Latest news with #AmericanSignLanguage
Gulf Today
6 days ago
- Entertainment
- Gulf Today
Marlee Matlin tells her story in an intimate documentary
When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select theaters Friday. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Shoshanna, what was your approach? STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. What were some techniques you used to spotlight the deaf experience? STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. 'CODA' felt like a big moment, but in the years since it won the Oscar, have you seen things change? MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. Associated Press
San Francisco Chronicle
20-06-2025
- Entertainment
- San Francisco Chronicle
Marlee Matlin tells her story in an intimate and groundbreaking documentary
When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select theaters Friday. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Remarks have been edited for clarity and brevity. AP: Shoshanna, what was your approach? STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. AP: What were some techniques you used to spotlight the deaf experience? STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. AP: 'CODA' felt like a big moment, but in the years since it won the Oscar, have you seen things change? MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. We want to work in all levels of production. So 'CODA' really elevated that conversation about how much we wanted to be part of the industry. But for some reason it didn't really break open the door as wide as I would have thought. Yet we just don't give up. We are persistent. Because it is what it is. We are working on our own levels to make changes. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. MATLIN: There's so many stories that we can tell, so many stories that you can put up on screen, so many stories that we can put on stage. I'd like to see action because I've been hearing that, 'Yes, we have to do this' or 'I will do this,' but it's been 40 years. I don't want to sound like I'm complaining. I just want to make sure that we put our money where our mouth is. I go back to that comment about Rex Reed. I wonder if he would ever see this film. I'd love to see if he has the balls to make a comment and say, "Oh look, I realize I might have said something wrong." That's just one example of the things I'd like to see happen. And maybe the people who interviewed me over the years. I don't want you to misunderstand me, I have a great deal of respect for them. But specifically, I am calling out Rex Reed. So, you know, sorry but not sorry.
20-06-2025
- Entertainment
Marlee Matlin tells her story in an intimate and groundbreaking documentary
When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select theaters Friday. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Remarks have been edited for clarity and brevity. STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. We want to work in all levels of production. So 'CODA' really elevated that conversation about how much we wanted to be part of the industry. But for some reason it didn't really break open the door as wide as I would have thought. Yet we just don't give up. We are persistent. Because it is what it is. We are working on our own levels to make changes. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. MATLIN: There's so many stories that we can tell, so many stories that you can put up on screen, so many stories that we can put on stage. I'd like to see action because I've been hearing that, 'Yes, we have to do this' or 'I will do this,' but it's been 40 years. I don't want to sound like I'm complaining. I just want to make sure that we put our money where our mouth is. I go back to that comment about Rex Reed. I wonder if he would ever see this film. I'd love to see if he has the balls to make a comment and say, "Oh look, I realize I might have said something wrong." That's just one example of the things I'd like to see happen. And maybe the people who interviewed me over the years. I don't want you to misunderstand me, I have a great deal of respect for them. But specifically, I am calling out Rex Reed. So, you know, sorry but not sorry.
Winnipeg Free Press
20-06-2025
- Entertainment
- Winnipeg Free Press
Marlee Matlin tells her story in an intimate and groundbreaking documentary
When American Masters approached Marlee Matlin about doing a documentary, Matlin had one name in mind to direct: Shoshanna Stern. Like Matlin, Stern is deaf. She also hadn't directed before. But Matlin, who herself became the first deaf person in the Directors Guild of America just a few years ago, was certain she was up to the task. The resulting film, 'Marlee Matlin: Not Alone Anymore' is an intimate look at her life: Growing up in a hearing family; winning the best actress Oscar at 21 for her first movie role in 'Children of a Lesser God,' which film critic Rex Reed at the time called a 'pity vote'; what she's described as an abusive romantic relationship with her co-star, the late William Hurt, which he denied; getting sober; and her experiences in an industry not equipped to accommodate deaf actors. It's also an evocative portal into the world of the deaf community that uses groundbreaking techniques and sound design to put American Sign Language (ASL) and visual communication first. The film opens in select theaters Friday. While Matlin told much of her story in the memoir 'I'll Scream Later,' on some level it wasn't a completely satisfactory experience. Before the #MeToo movement, its revelations were not treated entirely seriously in the media. But a documentary also provided an opportunity. 'We communicate visually,' she said. Matlin and Stern spoke though translators to The Associated Press about the 'CODA' effect, making the doc on their terms, and why they hope Reed sees this film. Remarks have been edited for clarity and brevity. AP: Shoshanna, what was your approach? STERN: I had never seen a deaf person direct an episode of TV or film. Never. I thought, what does that even look like? I didn't realize until I took the job that really the whole form of documentary as we know it is really rooted in sound, in the assumption that people will be speaking and they can speak. I thought, what are we going to do when we're using American Sign Language? I have to reframe a whole form of documentary. We have to be able to see what a visually-based documentary is going to look like. We wouldn't do justice to Marlee's life if I had forced this form that really wasn't rooted in the way that she experienced this life. And that was exciting to do. Scary for some people out there, but I never felt scared in making this documentary because she believed in me. MATLIN: If I had had a hearing director approach me to do this project, we could have done a very good job, but that person would not have seen me in the same way. They would not have the same lens as a deaf person. AP: What were some techniques you used to spotlight the deaf experience? STERN: I did want to film with captions in mind, so I made sure that we did have a wider frame. We figured out visual voiceover with a split screen that we added. We did this little surgery with words and syllables in one of the scenes where we mixed them all around to be able to bring people into how Marlee experiences conversations and the world. We wanted to make this documentary an immersive experience for the audience members, a sensory experience to help them understand. AP: 'CODA' felt like a big moment, but in the years since it won the Oscar, have you seen things change? MATLIN: 'CODA' certainly was a milestone and respected by so many people in the industry. It tackled a lot of things that both deaf and hearing people or audiences can identify with. I love the fact that they burnt in the captions. That you can't just turn it off. And I hoped that all the love we received and the three Academy Awards that we got would make a difference. It was honored on so many other levels too as well, whether we're talking about (director) Sian (Heder) or you're talking about Troy (Kotsur) or the SAG award which was just a dream come true, specifically of mine. I took that opportunity to specifically address that that we 'exist,' that we want to be actors just like you, we want to be directors, we want be producers, we want to be hair and wardrobe stylists. We want to work in all levels of production. So 'CODA' really elevated that conversation about how much we wanted to be part of the industry. But for some reason it didn't really break open the door as wide as I would have thought. Yet we just don't give up. We are persistent. Because it is what it is. We are working on our own levels to make changes. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. STERN: Marlee said something really brave when we were at Sundance. She said, 'It won't last.' The moment, yes, in the moment. But I don't know if we have movement. MATLIN: There's so many stories that we can tell, so many stories that you can put up on screen, so many stories that we can put on stage. I'd like to see action because I've been hearing that, 'Yes, we have to do this' or 'I will do this,' but it's been 40 years. I don't want to sound like I'm complaining. I just want to make sure that we put our money where our mouth is. I go back to that comment about Rex Reed. I wonder if he would ever see this film. I'd love to see if he has the balls to make a comment and say, 'Oh look, I realize I might have said something wrong.' That's just one example of the things I'd like to see happen. And maybe the people who interviewed me over the years. I don't want you to misunderstand me, I have a great deal of respect for them. But specifically, I am calling out Rex Reed. So, you know, sorry but not sorry.
Boston Globe
20-06-2025
- Boston Globe
The Karen Read retrial may be over, but we'll never truly be free of the case. (And now what do we do with ourselves?)
Advertisement All around the world, people who couldn't even believe they cared held their breath until, finally, the verdict was read in open court: Karen Read was not guilty of murdering John O'Keefe. Not guilty of manslaughter. Guilty only of operating a vehicle under the influence. Get Love Letters: The Newsletter A weekly dispatch with all the best relationship content and commentary – plus exclusive content for fans of Love Letters, Dinner With Cupid, weddings, therapy talk, and more. Enter Email Sign Up The defense team hugged. The victim's family disappeared from view, as if they had done something wrong. Law enforcement mustered on the steps of the courthouse. The pink bosoms heaved, their hearts full, their eyes on the courthouse doors. It was like waiting for the royal family, or maybe the pope, to take the balcony. Finally, their icon appeared. Read and attorney Alan Jackson flashed the American Sign Language sign for 'I love you.' Attorney David Yannetti pumped his fists. Advertisement 'No one has fought harder for justice for John O'Keefe than I have,' Read said. It was glorious — the release they'd all been waiting for — but eventually the stars left the stage and climbed into dark cars and pulled away, and the crowd dispersed and the traffic in downtown Dedham began to flow, and that seemed to be that. The end of an era. Supporters of Karen Read react after she was found not guilty of second-degree murder on Wednesday in Dedham. Josh Reynolds/Associated Press Or, was it? Painful as it is, perhaps now is a good time to recall the Indeed, no sooner had the jury delivered its verdict than the last three and a half years began to feel like merely the prelude to an even juicer season, starting, of course, with the hunt for the real killer! 'The time has come to scrutinize the actions of [people] who were caught lying — committing perjury during the trial,' a Read supporter wrote on Facebook. On the X platform, the snark and 'gotchas' continued with zest, as if the trial hadn't ended. 'Imagine getting convicted of a DUI and you walk outside to streets full of people cheering you on,' one post read. 'The saddest part of the Karen Read saga is John O'Keefe is still dead and the people who actually murdered him will never be punished thanks to the thin blue line,' read another. It was the same story outside the courthouse, where Read supporters were trying to propel the action forward. 'Bev needs to go! Bev needs to go!' the crowd chanted, waving American flags and gunning for Judge Beverly Cannone. Advertisement Aidan Kearney, the now-supercharged blogger known as Turtleboy, announced that he was at last free to reveal that he's involved with a The plot points kept coming. Some of the trial's witnesses put out a somewhat ominous statement. 'While we may have more to say in the future, today we mourn with John's family and lament the cruel reality that this prosecution was infected by lies and conspiracy theories,' read the statement from Jennifer McCabe, who was with Read when she found O'Keefe's body in the snow; Brian Albert, who lived at the home where O'Keefe's body was found, and others. The town of Canton, apparently desperate to move forward (as if), put out its own declaration. 'We encourage members of the community to move forward together, treating one another with respect through civil, constructive dialogue,' it said. And throughout the region, regular citizens began to face a scary reality: themselves. What would they turn to to take their minds off their own lives now? What are people going to do now that they don't have the Read trial to watch or discuss or argue over? Sure, there are books to read, hobbies to develop, and nonprofits at which to volunteer. Then again, considering the pending Beth Teitell can be reached at
