Army Ranger Jon Jackson sets up farm to help veterans with PTSD.
Comfort Farms will be available on December 8th by Gravitas Ventures on all major VOD platforms
There has been much propaganda when it comes to war especially as of late now that we are living in a technological and digital chapter. War is seen to be patriotic and is the act that seeks freedom and peace but there is many downsides. Aside from death which is the most fatal negative aspect of war, the aftermath for those who come out of it alive is a very difficult process and transition. Army Ranger Jon Jackson has set up Comfort Farms in Milledgeville, Georgia to help veterans transition back to a normal life. Much takes place here on the farm where these unlikely veterans are teamed up with animal-loving butchers and chefs to form a positive community. Not only do they conduct an ethical way of eating they inspire all the veterans who are having trouble with PTSD and thoughts of suicide.
There is much dedication that is put into Comfort Farms that no individual seeks to find an end to its means or means to its end. Comfort Farms is one of those grassroots programs that no government would pay much mind to because there is nothing in it for them. There is a lot in it for founder Jon Jackson who has been spiritually enlightened for all those who are participating in this farm especially those who have shared his experience with war. FERNTV spoke to director Carlisle Kellam about the true health and wellness behind Comfort Farms and why it takes a lot more than anyone would think to help veterans with PTSD.
FERNTV: There is much inspiration when it comes to Jon Jackson and Comfort Farms to document this into the film. What was the turning point when it came to actually give this film the “GO”?
Carlisle: I was asked to take some photos for a culinary publication at Comfort Farms. At that point, all I knew about it was that it was a therapy farm founded to help veterans suffering from PTSD. The first light bulb went on for me while listening to Jon, the founder of the farm, offer his perspective on PTSD. His perspective was that PTSD, although a real problem – and definitely not to be marginalized – has, for a lot of people, become a generic term to refer to anything afflicting a veteran. And it’s not uncommon for a veteran to be diagnosed with PTSD when that’s not necessarily what’s going on with them, simply because, although PTSD is a real thing it’s not the ONLY thing. In fact, a lack of purpose, missing the camaraderie, going from a black and white world with a clear mission to a world of grey were the types of things I heard mentioned most while making the film. The phrase I remember most was that “most veterans don’t want to be coddled, pitied, or worshiped, they just want a chance to serve again.” I knew almost right away I wanted to make a short film about the farm, simply because the work being done there is so important and unique, but I didn’t quite see a full feature.
After talking to Jon and some of the other folks at the farm, I learned a lot. I was disabused of a kind of cliched understanding of the veteran experience. Something I hadn’t given a ton of thought to all of the sudden became profoundly interesting and started to make a lot of sense. And after exploring a little bit I realized soon after that that being at Comfort Farms, the place, although it deals specifically with veterans or veterans’ issues, brings up several interesting questions about the human condition as a whole. For example, I started to piece together the idea that being in the military, or war, in and of themselves, do not necessarily create a specific set of issues, but more than the nature of these environments can quickly magnify issues that all walks of life are capable of experiencing. Through war and military life one can learn a lot about the nature of mankind. And I think that’s one of the most important things when it comes to understanding this film. When I sat down to contemplate the place, and the people I met there, the overall takeaway for me was a better understanding of human nature. When all of these things came together is when I knew I wanted to make a full feature.
FERNTV: PTSD is a difficult experience for veterans. Before actually making this film, can you explain how you prepared for the stories these veterans wanted to share with you in regards to PTSD?
Carlisle: Honestly I didn’t know what to expect or how to prepare. A lot of that was because, as a director, I was used to dealing mostly with actors. Until then I’d had limited experience sticking a camera in someone’s face and asking them about their true-life experiences. The thing I was most afraid of was getting wrapped up in the filmmaking process and forgetting I was dealing with real stories and the people that really experienced them. Going into the interviews I’d only met the founder, Jon. But he instantly comes across as genuine and someone who says what he means. I told him I’d like to do some interviews but I wasn’t really sure how to handle doing them respectfully. He told me there was nothing to worry about and personally recruited the guys to do them.
FERNTV: When you interviewed your subjects, the shots were close-up to their faces. Can you explain why you did it this way?
Carlisle: My first instinct was to shoot them that way but I contemplated shooting them that way for some time before finally settling on it. I knew it was a little risky. But as the place is unique, I decided to design and compose the film that way. I decided to employ certain stylistic choices to help try and capture the essence of what I was picking up on. As a professional photographer and director of photography, I’ve shot more portraits and interviews than the average person. Almost all of them have used longer lenses to avoid distorting the face. Medium close or close-ups were typically used for b-roll. I’d consider that to be the standard. And being standard it feels comfortable. With this film, I chose a wider than typical focal length to try and capture a certain intimacy and also a certain intensity. It’s kind of in your face and personal. And that’s purposeful because the stories and the place are kind of in your face and personal. The place, Comfort Farms, is meant to take people out of their comfort zone. I wanted to add an element of this without stylizing so much as to end up taking people totally out of the film.
FERNTV: This film also shows the ethical practices of raising animals for consumption which is actually a lot better as opposed to the ways that corporate farms do it today. Can you comment on that?
Carlisle: For those who haven’t watched it yet, the film is made up of several narratives that intertwine to form the film. One of those narratives deals with humanely harvesting animals and the effort put into raising those animals with love and care. Also respecting what the animals give to the community in the form of sustenance. They really put a lot of effort into this. Second, helping their fellow veterans and community it’s what they’re truly passionate about and is central to what they do. So accordingly, it’s also a big part of the film. It would be much easier for them to do it a different way. But they choose not to. Someone would be hard-pressed not to respect that.
FERNTV: Much would say that this film cannot relate to them because they never went to war but wouldn’t a film like this relate to many especially during the pandemic that we are facing where we are experiencing much loss and camaraderie disappear?
Carlisle: I think it absolutely relates to people of all walks of life. And I say that for several reasons. But to address the question directly, first, many veterans struggle who have never been to war. What I’ve gathered is that the transition process is hard for many veterans not necessarily because of an event that they experienced while in the military but the process of adapting to the new world once they are out of the military. The military world, according to Jon and some of the others I interviewed, is a world of black and white with a very little gray. You have a mission or an objective, your goal is to accomplish that mission. That goal provides a sense of purpose. You form close relationships with others who are working toward the same goal. When you throw the element of danger in there it starts to get even more interesting and unique.
Finding purpose in the “regular” world of gray is difficult for a lot of these guys who are used to living in the black and white. Now, concerning those who do go to war, these things only intensify on top of the added element of a possible trauma directly related to a combat experience. For some reason, I (before making this film) was one of the many people who seem to view veterans’ struggles as specific to combat veterans. As if there is some war- or military-specific disease. But what veterans experience and struggle with is what anyone is capable of struggling with if given a certain catalyst. I think during the pandemic, isolation, losing loved ones, transitioning from a routine to something unfamiliar are the kinds of things that can be that catalyst albeit maybe on a less severe level. And another way people can relate during a pandemic is that the farm is very much focused on the basics of living – I think during times like these we become more attentive to things like sustainability, self-sufficiency, relationships and supporting the community, working with our hands and getting back to the earth.
FERNTV: After doing this film, what are your primary thoughts in regards to Jon Jackson?
Carlisle: He’s courageous and devoted. He’s an inspiration to so many people.
FERNTV: This film is all about finding getting out of your comfort zone and finding discomfort? Did you as well experience this when it came to your filmmaking career?
Carlisle: I did, yes. In so many ways. I approached this, and put it together, differently than anything I’ve done before. I typically do a lot of plotting and planning. With this one, I kind of went searching in the dark until I found what was there. I could see a straight path – by way of a kind of traditional approach, more like an information piece about the farm or scientific analysis of why people struggle – but I really didn’t want to do it that way. I really wanted to try and capture the essence of this slice of American culture and through analogy show how it has a lot to say about our nature as human beings.
Available on December 8th by Gravitas Ventures on all major VOD platforms
The 98-year old toy inventor has no signs of slowing down
Most of us when we were children would have come across or played with one of 向日葵app下载安装二维码向日葵app下载安装二维码,6080YY在线理论片手机6080YY在线理论片手机Eddy Goldfarb‘s toys. The man who has invented over 800 toys has not only made a name for himself but has brought many families together who have played with his inventions. It did not all start on the right foot for Eddy who served on the submarine Batfish in WWII before becoming a toy inventor. He met his wife Anitas June Stern in 1947 and knew that she was the one and quickly married her afterwards. She supported him for two years after his service in the war when he was unemployed. Eddy worked diligently on his inventions in this downtime and in 1949 he had three toys in the New York City Toy Fair which included the Yakity-Yak Teeth, the Busy Biddy Chicken and the Merry Go Sip.
The wisdom that Eddy shares with the audience about leading a meaningful life is charming and inspiring. He gets up every morning to create something in his garage in California where he has a 3D printer along with all the tools to make his magic. This key to keeping on enduring in his life is simply stated. Eddy has been disciplined behind his mantra even after going through tumultuous events such as his service in WWII and the death of his wife. Incredibly, a man of his age of 98 can keep on doing what he loves without missing a beat. Where many would have thrown in the towel by now, Eddy Goldfarb is still to this day works to achieve a fulfilling and meaningful life. He is currently in a relationship with Greta Honigsfeld whom he met six years ago and is also involved in a writing group where he writes 100-word stories. These stories uplift his colleagues.
His daughter Lyn Goldfarb who directed this short biopic Eddy’s World gives the audience a most charming perspective on the life journey of her father. They get a fresh look at life from watching Eddy’s consistent and inspirational work ethic. He makes you think that the only person that is stopping you from achieving success in life is you. Now Eddy does not come out and say that to the audience in the film but his actions do the talking. For many of us who feel that there is not enough support to help you achieve in life then it’s time to watch Eddy’s World. He makes no excuses and produces results and of course magic. That’s the key.
A Year in Film: 1986 brings back my wonder years.
Watching the upcoming episode of A Year in Film :1986 from Hollywood Suite brought back so many memories, feelings and emotions when it came to how things were back then. Much of those memories were fond of the timeless classics that were brought that year in film but I had to be reminded of where we were politically and socially to look at how far we have progressed. The comments and analyses that were made from respected Toronto-based film experts such as Alicia Fletcher, Geoff Pevere and Cameron Maitland just to name a few really put things into perspective and why these films became so intertwined with pop culture. There was so much greatness in film that was all packed into one year. To understand what it was like to grow up as a tween when we ourselves did not know the term even existed was something else when growing up with these films.
For starters, you were not able to watch certain films like The Fly and Aliens which had the label “Restricted”. So a kid who was a decade-year-old was not able to get into these films even with the accompaniment of an adult. Remembering that Aliens would play at the Square One Cinemas in THX Dolby in Cinema 4 and hearing all the loud gunfires that would come out of the closed cinema doors while taking a trip to the washroom would ring up any kid’s curiosity of what the hell is playing in the theatre. There was no way a kid would be able to sneak into these theatres because all of the older looking ushers would spot you out in an instant with their flashlights and tell you to get out of the theatre. Movie classifications were strict back then and all movie theatres took this seriously.
What a child like myself had to do back in the day was to get his cash-strapped single mother to subscribe to First ChoiceSuperchannel to even get a remote chance to watch The Fly or Aliens. Both of these films would from what I remember only play once or twice that month with a late schedule. So you had to plan to watch these films by getting and reviewing the First Choice Superchannel guide that was mailed to you. You had to record these films with your VCR and set it that it would start recording late at night usually starting at 11:00 PM because you were hiding the recordings from your parents. If your mother was not shouting at you to get to bed because she was just way too tired at that time or already sleeping then you were ecstatic beyond belief to watch Aliens or The Fly and it was a taboo underground and sinful experience. When you were a kid you knew who David Cronenberg was because your parents rented Scanners and you accidentally watched a head blow up with an intense pulsating soundtrack in the background throughout the whole film. Maybe your parents were less strict and let you watch it because you wouldn’t be able to understand so it was okay because they probably did not understand either. It was just background noise.
The other manner as to how you were able to get to watch some of these classics is to go to your local video store. Blockbuster Video did not exist at the time but I had to go to the non-corporate Video 99 store where an older Chinese man ran the store and was very strict. He was like the gatekeeper and of course, would not allow you to rent certain movies especially if they were restricted. I was able to get a hold of movies such as John Hughes‘ classics Ferris Bueller’s Day Off and Pretty in Pink because there were so many copies of them that were available. Ferris Bueller’s Day Off was the film that I remember every single line to and would be the conversation piece during recess because we were all inspired to be like him once we got to high school. I would have watch parties at my house because it was such an event for us tweens. No need to re-rent this film over and over again because you had two VCRs going and were able to pirate these films into your own collection and because this film was from Paramount Pictures, it was not a problem. The one thing that struck me at the video store was that there was only one copy of River’s Edge and it was always rented out. I don’t remember if I was not allowed to rent this film or not but this cult classic that starred a young Keanu Reeves had an alternative.
That movie happened to be Stand By Me which almost had the same premise as River’s Edge where a dead body is found or sought after. Already a must-watch for girls in elementary school, because they had the hots for River Phoenix, Stand By Me was a film that sold to tweens because it was the four boy’s desire for adventure and freedom. Again we were all inspired to take those little adventures with our good pals as far away as we could from our parents. It was weird that the film was not marketed towards the fact that Stephen King wrote the story at least from what I can remember. Films like Maximum Overdrive, Christine and Cujo were films that we associated with Stephen King but if us tweeny boppers knew that the legendary author had his hands on this film then we would have looked the other way. Stand By Me had that “Goonies” feel to it that every young tween moviegoer loved and made us all feel comfortable at being that age. One of the major factors that sold Stand By Me was the resurgence of Ben E. King‘s song “Stand By Me” which helped ticket and soundtrack album sales skyrocket.
“If You Leave” by OMD helped market the film Pretty In Pink as well as its soundtrack album sales so this was a great period for soundtracks for films and records stores such as Sam the Record Man or A&A who had these albums smack dab in front of the store. Nothing took the cake more than Top Gun in which Kenny Loggin‘s “Danger Zone” inspired many young boys to become fighter pilots and wear the same type of flight bomber jackets that Tom Cruise wore. “Take My Breath” away from Berlin was one of those songs you would play on cassette at those tweeny birthday parties in elementary school where you wanted to slow dance with your crush. It was the start of being curious when it came to love, sex, romance and relationships in which we had no clue about. The Top Gun soundtrack was heavy and it all made an impact on all of us young people because to us the songs were bigger than the film itself even though it was number one at the box office that year.
If A Year in Film: 1986 did not mention the film Howard the Duck then I would have not remembered how much of a hassle it was to see this film. It was rated AA and nobody in my family wanted to see the film let alone bring me along with them to go see it for reasons I was not too sure of. Even trying to sneak into the Eaton Centre Cinemas to watch the film was not doable. Nevertheless, I had to wait for it to come out on First Choice Superchannel as well to see what all the fuss was about. Low and behold the film was not meant for delinquents like myself and that it had many adult-like controversial moments in it. Excited to see some superhero-like moments in the film, the film did not make much sense to me as I child and why it was even made. For many little boys though, Lea Thompson was our celebrity crush back in the day because of films like Back to the Future and SpaceCamp. Lea Thompson was the redhead that we boys coveted not Molly Ringwald. To see her in her skimpy pink underwear and getting into bed with Howard the Duck was a moment that we could not forget. It was a lot for us back then in which today would be nothing sadly. It was probably the only thing we boys were able to get a hold of.
A Year in Film: 1986 premiering December 13, 2020, at 9:00 pm ET on Hollywood Suite 80s Movies (HS80)
Director Abigail Child shows how far artificial intelligence has evolved.
Ray Kurzweil spoke of the growth of technology being exponentially and we can see how this taking place as we speak despite a pandemic. When Elon Musk was speaking with Joe Rogan on his first-ever time on the podcast, he spoke of his concern about the growth of artificial intelligence and how there was no turning back. Joe Rogan also entertained the idea that they were both in a simulation and Elon Musk did not disagree at all. This brave new world of science, technology, artificial intelligence and robots can be quite overwhelming because like many other things it’s unprecedented and a journey into the unknown. Queer director Abigail Child takes this universe that breaks into many galaxies and worlds and combines into an artistic portrait. Set to make a screening at DOC NYC, Origin of the Species focuses on the human relationship with android development and the questions that are brought up when it comes to gender and ethics. Without getting lost in this universe, Abigail Child raises awareness of the rapid growth of artificial intelligence and humanity’s comprehension and position within it. FERNTV spoke to director Abigail Child about Origin of the Species and why this film is crucial to watch and necessary to explore.
FERNTV: Why did you call this documentary origin of the species which is very similar to Charles Darwin’s book title The Origin of Species?
Abigail: I was fascinated that these robots were ‘evolving’, that scientists were developing them to move like humans, think like humans, speak like humans and have emotions. It seemed an enactment of the mythology, of the wish to create an artificial being (as in Frankenstein or with the medieval Golem). There is an aspect of playing at God, inventing a new “species”. The title captured that dual sense of both aspiration and scientific research.
FERNTV: What was your inspiration for doing this documentary? Do you have a fascination with robots or artificial intelligence?
Abigail: What could be more important right now than our relation to machines? We are already fully participant, while the final results on our society, our bodies, our minds,
remain unknown. AI decides what we watch on Netflix while algorithms on Facebook infect our politics. Data is drawn from us every minute we are on the web, walking
down the street, talking on the phone. There’s a big push right now to build increasingly sophisticated AI. With innovations in prosthetics and household units, AI
is already changing the way people live their lives. It’s easy to imagine a future where robots and people routinely live together in households. Sex robots are being built
and introduced into society; what will this do to human intimacy? This project places us close to the scientists who create these future machines. Some keep the human in the loop. Others create metal containers for bodies they feel are potentially replaceable: newscasters, receptionists, companions, sexual partners. The list is startling. Are we imagining that androids will inherit a world we poison? Is this contemporary research connected to our unconscious desire to populate a world that we have made hostile to human life?
This is the last of my Trilogy on Women and Desire, and the content has come full circle. The first film, Unbound, recreated the life of Mary Shelley, teenage
author of arguably the first sci-fi novel, in the form of imaginary home movies, shot in contemporary Rome. In the second film, Acts & Amp; Intermissions, I examine the life
of Emma Goldman and anarchism in the early 20th century where many of her struggles—for equality and immigration, contraception and against police
brutality—echo in the present. I knew I wanted a virtual woman for my 21 st century heroine.
My cultural influences include Mary Shelley’s Frankenstein, Philip K. Dick stories and automata such as the fortune-telling humanoid of the amusement arcades
at the Jersey Shore when I was growing up. Equally so, the cartoons I watched with obsessive affection. The result: an abiding interest in artificial construction, how it is
created and how our society will use/or enslave it.
FERNTV: Is there something about artificial intelligence that you still don’t understand even after doing this film?
Abigail: Oh yes! The numbers, the data compiled into strands of numbers that can create preferences, the full panoply of uses that algorithms can project. I understand the basics of statistics and some sense of logarithms, but I don’t code. I understand branching and hierarchies, choices where a computer can figure the steps and combinations quicker than a human mind, but how to enact those numbers? No. As an artist, you are always asking how more than why. You are also chasing what you don’t understand, trying to create new forms, new inventions. In that sense, we too are scientists, but their field is not mine. I have read molecular physics’ texts for inspiration, but I don’t have a scientific understanding. When I had the opportunity to attend a physics class at one conference, I could follow for about five minutes and then I was lost. Part of the appeal, of course, is to approach what we don’t understand, to try to stand under/beside/with— the unknown.
FERNTV: What are your thoughts on companies like Boston Dynamics?
Abigail: Mixed. They create amazing mobile robots. I find movement that imitates the human body more uncanny than when the machines “look” human. We are used to Wax Museums and dolls but to have something with arms and legs that can jump, push open a door and walk out into the world—is scary. Even without heads, these robots appear human and sometimes, threatening.
For a period, BD was under contract to DARPA (Defense Advanced Research Projects Agency) and indeed their robots were designed as war tools. However, because they are metal and mechanical, they are noisy—thus not fully adept for the battlefield. I was told that was why BD lost their contract. Here were oil-fueled machines, a lot noisier than cars! In one sequence I
show, the men working there had titled their piece “Boss Dynamics” which I thought, and they obviously agreed, says it all.
FERNTV: Elon Musk says that he is worried about the future of Artificial intelligence. What is your perspective on the future of artificial intelligence?
Abigail: Mattias Scheutz says in the last line of the film, that algorithms are learning from data without examining the results. He suggests human norms are necessary for extensive future robotic development. He is the moral compass of the film here, and I agree. I put some of his comments up against the Boston Dynamic enactment of the robot that “hits back.” Trying to
involve the audience in questioning what are human ethics? How can we encourage the development of AI into a humane track?
FERNTV: Who is your favourite robot when you’re growing up as a child and tell us why?
Abigail: I would have to say the fortune-telling humanoid of the amusement arcades at the Jersey Shore when I was growing up. She startled me. You would put in a quarter
and her eyes would light up and she would talk to you, tell you your fortune. Perhaps she didn’t even talk (am I remembering correctly?), just lights up and makes noises and releases a paper, like a fortune from a fortune cookie, emerging out the machine’s front! It was my first encounter with the uncanny as a body. I never forgot her. I loved the silliness of Robbie the Robot and Lost in Space, but that carnival humanoid machine had a three-dimensional reality that has remained powerfully in my brain.
FERNTV: What was the biggest challenge when making this film?
Abigail: Obtaining the first grant—from the Asian Cultural Council—which allowed for travel to Japan. We had begun to shoot at Tufts University’s Human-Robot Interaction
Lab in Massachusetts and knew we needed to go to Tokyo, Kyoto and Osaka to get the full story. We were looking for money for over 2 years before we won that grant.
Very welcome. The other challenge—always—was the issue of how to structure the film. This involved many months of editing, trying various combinations of scenes, getting lost and finding the structure. The result usually ends up close to what you imagine at the beginning, but you don’t always know how to get there. You are not following a plan;
you are inventing a structure and have to figure out how to construct it.
FERNTV: What is the message that you want to relay to your viewers when they come to watch this film?
Abigail: I want my audience to question their own relation to machines and what the future may bring. How do we feel watching the current limits of the machines we keep
on improving? What does it teach us about being human? What do we make of a group of scientists engineering machines and algorithms to create a new life? And how
do different countries relate to these machines? How will our social experience change when interactive humanoid entities are as ubiquitous as smartphones? How will we respond to their humanoid, fashionable, possibly erotic, shapes? How will they lay into human emotions and instincts for bonding, for violence? How will androids
challenge our moral and ethical instincts? Will they make war in our place? Who will write their software personalities? Do they and AI really pose “our greatest existential
threat?” We want to bring these questions into public consciousness in a way that brings us face to face with this fundamentally disruptive technology.
As well, there is a mythical component. Robotics raises many issues of the artificial, the human, and the threshold between these, as well as the boundaries between the inanimate and the animate, the souled and the un-or non-soul, the present and the future, the real and imagination. These issues cross-cut into climate realities. As a young person, I sensed that rocks were alive, just slower than us. That instinct, or intuition, proved true when I learned of atomic particles. And we ourselves “come from stars.” I remember being incredibly startled, pleased, stunned really when I learned about the “redshift” and realized all the planets, the whole universe indeed was made of the same elements as on Earth. It was wondrous. It made us part of the universe, the earth as dear as our own bodies, sympathetic and synchronous. And that this wasn’t a frivolous assertion, but an ‘elemental’ and deeply, profoundly, ‘universal’ relation.
I add that the idea of a creature that might “imitate” a person has long existed in human myth and story, a constant dream. Mary Shelley’s Frankenstein suggests
those desires and fears, as do earlier incarnations. Robots and androids, as well as implants and cyborgs, bring the future of an artificial human closer to reality. They suggest that the virtual is merging with the human, the simulation is spreading to the real. These developments reflect the future as present, as our dreams become engineered fact.
That the actual process—conception, manufacture and use—is often hidden makes the project that much more important and intriguing. Our aim: to promote thinking and a discussion that is timely, intelligent, humorous and cautionary.
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