Business leaders in San Antonio have pledged to advocate for increased state funding for public education and oppose expansive school voucher programs during the current legislative session. The city's economic stakeholders recognize the critical need for well-funded schools, especially as districts grapple with post-pandemic financial challenges. Despite a record state budget surplus, public schools have not seen increased funding since 2019. This episode of the podcast "bigcitysmalltown" delves into the reasons behind Texas's poor ranking in public school funding and explores the efforts by business leaders to improve educational investment. Through interviews with key figures like Mario Barrera and Luis Rodriguez, the discussion highlights the importance of a well-educated workforce for economic development and the potential negative impacts of voucher programs on public schools.
The significance of public education has become increasingly apparent to San Antonio's business community. According to Mario Barrera, a local attorney and former chairman of the Greater San Antonio Chamber of Commerce, investing in public education is one of the most effective tools for economic growth. Barrera, who initially chose private schooling for his child due to underperforming local public schools, now advocates strongly for better public education. He emphasizes the need for stricter eligibility requirements for families seeking benefits from voucher or education savings account (ESA) programs. Earlier this month, the state Senate approved a bill that would provide up to $10,000 per family for private school expenses, a measure currently under review in the Texas House.
Luis Rodriguez, president and CEO of the San Antonio Hispanic Chamber of Commerce, also underscores the importance of equitable education opportunities. He questions why the quality of education should be determined by ZIP codes, noting that failing to invest in public schools means undermining the future workforce. Rodriguez, who sends his children to public schools, believes that the state's high business rankings do not align with its poor performance in education. With over 5.5 million students enrolled in Texas public schools compared to approximately 350,000 in private institutions, the stakes are high for ensuring adequate funding and support for the majority of students.
Business leaders plan to take their concerns directly to state legislators in Austin on March 26 during an event called ¡VIVA SAN ANTONIO!. Organized by the Greater San Antonio Chamber of Commerce, this gathering aims to address issues crucial to San Antonio and Bexar County. By engaging with policymakers, these leaders hope to influence decisions that will positively impact public education and, by extension, the city's long-term economic health. The advocacy effort reflects a growing recognition that robust public education is essential for sustainable economic development and social equity.
In a surprising turn of events, Brady Corbet, the director behind the critically acclaimed film "The Brutalist," reveals that he has not profited from his masterpiece despite its numerous accolades. This thought-provoking revelation sheds light on the often-overlooked financial struggles faced by filmmakers in Hollywood, even those who achieve significant recognition. The film has garnered four BAFTAs and three Golden Globes, along with ten Academy Award nominations, yet Corbet finds himself in a precarious financial situation. His dedication to promoting the film during the awards season has left him without income for months, highlighting the complexities and challenges within the industry.
Financial Hardship Behind the Scenes of an Award-Winning Film
In the heart of the bustling entertainment world, where success is measured in trophies and box office numbers, Brady Corbet's journey with "The Brutalist" offers a different narrative. Since its premiere at the Venice Film Festival last September, the film has captivated audiences and critics alike, earning prestigious nominations and wins. However, Corbet disclosed during an episode of "WTF with Marc Maron" that neither he nor his co-writer, Mona Fastvold, have seen any financial gain from their efforts. The duo had to rely on earnings from projects completed years ago to sustain themselves.
The production of "The Brutalist," which spans over three hours, cost approximately $10 million, and while it has grossed $31 million since its December release, Corbet attributes his lack of income to the relentless promotional tours required during the awards season. "The timing was less than ideal, but it was an opportunity I couldn't pass up," he explained. Unlike initial promotions, award-season activities are often unpaid, leaving filmmakers like Corbet without compensation for their extensive efforts. He added that this period also prevented him from taking on new work, further exacerbating his financial strain.
"I haven’t had a day off since the Christmas break, and that was only four days," Corbet shared, emphasizing the grueling nature of the promotion schedule. Only recently did he manage to secure a job shooting advertisements in Portugal, marking the first time he has earned income in years. This candid admission highlights the stark reality faced by many in the film industry, where critical acclaim does not always translate into financial stability.
From a reader's perspective, Corbet's story serves as a poignant reminder that the glamorous facade of Hollywood often masks the underlying financial challenges faced by creators. It underscores the need for better support structures within the industry to ensure that talented individuals like Corbet can thrive both creatively and financially. The tale of "The Brutalist" invites us to reconsider the value placed on artistic contributions and the importance of fair compensation for all involved in bringing these works to life.
At the Berlin Film Festival, actors Ethan Hawke and director Richard Linklater delved into the complexities of artistic expression versus commercial viability during a press conference for their latest film, "Blue Moon." The duo emphasized the importance of prioritizing creative authenticity over financial gain. They argued that when monetary considerations take precedence, it often leads to generic content that lacks depth. Hawke stressed that audiences must advocate for challenging art forms, which might not always be commercially viable. He also highlighted how the film explores themes of offensive art through the character of Lorenz Hart, a lyricist grappling with personal demons on the night of a groundbreaking musical's premiere. Linklater added his thoughts on escapism in cinema, suggesting that while some periods inspire provocative art, movies have historically offered an escape from harsh realities.
The discussions at the press conference centered around the notion of creating meaningful art despite potential controversy. Hawke pointed out that offensive art can only thrive if there is genuine interest and support from the community. “When we place money above all else, what results is material designed to appeal broadly but lacks substance,” he remarked. This perspective was reflected in the narrative of "Blue Moon," where Hart criticizes the new musical for its overly cheerful resolution amidst global turmoil. His critique underscores the tension between creating art that challenges societal norms and producing works that provide comfort or distraction.
Linklater expanded on this idea by reflecting on historical trends in filmmaking. He noted that while certain eras may produce more provocative art due to societal conditions, films have long served as a means of escapism. In "Blue Moon," Hart's dissatisfaction with "Oklahoma!" highlights this dichotomy. The film captures Hart's struggle with alcoholism and depression on the eve of a show that represents a shift toward more optimistic storytelling. This contrast serves as a poignant commentary on the evolving nature of artistic expression during times of crisis.
Hawke and Linklater's collaboration on "Blue Moon" marks their first joint project in over ten years. Their partnership has spanned nine feature films, including the renowned "Before" trilogy. During a previous conversation at the Venice Film Festival, Hawke revealed an amusing backstory about the film's development. Linklater initially postponed the project, citing concerns that Hawke was "too attractive" to play the role of Hart accurately. Over time, they revisited the script periodically until both felt ready to bring the story to life. The film premiered at the Berlin Film Festival, offering audiences a glimpse into the intricate relationship between artistic integrity and commercial pressures.
This dialogue between Hawke and Linklater offers valuable insights into the challenges faced by artists who strive to create meaningful work in an industry driven by financial incentives. Their reflections on the balance between artistic vision and market demands provide a compelling backdrop for "Blue Moon," a film that invites viewers to ponder the role of provocative art in shaping cultural conversations.