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      John Korty, Director of ‘Miss Jane Pittman,’ Is Dead at 85

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      He was best known for a series of ambitious television movies that examined racism, disability and other social issues.John Korty, a director best known for ambitious made-for-television projects, including the 1974 film “The Autobiography of Miss Jane Pittman,” which won nine Emmy Awards, died on March 9 at his home in Port Reyes Station, Calif. He was 85.His brother, Doug Korty, said the cause was vascular dementia.“Miss Jane Pittman,” a CBS presentation based on the Ernest J. Gaines novel in which a Black woman recounts more than a century’s worth of memories, featured an acclaimed performance by Cicely Tyson as the title character. John J. O’Connor, reviewing the film in The New York Times, called it “a splendid night for television.”“John Korty’s direction is cool and restrained,” he added, “never underlining and always avoiding what could easily be mawkish.”The Emmys the film won included one for Mr. Korty for best directing of a single program, comedy or drama.Mr. Korty on the set of the 1974 television movie  “The Autobiography of Miss Jane Pittman,” which went on to win nine Emmy Awards, including one for Mr. Korty.via Korty Family Cicely Tyson as the title character, a woman who recounts more than a century’s worth of memories, in “The Autobiography of Miss Jane Pittman.”Bettmann via GettyMr. Korty also won both an Oscar and an Emmy for “Who Are the Debolts? And Where Did They Get 19 Kids?,” a documentary about a couple whose many children included hard-to-place adopted ones with disabilities or other challenges. American television networks weren’t interested in the documentary when Mr. Korty first offered it; it was initially released as a film in Japan, then shown at the San Francisco Film Festival in 1977, where it received a standing ovation.That brought it an Oscar for best documentary feature, but Mr. Korty still wanted to get it in front of TV audiences. With some persuasion from Henry Winkler, whose role as Fonzie on “Happy Days” had made him one of the network’s biggest stars, ABC finally broadcast a cut-down version in late 1978; that version won the Emmy for outstanding individual achievement for an informational program.Although Mr. Korty also directed lighter fare and the occasional Hollywood feature, including “Oliver’s Story,” the 1978 follow-up to the hit 1970 movie “Love Story,” he gravitated toward television movies that touched on social issues.In addition to “Miss Jane Pittman,” which covered a century’s worth of the Black experience, he directed “Go Ask Alice” (1973), about teenage drug addiction; “Farewell to Manzanar” (1976), about the internment of Japanese Americans during World War II; “Second Sight: A Love Story” (1984), about a blind woman; “Resting Place” (1986), about a family’s attempt to have a Black officer who was killed in Vietnam buried in his hometown’s all-white cemetery; and “Eye on the Sparrow” (1987), about a blind couple trying to adopt.“I wouldn’t give up television movies,” Mr. Korty told The Times in 1986. “There is nothing like the response you get. Fifty million people saw ‘Jane Pittman’ in one night. That’s very different from even the biggest hit movie.”Mr. Korty on the set of “Farewell to Manzanar,” his 1976 TV movie about the internment of Japanese Americans during World War II.via Korty FamilyIn the best of his television work, Mr. Korty sought to illuminate subjects and perspectives not often addressed in the mainstream. In an essay he wrote for The San Francisco Examiner in 1978, he said that was his hope for the “Debolts” film, in which he showed the children’s disabilities in unflinching detail, rare for TV at the time.“It seems that most physically handicapped people have their greatest struggles not with their crutches, but with their identities — being accepted as individuals rather than as a distasteful class of outcasts,” he wrote. “We hope that by the end of our film the audience will forget who is on crutches and who isn’t.”John Van Cleave Korty was born on June 22, 1936, in Lafayette, Ind. His father, Richard, was an engineer, and his mother, Mary (Van Cleave) Korty, was a nurse.“I started drawing when I was 5 years old,” Mr. Korty said at a 2013 panel discussion of his work, “and for many, many years I thought I was going to be what you’d call a commercial artist.”But in 11th grade a teacher showed the class some of the innovative animated films of Norman McLaren, and Mr. Korty found a new interest. He soon made his first animated film, but, as he told The Abilene Reporter-News of Texas in 1986, he couldn’t afford new film stock. Instead he somehow obtained a reel of a Mickey Mouse cartoon and dumped bleach on it in his parents’ bathtub to erase the images, then hand-painted images on its 2,600 frames. The trick worked, he said, but it took him a week to scrub the bathtub clean.He earned a bachelor’s degree at Antioch College, where he continued to experiment with animation. In about 1963 he settled in the Bay Area, where he set up his own studio. One of his earliest professional efforts, “Breaking the Habit,” a documentary about smoking produced in cooperation with the American Cancer Society, was nominated for the short-subject documentary Oscar in 1965.Mr. Korty directed the independent features “The Crazy-Quilt” (1966), “Funnyman” (1967) and “riverrun” (1968) before he made his first television movies, drawing some critical acclaim and the attention of other young filmmakers who were interested in working outside the Hollywood system. Among them were Francis Ford Coppola and George Lucas, who came to visit his setup in 1968.“They showed up in two station wagons, and when Francis walked in, his mouth dropped open,” Mr. Korty told The Marin Independent Journal in 2011. “He said, ‘My God, you’ve done exactly what we want to do: get out of Hollywood and set up a studio. If you can do it, we can do it.’”A year later Mr. Coppola and Mr. Lucas would found their American Zoetrope studio in San Francisco. Mr. Korty had an office there for several years and went on to work with Mr. Lucas. He and Charles Swenson directed “Twice Upon a Time,” an animated feature made with Mr. Lucas’s Lucasfilm company in 1983, and the next year Mr. Korty directed “Caravan of Courage,” a Lucasfilm TV movie based on the Ewok creatures from the “Star Wars” movie “Return of the Jedi.”“I wouldn’t give up television movies,” Mr. Korty said in 1986. “There is nothing like the response you get. Fifty million people saw ‘Jane Pittman’ in one night. That’s very different from even the biggest hit movie.”via Korty FamilyThough the success of “Miss Jane Pittman” brought Mr. Korty offers to direct Hollywood films, he rarely accepted. “Oliver’s Story,” which he directed in 1978, was an exception. It was a bigger-budget movie than he normally attempted, with big stars — Ryan O’Neal, Candice Bergen — and Mr. Korty wasn’t entirely comfortable.“It’s the first movie I’ve ever made that I’ve felt not a part of,” he told The Sacramento Bee in December 1978 as the early reviews, many of them unflattering, were coming in. “I know I put things in this movie that I liked and the audience wouldn’t — and vice versa.”Mr. Korty’s marriages to Carol Tweedie in 1959 and Beulah Chang in 1965 ended in divorce. In 1989 he married Jane Silvia, who survives him, along with his brother; a sister, Nancy Korty; two sons from his second marriage, Jonathan and David; a son from his third marriage, Gabriel; and three grandchildren. More

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      ‘King Otto’ Review: For Greece, a Whole Different Ballgame.

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      Christopher André Marks analyzes the Greek national soccer team’s championship season under the leadership of a German coach.“King Otto,” which opens with a quote from “The Odyssey,” treats its retelling of a soccer underdog story as the stuff of myth. In 2004, the German coach Otto Rehhagel led the Greek national team to victory in the European Championship. The team had never even won a match at a major competition before. According to the closing titles, Rehhagel became the first foreign-born coach to win a major international soccer tournament for another country’s national team.In this documentary directed by Christopher André Marks, the coach, the players and others recount Rehhagel’s arrival in Greece as someone who didn’t understand the culture or speak the language. (In its opening minutes, “King Otto” makes clear that the offscreen filmmaker and Rehhagel also had a linguistic barrier to overcome.) Ioannis Topalidis, who became Rehhagel’s assistant coach and the interpreter connecting him with the players, emerges as one of the liveliest subjects.Somewhat gratingly, “King Otto” treats its story as a tale of national stereotypes colliding head-to-head. Vassilis Gagatsis, the president of the Hellenic Football Federation at the time, says he hired Rehhagel because he thought that “being a German, he would be able to instill the discipline that we Greeks lack.” One player says that the team “became calmer and cold-blooded” under Rehhagel. According to Gagatsis, the German coach turned out to have “the heart of a Greek.”“King Otto” is less grandiose and more granular when it goes match by match through the 2004 tournament. The briskly edited recap probably holds more suspense for those who didn’t follow the events than those who did.King OttoNot rated. In Greek and German, with subtitles. Running time: 1 hour 22 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      ‘Bisping: The Michael Bisping Story’ Review: An M.M.A. Fighter Speaks Out

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      A documentary takes a look at Bisping’s tough and tender sides.This slick documentary about the mixed martial arts fighter Michael Bisping spends a lot of its first half putting up a kind of cinematic “Tough Guys Only” sign. Bisping’s a crudely voluble bruiser from the North of England! His father was a sniper in the British Army! “Fighting is something that I liked, to be honest,” Bisping says, when not swearing at his critics.OK, then. The movie is executive produced by Bisping himself, which signals a certain subjectivity. The director, Michael Hamilton, assembles a “Raging Bull”-style montage in the middle of the movie, alternating cage footage with home movies to underscore Bisping’s more tender side. This is all pretty conventional. But then the fighter’s story takes a twist.In 2013, after getting a detached retina in a fight, Bisping became blind in one eye. Despite the vision loss — which he did not reveal, as it would have kept him out of the sport — he went on to become U.F.C. champion in 2016. For reasons that become obvious, Bisping and the movie do not detail how he got cleared to fight, but fight he did. And even the milquetoasts who have hung in there until this point will feel compelled to hand it to him.The movie star Vin Diesel, with whom Bisping appeared in an action-packed movie, here waxes poetic about being an alpha male. And Joe Rogan shows up without the benefit of a trigger warning, but hey, Rogan was a U.F.C. commenter back in the day. He contributes the movie’s most amusing anecdote, in which Bisping, at a weigh-in, baits Vitor Belfort, a fighter who is known for being a devoted Christian, with the taunt “Jesus isn’t real.” As it happens, Belfort’s the guy who went on to deliver the blows that detached Bisping’s retina.Bisping: The Michael Bisping StoryNot rated. Running time: 1 hour 49 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      Av Westin, Newsman Behind ABC’s ‘20/20,’ Dies at 92

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      After nearly 20 years at CBS News, he went to a rival network and helped turn its answer to “60 Minutes” into a frequent Emmy Award winner.Av Westin, an influential television producer who rose from copy boy at CBS News for Edward R. Murrow in the 1940s to help make ABC’s “20/20” newsmagazine a perennial winner of Emmy Awards, died on March 12 at a hospital in Manhattan. He was 92.His wife, Ellen Rossen, said the cause was cardiac arrest.Mr. Westin had spent a year as the executive producer of ABC’s “World News Tonight” when he took over at “20/20” in 1979. Over the next seven years, the program won more than 30 news and documentary Emmy Awards, including 11 in 1981.Looking to differentiate “20/20” from the entertainment shows it competed with in prime-time, as well as from CBS’s “60 Minutes,” Mr. Westin mixed ambitious investigative reports with celebrity profiles, lifestyle features and “process pieces” about artistic endeavors like the making of a new album of standards by Linda Ronstadt.A documentarian at heart, Mr. Westin also ordered a series of features called “Moment of Crisis,” which looked back at news events like the disastrous explosion of the Challenger space shuttle and the efforts to save President Ronald Reagan’s life after he was wounded in an assassination attempt.“20/20,” which was hosted by Barbara Walters and Hugh Downs in the 1980s, had an A-list group of correspondents that included Sylvia Chase, Lynn Sherr, Geraldo Rivera, Tom Jarriel, Bob Brown and Sander Vanocur.Mr. Brown recalled that Mr. Westin gave correspondents and producers considerable leeway to cover a story as they chose.“But when the piece was screened, Av took over and was at his best,” Mr. Brown said in a phone interview. “He could break apart a story and make you see everything you’d done wrong and let you know what you had to do to fix it. He had a genius for going straight to a problem.”Mr. Westin’s time at “20/20” came to an end in February 1987, when he circulated an 18-page memo within ABC News and to its top executives at its parent company, Capital Cities/ABC, criticizing news-gathering procedures and calling the division inefficient and in need of a new focus.He said that he had been quietly asked by a Capital Cities executive to critique ABC News, whose president was Roone Arledge.“Cap Cities had essentially decided that Roone was not their guy anymore,” Mr. Westin said in an interview with the Television Academy in 2011. The executive told him that “Roone’s tenure was going to end, and I was likely to be the preferred candidate of management.”“What I wrote was accurate,” Mr. Westin added, “but obviously it was inflammatory.”The memo led Mr. Arledge to suspend him and take him off “20/20.” But the suspension did not last long, and Mr. Westin went on to work on projects like “The Blessings of Liberty,” about the U.S. Constitution at its centennial, until he left the network in 1989.It was not the first time the two men clashed. In 1985, Mr. Arledge killed a “20/20” segment about the death of Marilyn Monroe and her ties to the Kennedys, calling it “gossip-column stuff.” Mr. Westin objected, and Mr. Rivera angrily told the gossip columnist Liz Smith that he and others at “20/20” were appalled that Mr. Arledge “would overturn a respected, honorable, great newsman like Av.”Mr. Westin with the “20/20” host Hugh Downs in 1981. He recruited an A-list group of correspondents for the program.Disney General Entertainment Content via Getty ImagesAvram Robert Westin was born on July 29, 1929, in Manhattan. His father, Elliot, was a vice president of a commercial baking company. His mother, Harriet (Radin) Westin, was a homemaker. Av Westin graduated from New York University in 1949. He had begun his studies as a pre-med student, but an experience during a summer job as a copy boy at CBS in 1947 altered his direction, to English and history.“A bulletin moved that a ship was sinking off Newfoundland,” he told the Television Academy, and he promptly carried the teletype copy to an editor. “I was the only person at CBS News headquarters who knew that information,” he said. “I was the ultimate insider. That’s the epiphany.”Mr. Westin was a writer, director, reporter and producer for 18 years at CBS, during which he earned a master’s degree in Russian and East European studies at Columbia University in 1958. He won an Emmy in 1960 as a writer for the documentary “The Population Explosion,” and in 1963 created and produced “CBS Morning News” with Mike Wallace.He left CBS in 1967, spent two years as executive director of the noncommercial Public Broadcasting Laboratory and joined ABC News in 1969 as the executive producer of its evening newscast, then anchored by Frank Reynolds. It was an era when “ABC Evening News” trailed CBS and NBC’s nightly news operations in prestige, ratings and financial resources.“My target is ‘H and B,’” Mr. Westin told The Indianapolis News in 1969, referring to NBC’s co-anchors Chet Huntley and David Brinkley. “I think people are getting tired of them, and if they’re shopping around, I want them to look at us before they automatically turn to Walter” Cronkite.The broadcast journalist Ted Koppel, who was a correspondent on the evening news program, said of Mr. Westin in a phone interview, “He probably elevated the ‘ABC Evening News’ as much as anyone until Roone Arledge,” adding, “Av was a very ambitious man, who thought he should have been ABC News president.”While at ABC News, Mr. Westin ran its “Close-Up” documentary unit, for which he won a Peabody Award in 1973. He won another Peabody the next year, for producing and directing the documentary “Sadat: Action Biography,” about the Egyptian leader Anwar Sadat.He left ABC News in 1976 in a dispute with Bill Sheehan, the president of the division, but returned two years later at Mr. Arledge’s request “to get rid of” the incompatible, feuding “Evening News” anchor team of Ms. Walters and Harry Reasoner.“The day I arrived back at ABC, one of the producers who was in the Reasoner camp came up to me and said, ‘You know, she owes us 5 minutes and 25 seconds,’” Mr. Westin told the Television Academy, referring to how much more Ms. Walters had been on the air than Mr. Reasoner over the past year.After returning as the executive producer of “Evening News,” Mr. Westin collaborated with Mr. Arledge on an overhaul in 1978 that transformed the show into the faster-paced, graphics-oriented “World News Tonight,” with three anchors: Mr. Reynolds in Washington, Max Robinson in Chicago and Peter Jennings in London.A year later, Mr. Arledge moved Mr. Westin to “20/20.”After leaving ABC News, Mr. Westin was an executive at King World Productions, Time Warner and the National Academy of Television Arts & Sciences’s foundation.In addition to his wife, he is survived by a son, Mark. His previous marriages to Sandra Glick and Kathleen Lingo ended in divorce. He lived in Manhattan.To Mr. Westin, evening news programs, which cannot provide much depth in 22 minutes of airtime, have a clear mandate.“I believe the audience at dinner time wants to know the answers to three very important questions,” he said, explaining a rule he had at ABC News. “Is the world safe? Is my hometown and my home safe? If my wife and children are safe, what has happened in the past 24 hours to make them better off or to amuse them?” More

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      ‘Jane by Charlotte’ Review: A Mother-Daughter Duet

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      Charlotte Gainsbourg makes her directorial debut with an elusive portrait of her mother, the French-English star Jane Birkin, at age 74.“Jane by Charlotte,” the directorial debut of the actress and singer Charlotte Gainsbourg (“Antichrist”), is a meandering and elusive documentary portrait of Gainsbourg’s mother, Jane Birkin. An “It” girl of the 1960s and ’70s, Birkin is known for starring in risqué art-house films (like “Blow-Up”), and for her romance with Serge Gainsbourg, with whom she collaborated on a hit album before starting her solo singing career.Gainsbourg pays homage to Agnès Varda’s 1988 docudrama, “Jane B. par Agnès V.,” which captures Birkin, age 40, considering her status as a muse and icon. “Jane by Charlotte” sees Birkin at 74 and picks up on fixations of hers apparent in that earlier film — her love of bulldogs, photographs and motherhood — as well as her ideas about femininity.In contrast to Varda’s metanarrative approach, Gainsbourg’s is straightforward, switching between elegantly staged mother-daughter conversations and home video-esque footage of Birkin’s everyday activities — like performing her music in Japan, gardening with her granddaughter and visiting a bulldog breeder.Gainsbourg purports to look at her mother as she’s “never dared before,” hoping to close a rift between them. Birkin speaks, rather obliquely, about intimate subjects like her lifelong dependency on sleeping pills and her maternal insecurities — the premature death of her first daughter, Kate Barry, looms over the film.Clearly a pet project for Gainsbourg (whose own electronic pop songs feature prominently in the soundtrack, clashing against her mother’s classic tunes), the documentary is defiantly insular and lacking in context.When Gainsbourg and Birkin visit Serge’s famed black-walled Paris home, for instance, the dwelling’s peculiarities are taken for granted. (The house has remained mostly unchanged since Gainsbourg’s death in 1991 and is now going to be a museum.) Those devoted to the Gainsbourg-Birkin universe may delight in the miscellanea presented here, but Gainsbourg has no interest in rendering her mother’s life, or their relationship, accessible or particularly fascinating to the uninitiated. This makes for an occasionally trivial experience, but one senses Gainsbourg doesn’t care — she might have made the film for no one but herself.Jane by CharlotteNot rated. In French, with subtitles. Running time: 1 hour 28 minutes. In theaters. More

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      ‘More Than Robots’ Review: An International Battle

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      Despite the movie’s title, robots are the subject and spectacle of this lighthearted film about a high school robotics competition.The documentary “More Than Robots” (streaming on Disney+) centers on an international high school robotics competition. Despite the movie’s title, robots are, in fact, the subject and spectacle of this lighthearted film.Working in groups over the course of several weeks, young inventors participate in the FIRST Robotics Competition to create industrial-size robots that are complex enough to move automatically, shoot projectiles and even climb. The organization that runs the competition was founded by the inventor Dean Kamen, who wanted to host an event that would develop the skills of young engineers. (The international reach of the competition drew powerful patrons: When the organizers of the tournament present the season’s challenge, they acknowledge that the competition is sponsored by Lucasfilm.)The documentary follows four teams in early 2020 as they prepare for regional competitions in Japan, Mexico and California. The most memorable scenes come from the two teams in Los Angeles, each led by their teachers Fazlul and Fatima, who are also a married couple. Despite the apparent differences in funding between the two schools, both mentors encourage their students to build robots that stand up to the hard knocks of engineering battles.The movie is the first documentary feature directed by the actress Gillian Jacobs. As a filmmaker, she made the wise choice to feature bright-eyed inventors who are able to make technical innovation sound approachable in talking head interviews.Ultimately, though, the documentary lacks balance and growth in its storytelling. Jacobs has more footage to show from the tournament in Los Angeles than either Japan or Mexico, and this imbalance has the unfortunate effect of making the international story lines feel neglected. Like many of the young inventors she documents, Jacobs has created a project that doesn’t fall apart at first touch. But her film doesn’t meet the mark for excellence, either.More Than RobotsNot rated. Running time: 1 hour 29 minutes. Watch on Disney+. More

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      in Music

      ‘The Torch’ Review: The Blues Legend Buddy Guy Sows His Legacy

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      A new documentary by Jim Farrell focuses on the musician’s sense of mission.This documentary centered on the blues musician Buddy Guy is a very good rather than a great movie. But any opportunity to spend almost two hours in the company of Buddy Guy is an opportunity not to be missed.Directed by Jim Farrell, “The Torch” takes an unusual tack. It’s as much about Guy’s sense of mission as it is about his stunning musicianship. It begins with Guy on acoustic guitar, singing of how his mother identified him as a blues man when he was only 2 years old. Then we’re at Guy’s Chicago nightclub, Legends, following a young man into the club. He appears to be a fan, but he’s there to play. He’s Quinn Sullivan, a youthful protégé of Guy’s. He’s one of several musicians to whom Guy is passing the torch of the movie’s title.Guy tells stories of his early years across Louisiana and in Chicago. Practically starving as he tries to find work, he is introduced to the singer-songwriter Muddy Waters, who gives him a ride around town, during which Waters offers Guy bread and salami as they drive. Realizing he’s going to play with one of his heroes, Guy’s hunger seems to disappear.Then there’s the footage of Sullivan’s white, middle-class upbringing. The guitarist has real talent but might be considered by some lacking in the blues-as-lived-experience department, since it is a Black musical tradition. This doesn’t concern Guy, who is Black; and race is never once mentioned verbally. Instead, as onscreen interviews with musicians such as Carlos Santana, Joe Bonamassa and others underscore, the bottom line is what you give to the music. Depicted here in appearances before the pandemic, Guy, who is in his 80s, still gives his all, combining soul and virtuosity with off-the-wall showmanship.The TorchNot rated. Running time: 1 hour 47 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      Mandy Patinkin Finds Healing in Refugee Work and Praying With His Dog

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      Right when the actor thought he’d done almost everything, Ken Burns offered him the role of Benjamin Franklin, and, just maybe, held off an early retirement.Mandy Patinkin arrived so long ago in his career — winning a Tony Award for “Evita” and an Emmy for “Chicago Hope” and being the object of adoration and imitation as Inigo Montoya in “The Princess Bride” — that he likes to jest he’s getting ready to leave.“I keep seeing the exit door,” Patinkin, 69, said jovially on a video call from his cabin in the Hudson Valley in New York.In fact, he toyed with retiring after “Homeland” ended in 2020 but discovered during the pandemic that he missed the structure, the learning and even the anxiety of acting.Around that time, Ken Burns came knocking.Burns wanted Patinkin’s sonorous voice for “Benjamin Franklin,” his two-part dissection of the multifaceted, often contradictory founding father: a writer and publisher, a scientist and an inventor, a diplomat and signer of both the Declaration of Independence and the Constitution, a slave owner and, later in life, an abolitionist.“And, all of a sudden, I’m sitting in front of a microphone with some of the world’s greatest historians guiding me through how to speak a language that was somewhat older and from the queen’s England at times,” Patinkin said. When he finally saw the four-hour documentary (premiering on April 4 and 5 on PBS), he was stunned by what he thought he knew about Franklin and didn’t.“I couldn’t get over that I got to be this guy,” he said. “Talk about parts you get to play.”But singing is his first love. And after being stranded without an accompanist during the pandemic, Patinkin — who hears music even in the mundane and can transform a classic into something wondrously unfamiliar — is back to working three hours a day with the pianist Adam Ben-David in preparation for a new concert tour beginning May 25 in Baltimore.“I’ve never been happier,” Patinkin said.In the meantime, he and his wife, the Obie-winning actress and writer Kathryn Grody, keep their creativity alive and their opinions heard through wildly popular social media videos masterminded by their son Gideon.“We have this crazy platform,” Patinkin said, “and he realizes what a gift it is to have a voice like this.”Here are edited excerpts from the conversation.1. His new grandson I was in tears last night. I’ve got this grandchild in my arms, and I couldn’t believe this family was together after all this time, at this moment in our history, with this new life. In the midst of such cuckoo-ness, my son, Isaac, and daughter-in-law, Lennon, had the courage to bring a child into this world. I can’t imagine something more hopeful.2. Praying with his dog, Becky With the pandemic and all the healing that needs to be done, I thought, “I’ve got to feed this dog twice a day. I’ll say the healing prayer for the whole world.” So I do three Jewish prayers: the Shema first; then the “Mi Shebeirach,” which my dear friend Debbie Friedman made the popular version of for the reform Jewish community; then the blessing over breaking bread. And she knows to sit there. She knows each melody, and she knows when it’s getting close. Then I say, “OK,” and she goes to her bowl.3. Live performance Work-wise, my favorite thing to do is to sing music in concert for people all over the world. I finished a 30-city concert tour the week before the pandemic hit. Then, all of a sudden, we’re locked up. My piano player, Adam Ben-David, and I started working again about two, three weeks ago.It’s interesting. The concert I put together, called “Diaries,” [reflected] what was going on in our country, with the election and the polarization. Friends would come and went, “Wow, we loved what you had to say, but that’s pretty dark.” So we changed. I went over hundreds of [more upbeat] songs, and I said to Adam, “Let’s put all these songs back in our bones and our bodies and work them together because I need happier stuff.” And that’s what we’ve been doing — welcoming us back to being alive with the music.4. International Rescue Committee They are trying to take myself and my wife and my son Gideon to the Ukraine-Polish border as ambassadors from the I.R.C. to bring attention where attention must be paid. Our initial question was, “What is the Covid situation in Poland?” And then you think of the optics. We’ve been vaccinated and boosted. Essentially what’s there now, you’re well-protected and you won’t die from it. And I thought, “I’m going to wear a mask next to these women and children who have been fleeing for their lives? I’m going to keep a distance from these people when they need to be held and near humanity who cares?” And I finally came, “No. I’ll take my chances because they need people that pay attention. I’m finished being afraid.”5. National Dance Institute We have a place in the country that we love. One day, I believe my son Isaac was 3 or 4, this car drives up and this guy gets out and he comes running down the mountain, and he goes, “Hello, hello, hello! I want to meet Isaac!” And this is Jacques d’Amboise, the true Pied Piper of the world. He grabs Isaac and he says, “You’re going to be a dancer!” We don’t know what he’s talking about. Then Isaac became part of the Tiny Tots [renamed the First Team in 2004], and we became part of Jacques’s life.6. “Benjamin Franklin” by Walter Isaacson and “John Adams” by David McCullough I started reading the Isaacson book again, and I couldn’t get over how much I missed the first time I read it. These guys are just phenomenal history teachers. You know, as you read any book, it’s mentioning all kinds of other books along the way. Isaacson is constantly nodding the head toward McCullough. So I’m three-quarters of the way through McCullough’s book, which I’ve tried to read countless times in the past. And because of this experience, I’m sailing through it.7. “C’mon C’mon” from the director Mike Mills I’m a member of the Academy, so we watch everything, and my favorite movie was “C’mon C’mon” with Joaquin Phoenix. That movie is so great. There’s a kid [Woody Norman] in it who’s just off-the-charts brilliant. And Joaquin is, bar none, my favorite actor of this time. Period. There’s a lot of great ones out there, so that’s saying something because this man is the gift to the arts, and this is one of his most beautiful performances. Run to see it.8. “Lucy and Desi” from Amy Poehler I couldn’t get over what a gorgeous job she did telling that love story — the influence they had on the whole industry, but, really, on the human heart. I got to meet Lucy when I was doing “Evita” in 1979 at the Dorothy Chandler Pavilion in Los Angeles. There’s a knock on my dressing room door after a performance, and I hear this voice [Patinkin mimics in gibberish a gravelly baritone voice], and I go, “That’s my Aunt Ethel!” And then this woman comes in, and my Aunt Ethel had red hair. So she walks into my dressing room like a bulldozer, talking in that voice. And I go, “Aunt Ethel!” I even think I said, “How’s Uncle Joe?” And at some point it hits me, “Oh my God, you’re not Aunt Ethel. You’re Lucy!”9. Toy trains My father came home when I was 8 years old, and he bought me, supposedly — me, spelled himself — a Lionel toy train, an engine of which I still have. To this day, it runs perfectly, with almost no maintenance whatsoever. Over the years, I built layouts in my basement on a 4-by-8-foot sheet of plywood. Then we got this place in the country and there was an old barn, and we took the upstairs and made it a train room. We slowly built this wonderful layout. My kids were not interested when they were younger, but for Hanukkah or my birthday, they would give an hour in the train room with Dad. That would be their gift to me.10. Quiet The thing I love most these days is quiet and being with my wife, doing nothing and just having her nearby. It’s my greatest pleasure after 44 years of two people that spend some time loving each other and some time killing each other that, after all this time, we can gaze into the face of our grandchild and do it together. That we have each other, and we’ve stuck it out through all the troubles. More