SXSW 2017: ‘Life’ star Jake Gyllenhaal is doing just fine on Earth, thanks

 

The following contains mild spoilers for “Life.”

This just in: Jake Gyllenhaal could not stay on the International Space Station for a year.

Gyllenhaal: “No. No. No way. Physically, there would be no use for me up there other than potential entertainment. I would be hopeless in any other way.”

David Jordan, his character in Daniel Espinosa’s new sci-fi thriller “Life,” has spent more than a year up there and is among the six person crew (including Ryan Reynolds) who make first contact with life retrieved from Mars. When said encounter goes from thrilling and kind of cute to ARGHHH NOOOOO, it is up to Jordan and his crew to fight a creature that seems rather hearty for a newborn.

Jake Gyllenhaal in “Life”

We’re sitting outside the Hotel Saint Cecilia. It’s about 10 a.m. the Sunday after South by Southwest. The night before, Gyllenhaal walked the red carpet for “Life,” which closed the film festival. He isn’t staying here all that long — dude’s in the middle of a well-regarded, 10-week Broadway engagement as the lead in Stephen Sondheim’s “Sunday in the Park with George.”

Truth be told, it’s probably a good thing he is an actor (and an extremely hard-working one at that). Gyllenhaal says astronaut was never in the cards.

“It’s just never been a legitimate interest of mine. I really never wanted to go up and out there,” he says. “Someone told me about the sorts of people they are looking for to go on the Mars mission and it turns out they’re looking for people who are essentially stamp collectors. And I am maybe the furthest from that. I was the kid always being sent outside. So I don’t know how that would work on the way to Mars.”

But fictional astronauts? Totally fine. “I read the script, and it was terrifying,”  Gyllenhaal said, “and I thought this will be really elevated because of all the incredible people involved, but it was also just, why not have some fun on a movie?”

In keeping with the stamp collector idea, Gyllenhaal’s Jordan is a quiet fellow. “Someone who has been up there that long is going to be more of an observer than a do-er or a go-getter. That is more Ryan’s character.”

As for the creature itself, with which Gyllenhaal and his pals end up doing a not insignificant amount of battle, one had to use one’s imagination. “The creature was a bit of an abstraction. It was Daniel’s intention that we interact with it in a way that wasn’t false, but we also had to use our imagination. He shoots in a really elegant way. He knows he needs pieces, and he knows he needs something from the actors; he’ll shoot for a while knowing what he needs and knowing where to find it. We had earpieces in, and he would be speaking to us while he was watching monitors, saying things like,  “Now it’s over there, it’s coming at your left side.’ But we had no real idea of what it looked like.”

And, no, the cast did not do any time in a Vomit Comet for the weightless sequences.

“Man, I would have loved that,” Gyllenhaal said. “No, it was all wires, and that is a very strange thing, as you are being handled by four people on a soundstage as you attempt to say your lines and remember scientific jargon.”

But Gyllenhaal said he welcomed any kind of tension in such a controlled environment. “It did start to feel very isolated,” he said “It was dark all day long on these stages, and since you are on wires, you are incapable of moving and in a very small space. That is something that was useful in building the characters.”

Just don’t expect him to actually head to Mars any time soon.

“Life” opens in theaters March 24.

10 highlights from the SXSW Film Festival

From left, Rooney Mara, Michael Fassbender and Ryan Gosling star in Terrence Malick’s “Song to Song.” Contributed by Van Redin / Broad Green Pictures

Joe Gross:

Oddly, the visceral dislike I experienced at “Song to Song” was a South by Southwest highlight for me.  Rarely have I gotten so angry at a film so quickly, and rarely has a film continued to build on that which is generating the rage. It is gorgeous, but, boy howdy, is it not ever about Austin or musicians. I suspect the movie was a bit rage-inducing for anyone who takes music seriously, but, hey, your mileage may vary.

For the exact opposite feeling, there is Edgar Wright’s “Baby Driver.” Yes, it is a trifle, but it’s one of the better movies you will see this year about the centrality of music in people’s lives. Look for it in theaters in August.

I also thoroughly enjoyed (if that is the appropriate word) Jennifer Brea’s documentary “Unrest,” a fascinating look at a woman (Brea herself) struggling with myalgic encephalopathy, the condition formerly (and somewhat dismissively) known as chronic fatigue syndrome. I was especially taken with the other stories Brea and her team gathered, from the athletic young man whose condition has reduced him to a husk and the young woman in Denmark who was forcibly removed from her family and institutionalized against her will.

Perhaps my very favorite moment came at the very end of Leonard Maltin’s interview with Frank Oz, when a gentleman in the audience asked Oz about an article in Salon called “How the Muppets created Generation X”  and how the piece suggests that a lot of the values that Gen-Xers tend to have in common were communicated by the various Muppet venues. “Tell me in your opinion what those values are,” Oz said.

“Acceptance, tolerance, curiosity, enthusiasm for diversity,” the gentleman said.

“You could just say one word for that, and that’s Jim,” Oz said. “That’s what we learned. He never shared his philosophy verbally, he just was who he was and we followed him because all those words and more were Jim’s moral compass.”

Amen.

Charles Ealy:

It’s known as a film festival, but some of the biggest highlights of this year’s event were the TV premieres.

The most-anticipated one for Texans was AMC’s premiere of the first two episodes of “The Son,” based on the epic Texas tale by Austin’s Philipp Meyer. It stars Pierce Brosnan as patriarch Eli McCullough, who is kidnapped by Indians and grows up to found a cattle and oil empire. It starts showing on AMC on April 8 and will last for 10 episodes. Five seasons are tentatively planned, depending on ratings.

“American Gods,” which will premiere April 30 on Starz, was also a hit with SXSW crowds. It’s based on the book by Neil Gaiman — and it is WAY out there, with incredible visuals and inventive storytelling. It stars Ricky Whittle as Shadow Moon and Ian McShane as Mr. Wednesday.

And then there was Justin Simien’s “Dear White People,” a timely take on race relations in America, told from multiple perspectives of various students at a fictional Ivy League university. It will be on Netflix, but a release date has not yet been announced.

Evan Rodriguez:

As the sun set on the long, arduous yet fun journey that was SXSW 2017, some films truly rose above the fray.

Elijah Bynum’s “Hot Summer Nights” should be the sexy and scintillating summer film of 2017. Through an auteur’s lens, Bynum subverts the summer romance/coming-of-age-drama formula and delivers a dark, smart, well-crafted hard-truth love story set to a killer soundtrack.

John Carrol Lynch’s “Lucky” is a refreshing existential meditation with Harry Dean Stanton, which has the potential to reach beyond fanboys and the initiated with its thoughtful musings.

While I struggled with James Franco’s work-in-progress “The Disaster Artist,” I ultimately cannot deny its odd allure and the Franco brothers’ organic on-screen dynamic, and especially James Franco’s performance as the bizarre Tommy Wiseau.

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Meth, Muppets and music: Five of our favorite documentaries from SXSW

A scene from “Meth Storm: Arkansas USA”

The documentary slate at South by Southwest this year was as strong as ever. Our critics saw nearly two dozen docs; here are five of their favorites.

“Meth Storm: Arkansas USA”: Charles Ealy says this documentary about meth addiction in lower-income America  “has a weird vibe. It’s undeniably groundbreaking. But it’s also undeniably troubling, from an ethical standpoint.” The filmmakers appear to have been given incredible access to law enforcement authorities, but they also feature families caught up in the drug trade, including young children who add a disturbing element to the movie. HBO will be distributing this film; no release date has been set.
REVIEW: The meth doc at SXSW raises a lot of questions

“Stranger Fruit”: This documentary about the police shooting of Michael Brown in Ferguson, Mo., made national news on its world premiere at SXSW. It examines a previously unreported video that, the filmmaker says, shows Brown did not rob a convenience store but rather was involved in an exchange of pot for cigarillos. A lawyer for the store and its employees disputes the film’s allegations.
REVIEW: ‘Stranger Fruit’ offers new theory about Ferguson shooting

“As I Walk Through the Valley”: This film looks at the varied musical influences of the Rio Grande Valley, from conjunto to country to punk to Chicano-funk, told through interviews new and old interspersed with concert footage. “A true testament to the universal language of music,” Evan Rodriguez writes.
REVIEW: ‘As I Walk Through the Valley’ shines light on South Texas music scenes

“Muppet Guys Talking – Secrets Behind the Show the Whole World Watched”: Frank Oz and four other original Muppet performers gather to talk about their time on “Sesame Street” and “The Muppet Show. ” It’s “not only a fascinating historical document but also a beautiful portrait of old friends who can still crack each other up after decades together,” Matt Shiverdecker writes.
REVIEW: ‘Muppet Guys Talking’ is like hanging out with old friends at SXSW

“The Untold Tales of Armistead Maupin”: This film about the “Tales From The City” author is, in the words of Shiverdecker: “Heartwarming. Funny. Sad. Vital. This is essential gay history.”
REVIEW: ‘The Untold Tales of Armistead Maupin’ is essential viewing

 

‘As I Walk Through the Valley’ shines light on South Texas music scenes

Catastrophe performing at Trenton Point in Edinburg, Texas, in 1999. Contributed by Donner Maldonado

Along the longest stretch of international borderland in one state exists the Rio Grande Valley, where the convergence of Spanish guitar, German accordion and African-American and Anglo-European rhythms gave birth to innovative and eclectic music scenes. “As I Walk Through the Valley,” by directors Ronnie Garza and Charlie Vela, documents the power of a do-it-yourself-attitude converging at a delta of seemingly opposite scenes, creating a unity of creativity.

The work is a study of a collective consciousness, innovators asking, “Where is my place in this microcosm?” From South Padre Island to Brownsville on over through Rio Grande City, Tejano, conjunto, country, rock ‘n’ roll, punk, pop-punk, new wave, metal and soul-Chicano-funk musics and scenes converged and coexisted in the predominately Mexican-American area.

In the oral tradition of Gillian McCain’s and Legs McNeil’s “Please Kill Me” (1996), “As I Walk Through the Valley” is told primarily through interviews new and old interspersed with live concert footage. The documentary is a true testament to the universal language of music and the universality of how things that may seem disparate are actually deeply interwoven, unable to wax or wane without one another.

Anybody who grew up supporting or involved in a fringe music scene can appreciate “As I Walk Through the Valley,” and for the uninitiated this may be the introduction you need.

SXSW: Is “Lemon” the fest’s most (intentionally) cringe-worthy movie?

“Lemon”

 

Some facts: “Lemon” stars Brett Gelman, was written by Gelman and his wife, Janicza Bravo, and was directed by the latter.

It poses one of the year’s most important cinematic questions — is Isaac Lachmann, the person Gelman plays here, actually a worse human being than Martin, his character on the British TV show “Fleabag”? It is a neck-and-neck race to the bottom in the Annoying Middle-Aged White Guy Stakes.

Self-consciously mannered with an almost Pinter-like vibe (moreso perhaps than the post-Pinter bard of Long Island, Hal Hartley), “Lemon” is the story of Lachmann. Everything about this guy screams jerk — tall but not self-possessed, he sports a comb-over, is an unsuccessful actor and works, sort of, as a bitter theater director. He also wears shorts. A lot.

Lachmann is directing a production of the “The Seagull,” hates the lead actress and clearly has some sort of increasingly odd crush on the lead (Michael Cera with bonkers hair, and God bless him for getting weirder with age). Lachmann’s girlfriend, Ramona (Judy Greer), is blind, goes on lots of work trips and clearly wants out of this relationship.

Things never really get less awkward — indeed the film just seems to get stranger by the minute.  As Ramona slips away from him (emotionally), Lachmann books some small TV ads, where the director examines him like a steer. (The film’s best joke might very well be the cameraman’s reaction when Lachmann gives his age and weight.)

RELATED: SXSW adds fifth screening of buzz flick “Lemon”

The cringe-hits just keep on coming. When he goes to a Passover Seder hosted by his parents (Rhea Perlman and Fred Melamed), his brother (Martin Starr) breaks out some racially awkward chatter about their sister (Shiri Appleby) and her African-American child. The scene where everyone sings “A Million Matzoh Balls” is just as stomach-turningly odd as it sounds.

Even when fortune smiles on him and a lovely Jamaican woman (Nia Long) take a liking to him, he remains the sort of fellow who meets her family and says “I saw a documentary about African-American hair. A lot of hair comes from horses.” The final sequence is … explosive.

There is no hugging and no learning here, no big catharsis or revelation.  Bravo and Gelman deliver an unnerving and deeply weird portrait of the artist as a middle-aged jerk. We have seen such things before, but maybe never quite like this.

‘Kim Dotcom’ documentary shows dark side of fight against internet piracy

Kim Dotcom re-enacts the police raid and his arrest. Contributed by Nigel Marple

Why would the New Zealand government, at the urging of the United States government, conduct a raid on the home of an accused internet pirate with a force normally reserved for someone like, say, Osama bin Laden? Annie Goldson’s documentary “Kim Dotcom: Caught in the Web” compellingly suggests that the Motion Picture Association of America and its lobby have so much political pull that they can influence other countries’ governments to conduct illegal raids on citizens if said citizens might be disrupting their commercial enterprises.

Dotcom (born Kim Schmitz) is an infamous German hacker who made his name breaching security on the internet before anyone outside of his ilk even knew what that meant. Dotcom’s file sharing site Megaupload.com could be used to pirate (or share, depending on your point of view) original entertainment content.

In Dotcom’s case, there is no definitive evidence that Hollywood saw an overall increase in revenue once Megaupload.com was taken down; in fact, some reports suggest Megaupload.com actually contributed to Hollywood’s bottom line despite some of its users choosing to engage in copyright infringement.

Reporter Greg Sandoval sums up the situation best: “You get in between America and its money and we’re going to have big problems.”

The documentary is essentially a courtroom drama as Dotcom battles the forces of multinational interests influencing the American and New Zealand governments. The third act delves into the troubling fact that Dotcom, his family and associates were under intense personal — and illegal — surveillance leading up to the raid, something for which the New Zealand government later apologized. “Kim Dotcom” is a frightening portrait of blatant disregard for law by law enforcement and the extraordinary reach of the surveillance network of some of the most powerful countries in the world.

“Kim Dotcom: Caught in the Web” screens again at 11:30 a.m. March 16 at Alamo South.

SXSW 2017: Diane Lane learns to enjoy life in ‘Paris Can Wait’

Eleanor Coppola and her husband, Francis Ford Coppola, were attending the Cannes Film Festival in 2009, and they were supposed to fly to Eastern Europe afterward, where he had business. But Eleanor Coppola had a bad head cold and was worried about flying. So a business associate agreed to drive her back to Paris, where the Coppolas have an apartment, and her husband would join her after finishing his business.

But what was supposed to a drive of only a few hours turned into a multi-day trip, with her French companion making numerous stops along the way for wine, food and cultural explorations. When Eleanor Coppola told friends about her experience, they said she should make a movie.

Actor Arnaud Viard, director Eleanor Coppola and actress Diane Lane attend the “Paris Can Wait” premiere during the 2016 Toronto International Film Festival at Winter Garden Theatre on September 12, 2016 in Toronto, Canada. (Photo by Mike Windle/Getty Images)

That movie is “Paris Can Wait,” starring Diane Lane as Eleanor Coppola, Alec Baldwin as Francis Ford Coppola and Arnuad Viard as the irrepressible Frenchman, Jacques.

As you might expect, the movie is gorgeous, with lush cinematography by Crystel Fournier, lavish sets and scenery that’s just about every traveler’s dream. The food doesn’t look too bad, either.

Lane’s character is actually named Anne Lockwood, and she’s in her 50s and wondering about her workaholic husband. So when a flirty business associate who eats and drinks and smokes too much agrees to show her the secrets of the French countryside, she’s intrigued but a bit wary. What plays out over the rest of the movie is a kind of delicate dance, where Anne loosens up and begins to appreciate all the attention.

I know what you’re thinking. This is a movie for older women. Well, yes, it is. But it’s also a movie for everyone who loves France, or loves the thought of getting to know France. The movie is full of joie de vivre, and it should enchant young and old, both female and male. It’s called having a life — and enjoying it to the fullest.

Sony Pictures Classics has picked up distribution rights for the film, and they’ll probably do a good job of marketing. Even if they don’t, you should go see it. A release date hasn’t been set.

Melissa Leo rips up the screen as Madalyn Murray O’Hair in ‘Most Hated Woman’

Melissa Leo delivers a powerhouse performance as the Austin atheist leader Madalyn Murray O’Hair in director Tommy O’Haver’s “The Most Hated Woman in America.”

As O’Hair, Leo is foul-mouthed, in your face, unapologetic and downright nasty at times as she battles most of the rest of the world in fighting for First Amendment rights. In case you’ve forgotten, O’Hair got the “most hated woman” description after she filed a lawsuit against the Baltimore school system, eventually forcing that district as well as others across the nation to stop having school prayer.

The Supreme Court decision is still be debated today, and O’Hair was at the center of the battle in 1963.

Peter Fonda and Melissa Leo in “The Most Hated Woman In America.” Beth Dubber/Netflix

O’Hair parlayed that fame into setting up an Austin nonprofit called American Atheists. She was a regular on TV talk shows and at one point toured the country debating a televangelist, played in the film by Peter Fonda.

Leo throws herself into the role, donning a fat suit for O’Hair in her later years when her girth widened substantially. And she doesn’t hold back on the anger or bluster. It’s almost shocking to see the early O’Hair, so out of place with her outspokenness and so unapologetic about her personal circumstances.

The movie opens with O’Hair telling her parents that she’s going to have yet another child out of wedlock. She has Bill Murray Jr., and a son named Garth is on the way.

Her deeply religious parents are appalled, of course, but O’Hair doesn’t flinch. And when she accompanies Bill Jr. to school one day and hears a teacher leading the students in the Lord’s Prayer, she starts yelling at the teacher and promising to put a stop to what she sees as a violation of church and state separation.

Nearly every man in O’Hair’s life, except for her youngest son Garth, betrays her. The first betrayals, of course, are from the men who don’t step up to help father their sons. But O’Hair suffers another setback when her oldest son, Bill, decides to become a Christian and disassociate himself from the family.

Then there’s David Waters, played by Josh Lucas, whom O’Hair groomed to take over the family business. Waters and O’Hair had a falling out eventually, and Waters came up with the scheme to kidnap O’Hair, her son Garth and her granddaughter Robin and demand that they turn over assets held in a supposedly secret account in New Zealand.

When the three disappear, a family associate notices their house is empty and that the dogs have been left behind, unattended. So he’s naturally alarmed. But law enforcement officials simply suspect that O’Hair has taken off for New Zealand to enjoy some time away from home. Then the passports are found, and then the family friend contacts a reporter in San Antonio, and finally, people begin to take matters seriously.

Meanwhile, the O’Hair family is still being held captive until a tragic event one night unleashes a fury that will leave all of them dead.

Leo’s final scenes in the film are heartbreaking, as she realizes what is happening. And you almost think that there will be some kind of redemption, some kind of grace, if O’Hair would ever accept such a concept. But Leo plays the scene note-perfect. And you know the tragedy will not be softened.

As Waters, Lucas has the second-strongest role. He captures the quintessential handsomeness and sleaziness that’s necessary. And Fonda is a hoot as a televangelist who challenges O’Hair to accompany him on a road show. It wasn’t O’Hair’s finest hour, ethically, but she did what she had to do, as Leo shows so well.

“The Most Hated Woman in America” premieres on Netflix on March 24. It screens again at SXSW at 11:30 a.m. March 18 at the Zach Theatre.

Texas ties run strong in these SXSW films

Pierce Brosnan stars in “The Son.” Contributed

Some were shot here. Some come from filmmakers who live here. And one is set in the Austin music scene (though our critic begs to differ). These are some of the movies with ties to Texas that screened at South by Southwest.

“The Son”: Based on the 2013 novel by Austin’s Philipp Meyer, shot in Central Texas, set in Texas — this TV series, coming to AMC on April 8, could only get more “Texas” if you threw in a cameo from Willie Nelson riding on Bevo while eating some Blue Bell. Pierce Brosnan plays the family patriarch; critic Charles Ealy says “he’s an archetype, of course, but what a complex character, whom Brosnan fully captures in the first two episodes of the new season.”

REVIEW: Get ready: ‘The Son’ might be the next great Texas TV series

“Song to Song”: SXSW’s opening night movie, from Austin director Terrence Malick, is “a modern love story set against the Austin, Texas, music scene.” But according to our critic Joe Gross, it “is a movie about Austin the way “Star Wars” is about Tunisia — it was shot there, but in terms of the flavor of the place, it might as well have been a matte painting.”

REVIEW: The gorgeous ‘Song to Song’ has little to do with music or Austin

“Disgraced”: This Showtime documentary is about the 2003 murder of college basketball player Patrick Dennehy by teammate Carlton Dotson and the accusations that followed against Baylor University and head coach Dave Bliss.

REVIEW: ‘Disgraced’ will leave you disgusted with Dave Bliss and Baylor University

“The Honor Farm”: This is Austin director Karen Skloss’ first narrative feature, “a story that subverts every aspect of the horror genre, not in a satirical way but in a sweet and very mushroom-trippy way.”

REVIEW: ‘Honor Farm’ delightfully subverts horror genre at SXSW

“Infinity Baby”: Austin-based filmmaker Bob Byington has created what critic Matt Shiverdecker calls “a gleefully sardonic comedy sharply observed in black-and-white across our fair city.” It stars Kieran Culkan, Nick Offerman, Megan Mullally, Martin Starr and Noël Wells.

REVIEW: ‘Infinity Baby’ mines futuristic concept for sharply observed laughs

“Walking Out”: This feature from brothers Alex and Andrew Smith (one a current Austinite, the other a former) tells “an intense story of survival against the odds, an unexpectedly emotional journey” and stars Matt Bomer and Josh Wiggins.

REVIEW: ‘Walking Out’ is a bold and unexpectedly emotional tale of survival

“La Barracuda”: This thriller from Austin-based directors Julia Halperin and Jason Cortlund is about half-sisters who meet for the first time, and how that affects the extended family; it features lots of Texas music and some tracks live at the Saxon Pub.

REVIEW: Familial deception is at the heart of Austin-based film ‘La Barracuda’

 

RELATED

SXSW: Nine takeaways from ‘Muppet’ master Frank Oz’s chat with Leonard Maltin

From left, Dave Goelz, Fran Brill, Frank Oz, Jerry Nelson and Bill Barretta in “Muppet Guys Talking.” Contributed by 2017 Vibrant Mud LLC

Frank Oz is at SXSW with this new documentary “Muppet Guys Talking.”

It is just what it says in the title: A movie about the original crew who formed around Jim Henson and gave us the “The Muppet Show” and “Sesame Street.”

Oz sat down with critic Leonard Maltin for a chat.

Guest stars thrived on “The Muppet Show.” The guest stars on “The Muppet Show” (1976-1981) were a who’s who of ’70s entertainment.”We would often hear stories about people who were hard (to work with),” Oz said. “You have to consider the source, because that would mean they want to work hard and some people don’t want to work hard. We found that once they were in an environment in which they knew they were supported, they relaxed and  believed in the characters and had a ball.”

Young people will giggle at the existence of Edgar Bergen. Which is fair. “Understand something, this is the most bizarre thing,” Oz said to the audience, “Edgar Bergen was absolutely, extraordinarily popular. And he was a ventriloquist. On radio.” (Cue massive laugh from crowd).

It is clear Oz still, for the best reasons, absolutely reveres Jim Henson. When asked who his inspirations were, Oz said, “I wasn’t really inspired by one person until I met Jim. I moved to New York when I was 19 years old because Jim asked me to.”

Bert and Ernie match Oz and Henson’s personalities, in that order. Originally, it was the opposite. “But that didn’t work, so we switched characters, which really mirrored our relationship,” Oz said. “At that time, I was neurotic, rigid, and Jim was always playful. And the design by the Workshop mirrored that. Bert was vertical, straight, rigid. Ernie is horizontal and playful.”

^This is a stone classic. “Brad, do you like swans?”^

“Little Shop of Horrors” tested reeeeeeely badly. Oz said the audience absolutely hated that the leads were killed at the end of the movie. “You want a 55 percent or greater on the score card under ‘Would you recommend this movie to a friend?’ We got 13 percent.” Time for reshoots and a happier ending.

What does he want to be remembered for? “It’s gonna sound corny, but I just want to be a good father.”

On pushing puppetry forward as an entertainment technology: “That was all Jim,” Oz said. “We were with Jim, and he took us on those journeys. Jim always wanted to break new ground.”

On how Henson would feel about streaming technology: “He would have been ahead of you all,” Oz said to a round of applause. “He believed in R&D.”

The moment everyone started to maybe tear up a bit: A gentleman in the audience asked Oz about an article in Salon called “How the Muppets created Generation X”  and how the piece suggests that a lot of the values that Gen-Xers tend to have in common were communicated by the various Muppet venues. “Tell me in your opinion what those values are,” Oz said.

“Acceptance, tolerance, curiosity, enthusiasm for diversity,” the gentleman said.

“You could just say one word for that, and that’s Jim,” Oz said. “That’s what we learned. He never shared his philosophy verbally, he just was who he was and we followed him because all those words and more were Jim’s moral compass.”