Francisco examines the inclusion of diverse voices in art and the abundance of perspectives represented in a variety of art museums and galleries. Although more traditional museums are still repositories of classical artworks, Francisco contends this does not mean that contemporary and diverse artists do not have abundant representation in other venues.

Francisco reflects on the complexities of character development in the film Parasite that in spite of wonderful editing and cinematography never delved into the nuances of authentic character but rather focused on the obsequious false character involved in duping people of wealth and privilege while ignoring the greater insight into character seen in films like Taxi Driver, Dial M for Murder, or Joker.

Francisco discusses the contradictory world of public funding whether it is the Smithsonian firing a longtime fundraiser for perceived peccadillos or paradoxically limiting the distribution of a film that relies on government funds. Such government funded films often get lost in a labyrinth of rules, scrutiny, and ownership that leaves many documentaries lost from public view after their initial year of screening.

Francisco reflects on the intersection of money and time and how our modern lives are a constant struggle to stay on schedule. As part of this rumination, he examines the paradox of giving our time for the sake of money and how this trade-off inevitably interferes with the artist’s time for creative work.

The skill visually evident in a work of art was once the main reason for appreciating it. Later, the signature of the artist became the main factor in its value. The artist’s name, however, is a myth not captured in the artwork, and is often not based on real life. What is real in art appreciation, then?

For his first podcast of 2020, Francisco examines our contemporary obsession with acceptance and rejection and encourages fearlessness and unconditional devotion for the sake of creativity that arrives through inspiration and selfless generosity.

Francisco closes out 2019 with cautionary skepticism toward documentary films depicting human drama but which lack explanation, leaving us in worlds of fragmented suffering. Political documentaries should explain how global interests operate, and be realistic about whether individuals living in democracies can influence events in international crises.

Francisco discusses the challenges of making documentary films, and his next project on what a friendship with the world’s most notorious art forger, the genius painter Elmyr de Hory, says about art.

Recently the legendary composer, orchestrator, multi-instrumentalist, and author David Amram celebrated his 89th birthday with his usual youthful love of music, memory, and friendship at the Zebulon Cafe in Los Angeles and our cameras were lucky to capture the evening magic. Here is a small tribute to the great Arturo Sandoval, whom David met in Dizzy Gillespie’s historic voyage to Havana in 1977. David plays a composition he had written while on the voyage from New Orleans to Cuba, and here dedicates it to Arturo. Enjoy!

Amram Video

Francisco reviews the Tom Hanks character study of Fred Rogers, whose work in Public Television transformed children’s learning about life, and defines what “great” means as a descriptive term for film.