaped. That. Perspective. Of the future oh that's, a great question it. Is. A. Dystopia. That week that we've built with hints of like I study. Those Hardy boy books when I was a kid but it's like you can go this way you know but and. In. Talking. And and and being around folks. That, are Googlers and also folks are some of the other really large tech tech. Spaces. What. I find is, an untold, story of people, who really. Really, really. Really, care about the, future and building, things in a way that is provocative and concise but, I think the big secret is the love in the room and all of it and that you know people are being thoughtful not just from their their Googler mine but also from that Google heart and. You know that and that there's heart in it in the in the conversation, I'm so that, that's changed, my perspective, and, then I think, and it. Also has, revealed an opportunity, though to. Inform. The. The. Mind, minded. People in the world and be. Be reminding, of the. The heart and social aspects, of the, world and humanity and I think we set aside separate, that right we think about like. Societal. Humanitarian. Work and then we think about like tech, business. Work as if, there are these two separate. Things when of course they must be entirely integrated. If you think about the the campuses, that that, train us and teach us there's, a divide there right there's like the Social Work folks and then there's like the, tech business, folks as if. This. Isn't really a cross-pollinated. World and so I those are the things that are taken from the experience I appreciate. Your question. Um. I'm just curious as. A playwright, how did. You. Decide. Twenty. Forty seven thirty years being really specific about the future and just saying yep I'm calling, it this is what its gonna look like did you or did you wrestle at all with like I don't. Know it might look like this it might not, like. How did you decide just to like. The. The co-writer and I thought through, what. Could. The. Whole line was like. In, the beginning was you, know we don't want to start dealing with like robots, walking around on the streets and flying cars you, know and we also wanted to talk about something that people had to be accountable, to whether, it's your being accountable to it cuz it's the world you live in you this, is the world that, you will leave behind for your children and grandchildren or, you, had to be responsible for because you'd be like well I'm, gonna be here you know we wanted to run that line and, and.

Then. There's, it. Also gives, a great opportunity to. Speculate. In some dark ways but even in some humorous ways I mean I out at, a point in the play they're the reference, to. Attorney. General, Kardashian. You. Know. It's like that's, crazy you, know but College it happen like a Kardashian could run for office and. Have. A shot, yeah that's wild, you know but that could happen and then and. So, it was just to kind of keep it keep it up on us you know and and give it something that people could be, accountable. To it was fun it, was fine thank you I don't. Know I think if. You're 20 to 30. Years from now seems, like whoa. A lot could happen but. If you're 52. You. Realize that in, 30, years, how. Much changes, there's not like this seismic. Shift, and in reading the play the, first time I read it I was kind of intrigued, I was like this. Makes sense to me, it's. Not far-fetched, and, it's, informed. By. What has come before it, I. Know. For. Me 30 years ago I'm, kind, of shocked, thirty. Years ago where I thought we would be now I'm really. Sort of shocked at where, we're at in. Reality, um I. Had a completely, sort. Of different, feel. It's like what, we'd be doing and where we'd be at question. Yes, can. You briefly describe what type of set, you have to, get this message across oh cool. Yeah. Yeah so, the this set is it the the the forefront, of the set in the the set design is around this projection, so we built a set, out of projection, that began on that yellow path there but it's, all projecting, the set is projected, and there's, the. These, huge frames like that cover, the stage and, with. And I don't wanna give it away but the frames, do cool things the. This. Set is uh is, is, minimal, and and, also. Very. Powerful, and impactful particularly, with the way that the projection, and the sound works and one thing we learned in this process I'm working with the designers, is all, of the different elements that tell the story from. The costumes, to the makeup, to the the, projection, to when, someone said hey we need a sound, designer like, someone that's designing, sound and yeah they come in and really, design. The, the sound environment, and and, I. Think people are gonna be really impressed with what we've done in this space and then also as Khalil, referenced, and and and Matt touches on often is that the. You'll. Notice, that when you're in our theatre you know you feel like you're you're. In this world you know and it's it's a really cool thing in. Social justice reform. Are there any pieces of technology, today. The. Question was in social justice reform. Is there any like apps or technology, that, you. Know we feel fine to be interesting, or or, useful. One, thing that I've seen is that. Street. Day. Day laborers now, have an app so, that when they're getting picked up for, construction, work or whatever they, can, register. The, license, plate and other. Workers, they've built a database and other workers will let them know this.

Person Actually pays you and this, person will leave you out on the street without getting paid, also. Of, course with, police brutality the, the fact that we all have cameras, on our phones now, there's an ability to, immediately. Send, it to the ACLU or, your, local. ACLU. And. What. Community organizations, are doing around, you. Know the illegal surveillance since. Homeland security of folks are surveilling. Black. Lives matter and people who are doing social justice work they're, now they're organizing themselves to train themselves for, to. Amp. Up their security because, there's small nonprofit, organizations, with, very little resources so. How do they do their work and not be illegally. Watched, and, I've seen a really great cool app that the. Food justice workers are using that can evaluate the, produce, that's in their local grocery store and hold accountable that, grocery. Chains, distribute. Fairly. And evenly the, quality, of produce that goes into the grocery stores because, one thing that's happening is certain, stores get. The beat-up fruit and vegetables and other ones don't so it, I appreciate that question because i i-i've, seen glossing, the way that that's a job enforcing it thank. You I really want to thank Matt for arranging. This and, of course writing the piece with ice, thank you ice Thank You Khalil thank you google we'll. See you next time we'll, see. You.

2018-02-14 14:03

Show Video

Comments:

nice

Other news