“And I think there's also just something about an unfettered or uncensored id that is so captivating. We all have that fantasy of doing exactly what we want with no consequences and sort of letting that go. I think when you see an athlete at the peak of their game, doing that embodied thing and living that dream, or when someone has actually done horrible things that you would never allow yourself to do, there is a fascination there. I had one teacher who said, "Anyone who drives you crazy or that you just cannot stand in life, put them in a play or put them in a scene, and the audience will love them." If someone has really gotten under your skin and you just cannot stand them, and you have a visceral reaction—like, "I just hate this person"—make them a character, and the audience will make them everyone's favorite character. There is something to that.” - Daniel Pearle

Today, we explore the dark psychology of obsession, guilt, and the thin line between predator and victim. Our guests are two of television's most accomplished architects of high-stakes drama and moral ambiguity: Howard Gordon, the showrunner and executive producer whose work defined a generation of thrillers with 24 and the multi-award-winning Homeland; and Daniel Pearle, an executive producer and writer who brings a distinct, penetrating depth from his background as a celebrated playwright and his work on series like Accused and American Crime Story..

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast

“So when we decided to do a documentary to follow Ai Weiwei, we knew, of course, it wouldn't be just a simple opera, and we knew he would bring his own very special and original vision. Because, of course, he is not an opera director. From his point of view, it's a challenge, but from another perspective, it’s probably an enrichment for the opera audience because he doesn't follow the rules of opera. And, of course, once you decide to do a documentary about Ai Weiwei, it's in his DNA to be political. Once I started to follow him, the political issues and topics came into the documentary by themselves.”

The renowned artist and activist Ai Weiwei has used sculpture, photography, documentaries, and large-scale installations to challenge authoritarian power for decades. But his project at the Rome Opera House, directing Puccini’s final opera, Turandot, may be his most powerful fusion of art and politics yet. Puccini’s original is a fairy tale set in ancient China about a princess whose riddle game costs failed suitors their lives. But Ai Weiwei transformed this story into a stark reflection of the present, weaving in footage of refugee crises, COVID hospitals, and the Ukraine war—a production that became an urgent act of resistance for its Ukrainian conductor and cast. The opera and documentary are a living document of our turbulent times, embodying Ai Weiwei’s belief that 'Everything is Art. Everything is Politics.'

The new documentary, Ai Weiwei's Turandot, goes behind the curtain to capture the artistic struggle and emotional weight of making this work—a process that began with one vision and was fundamentally changed by a global pandemic and a major war.

My guest is the documentary’s director, Maxim Derevianko. He grew up in a family with deep ties to the Rome Opera House, and he offers a deeply personal, intimate look at how in Ai Weiwei’s words, “art competes with reality, but art will have the last word.”

Episode Website

www.creativeprocess.info/pod

Instagram:@creativeprocesspodcast