>> GOOD AFTERNOON.
IT'S SUCH A PLEASURE TO BE HERE
WITH YOU TODAY.
I'D LOVE TO WELCOM EVERYONE TO
THIS SPECIAL EVENT. WE HAVE A
PEOPLE LISTENING ON NIH
VIDEOCAST AND HERE LIVE.
WE'RE PLEASED TO HAVE YOU HERE
FOR AUTISM ACCEPTANCE MONTH,
SPONSORED BY NATIONAL INSTITUTE
OF MENTAL HEALTH AND ONAC.
I'M DR. SUSAN DANIELS, DIRECTOR
OF ONAC.
EVERY YEAR IN APRIL, WE HAVE
THIS EVENT, I LOOKED BACK AND
2011 WAS OUR FIRST EVENT.
WE'VE BEEN DOING IT A WHILE.
IT'S A SPECIAL TIME TO RECOGNIZE
PEOPLE ON THE AUTISM SPECTRUM
AND ALL THAT THEY CONTRIBUTE TO
FAMILIES AND SOCIETY AND
REAFFIRM OUR COMMITMENT TO THEIR
ACCEPTANCE, INCLUSION AND FULL
PARTICIPATION IN COMMUNITY LIFE.
THIS FOR AUTISM ACCEPTANCE MONTH
EVENT WE'RE GOING TO BE HEARING
FROM A WONDERFUL GROUP OF PEOPLE
TODAY.
WE'RE LOOKING FORWARD TO
LEARNING MORE ABOUT HOW THEY
HAVE CONTRIBUTED IN THIS SPACE.
AND WE ARE CELEBRATING THEIR
UNIQUE STRENGTHS, CREATIVITY,
AND IMPORTANT CONTRIBUTIONSMENT
THIS YEAR'S FEATURE IS CALLED
"SOUNDTRACKS, AN ARTISTIC
JOURNEY TO BELONGING" AND WE'RE
EXCITED TO SHOW THE SHORT FILM
"SOUNDTRACKS" CREATED BY
SOUTHWEST AUTISM RESEARCH AND
RESOURCE CENTER, FEATURES BLAIR
BUNTING AND LAURA NADINE.
TODAY WE'LL SPEAK WITH JOHN
BLAIR AND LAURA ABOUT THEIR
PERSONAL JOURNEYS IN ART.
SO, BEFORE DIVING INTO THE
PROGRAM, I'D LOVE TO GIVE A
WELCOME TO DR. JOSHUA GORDON,
DIRECTOR OF NIMH, TO LET HIM
GIVE SOME REMARKS.
SO, WELCOME, JOSH.
>> THANK YOU, SUSAN.
THANK YOU, TO THOSE IN THE ROOM
FOR COMING TODAY, FOR THOSE
ONLINE, I'M LOOKING FOR A
CAMERA, NOT SURE WHERE IT IS.
FOR JOINING US TODAY.
AND ESPECIALLY TO OUR SPECIAL
GUESTS FOR BRINGING US THEIR
CREATIVITY, AND SPEAKING WITH US
ABOUT THEIR JOURNEY.
THIS TITLE, SOUNDTRACKS, AN
ARTISTIC JOURNEY TO BELONGING,
IS ONE THAT IS EXTREMELY
APPROPRIATE, GIVEN THIS AUTISM
ACCEPTANCE MONTH SPECIAL EVENT.
I ALSO, IF I COULD REFLECT FOR A
MOMENT, HAVE EXPERIENCED MY OWN
JOURNEY TO BELONGING IN THE
AUTISM COMMUNITY.
IT'S MAYBE A SCIENTIFIC JOURNEY
AS OPPOSED TO ARTISTIC JOURNEY
BUT ENTAILS A LOT OF CREATIVITY.
WHEN I CAME TO NIMH 7 1/2 YEARS
AGO AND LEARN IN ACCEPTING THE
POSITION OF DIRECTOR I HAD ALSO
ACCEPTED THE POSITION OF CHAIR
OF THE INTERAGENCY AUTISM
COORDINATING COMMITTEE, I WAS
SURPRISED AND INTIMIDATED.
I DIDN'T KNOW A WHOLE LOT ABOUT
AUTISM.
AND MOST OF WHAT I KNEW, I KNEW
FROM THE SCIENTIFIC PERSPECTIVE
AS OPPOSED TO PERSONAL
PERSPECTIVE.
AND IN CHAIRING THAT COMMITTEE
THOUGH, AND HEARING FROM MANY OF
YOU IN THE AUDIENCE TODAY, MANY
OF YOU ONLINE TODAY, ALL ABOUT
THE EXPERIENCES OF INDIVIDUALS
IN THIS COMMUNITY, BE THEY
INDIVIDUALS WITH AUTISM,
INDIVIDUALS WHO ARE MEMBERS OF
FAMILIES, COMMUNITY MEMBERS,
COMMUNITY ORGANIZATIONS, AND
THOSE WHO WORK WITH THOSE
COMMUNITIES, IT'S REALLY BEEN A
JOURNEY FOR ME, A JOURNEY WHERE
I FEEL LIKE NOW I HAVE SOME
SENSE OF WHAT IT IS TO BELONG TO
THIS COMMUNITY.
AND TO CHERISH THE ASPECTS OF
THE COMMUNITY THAT WE'RE GOING
TO HEAR ABOUT TODAY, CREATIVITY,
BELONGING, AND I'M VERY EXCITED
FOR THE SCREENING AND TO HEAR
FROM OUR GUESTS.
SO THANK YOU VERY MUCH FOR
JOINING US.
I'LL TURN IT BACK OVER TO SUSAN.
>> THANK YOU.
SO, I WOULD ALSO LIKE TO MAKE AN
INTRODUCTION NOW OF A VERY
SPECIAL PERSON THAT I MET, WHOM
I MET WHEN I FIRST CAME TO THE
NIMH, WHEN I STARTED WORKING
WITH THE INTERAGENCY AUTISM
COORDINATING COMMITTEE.
DENISE RESNIK IS THE CO-FOUNDER
OF THE SOUTHWEST AUTISM RESEARCH
AND RESOURCE CENTER, AS WELL AS
THE FOUNDER AND CEO OF FIRST
PLACE ARIZONA, WAS A MEMBER OF
THE IACC, I GOT TO KNOW HER MANY
YEARS AGO WORKING FOR MANY YEARS
TOGETHER, AND SHE WENT ON TO
FOUND FIRST PLACE ARIZONA, AND
HER ORGANIZATION ENGAGES IN
HELPING SUPPORT PEOPLE ON THE
AUTISM SPECTRUM IN MANY WAYS,
LOOKING FOR SOLUTIONS IN THE
SERVICE SYSTEM, AND SUPPORTING
AUTISTIC PEOPLE IN THE COMMUNITY
AS WELL AS ADVOCATING ON THE
LOCAL AND NATIONAL LEVEL.
SO, I'M SO PROUD OF THE
WONDERFUL WORK DENISE HAS DONE,
AND I'D LIKE TO GIVE HER A
CHANCE TO INTRODUCE HERSELF TO
YOU.
[APPLAUSE]
>> WELL, THANK YOU, SUSAN.
FOR FIRST PLACE IN OUR FIRST
PLACE GLOBAL LEADERSHIP
INSTITUTE, WE DREAM REALLY BIG.
AND WE HAVE A LOFTY VISION TO
ENSURE THAT HOUSING, HEALTH
CARE, AND EMPLOYMENT IS
BOUNTIFUL FOR THIS POPULATION,
AS IT IS FOR EVERYONE ELSE.
AND THAT TAKES A LOT OF US
COMING TOGETHER IN OUR LOCAL
MARKETS WITH OUR EXPERTISE,
DOING WHAT WE CAN.
AND IN COMMUNITIES, LIKE PEOPLE,
THEY ARE DEFINED NOT BY WHAT WE
SAY BUT HOW THEY MAKE PEOPLE
FEEL.
AND SO WE WORK EVERY DAY TO WORK
ON HOW WE MAKE PEOPLE FEEL
INCLUDED, THROUGH MODELS,
THROUGH DATA, THROUGH MAKING
SURE THINGS ARE WORKING, AND
KNOWING WHAT'S WORKING, AND FOR
WHOM, AND WHAT NEEDS TO WORK
BETTER.
AND WE DO THIS THROUGH LOTS OF
EXPRESSION, ALL THE DIFFERENT
WAYS THAT WE RECOGNIZE WHAT
WE'RE DOING AT FIRST PLACE, AND
OUR FIRST PLACE PHOENIX
PROPERTY, WHICH WE ALSO DEFINE
AS AN R&D SIDE IN THE HEART OF
THE URBAN AREA.
AND WHAT PBS NEWS HOUR
ACKNOWLEDGES IS THE MOST
AUTISM-FRIENDLY CITY IN THE
WORLD AND WE ACKNOWLEDGE WHAT
PEOPLE ARE DOING EVERYWHERE
LOOKING FOR BEST PRACTICES, FOR
WAYS PEOPLE WITH EXPRESS
TALENTS, SKILLS, WHAT THEY'VE
GOT TO OFFER.
AND SO IT IS WITH GREAT PRIDE
AND TREMENDOUS PLEASURE THAT I
INTRODUCE YOU TO "SOUNDTRACKS"
AND CONVERGENCE OF PEOPLE WE'VE
GOT TON KNOW WHO ARE OUR
FRIENDS, BLAIR BUNTING, AND
LAUREN NADINE, VIOLIN VIRTUOSO,
AND EDUCATOR, AND JOHN SHAFFER,
FILM PRODUCER, ALL PEOPLE LIVING
WITH AUTISM AND NEURODIVERGENCE,
AND HELPING US BETTER UNDERSTAND
WHAT WE ARE DOING, WHO WE ARE
WORKING FOR, AND TO BE ABLE TO
LEARN FROM THEM AS WE BETTER
APPRECIATE THEIR STORIES.
SO, PLEASE, JOIN ME IN
EXPERIENCING AND FEELING
"SOUNDTRACKS."
[APPLAUSE]
>> MY FAMILY, WE MOVED TO
SMALLTOWN ILLINOIS, EVERY
SUMMER, I THINK PART WAS TO TRY
AND ESCAPE THE AC BILLS, MY
PARENTS WERE BOTH TEACHERS.
THERE WOULD BE NOTHING TO DO.
MY GRANDMA LIVED RIGHT NEXT TO
THE TRAIN TRACKS, AND SO AS
KIDS, THAT'S ALL WE'D DO, RUN
OUT AND WATCH TRAINS.
♪ SNOTTED
♪
>> IT FELL IN LOVE WITH ME, I
DIDN'T FALL IN LOVE WITH IT.
I REMEMBER BEING AT SCHOOL,
HAVING ALL THESE FRIENDS AROUND
ME THAT WERE TRYING TO LEARN TO
MAY, STRUGGLING.
I WOULD STAY AFTER SCHOOL AND
HELP THEM LEARN, THEY WANTED
FRIENDS TO PLAY WITH.
I WAS TRYING TO BUILD AN
ORCHESTRA THAT COULD KEEP UP
WITH MY BY GIVING THEM AS MUCH
OF MYSELF AS I COULD.
♪
>> COMING IN ON THE CLOSE
TRACKS, YES, IT'S ALMOST HERE.
IT'S GOING TO BE RIGHT HERE.
I'M GOING TO STAND RIGHT HERE
AND WATCH IT.
♪
>> THERE'S SOME PHOTOS THAT,
YEAH, YOU KNOW, YOU KNOW
IMMEDIATELY.
YOU DON'T HAVE TO LOOK IN THE
CAMERA.
ONCE YOU PRESS THAT BUTTON AND
THE STROKE IS FIRED, THAT
ATHLETE WAS IN THAT STAGE OF
MOTION, YOU KNOW YOU HAVE IT.
THERE'S NOTHING STOPPING IT FROM
BEING A GREAT IMAGE.
>> WHEN I FIRST HEAR A SHADOW
SONG, IT'S A DULL COLOR PALLET.
AS I FOCUS MY ENERGY INTO
LISTENING TO THESE SOUNDS AND
CURATING IT INTO A SCENE, IT'S
MUDDY, IT'S LIKE A SMUDGED
WINDOW, YOU HAVE TO KEEP WORKING
AND WORKING AT CLEARING THE
WINDOW UNTIL YOU CAN SEE IT,
FEEL IT.
YOU FEEL THAT IT'S THERE.
>> I USED TO BE BEHIND A CAMERA,
I WOULD LOCK UP BECAUSE YOU GET
OVERWHELMED ON PHOTO SHEETS WITH
30 OR 40 ASSISTANTS,
CELEBRITIES, IT'S A LARGE
PRODUCTION.
♪
WHAT I DO IS I WOULD SHUT MY
CAMERA OFF AND I WOULD JUST
WATCH EVERYONE THROUGH THE
REFLECTION ON THE LCD SCREEN.
LOOKING AT THE LCD SCREEN NOT
FOR THE PICTURE CREATED ON THE
CAMERA BUT FOR THE WORLD THAT
EXISTED BEHIND IT.
>> LET'S SAY THAT YOU ARE AN ACE
MECHANIC, AND YOU HAVE YOUR
GARAGE WHERE YOU HAVE YOUR
TOOLS, WRENCHES, SCREWDRIVERS,
LIGHTS, FLUID, YOU KNOW WHERE
EVERYTHING IS.
SO AS YOU'RE WORKING, YOU JUST
KIND OF REACH AND IT'S THERE.
WELL, IMAGINE THAT ONE DAY AND
FOR EVERY DAY AFTER THAT, FOR
FIVE YEARS IN A ROW, SOMEONE
CAME IN OVERNIGHT AND MOVED
EVERYTHING.
SO THE NEXT DAY, YOU HAD TO
RE-FIND ALL YOUR TOOLS.
>> WHY AM I OUT HERE?
THE MOST STRAIGHTFORWARD ANSWER
TO PHOTOGRAPH TRAINS, MORE
CIRCULAR ANSWER TO BRING MYSELF
DOWN TO EARTH A LITTLE BIT, IT'S
PEACEFUL, ALLOWS ME TO BREATHE
BETTER OUT HERE.
♪
I THINK THAT'S WHERE THE ANXIETY
CREEPS IN IS YOU LET THE REST OF
LIFE OVERWHELM YOU, THAT THE
AUTONOMIC ASPECTS DON'T SEEM TO
FOLLOW, AND YOU GET OUT HEAR,
YOU HEAR THE WIND, SEE THE
TRAIN, YOU TAKE THAT INHALE AND
EVERYTHING COMES DOWN.
IT'S LIKE A NATURAL XANAX.
>> WHEN I PULL OUT CERTAIN
PIECES OF MUSIC IT'S LIKE THE
WORLD DISAPPEARS.
♪
AND I WANT TO PLAY IT.
I REALLY DON'T EVEN CARE IF
ANYBODY LIKES THE WAY IT SOUNDS.
♪
>> AT MY PSYCHIATRIST'S, I WENT
THERE BECAUSE I TOLD HER I'M NOT
GETTING THROUGH ANYMORE.
I'M NOT GETTING BY AT THE HOUSE
ANYMORE.
STARTING TO HAVE BREAKDOWNS WITH
MY, AT THAT POINT, TWO OR THREE
YEAR OLD DAUGHTER AND THE NOISES
SHE MADE.
AND SO SHE SAID TELL ME ABOUT
YOUR DAUGHTER.
♪
MY PSYCHIATRIST SAID IS SHE ALSO
AUTISTIC?
THE FRIENDS THAT I CALLED AND
TOLD THEM THAT I HAD BEEN
DIAGNOSED WITH AUTISM, THE CLOSE
FRIENDS ALL LAUGHED.
AND THE ONES THAT WERE IN THE
MEDICAL FIELD MORE OR LESS SAID,
ARE YOU SERIOUS, IT TOOK YOU
THIS LONG TO REALIZE IT?
♪
I ALWAYS KNEW IT.
BUT I DIDN'T REALLY CARE.
>> HOW AM I DOING NOW?
WHAT'S AUTISM LIKE NOW?
♪
IT'S GETTING HARDER, NOT EASIER.
THERE WAS A POINT IT SEEMED TO
BE GETTING EASIER.
BUT IT'S GETTING HARDER.
AND THERE ARE ZERO SUPPORTS AND
RESOURCES AROUND FOR ME TO GO
TO.
♪
IF I TALK ABOUT AGING AND
AUTISM, THERE'S JUST NOTHING
THERE.
>> THERE ARE PIECES OF ME THAT I
WISH DIDN'T EXIST, BUT THE
LARGER PICTURE, THE GREATER
WHOLE, I'M EVERYDAY GRATEFUL FOR
BECAUSE MY ART IS A DERIVATIVE
OF MY MIND.
♪
>> I'M DEFINITELY ONE OF THOSE
PEOPLE THAT WHEN THEY SET I
FORGET ABOUT EATING, EVERYTHING
ELSE, I FOCUS ON WHAT I'M DOING.
I WANT TO BE OBSESSIVE ABOUT THE
THING I WANT TO DO AND I WANT TO
DO IT AND WORK ON IT UNTIL IT'S
DONE.
AND OTHER PEOPLE WANT, YOU KNOW,
STRUCTURE AND ... AND SCHEDULES
AND BREAKS.
>> MY LIFE LIVES OFF TRAIN
WIRES, I'M COMFORTABLE BEING ON
THIRDS.
MY OBSESSION WITH DETAIL IS A
LOT OF TIMES A DETRIMENT.
IT NEVER, I DON'T KNOW ABOUT
NEVER, NOT USUALLY ON THOSE
AROUND ME.
♪
IT'S NOT CONDUCIVE TO SLEEP BUT
AT THE SAME TIME, YEAH, MAYBE IT
HELPS ME CONVINCE MYSELF THAT I
POSSESS WHAT EVERYONE THINKS OF
AS ART BECAUSE I THINK EVERY
ARTIST GOES THROUGH THAT
PROBABLY.
>> CREATING IS SUPPOSED TO BE
THAT PLACE WHERE I GO INTO MY
STUDIO HERE, INTO MY SPACE
ALONE, UNINTERRUPTED, AND JUST
WORK.
AND CREATE SOMETHING AND
HOPEFULLY WHEN I'M DONE WITH IT,
PEOPLE GET SOMETHING OUT OF IT.
♪
>> I THINK A LOT OF PEOPLE SEE A
PERSON THAT IS ON TOP OF THE
WORLD WHEN IT COMES TO
PHOTOGRAPHY AND THEN DOING BIG
PHOTO SHOOTS AND MAKING GREAT
ACHIEVEMENTS, BUT THEY OFTEN
DON'T SEE THE GUY THAT GOES HOME
AND CRIES AT THE END OF THE BED.
♪
THOSE THAT ARE SUCCESSFUL ON THE
SPECTRUM ARE VERY GOOD AT
CURATING THEIR IMAGE.
LETTING THE WORLD IN IN PLACES
THEY ARE WILLING TO, BUT NOT
OTHERS.
>> PART OF THE WORLD OF CREATIVE
PHOTOGRAPHY, FILM, MUSIC, DANCE,
IT'S EASIER TO MASK BECAUSE TO A
CERTAIN EXTENT PEOPLE EXPECT
ARTISTS TO BE ODD.
AND MAYBE ONE OF THE REASONS THE
FIELD IS SO INVITING AND THAT WE
DON'T HAVE TO CREATE, YEAH,
ANOTHER LAYER.
♪
>> PEOPLE WHO HAVE AUTISM, WHO
ARE ARTISTS, HAVE THIS LANGUAGE
WE CAN TALK TO EACH OTHER IN.
FOR ME THAT'S LIGHTING, FOR
LAURA THAT'S MUSIC.
IT'S LESS LISTENING TO A SONG,
MORE A CONVERSATION WITH LAURA.
WHAT SHE WROTE IS ... IT'S
BEAUTIFUL.
♪
>> NEUROTYPICALS ARE NOISY AND
LIKE TO BLOW STUFF UP.
I LIKE A QUIETER WORLD, MORE
PEACE AND PAUSE.
>> TRAINS BEING ALL CAPS WAS
FUNCTION OF PROBABLY HOW I SAY
IT IN MY MIND.
♪
[APPLAUSE]
>> I KNOW EVERYONE REALLY
ENJOYED THAT AMAZING IF I
AMAZING -- FILM AND GIVE US
INSIGHT INTO WHO WE'RE GOING TO
SPEAK TO.
THE AGENDA, WE FIRST HEARD SOME
INTRODUCTORY REMARKS, WE WATCHED
THE FILM, NOW WE'RE GOING TO
HAVE TIME FOR ME TO ASK SOME
QUESTIONS TO OUR SPEAKERS AND
HAVE THEM TALK WITH US ABOUT
THEIR PERSONAL JOURNEYS ON THE
SPECTRUM AND WITH THEIR ART.
AND AFTER THAT, WE'LL HAVE SOME
TIME FOR Q&A WITH THE AUDIENCE
SO YOU'LL BE WELCOME TO USE
MICS.
WE'LL HAVE A PERSON WALKING
AROUND WITH A MIC.
WE HAVE SOME STANDING MICS.
THOSE ONLINE, IF YOU HAVE
QUESTIONS YOU CAN USE THE LINK
IN NIH VIDEOCAST TO PROVIDE YOUR
QUESTIONS AND COMMENTS, AND
WE'LL HAVE COME HERE THAT'S
GOING TO BE ABLE TO READ THOSE
OUT.
WE WELCOME YOU TO THINK ABOUT
QUESTIONS THAT YOU HAVE AS YOU
LISTEN.
BUT WE ARE REALLY EXCITED NOW TO
DIVE INTO THE CONVERSATION WITH
OUR GUESTS.
SO I'LL WELCOME EVERYONE TO COME
UP TO THE TABLE.
>> AGAIN, WHAT AN INCREDIBLE
PROJECT AND INCREDIBLE JOURNEY
WE JUST WENT ON WATCHING THE
FILM.
WE'RE JUST DELIGHTED TO BE
JOINED BY ALL THREE OF YOU.
AND TO BE ABLE TO HEAR FROM YOU
ABOUT YOUR PERSONAL JOURNEYS.
AND I'D LIKE TO FIRST GIVE YOU
EACH AN OPPORTUNITY TO INTRODUCE
YOURSELVES.
SO, I'LL START WITH BLAIR.
CAN YOU TELL US ABOUT YOURSELF
AND YOUR JOURNEY WITH AUTISM,
AND HOW YOU DISCOVERED YOUR GIFT
IN PHOTOGRAPHY?
>> HI, EVERYBODY, I'M BLAIR.
I THINK THE JOURNEY OF AUTISM,
ALSO PHOTOGRAPHY ARE VERY MUCH
MARRIED THROUGHOUT MY LIFE.
GROWING UP IN HIGH SCHOOL WAS
SIGNIFICANTLY SHY AND AN
INTROVERT.
I WAS AWARE AROUND ME I DIDN'T
FIT IN, AND THAT WAS OKAY.
WHEN I WAS ABOUT 17, I TOOK A
PHOTO CLASS, WHERE MY DAD GAVE
ME MY FIRST CAMERA.
AND IT WAS THE FIRST TIME AT
WHICH I HAD THE ABILITY TO
EXPRESS WHAT I WAS SEEING IN
THIS WORLD TO PEOPLE AROUND ME,
WHERE COMMUNICATION WASN'T
STRONG.
I WAS TALKING TO THEM THROUGH
THE IMAGES THAT I CREATED.
AND THERE WAS A COMFORT AND A
SOLACE THAT EXISTED WITHIN THAT.
SO, AS I PROGRESSED AND GOING
INTO COLLEGE, THAT BECAME JUST
MY WAY OF EXPRESSION.
AND SO IN MANY WAYS, FINDING
THAT ART, THAT FORTUITOUS MOMENT
WITH THE CLASS AND ALSO MY
PARENTS' SUPPORT, BECAME A WAY
OF OPENING UP MY LIFE.
AND SO, WHEN WE USED TO TALK
ABOUT THIS IDEA, THIS SENSE OF
BELONGING WITHIN THE TITLE, I
BELONG BEHIND THE CAMERA.
IT'S WHERE MY HEART AND MY
COMFORT IS.
>> AMAZING.
THANK YOU SO MUCH.
SO, NEXT I WILL ASK LAURA.
CAN YOU TELL US A LITTLE BIT
ABOUT YOURSELF AND YOUR PERSONAL
EXPERIENCES ON THE AUTISM
SPECTRUM AND HOW YOU DISCOVERED
YOUR MUSICAL TALENT?
>> SURE.
HI, I'M LAURA.
I'M THE MUSIC YOU'VE BEEN
HEARING ALL AFTERNOON.
SORRY, IT'S QUIET IN HERE, I
FEEL LIKE I HAVE TO GET
EVERYBODY WARMED UP AND MAYBE
LAUGHING A LITTLE BIT.
[LAUGHTER]
I HATE CALLING IT TALENT,JUST
BECAUSE I'M A TEACHER, I'VE BEEN
TEACHING STUDENTS FOR 30 YEARS
TO PLAY THE VIOLIN, VIOLA,
CELLO, I WEATHER -- I WORK WITH
STUDENTS WITH SPECIAL NEEDS.
I HAD A THING IN ME THAT SAID GO
DO THIS.
I COVERING TO MY MOTHER I
POINTED TO THE SCREEN WHEN I WAS
3, ITZHAK PERLMAN ON PBS AND
SAID I WANTED TO PLAY THAT.
I HAVE A KNACK FOR PICKING IT UP
QUICKLY.
THERE'S A POINT IT'S JUST HARD
WORK, AND YOU'RE PUTTING IN THE
HOURS.
MY HIGH SCHOOL LIFE WAS FILLED
WITH ORCHESTRA REHEARSALS AND
SOME DANCE CONCERTS AND THAT WAS
PRETTY OF IT. -- PRETTY MUCH IT.
ASK MY TEACHERS, I PRIORITIZED
THAT.
AUTISM WAS THE SECOND PIECE OF
THE STORY.
I DIDN'T RECOGNIZE I HAD AUTISM
UNTIL MY SON WAS DIAGNOSED AT
AGE 3.
IT WAS ACTUALLY KIND OF A FUN
EXCHANGE, ONE OF THE MORE FUN
ONES I'VE HAD WITH A DOCTOR.
NO OFFENSE.
ANYBODY IN HERE ...
MY SON WAS HAVING SOME ISSUES.
HE WASN'T SPEAKING WHEN HE WAS
SUPPOSED TO.
SO I BROUGHT HIM IN OF COURSE TO
THE PEDIATRICIAN, I HAD ONE
TRIED AND KNEW THE CHILD.
HE'S SLIDING BROCHURES ACROSS
THE TABLE ABOUT ADULTS WITH
AUTISM, AM I THAT OBVIOUS?
I GOT IN COLLEGE IN DECATUR
GEORGIA, AFTER MY MEDICAL
DIAGNOSIS AT EMORY.
OH, THAT'S WHY I DO THIS.
OH, THAT'S WHY IS DO THAT.
ASPERGER'S WAS THE PERFECT FIT
FOR ME.
THAT FITS ME MORE THAN AUTISM
SPECTRUM DISORDER.
BUT WHAT I LEARNED WAS THE MUSIC
HAD BEEN MY SOCIALIZING
INSTRUMENT.
SO I HAD A HARDER TIME MAKING
FRIENDS, I DIDN'T LIKE HANGING
OUT, I NEVER FOLLOWED FASHION
TRENDS.
IT'S HARD TO TELL NOW, AS TRENDY
AS I AM, BUT MUSIC WAS MY
CONNECTION, WHERE I COULD TALK
TO PEOPLE WITHOUT ACTUALLY
SAYING A WORD.
I THINK IT WAS GOOD THAT US
MUSIC WAS THERE FIRST SO WHEN
THE DIAGNOSIS CAME I KNEW WHICH
TOOLBOX TO REACH IN.
>> THANK YOU, LAURA.
AND JOHN, CAN YOU TELL US ABOUT
YOURSELF AND YOU WHO YOU GOT
INTO FILM MAKING AND YOUR
JOURNEY WITH NEURODIVERGENCE?
>> BEFORE I INTRODUCE MYSELF, A
SHOUT OUT TO MY CLASS, TEACH
DISABILITY STUDIES AT NORTHERN
ARIZONA UNIVERSITY, THIS IS MY
SCHEDULED CLASS TIME.
THEY WERE HOPING FOR A DAY OFF
FROM CLASS BUT THEY ARE ALL ON
ZOOM UP THERE WATCHING.
SO I WANTED TO GIVE THEM A SHOUT
OUT.
SO I'M JOHN.
AND I HAD BEEN MAKING FILMS
SINCE I WAS A KID.
MY FAMILY HAD A VHS RECORDER, ME
AND MY BROTHERS WOULD MAKE SHORT
FILMS.
IT WAS SOMETHING THAT I ALWAYS
REALLY ENJOYED.
IT FOLLOWED ME THROUGH MY
COLLEGE YEARS.
I GOT A BACHELOR'S DEGREE IN
POLITICAL SCIENCE, I WANTED TO
CHANGE THE WORLD.
AFTER I GRADUATED, I HAD NO
DIRECTION, DIDN'T KNOW HOW TO
CHANGEED -- THE WORLD OR EVEN
NETWORK OR FIND A PATH.
I WAS FLOATING AROUND DOING
JOBS, A BAGEL BAKER, AND THEN I
GOT INSPIRED WITH THE
INDEPENDENT FILM MOVEMENT.
THE MOVE, CLERKS, OTHER MOVIES
WERE COMING OUT, PEOPLE WERE
MAKING GREAT FILMS WITH ALMOST
NO BUDGET.
I HAD NO MONEY, A BAGEL BAKER,
ASKED MY PARENTS TO HELP ME BUY
A CAMERA.
A PITCH I SOLD TO MY DATA, I
GREW UP IN RURAL OHIO OUTSIDE
CLEVELAND.
AND OLD TRAIN WENT BY THE
COMMUNITY ABANDONED SINCE THE
'30s BUT THE TRAIN BED WAS
THERE.
AS A KID WE WALKED THE TRAIN BED
AND WOULD LOOK FOR RAILROAD
SPIKES AND ANY OTHER KIND OF
RELIC OF THE PAST.
IT WAS SOMETHING THAT'S LARGELY
FORGOTTEN BY MOST PEOPLE, BUT IN
MY FAMILY IT HAD A TREMENDOUS
SIGNIFICANCE.
I TOLD MY DAD THAT, WITH THIS
CAMERA, I'D MAKE A FILM ABOUT
THIS TRAIN.
I NEVER ACTUALLY MADE THAT FILM.
BUT THE ENTIRE TIME I WAS MAKING
SOUND TRACKS, I WAS THINKING
ABOUT MY DAD, ABOUT THE TRAIN.
HERE I AM FINALLY MAKING A
MOVIE, MAYBE DIFFERENT SUBJECT,
BUT STILL ABOUT TRAINS.
SO THEN I MOVED TO ARIZONA.
I WORKED IN A GROUP HOME WITH
ADULTS WITH DEVELOPMENTAL
DISABILITIES.
THAT WAS MY INTRODUCTION TO
AUTISM.
I WORKED WITH SEVERAL DIFFERENT
PEOPLE ON VARIOUS PLACES WITHIN
THE SPECTRUM.
AND I WORKED WITH SOME PEOPLE
THAT HAD VERY CHALLENGING
BEHAVIOR RELATED TO THEIR
AUTISM, WORKED ON SOME PEOPLE
WHO ARE LESS ISSUES WITH IT, BUT
I REALLY BECAME INVOLVED IN THE
COMMUNITY.
AND REALLY THE DISABILITY
COMMUNITY AS A WHOLE.
AND I DECIDED AFTER TEN YEARS OF
JUST WORKING AS DIRECT CARE
STAFF I WANTED TO DO, GOT A
DEGREE IN SPECIAL EDUCATION, TO
HELP CHILDREN, SOMETHING I
WANTED TO DO, GIVE ME A NEW
PATH, NEW DIRECTION.
AND WHILE I WAS WORKING ON MY
MASTER'S DEGREE, I WAS HOOKED UP
WITH A FACULTY THAT WAS ALSO
INTERESTED IN VIDEOS, WE CAME UP
WITH THIS PROJECT WHERE WE USED
FILM MAKING PROCESS TO TEACH
SELF-ADVOCACY SKILLS TO
INDIVIDUALS WITH DEVELOPMENTAL
DISABILITIES.
AND IT WAS REALLY FUN BECAUSE WE
JUST BASICALLY MADE A FICTIONAL
MOVIE.
WE MADE THIS SCRIPT.
WE TALKED ABOUT WHAT DO YOU WANT
TO DO WITH YOUR LIFE?
ONE OF THEM WANTED TO BE A SIGN
LANGUAGE TEACHER.
ONE WANTED TO BE A MECHANIC.
SO WE MADE THIS FILM WHERE ONE
WAS A MECHANIC, ONE WAS A SIGN
LANGUAGE TEACHER.
THE MECHANIC GOES, LEARNS SIGN
FROM THE SIGN LANGUAGE TEACHER
IN ORDER THAT THEY CAN ASK A
DEAF WOMAN TO DANCE WITH THEM AT
A DANCE.
AND SO IT WAS REALLY GREAT TO
SEE LIKE THE POW VIDEO AND DO
DIFFERENT THINGS WITH IT.
AND THEN I GRADUATED, DIDN'T GO
INTO SPECIAL EDUCATION, STARTED
MY FAMILY.
I WAS THE STAY-AT-HOME DAD,
STARTED TEACHING PART TIME IN
DISABILITIES PROGRAM AT NORTHERN
ARIZONA UNIVERSITY.
THAT SAME FACULTY ADVISOR
APPROACHED ME AND SAID THEY JUST
MET THIS PERSON WITH AUTISM,
LAUREN NEAGLE, STARTING TO DO
SPEAKING ENGAGEMENTS, CAN YOU
MAKE A YouTube VIDEO ABOUT
HER TO HELP HER WITH HER CAREER
SPEAKING.
I MET LAURA.
WE HAD COFFEE.
I LEFT THE COFFEE SHOP AND SAID
THERE'S NO WAY I JUST WANT TO
MAKE A YouTube VIDEO, LET'S
STRIKE TO MAKE A REAL FILM, A
FILM FESTIVAL FILM.
SO WE DID THAT.
WE MADE IT UP AS WE WENT.
AND THAT FILM WENT ON TO PLAY IN
FILM FESTIVALS ALL AROUND THE
WORLD, ONE FIVE AWARDS, IT WAS
REALLY GREAT.
IT REACHED A WHOLE NEW AUDIENCE
WITH A MESSAGE OF ACCEPTANCE AND
APPRECIATION.
AND SINCE THAT FILM I'VE MADE
ANOTHER THREE OR FOUR FILMS
ABOUT PEOPLE WITH AUTISM.
I'VE MADE SEVERAL FILMS ABOUT
OTHER PEOPLE WITH OTHER
DISABILITIES, CEREBRAL PALSY,
CHRONIC PAIN, THINGS LIKE THAT.
SO IT'S SOMETHING THAT IT'S
REALLY IMPORTANT TO ME.
AND SOMETHING THAT I REALLY
ENJOY DOING.
IN TERMS OF MY NEURODIVERGENCE,
THIS IS A VERY NEW CONVERSATION
FOR ME.
I'VE ONLY PUBLICLY STATED THAT
RECENTLY.
I HAVE NO OFFICIAL DIAGNOSIS.
AND I KNOW THAT MAYBE SOME
PEOPLE IN THIS CROWD THAT MIGHT
FEEL LEGITIMIZED, MY
PERSPECTIVE, I UNDERSTAND THAT
AND I GET IT.
I WAS ONE OF THE PEOPLE ARGUING
AGAINST SELF-IDENTIFICATION.
I WAS ALSO ONE OF THOSE PEOPLE
THAT WAS ARGUING AGAINST WHEN
THE TERM NEURODIVERGENT GOT
BIGGER.
BACK IN THE DAY IT MEANT SLOW
SUPPORT NEEDS AUTISTIC PEOPLE.
THEN DYSLEXIA UNDER THIS
UMBRELLA TERM, SOMETHING I
WASN'T COMPLETELY COMFORTABLE
WITH.
SOMEONE WHO VALUES ACCURACY, AND
SO I HAD A LITTLE STRUGGLE WITH
IT.
BUT IT WAS ACTUALLY LAURA, SHE
WAS PRESENTING AT MY CLASS, I
HAD A STUDENT WHO SAID THEY HADS
ADHD AND IDENTIFIED AS
NEURODIVERGENT.
I ASKED LAURA, WHAT DO YOU THINK
ABOUT THAT?
WHAT DO YOU THINK ABOUT THIS
TERM GETTING BIGGER AND
EXPANDING?
SHE SAID, THE MORE THE MERRIER.
AND BASICALLY THAT THE MORE
PEOPLE THAT IDENTIFY WITHIN THIS
COMMUNITY, THE MORE THAT OUR
SOCIETY IS GOING TO BE ABLE TO
ADAPT TO PEOPLE WHO THINK
DIFFERENTLY OR EXPERIENCE THE
WORLD DIFFERENTLY, WHO HAVE
SENSORY PERCEPTIONS DIFFERENTLY.
SO I STARTED TO BE ABLE TO FEEL
COMFORTABLE WITH IT.
I'VE BEEN IN THE COMMUNITY FOR A
VERY LONG TIME.
WORKING WITH THEM, TEACHING
PEOPLE ABOUT DISABILITIES, AND
TEACHING STUDENTS WITH AUTISM.
I KNOW LIKE BLAIR SAID WE ALL
KNOW THAT WE'RE DIFFERENT AS
KIDS.
OUR PEERS LET US KNOW THAT.
WE KNOW BY OUR BEHAVIORS.
MOST PEOPLE AREN'T TERRIFIED OF
THE PHONE LIKE I WAS.
MY COLLEGE ROOMMATE ONCE SAID TO
ME, I'VE NEVER HEARD YOU LISTEN
TO A WHOLE SONG, I WAS LIKE,
WELL, BECAUSE YOU GET TO THE
SECOND CHORUS AND YOU JUST MOVE
ON, RIGHT?
YOU FLIP OVER.
I ALWAYS KNEW THAT I EXPERIENCED
THE WORLD DIFFERENTLY THAN MY
TYPICAL PEERS.
AND IT WAS ONLY AFTER THE
CONVERSATION WITHIN THE
NEURODIVERGENT COMMUNITY THAT I
FEEL COMFORTABLE STATING THAT.
AND I'M NOT TRYING TO GET
ACCOMMODATIONS, AND I'M NOT
TRYING TO BE SOME SORT OF LIKE
REPRESENTATIVE OF THE
NEURODIVERSE COMMUNITY AT ALL.
I UNDERSTAND THERE ARE PEOPLE
THAT HAVE REALLY GREAT NEEDS.
AND THAT THERE'S A LOT OF
SUPPORT THAT WE NEED TO PROVIDE.
I'M NOT TRYING TO TAKE ANYTHING
AWAY FROM THAT.
JUST LIKE IN THE FILM, "SOUND
TRACKS," THERE'S THINGS THAT
HAPPEN, CHALLENGES, NOT JUST ALL
ABOUT APPRECIATION.
I WANT TO MAKE THAT POINT CLEAR.
FOR ME BEING PART OF THE
COMMUNITY THAT HAS REALLY
WELCOMED ME, THAT'S THE PART I
FEEL GOOD ABOUT IT.
THAT, YOU KNOW, I COULD TALK TO
LAURA AND BLAIR AND WE
UNDERSTAND.
WE'RE EXPERIENCING THINGS IN
VERY, VERY SIMILAR WAYS.
AND FOR ME, THAT'S WHAT IT'S ALL
ABOUT.
>> ARE YOU TRYING TO TELL ME YOU
NEVER LISTENED TO MY SONGS ALL
THE WAY THROUGH?
>> THERE'S AN END TO YOUR SONGS?
>> THANK YOU, JOHN.
I'M GOING TO ASK YOU TO TELL US
WHAT INSPIRED YOU IN THE
CREATION OF THIS FILM AND WHAT
YOU'RE EXCITED ABOUT AS YOU
CREATED IT?
>> I CAN DO THAT, YEAH.
IS THAT THE BATTING ORDER?
OKAY, I'LL GO FIRST.
HOW DO YOU SAY NO TO DENISE?
IT WAS SUCH A COMPELLING
PRESENTATION BECAUSE I REMEMBER
WHEN I FIRST GOT THE E-MAIL FROM
TOM AT FIRST PLACE, I WAS LIKE,
I COULDN'T WRAP MY HEAD AROUND
WHAT YOU WERE ENVISIONING,
TRYING TO DECIPHER FROM TEXT.
I'M ALSO SEVERELY DYSLEXIC.
WHEN THE PROJECT WAS SENT TO ME,
I DON'T KNOW HOW I'M GOING TO DO
THIS.
ONCE I SAW THE FILM
, BLAIR WATCHING THE TRAIN, I
CAN'T STOP.
I WANT TO KEEP WORKING ON THIS.
THERE WAS SOMETHING COMPELLING
ABOUT YOUR ENERGY.
I LOVE TRAINS, BUT NOT TO THE
SAME EXTENT YOU DO.
I'M LOOKING AT PICTURES OF
TRAINS, ORANGE, YELLOW, ALL I
COULD HEAR WAS THE "ORANGE
BLOSSOM SPECIAL."
I SAW HOW EXCITED HE GOT, AND
THERE WAS THIS DESCRIPTION.
I DON'T KNOW IF IT WAS IN THE
FILM, SOME OF THE FOOTAGE, A
DESCRIPTION YOU GAVE, BLAIR,
ABOUT THE WOODS, BEING ON THE
EDGE OF THE WOODS AND THE TRAIN
PASSING BY, HOW THAT ENERGY OF
THE WOODS SOMEHOW CONTRIBUTED TO
THAT.
WHEN YOU LISTEN TO THE PIECE
THAT I COMPOSED, THERE'S SOME
HIDDEN TREASURES FOR YOU IN
THERE ABOUT THIS FILM.
ONE, HARMONIES ARE IN TRITONE,
COMMON FOR TRAIN ENGINES, THREE
TONES.
THE SOFT PART IN THE MIDDLE IS
THE WOODS SPEAKING TO BLAIR
WHILE HE'S LISTENING TO THE
TRAIN AND YOU'RE FEELING THE
WIND PASS.
THE RUMBLE AT THE BEGINNING WAS
SOMETHING YOU MENTIONED ABOUT
THE TRACKS RUMBLING BEFORE THE
TRAIN CAME.
ALL THAT HE TALKED ABOUT ENDED
UP IN THE SCORE.
I WAS INSPIRED BY BLAIR.
>> MINE IS -- APOLOGIZE FOR MY
BREVITY, BUT I GOT CALLED BY
TOM.
HE SAID, DO YOU WANT TO DO A
FILM ABOUT WATCHING TRAINS?
AND THAT'S ONE OF THE MORE
SIMPLE QUESTIONS I COULD EVER
ANSWER.
YES, YES, I LIKE TO WATCH THINS,
THERE'S GOING TO BE A GUY WITH A
CAMERA NEXT TO YOU.
LESS EXCITED ABOUT THAT BUT
GOING OUT INTO THE FOREST AND
SEEING TRAINS, AS I KIND OF
DESCRIBED IN THE FILM, THAT'S
HOW I RECENTER.
SO, YEAH, AFTER A LONG
PRODUCTION, OR OTHER PRODUCTIONS
WE'LL TALK ABOUT LATER, THERE IS
A NEED FOR ME TO GO INTO THE
FOREST AND WATCH A TRAIN.
IT KIND OF GETS ME BACK TO -- IT
GETS ME BACK TO A PLACE WHERE
THE REST OF MY CAREER DOESN'T
MATTER.
AND WHAT PEOPLE PROBABLY SEE AS
THE EXCITING PARTS OF MY CAREER
ARE ACTUALLY NOT.
TRUTH IS BEING IN THE FOREST OF
NORTHERN ARIZONA, WATCHING A
FREIGHT TRAIN GO BY IS THE BEE'S
KNEES.
ANY QUESTIONS THAT INVOLVES ME
STANDING NEXT TO A TRAIN TRACK
TAKING PICTURES OF TRAINS,
OBVIOUSLY THE ANSWER IS GOING TO
BE YES.
SO THAT'S IT.
>> I WAS INSPIRED RIGHT OFF THE
BAT.
I HAVE TO SAY A LITTLE BACK
STORY.
SO, FIRST PLACE, TOM AND DENISE,
TOM ORTEGA IS HERE, HE HELPED
PRODUCE, DOES A LOT OF WORK WITH
FIRST PLACE.
THEY ALREADY HAD THE NAME "SOUND
TRACKS," ALREADY KNEW LAURA WAS
GOING TO MAKE MUSIC TO BLAIR'S
PHOTOGRAPHS.
AND THEN THEY KIND OF BROUGHT ME
ON JUST KIND OF TO DO LIKE A
BEHIND-THE-SCENES, LIKE HOW THEY
COMMUNICATE WITH EACH OTHER AND
SHARE THEIR ART.
WE TALKED ABOUT FILMING, LIKE
ZOOM CALLS AND STUFF, OF THEM
HAVING THIS CONVERSATION.
AND HONESTLY THAT DIDN'T REALLY
EXCITE ME AT ALL.
I WANTED TO DO MORE.
I LIKE TO TELL STORIES.
I LIKE TO TELL STORIES IN
DIFFERENT KINDS OF WAYS.
SO WHAT REALLY INSPIRED ME WHEN
I ASKED TOM CAN I DO WHAT I WANT
TO DO WITH THIS?
AND HE SAID YES.
SO THE INSPIRATION.
AFTER THAT, ONCE THE THREE OF US
HAD THE FREEDOM TO CREATE THIS
PROJECT, AND THIS WAS ALL THREE
OF US, WE DID THIS TOGETHER.
BLAIR, YOU KNOW, HE HAD WHAT HE
WANTED TO SAY.
WE TALKED ABOUT WHAT HE WANTED
TO SAY.
LAURA TALKED ABOUT WHAT SHE
WANTED TO SAY.
SO IT WAS REALLY A COLLABORATION
BETWEEN ALL THREE OF US.
I JUST GOT TO PUT IT ALL
TOGETHER IN TEN MINUTES.
>> SO WHAT DO YOU HOPE PEOPLE
WILL TAKE AWAY FROM THIS FILM
WHEN THEY WATCH IT?
WHAT WERE YOU HOPING TO CONVEY?
>> I'LL START.
I WANTED IT TO BE HONEST.
GOING BACK TO EVEN THE PREVIOUS
QUESTION, LIKE THE REALITY OF
WHAT MY CAREER IS, WHAT PEOPLE
SEE, IS -- I ALLUDED TO IT IN
THE FILM.
IT'S MASKING, IN THE SENSE THAT
YOU WILL SEE THE IMAGES, YOU'LL
SEE THE CELEBRITIES, BUT THE
TRUTH IS THE EQUAL SIDE OF MY
LIFE IS UNFORTUNATELY IN
SITUATIONS I'M CRYING ON THE
BED, WITH FEARS OF NOT FITTING
IN.
INADEQUACY.
THAT'S STILL ONGOING.
IT'S NOT THE THING THAT GOES
AWAY, NO MATTER HOW LARGE
ACCOMPLISHMENTS HAVE BEEN.
I WANT TO MAKE SURE PEOPLE KNOW,
OBVIOUSLY FOR YEARS I WENT
THROUGH QUIETLY, BUT TO ME THAT
TELLS ME THAT SOMEBODY ELSE IS
GOING THROUGH IT QUIETLY TOO.
AND SO MY HOPE WAS TO BE HONEST
TO THE CAMERA AND TO JOHN DURING
THE FILM, SO THAT IF SOMEBODY
ELSE THAT SAW IT IS EXPERIENCING
THAT, THAT THEY KNOW THAT THEY
DON'T -- THEY ARE NOT ALONE IN
IT.
AND SO IT WAS MORE OF AN
OUTREACH TO THE PERSON I DON'T
KNOW, TO TRY AND GIVE THEM
COMFORT WITH KNOWING THAT THIS
IS A JOURNEY THAT DOESN'T MEAN
YOU'RE LIMITED.
AND THE DOWN SIDES OF SPECTRUM
IS THEY AREN'T NECESSARILY --
THEY MAY BE TOUGH AT THE TIME
BUT THERE ARE BENEFITS TO THEM
SOMEHOW.
>> I LIKE THAT WE HAVE A BUTTON
TO SPEAK.
I'M FASCINATED WITH THIS BUTTON.
I ACTUALLY THOUGHT I WAS PRETTY
MUCH DONE BEFORE THIS PROJECT
CAME UP.
I FIGURED NOBODY REALLY CARED
ABOUT ANYTHING I DID.
I DID A LOT OF WORK IN ADVOCACY
WHEN I WAS IN MY 20s AND
30's, SINGLE PARENT TO, TWO
KIDS, ONE ON THE SPECTRUM I
RAISED ON MY OWN.
I WORKED IN THE STATE OF GEORGIA
WITH EMORY UNIVERSITY, WITH ALL
THE COLLEGES THERE.
JUST TRYING TO HELP MAKE THE
WORLD A LITTLE BIT BETTER FOR
PEOPLE ON THE SPECTRUM.
I FELT LIKE THERE WERE A LOT OF
QUESTIONS.
THEN SUDDENLY IT WENT CRICKETS.
AND I COULDN'T QUITE FIGURE OUT
WHAT THAT WAS.
I DON'T -- I'M NOT SOME
EXTRAORDINARY PERSON, RIGHT?
I'M NOT SOMEBODY MEMORIZING PI
TO 24 POINTS OR WRITING
SYMPHONIES IN AN HOUR.
THAT'S NOT THE TYPE OF PERSON
THAT I AM.
SPECTACULARLY MEDIOCRE, AND FUN
TO PROVE THAT PEOPLE WITH
DISABILITIES CAN JUST HAVE A
LIFE, JUST A NORMAL EVERYDAY
LIFE.
WE DON'T HAVE TO BE SOME SORT OF
SOURCE OF INSPIRATION OR WATCH
OUR STORY AND CRY.
YOU CAN SIT BACK AND ENJOY THE
FACT THAT WE CREATED THIS PIECE
OF ART DESPITE CHALLENGES
BROUGHT UP BY A DISABILITY.
I GUESS WHAT I HOPE PEOPLE TAKE
AWAY FROM THAT, I'M A
HARD-WORKING ARTIST THAT CREATES
EVERYTHING.
EVERY BIT OF MUSIC YOU'VE HEARD
IN I HAD ROOM HAS BEEN SOMETHING
I RECORDED ON MY OWN, ONLY ME,
NO OTHER MUSICIANS USING A MAC
BOOK.
YOU HEAR THE HORNS, THOSE ARE
MIDI, I WORK HARD TO MANIPULATE
TO GIVE YOU THE SOUND.
I LOVE TO BE ABLE TO DO MOVE, TO
DO THE DREAM I HAD AS A KID, TO
PLAY CARNEGIE HALL.
I DON'T KNOW IF IT'S IN THE
CARDS BUT I FELT THE EXPIRATION
SEDATE HIT -- EXPIRATION DATE
HIT, BEING OLDER.
I HIT 40, EVERYONE WENT, WHO ARE
YOU?
NOW CLOSER TO 50, I DON'T KNOW,
I FEEL INVISIBLE.
I THINK THERE'S A LOT OF WOMEN
IN THE ROOM THAT CAN ACTUALLY
FOLLOW ALONG WITH THIS STORY OF
FEELING LIKE YOU'RE FADING INTO
THE BACKGROUND, SOMETHING I
BROUGHT UP IN THE FILM.
I HOPE BY WATCHING THIS IT
BRINGS ATTENTION BACK.
HEY, WE'RE STILL AROUND, STILL
CREATING STUFF.
YEAH, MAYBE I DIDN'T INVENT THE
CURE TO CANCER, BUT I THINK IT
SOUNDS PRETTY COOL.
>> WELL, FOR ME, "SOUND TRACKS"
IS A MOVIE ABOUT SPACES, THE
SPACES AND THESE PLACES THAT
NEURODIVERGENT PEOPLE GO, PLACES
WHERE WE GO FOR OUR SANITY, TO
KEEP US GROUNDED.
BUT THERE ARE ALSO PLACES WE GO
TO CREATE.
AND ONE OF THE MESSAGES I'D LIKE
PEOPLE TO TAKE AWAY FROM THIS IS
THAT REALLY IF YOU'RE SOMEBODY
WHO IS NEURODIVERGENT OR YOU
HAVE A FAMILY MEMBER OR CHILD
THAT IS NEURODIVERGENT, LET HIM
PURSUE THOSE INTERESTS THEY ARE
REALLY INTERESTED IN.
LET THEM PURSUE THOSE PASSIONS.
SAND MAYBE THEY WILL BE ABLE TO
DO IT FOR MONEY, OR MAYBE NOT,
BUT THAT'S WHAT THEY NEED TO
REALLY DEAL WITH THE WHOLE REST
OF LIFE, ALL THE OTHER STUFF
THAT GOES ON.
AND SO THAT'S THE MESSAGE I'D
LIKE PEOPLE TO TAKE AWAY.
GIVE US THE SPACE.
LET US GO TO THOSE PLACES.
>> SO, WHAT DO EACH OF YOU LOVE
THE MOST ABOUT WHAT YOU DO NOW?
AND THIS PROCESS OF CREATION AND
THE OUTREACH THAT YOU'RE HAVING
WITH PEOPLE TODAY BECAUSE OF THE
WORK THAT YOU DO?
>> I HIT THE BUTTON FIRST SO I
GET TO GO.
>> LIKE JEOPARDY.
>> I KNOW.
WE NEED THE STUFF IN THE SKY.
NO, THAT'S SIMON WITH HIS
BUTTON, NEVER MIND.
WHAT WAS THE QUESTION?
[LAUGHTER]
>> WHAT YOU LOVE ABOUT WHAT YOU
DO, HOW IT'S CREATED
OPPORTUNITIES FOR YOU TO
INTERACT WITH PEOPLE.
>> I CAN'T IMAGINE A WORLD
WITHOUT MUSIC.
THE GOAL IS TO MAKE SOUND.
WE'RE ORGANIZING SOUND WAVES.
IT MAKES US FEEL THINGS.
IT MAKES US THINK THINGS.
IT CAN ELEVATE US OUT OF A
SITUATION.
THERE'S SOME GREAT MOVIES,
RIGHT?
THAT WOULD BE NOTHING WITHOUT
THEIR SOUNDTRACKS.
LOOK BACK AT THE ORIGINAL KING
KONG.
YOU KNOW HOW RIDICULOUS THAT
LOOKS WITHOUT THE INCREDIBLE
SOUNDTRACK?
A CLAY GUY ATTACKING A POWER,
BUT WITH THE MUSIC IT'S AMAZING.
MUSIC IS THE PIECE THAT KEEPS ME
CONNECTED TO THE WORLD.
THE NEURODIVERGENT SIDE, I LIVED
SO LONG WITHOUT THE DIAGNOSIS,
YOU KNOW, I WANT EVERYONE TO BE
POSITIVE, WANT KIDS DIAGNOSED TO
HAVE HOPE.
YOU SHOULD HAVE HOPE.
YOU SEE PLACES WHERE YOUR
DIAGNOSIS IS A SUPERPOWER FOR
YOU.
FOR ME, IT HAS REALLY BEEN AN
ALBATROSS ON MY SHOULDERS, KEPT
ME FROM BEING ABLE TO COMPLETE
AUDITIONS FOR SYMPHONY
ORCHESTRAS BECAUSE I CAN'T DEAL
WITH THE ANXIETY.
WORKING FOR OTHER PEOPLE IS
DIFFICULT.
I MISSED OUT ON A LOT OF GREAT
OPPORTUNITIES TO PLAY WITH OTHER
MUSICIANS BECAUSE OF THE
DIAGNOSIS.
>> SO, I LOVE MY JOBS, AND I
HAVE LOTS OF JOBS.
CREATE FILMS, MY COMPANY, WILD
ASPERAGUS PRODUCTIONS.
TEACH AT NAU.
I'M ALLOWED TO DO LOTS OF
DIFFERENT THINGS.
I DON'T HAVE TO FOCUS ON ONE
THING.
IF I DON'T WANT TO DO SOMETHING
ONE DAY, I CAN DO SOMETHING ELSE
THAT'S RELATED TO MY JOBS.
SO I REALLY LOVE THAT.
BUT ALSO I FEEL REALLY GOOD
ABOUT I'M GIVING SOMETHING BACK.
I'M TRYING TO MAKE A DIFFERENCE
IN THIS WORLD.
I'VE HAD THIS PASSION SINCE I
WAS A KID, GOT MY DEGREE IN
POLITICAL SCIENCE TO CHANGE THE
WORLD.
EVERY SEMESTER I GET ANOTHER 65
STUDENTS TO TALK TO, HOPEFULLY
THEY WILL GET INSPIRED TO SPEAK
TO 65 PEOPLE.
THAT'S A BIG PART OF MY JOB AND
JOB SATISFACTION.
>> I TAKE -- SO PHOTOGRAPHY IS
OBVIOUSLY MY PROFESSION, BUT
ALSO IT IS A PERSONAL
EXPRESSION.
AND I KIND OF ALWAYS MAKE A
VERY -- YOU CAN DELINEATE, OKAY,
THIS IS SHOT FOR SOMEONE OR FOR
ME.
BUT THE TRUTH IS I LOVE THE
NECESSITY.
I NEED TO CREATE.
I NEED TO PRESS THAT BUTTON, AND
I NEED TO -- WHETHER THE WORLD
AROUND IS TRAINS OR ATHLETES OR
CELEBRITIES, I THINK SOME PEOPLE
WOULD WANT TO PRESS THAT BUTTON
SO THEY COULD SHOW OFF THE ART
THEY CREATED, BUT MINE IS THE
IMAGES, I'M TRYING TO OPEN THAT
CONVERSATION TO SOMEBODY.
AND SO, I LOVE MY PROFESSION
BECAUSE, AGAIN, IT'S THAT
CONVERSATION WITH THE WORLD
AROUND ME THAT'S ENABLED
THROUGHOUT THE ART.
AND SO I WOULD NEVER TRADE IT
FOR ANYTHING.
I'M GRATEFUL FOR IT.
YEAH, THAT'S IT.
>> WELL, THANKS.
SO, DO ANY OF YOU WANT TO
COMMENT ON SOME OF THE
CHALLENGES YOU FACED AS YOU
DEVELOPED OVER TIME?
OR MAYBE CHALLENGES THAT YOU
HAVE RIGHT NOW THAT YOU ARE
WORKING THROUGH AS YOU CONTINUE
ON YOUR JOURNEY?
>> I'LL START.
CHALLENGES FOR PRODUCTIONS ARE
DIFFICULT.
IT DEPENDS WHO THE CLIENT IS.
SOMETIMES I WILL BE OPEN WITH
WHAT'S GOING ON.
OTHER TIMES I'M NOT AS
COMFORTABLE TO EXPRESS THAT.
YOU MASK THE STRUGGLES.
THE TRUTH IS I REMEMBER SHOOTING
A CAMPAIGN FOR A TV SHOW CALLED
"RIVER MONSTERS," WHERE WE
CLOSED DOWN A BEACH IN SOUTH
BEACH, FLORIDA.
I HAD SO MUCH OF ANXIETY AND
ATTACK THAT I SHOWED UP
UNCONSCIOUS IN THE CAR BECAUSE
MY ASSISTANT WAS DRIVING AND I
FAINTED.
BUT THEN YOU GET ON SET, AND
EVERYTHING GOES AWAY.
EVERY BIT OF FEAR TURNS INTO
CREATION.
AND YOU ARE THINKING NOT IN
LINEAR TERMS OF WORRY ABOUT THE
OUTSIDE BEING SEEN.
YOU'RE THINKING OF EXPOSURE AND
F STOPS.
THERE ARE CHALLENGES.
BUT IN OVERCOMING THOSE I
BELIEVE YOU CAN HAVE A GREATER
OUTCOME THAN IF YOU NEVER HAD
THAT CHALLENGE IN THE FIRST
PLACE.
>> SOME OF THE CHALLENGES I FACE
IS JUST GETTING OUTSIDE OF MY
COMFORT ZONE.
I STAYED IN SOME OF THOSE JOBS
LIKE THE BAGEL BAKER, EVEN THE
GROUP HOME, FOR A LOT LONGER
THAN I PROBABLY WANTED TO, JUST
BECAUSE I WAS AFRAID OF LEAVING
THAT BUBBLE AND HAVING TO TALK
TO DIFFERENT PEOPLE.
AND THAT'S AN ONGOING CHALLENGE
FOR ME.
IT'S GOTTEN EASIER.
I'VE BEEN TEACHING NOW FOR FOUR
YEARS IN PERSON.
IT'S HELPED A LOT.
BUT PROBABLY ONE OF THE BIGGEST
CHALLENGES THAT I JUST HAVE IS
JUST TAKING CARE OF THE ROUTINE
MAINTENANCE OF LIFE.
I STRUGGLE WITH THAT WITH MY
CAR, AND WITH MYSELF, CHANGING
THE OIL, EATING RIGHT, TAKING
CARE OF THOSE RESPONSIBILITIES
THAT YOU HAVE TO DO.
>> THIS IS A BIG ONE.
I'M SURE YOU GUYS GET YOUR EARS
FILLED ALL THE TIME WITH
CHALLENGES, IT'S HOW YOU MAKE
GOOD TV COMMERCIALS.
NO, I'M SERIOUS, RIGHT?
HERE'S THE SOB STORY.
BUT I THINK IT NARROWS DOWN TO
WHO MASSIVE POINTS FOR ME.
ONE IS ENTREPRENEURSHIP.
JUST WANTING TO BE SOMEONE WHO
CREATES THINGS, IS IN CHARGE OF
THINGS, NOT ALWAYS THE
BENEFICIARY OF A PROGRAM.
I DON'T WANT TO LIVE OFF
PEOPLE'S GENEROSITY.
I WANT TO HAVE THE PRIDE OF
WORKING AND EARNING FOR MYSELF.
YES, I CREATED THIS.
I GOT PAID ADEQUATELY FOR IT.
IF I CLOCK EVEN A QUARTER OF
HOURS I DONATED, DONATED IN THE
LOOSEST OF QUOTES, GIVING PEOPLE
ADVICE, HELPS ORGANIZATIONS WHO
TURN AROUND AROUND MAKE MONEY
OFF THE IDEAS I GIVE THEM, I
WOULD NOT BE WORKING ON THE
11-YEAR-OLD MAC I HAVE NOW.
IT'S FRUSTRATING TO ALWAYS BE IN
THIS POSITION OF LET'S WAIT FOR
THE FUNDING, LET'S WAIT FOR A
GOVERNMENT OR AN INSTITUTION TO
MAKE A DECISION AND THEN TRICKLE
FUNDS DOWN TO ME AS SOMEBODY ON
THE SPECTRUM.
I WANT TO OPPORTUNITY TO LEARN
HOW TO DO THINGS FOR MYSELF AS
AN ENTREPRENEUR.
THE OTHER PART OF IT IS I
ACTUALLY LOVE, LIKE YOU, I LOVE
TEACHING.
I REALLY LOVE THE EXCITEMENT OF
A STUDENT WHEN THEY FIGURE
SOMETHING OUT THEY COULDN'T DO
BEFORE.
IT'S JUST THE BEST FEELING IN
THE WORLD.
I CHOSE A TEACHING PROFESSION ON
PURPOSE.
BUT I RUN INTO A LOT OF PEOPLE
WHO THINK THAT I JUST FAILED
SOMEHOW AT BEING A PERFORMANCE
ARTIST AND I'VE BEEN, YOU KNOW,
LOWERED MYSELF INTO TEACHING
STANDARDS.
WHEN THE ADD THE AUTISM
DIAGNOSIS ON THAT, IT ALMOST
FEELS LIKE IT FITS.
OH, THAT MUST BE WHY.
NO, LET ME LIST THE WAYS.
I DON'T HAVE THE PRODIGY
PACKAGE.
I DIDN'T COME IN AS, YOU KNOW, A
YOUNG MALE THAT HAD THE RIGHT
TEACHERS, RIGHT?
I WAS AN OBNOXIOUS PRECOCIOUS
YOUNG GIRL WHO DID WITH A I
WANTED.
SORRY, QUICK EDIT.
[LAUGHTER]
I WAS IMPRESSED I DID THAT SO
FAST.
AND I HAD ALL THESE OBSTACLES.
I HAD TERRIBLE LEADERS IN THE
COMMUNITY, WILLIAM PRUSEL IS A
GOOD EXAMPLE.
IF YOU TAKE TIME TO LOOK HIM UP
ONLINE, HE'S IN JAIL NOW FOR
SOME THINGS HE DID TO YOUNG
PEOPLE HE WAS TEACHING.
THIS WAS THE WORLD.
THIS IS WHERE I WENT.
NOT BECAUSE OF AUTISM I DIDN'T
MAKE IT THERE.
IT WAS BECAUSE OF A LOT OF OTHER
SYSTEMIC ISSUES.
JUST AUTISM HAS BECOME THE
CONVENIENT EXCUSE FOR PEOPLE TO
GO, OH, THAT'S WHY YOU HAVEN'T
DONE THAT.
I WILL WORK HARDER THAN ANYONE
YOU KNOW.
I WORK SIX DAYS A WEEK, 80
STUDENTS, I BARELY MAKE IT BY.
THAT'S JUST RIDICULOUS.
WE HAVE TO HAVE A WORLD WHERE
PEOPLE CAN WORK HARD, I DON'T
CARE WHAT THE LABEL IS, AND THEY
MAKE A DECENT LIVING TO AFFORD
THEIR OWN HOMES, AND THEIR OWN
RETIREMENT.
[APPLAUSE]
>> WELL, THANK YOU FOR SHARING
SOME OF THOSE CHALLENGES.
NOW I'M GOING TO TURN TO ASKING
YOU WHO SUPPORTED YOU ON THIS
JOURNEY AND INSPIRED YOU TO YOUR
WORK?
EVERYBODY HAS SOMEONE IN THEIR
LIFE THAT MAY HAVE CONTRIBUTED
TO THEIR SUCCESS AND I'D LOVE TO
HEAR ABOUT YOURS.
>> SO LIKE MOST PEOPLE, I WOULD
SAY THE FIRST BIG SUPPORTER OF
ME WAS MY MOM.
SHE SUPPORTED ALL MY ENDEAVORS.
SHE CONVINCED MY DAD TO LET ME
BUY THAT -- HAVE THEM BUY THAT
CAMERA FOR ME.
SHE ALWAYS ALLOWED THAT.
SHE ALSO WAS VERY SUPPORTIVE OF
ME.
I WAS A VERY SENSITIVE KID.
SHE GAVE ME THE PROPER SUPPORT
AND HUGS THAT I NEEDED.
AND THE OTHER PERSON, FOR SURE,
IS MY WIFE.
SHE'S ACTUALLY A FACULTY AT
NORTHERN ARIZONA UNIVERSITY,
SCIENTIST IN THE FOREST ARE I
DEPARTMENT.
TONIGHT SHE IS GOING TO BE
HONORED WITH THE PRESIDENT'S
DIVERSITY AWARD BECAUSE NOT ONLY
DOES SHE SUPPORT ME, SHE
SUPPORTS ALL HER STUDENTS,
PARTICULARLY HER NEURODIVERGENT
AND DISABLED STUDENTS.
AND SHE REALLY IS THE ONE THAT
HELPS ME WITH THAT ROUTINE
MAINTENANCE OF LIFE.
AND SO SHE'S BEEN A HUGE
SUPPORTER.
AND THEN ALSO THE STUDENTS.
IT'S REALLY REFRESHING TO GO IN
AND GET THE ENERGY THAT YOU GET
FROM THE STUDENTS.
AND THEIR GENERATION IS SO MUCH
MORE OPEN THAN MY GENERATION.
IT REALLY GIVES ME A LOT OF
HOPE.
THEY SUPPORT ME BY JUST GETTING
ME THROUGH AND LETTING ME FOCUS.
THERE'S A LOT OF PROGRESS
HAPPENING.
THERE'S BAD THINGS GOING ON.
AND WE ALL KNOW ABOUT THAT.
BUT THERE'S A LOT OF GOOD TOO.
>> LAURA?
>> OH, I WAS SUPPOSED TO GO
FIRST, THERE'S INSTRUCTIONS
HERE.
YEAH, THE BUTTON.
I HAD GREAT TEACHERS.
I WAS REALLY LUCKY.
I GREW UP OUTSIDE ATLANTA, WHEN
OUTSIDE ATLANTA DIDN'T HAVE
MUCH.
I HAD A TEACHERE STEPHANIE GRACE
ROLLINS, A PERFECT FIT.
SHE SOMEHOW UNDERSTOOD ME.
KNEW HOW TO ASK THE RIGHT
QUESTIONS AND THINK THROUGH
PROBLEMS.
SHE WAS GREAT.
I ACTUALLY MADE A FILM ABOUT HER
IN COLLEGE, "MY VIOLIN CRIES,"
TO MOURN HER AFTER HER PASSING
WITH CANCER.
OTHER GREAT TEACHERS, NORMA
BURNALL, BRAD STEWART, THE ONLY
ONE STILL ALIVE OUT OF THAT
GROUP.
I DID HAVE GREAT SUPPORT AT
HOME.
MY MOM UNDERSTOOD THE VALUE OF
ART.
MY DAD, WHO COULD NOT SING A
NOTE IN TUNE TO ABSOLUTELY SAVE
HIS LIFE, JUST LOVED MUSIC.
AND IN FACT HE BOUGHT ME THIS
VIOLIN THAT I'M GOING TO PLAY ON
TODAY.
SORRY.
MY DAD PASSED AWAY IN MARCH.
WHEN HE BOUGHT ME THE VIOLIN, HE
SPENT ABOUT $4,000 ON IT, WHICH
IN 1992 WAS A LOT OF MONEY TO
SPEND ON A TEENAGER.
I SAID DAD, YOU KNOW, THIS IS
EXPENSIVE.
WHY ARE YOU SPENDING SO MUCH
MONEY?
YOU CAN'T PLAY A CART AT
CARNEGIE HALL.
>> THANKS FOR SHARING THAT,
LAURA.
WE'RE GREAT FOLLOW HAVE YOU HERE
TODAY TO HONOR YOUR DAD'S GIFT
TO YOU AND HIS SUPPORT FOR YOU.
I KNOW THAT YOU TOLD US BEFORE
THAT YOU REALLY ARE FEELING HIM
TODAY.
SO THANK YOU SO MUCH FOR SHARING
WITH US PERSONALLY ABOUT THAT.
BLAIR, I'M GOING TO GIVE YOU THE
STAGE TO SHARE ABOUT SOMEONE WHO
INSPIRED YOU ALONG THE WAY.
I UNDERSTAND YOU HAVE A REALLY
SPECIAL STORY TO SHARE AND I'D
LOVE TO GIVE YOU THAT
OPPORTUNITY.
>> YEAH, I TOO WAS FORTUNATE TO
HAVE THE SUPPORT OF MY DAD, WITH
PICKING OUT MY FIRST CAMERA.
AND IT WAS AN OPPORTUNITY WHERE
HE GAVE ME HIS CAMERA THAT HE
HAD IN COLLEGE THAT HE HAD
BOUGHT TO DO HIS FILM CLASS AND
PHOTOGRAPH, MY MOM WAS EVEN I
THINK PART OF THE COLLEGE
PROJECT.
AND WHAT IT ENDED UP BEING WAS
ONE OF THE FIRST TIMES IN MY
LIFE I HAD MY PARENTS' SUPPORT
AND ALSO A CHOICE THAT I COULD
PURSUE AN ART THAT I WANTED TO.
IT WAS A FREEING -- THAT WILL
PLAY INTO THIS NEXT PIECE.
BUT REALLY MY WIFE AND MY
DAUGHTER, MY DAUGHTER'S 6.
AND SHE KNOWS THAT HER DAD HAS A
CONDITION THAT MAKES THINGS A
LITTLE DIFFERENT.
THERE'S ACTUALLY -- FORGIVE ME
IF I GET THE NAME OF THE SHOW
INCORRECT.
THE ALARM IS GOING.
BUT THERE'S A CARTOON I BELIEVE
CALLED SUPER HERO, HERO
ELEMENTARY, IT HAS THESE HEROES,
SUPER HEROES KIDS, ONE CHARACTER
IS A.J.
HE HAS AUTISM.
AND THEY TOUCH ON THE IDEA THAT
HE WEARS HEADPHONES SOMETIMES,
AND HE HAS SENSORY OVERLOAD.
AND IT'S VERY MUCH LIKE I DO.
SO, MY DAUGHTER, SHE'S BEEN
SUPPORTIVE, EVEN AT A YOUNG AGE.
EVEN AT 4 OR 5 YEARS OLD, I'LL
HAVE TIMES WHEN I'M REALLY NOT
KEEPING UP WITH THINGS.
AND SHE WILL BRING HEADPHONES
INTO THE LIVING ROOM SO I CAN
LISTEN AND SO I CAN ACTUALLY
CALM MYSELF.
FAST FORWARD TO TWO YEARS AGO,
AND I WAS ASKED TO GO TO THE
EDGE OF SPACE TO PHOTOGRAPH THE
EARTH.
IENT WITH -- I WANTED HER TO BE
INCLUDED.
I ASKED IF IT WAS OKAY IF DADDY
WENT TO SPACE.
SHE SAID JUST DON'T HIT AN
STEROID.
WHEN I GOT TO IT, IT WAS EIGHT
MONTHS OF TRAINING.
YOU GO, WHEN THE PENTAGON GREEN
LIT THE PROJECT, YOU GO
INITIALLY PRETTY QUICKLY TO GET
YOUR SPACE SUIT FITTED, AND THAT
WAS A TERRIFYING EXPERIENCE
BECAUSE I THINK EVERYONE THINKS
OF BEING IN A SPACE SUIT AS THIS
QUIET BREATHING, BUT THE TRUTH
IS THERE'S A LOT OF MOTORS GOING
ON TO KEEP YOU ALIVE.
FOR SOMEBODY WHO GETS
OVERWHELMED BY SOUNDS, THAT WAS
EXTRAORDINARILY DIFFICULT.
SO FOR EIGHT MONTHS BETWEEN
HAVING PERSONAL TRAINING AT THE
GYM AND MEETING WITH
PSYCHOLOGISTS FROM BOTH MILITARY
AROUND PERSONAL, TO TRY AND PUT
TOGETHER A PLAN OF HOW WE'RE
GOING TO GET THROUGH THE
PROJECT, WE WERE ABLE TO GET ME
TO A PLACE WHERE I WOULD BE
COMFORTABLE ENOUGH TO DO THE
PROJECT.
A CURVE BALL WAS THROWN A LITTLE
BIT LATE IN THE GAME WHERE THEY
SAID NOW WE'RE GOING TO NEED YOU
TO DO THE PHOTO SHOOT AT THE
EDGE OF SPACE BUT WE DON'T WANT
YOUR HEART RATE GOING OVER 70
BECAUSE ANY EXCESS HEART RATE
AND RESPIRATION WILL ICE OVER
THE CANOPY AND RUIN THE SHOOT.
NOW WE HAVE TO DO THE PROJECT,
KEEP CALM, THERE WERE CERTAIN
DRUGS THAT HELPED A LITTLE BIT
WITH THAT BUT ALSO THERE'S A LOT
OF PREPARATION.
BUT TWO NIGHTS BEFORE AT 3 A.M.
I HAD A BREAKDOWN HAVING
CONVULSIONS IN BED.
I ASKED MY WIFE, I TOLD HER I
DIDN'T WANT TO DO IT.
SHE SAID, YOU'RE GOING TO BE
FINE.
WE'RE GOING TO TAKE ONE STEP.
TOMORROW WE'RE GOING TO WAKE UP.
WE'RE GOING TO HAVE BREAKFAST.
YOU'RE GOING TO TAKE A SHOWER,
YOU'RE GOING TO THE BASE.
YOU'LL DO YOUR BRIEFINGS AND
TRAININGS, SPACE SUIT FITTING
ONE LAST TIME AND YOU'RE GOING
TO GO TO SLEEP.
NEXT DAY YOU'LL WAKE UP, GO TO
THE BASE, YOU'LL GO TOE SPACE.
ONE STEP AT A TIME.
LET'S JUST GO TO BED SO WE CAN
WAKE UP TOMORROW.
WHAT IT ENDED UP BEING WAS THE
PROJECT WAS A LOVE SONG TO AVA,
MY DAUGHTER.
I WANTED HER TO KNOW THAT I HAVE
LIMITATIONS.
BUT AFTER THE FLIGHT THERE'S NO
MORE LIMITATIONS.
>> THANK YOU SO MUCH FOR SHARING
THAT.
AND NOW WE'RE GOING TO BE ABLE
TO SEE SOME OF THE IMAGES THAT
BLAIR TOOK IN SPACE.
I KNOW YOU ALL ARE GOING TO JUST
LOVE THIS.
SO, WE CAN PULL UP THE VIDEO.
♪
[ ORCHESTRAL MUSIC ]
♪ SNOTTED
♪
>> MY NAME IS BLAIR BUNT
APPROXIMATING. -- BUNTING.
I DID A PHOTO SHOOT IN SPACE IN
COLLABORATION WITH THE MEN AND
WOMEN OF THE AIR FORCE WE TOLD
THE STORY OF THE DRAGON LADY
THROUGH A SERIES OF IM IMAGES
AT 70,000 FEET OFF THE GROUND,
AN INCREDIBLE EXPERIENCE I WILL
NEVER FORGET.
♪
>> IF WE CAN BRING THE PLANE
BACK ABOUT 35 FEET.
♪
WE'LL DO THE LIGHTING SCENARIO,
SHOOTING TO THE NORTH.
♪
CAN'T WAIT TO GET OFF THE
GROUND, MAN, MY ASS IS HURTING
SO BAD, WE CAN HAVE A BEER AFTER
THIS.
♪
>> HEY, DAD.
I DIDN'T TELL YOU, I TOOK YOUR
LENS.
IN SPACE.
I JUST WANT TO SAY THANK YOU FOR
YOUR SUPPORT.
♪
[APPLAUSE]
>> DID YOU GUYS ENJOY THAT?
[APPLAUSE]
>> YES, ABSOLUTELY INCREDIBLE.
EVEN BETTER WHEN YOU HAVE A
GIANT SCREEN BEHIND YOU, BETTER
THAN WATCHING ON YOUR IPAD.
SO, THAT WAS AMAZING!
AND PROBABLY THE ONLY PERSONAL
VIEW OF SPACE I'LL HAVE.
I DON'T THINK I'M GOING.
NOT PLANNING ON IT.
>> YOU DON'T WANT TO, TRUST ME.
>> AMAZING, THANK YOU FOR
SHARING THAT WITH US.
I'D LIKE TO TURN TO ASKING YOU
WHAT YOU ALL -- ACTUALLY MAYBE
BLAIR, I'LL GIVE YOU A CHANCE TO
REFLECT AFTER WATCHING THAT,
ANYTHING YOU WANT TO TELL US
ABOUT?
>> YEAH.
IT WAS AN INTERESTING
EXPERIENCE.
THERE'S A LOT OF FACTORS YOU
KIND OF -- YOU KNOW GOING SO
HIGH HAS ITS CHALLENGES.
SOME OF THE THINGS THAT WERE OF
INTEREST IS I LOST MY MEMORY FOR
ABOUT TWO WEEKS.
I HAD EVERYTHING UNTIL ABOUT AN
HOUR AFTER I LANDED, AND THEN IT
WAS ALL GONE.
BUT I NEVER WANT TO RETURN BACK.
I THOUGHT IT WAS GOING TO BE
THIS TRANSITIVE EXPERIENCE WHERE
YOU KIND OF -- YOU GO UP, AND
YOU'RE CLOSER TO THE HEAVENS,
AND THEY ASK YOU IF YOU WANT TO
TAKE ANYTHING PERSONAL.
SO I ACTUALLY DOG MY DOG'S TAGS.
AND THE TRUTH IS, YOU GET UP SO
HIGH, YOU START TO SEE THE
BLACKNESS AROUND YOU.
AND UNFORTUNATELY, IT DIDN'T
HAVE THAT EXPERIENCE.
IT WASN'T LIKE I FELT CLOSER TO
RILEY, MY DOG.
WHAT I FOUND IS THAT EVERYTHING
I LOVED AND EVERYTHING I WILL
AND HAVE EVER LOVED WAS ON THIS
BLUE GLOWING BALL BELOW ME.
AND THE SENSATION AND THE IDEA
OF WHAT IS HOME.
HOME IS NEVER MORE.
I KNOW THAT IT WAS AN EXCITING
ONE; I WILL NEVER DO IT AGAIN
THOUGH.
>> WHAT DID YOUR DAUGHTER THINK
OF THIS?
>> AVA IS -- SHE'S MY OWN LITTLE
HEIGHT MAN.
I SOMETIMES YOU WANT TO GO A
PLACE AND NOT HAVING IT ENTER
INTO THE CONVERSATION.
SHE'S ALWAYS THERE, ALWAYS
EXCITED ABOUT IT.
I WAS TALKING WITH A SENIOR
OFFICIAL IN THE MILITARY ABOUT
HER SPECIFICALLY AFTER WE HAD
DONE IT, WE KNEW IT WAS
SUCCESSFUL.
I TOLD THEM THAT MY DAUGHTER HAD
A GREAT IMAGINATION.
SHE WAS GOING TO GO TO THE MOON
AND SEND ME A TEXT MESSAGE.
AND THAT OFFICIAL SAID, AFTER
WHAT YOU'VE JUST DONE YOU CAN
NEVER TELL HER THAT SHE CAN'T.
>> WELL, THAT'S SO AMAZING.
SO THANK YOU.
SO, FOR YOU ALL, WHAT WOULD YOU
LIKE TO SHARE WITH AUTISTIC
YOUTH AND ADULT WHO IS ARE
INTERESTED IN PURSUING A
CREATIVE CAREER OR JUST
GENERALLY INTERESTED IN PURSUING
THEIR DREAMS?
WHAT HAVE YOU LEARNED ON YOUR
JOURNEY THAT YOU WOULD LOVE TO
IMPART TO THEM?
>> I CAN SPEAK TO THAT.
I MEAN, ONLY DO IT FOR A LIVING.
I HAVE TO LAUGH, THE WAY THIS
AFTERNOON IS GOING TO FINISH.
THERE WAS A STUDY DONE, I HAVE
TO FIND THE PAPER I READ, THEY
TRIED TO STUDY ART AND DECIDE
WHAT MADE GREAT ART.
THEY LOOKED AT MASTERS.
MICHELANGELO, ALL THESE PAST
ARTISTS.
THEY WERE ABLE TO COME TO ZERO
CONCLUSIONS ON WHAT MADE GREAT
ART BUT DID FIGURE OUT EVERY
MASTERPIECE WAS ONLY A FEW BRUSH
STROKES AWAY FROM BEING A TOTAL
DISASTER.
IF I GIVE ADVICE TO ANY STUDENT,
IT IS THIS.
KNOW WHEN TO LET IT GO.
YOU NEVER CULTIVATE, YOU NEVER
FINISH.
I WATCH THE FILM, I WAS LATE ON
THE DOWN BEAT, EVERYTHING I DID
WRONG BUT YOU HAVE TO LET GO AND
MOVE TO THE NEXT THING BECAUSE
THAT'S HOW YOU GROW AS AN
ARTIST.
>> I THINK LIKE I SAID
PREVIOUSLY THAT EXPLORE THOSE
THINGS YOU'RE PASSIONATE ABOUT.
AND IF CREATING ART IS ONE OF
THOSE THINGS, EXPLORE IT.
DO IT, TRY TO DO IT AT A
PROFESSIONAL LEVEL, BUT DON'T BE
UPSET IF YOU CAN'T GET THERE.
DO IT FOR THE LOVE OF DOING IT.
AND THEN IF YOU DO IT LONG
ENOUGH YOU'RE GOING TO FIND
THERE'S A WAY TO FIT IT IN WITH
YOUR LIFE AND MAYBE FINANCIALLY
AND STUFF.
SO JUST KEEP DOING IT AND KEEP
CREATING.
>> FOR INDIVIDUALS PURSUING A
CAREER IN THE ARTS, YOUR ART IS
YOUR SOUL.
IT'S THE GROUNDING ASPECT OF
YOUR JOURNEY OF LIFE.
AND SO, THERE'S A LOT OF HOPE I
THINK FOR KIDS THAT PEOPLE WANT
TO GET INTO THIS PROFESSION,
MAKE MONEY, WHAT NOT, BUT WHEN
THINGS HAPPEN, WHEN YOU'RE
HAVING DAYS WHERE THAT MENTAL
STRUGGLE IS THERE, YOU HAVE TO
HAVE THAT ART FIRST BECAUSE
THAT'S WHAT WILL KEEP YOU AROUND
AND HELP YOU GET THROUGH IT.
SO, IF I WOULD SAY ANY ADVICE TO
HAVE THAT SOLID RELATIONSHIP
WITH YOUR ART BEFORE EVER MAKING
IT INTO A PROFESSION.
>> AND MY FINAL QUESTION BEFORE
WE GIVE THE AUDIENCE A CHANCE TO
TALK, HOW DO YOU HOPE THE WORLD
WILL CHANGE IN THE COMING YEARS
TO MAKE LIFE EASIER AND BE MORE
INCLUSIVE FOR AUTISTIC AND
NEURODIVERGENT PEOPLE?
>> DO WE HAVE ANOTHER HOUR?
WE'VE BEEN WATCHING FILMS AND
EVERYTHING TOO ABOUT WHAT'S
GOING ON.
OUR ART SPEAKS FOR THAT.
WHAT WOULD I LIKE TO SEE CHANGE
IN THE WORLD?
IN GENERAL I WANT TO SEE HATE GO
AWAY.
I DON'T LIKE A WORLD WITH HATE
FOR ANY REASON, WHETHER FOR
COLOR OF SOMEONE'S SKIN OR
RELIGION OR THEIR DIAGNOSIS.
THE FACT THAT WE CAN'T BE IN A
ROOM AND JUST BE DIFFERENT, I
DON'T UNDERSTAND.
I KNOW THAT THERE'S THIS WHOLE
THING WITH, YOU KNOW, GROUP
MENTALITIES, PEOPLE WANT A SENSE
OF BELONGING, BUT WE'RE A GLOBE
NOW.
WE LIVE IN A GLOBAL WORLD.
WE KNOW WHAT'S GOING ON IN CHINA
AS SOON AS WE KNOW WHAT'S GOING
ON IN OUR OWN BACK YARD.
THIS IS THE UNIVERSE WE'RE
LIVING IN.
SO WE HAVE TO REALIZE THERE'S
ALWAYS GOING TO BE SOMEBODY
DIFFERENT IN THE ROOM.
AND IF YOU SEE SOMEBODY, THAT'S
SITTING ALONE IN A CORNER, MIGHT
NOT BE A BAD IDEA TO SAY, HEY,
MY NAME IS ... NICE TO MEET YOU.
AND JUST CHAT.
>> FIRST I WANT TO SAY WE'VE
COME A LONG WAY IN THE 25 YEARS
OR SO THAT I'VE BEEN INVOLVED IN
THE AUTISM COMMUNITY.
WE'VE MADE GREAT STRIDES.
WE'RE NOT HAVING THE SAME
CONVERSATION ABOUT TRAGEDY AND
DEFICIENCY.
WE'RE TALKING ABOUT ACCEPTANCE
NOW.
AND THAT'S A BIG CHANGE.
AND I HOPE THE TRAJECTORY THAT
WE'RE ON CONTINUES.
I'VE HAD CONVERSATIONS WITH MANY
PEOPLE IN THIS ROOM ABOUT THE
WORK THEY ARE DOING, ABOUT
DESIGNING ARCHITECTURE TO BE
MORE INCLUSIVE TO PEOPLE'S
SENSORY NEEDS.
IT'S DOING THIS IN OUR PUBLIC
ARCHITECTURE.
WE TALK ABOUT IT AT OUR
UNIVERSITY, HOW DO WE INCLUDE
OUR STUDENTS WITH ADHD AND
AUTISM, HOW DO WE MAKE THEIR
ACADEMIC CAREERMORE SUCCESSFUL,
PROVIDING ACCOMMODATIONS AND
STUFF.
WE HAVE A LOT OF GOOD IDEAS OUT
THERE, A LOT OF PEOPLE WORKING
ON IT.
I JUST HOPE THAT ALL THESE GOOD
IDEAS ACTUALLY GET PUT INTO
PRACTICE.
>> I'M GOING BACK A LITTLE BIT
TO WHAT I MENTIONED PRIOR TO
THIS SPACE.
EDUCATION, BUT ALSO SUPPORT AT A
YOUNG AGE.
I KNOW THAT SOUNDS SILLY BUT
THAT CARTOON WITH A HERO THAT
HAD AUTISM MADE IT POSSIBLE FOR
A FATHER AND DAUGHTER TO HAVE A
RELATIONSHIP THAT'S MORE OPEN,
AT 5 YEARS OLD, ALREADY FOR HER
TO REALIZE IT.
SO MUCH SO THAT THERE'S BEEN
TIMES WHEN THERE IS ANOTHER KID
THAT -- A CHILD HER AGE THAT HAS
ASPECTS SHE CAN IDENTIFY
ALREADY, THAT SHE CAN HELP BE
SUPPORTIVE.
AND AT 6 YEARS OLD, I CAN'T EVEN
REMEMBER WHAT 6 YEARS OLD WAS
FOR ME.
FIRST GRADE TO COLLEGE WAS A
BLUR.
YOUNGER WE CAN REACH SOMEBODY TO
TEACH THEM MAYBE ABOUT A PARENT,
MAYBE ANOTHER FRIEND THEY HAVE,
OPEN THEIR HEART TO HOW TO
SUPPORT THAT PERSON, I THINK
IT'S A LARGE STEP IN HOW DO WE
MAKE THE LIVES OF THOSE AFFECTED
MORE FULL, MORE FRUITFUL.
>> I HOPE YOU ALL WILL JOIN ME
IN THANKING OUR SPEAKERS FOR
SHARING SO PERSONALLY WITH US.
I FEEL PRIVILEGED TO HEAR FROM
YOU.
AND WE JUST REALLY ENJOYED
SEEING ALL THE IMAGES, FEELING
ALL THE FIELDS, AS WE COULD
TRAVEL THIS JOURNEY WITH YOU, SO
THANK YOU.
[APPLAUSE]
AND NOW I'D LIKE TO INVITE
STEPHEN ISAACSON TO JOIN US, THE
NEURODIVERSITY LIAISON.
WE'LL HAVE Q&A TIME WITH THE
AUDIENCE.
ONLINE IF YOU'RE WATCHING ON NIH
VIDEOCAST USE THE LINK TO SHARE
YOUR QUESTIONS.
STEPHEN WILL BE MONITORING
THOSE.
WE'LL BE HAPPY TO TAKE YOUR
QUESTIONS.
WE HAVE A STANDING MIC AND ONE
OF OUR TEAM MEMBERS, LOUISE
VALDES LOPEZ, RUNNING AROUND
WITH THE MIC TO HELP WITH
QUESTIONS.
I WAS JUST REMINDED, I SKIPPED
THE MOMENT.
BEFORE WE GO TO THE Q&A, THAT
WE'RE GOING TO HEAR FROM LAURA.
>> WE'LL DO IT.
>> I'M SORRY.
WE HAVE -- LAURA IS GOING TO
PLAY FOR US LIVE.
WE'LL HAVE A MOMENT TO HEAR FROM
HER RIGHT HERE IN THIS ROOM AN
ORIGINAL COMPETITION.
>> I'M GOING TO GIVE YOU A NOTE
BEFOREHAND.
THIS IS THE FIRST TIME I'VE
PLAYED MY VIOLIN SINCE MY
FATHER'S PASSING IN MARCH.
AND THIS PIECE IS ACTUALLY
WRITTEN FOR HIM.
♪
[APPLAUSE]
>> THAT WAS BEAUTIFUL, LAURA.
THANK YOU SO MUCH FOR SHARING
WITH US.
WE REALLY APPRECIATED THAT.
SO NOW WE'LL TURN TO THE Q&A.
SO, DOES ANYONE HAVE A QUESTION
THAT YOU'D LIKE TO ASK OUR
GUESTS?
DR. GORDON?
>> FIRST, I WANT TO REITERATE MY
THANKS TO YOU FOR BEING HERE,
SPEAKING ELOQUENTLY AND
PRESENTING US WITH WONDERFUL
ART.
THE WORK THAT YOU'VE ALL
PRESENTED TODAY IS CLEARLY
IMBUED WITH TREMENDOUS EMOTION.
AND, BLAIR AND LAURA ESPECIALLY,
REALLY ALL THREE OF YOU, HAVE
TOLD US ABOUT HOW YOUR ART HAS
GIVEN YOU THE ABILITY TO EXPRESS
AND COMMUNICATE IN WAYS THAT IS
MORE DIFFICULT TO DO OUTSIDE OF
THE ART.
I'M WONDERING IN THE EXPERIENCE
OF LEARNING TO CREATE THE ART
AND OF CREATING THE ART, HOW
THAT HELPS YOU COMMUNICATE WITH
THE PEOPLE AROUND YOU IN OTHER
WAYS AS WELL.
OR DO YOU REALLY RELY ON THE ART
TO COMMUNICATE THE DEEP EMOTIONS
THAT YOU FEEL?
>> THAT'S ACTUALLY A DEEP
QUESTION.
I THINK -- I'M GOING TO GUESS.
I THINK I FEEL EMOTION LIKE
ANYBODY ELSE.
I MISS THE LABEL, MY EXPRESSION
CAN SOMETIMES BE AWKWARD.
MY HUSBAND AND I LIKE TO
ACTUALLY JOKE AROUND BECAUSE
SOME PEOPLE HAVE LIKE RESTING
MAD FACE, I HAVE RESTING
CONFUSED PACE.
FACE.
IT'S MY PROCESSING FACE.
MUSIC MAKES IT CLEARER WHAT I'M
FEELING.
I CAN THINK BACK INTO CHILDHOOD
WHEN I WAS PERFORMING, IF I
INTENDED FORETHE AUDIENCE TO
CRY, THEY WOULD CRY.
IF I WANTED THEM TO LAUGH I
WOULD MAKE THEM LAUGH, SOMETHING
I STRUGGLED TO DO IN
CONVERSATION.
YES, MUSIC GAVE ME A VOCABULARY
OF EMOTION I DIDN'T HAVE BEFORE.
>> PICKING UP THE CAMERA WAS --
IT HELPED THE PROCESS OF BEING
OPEN AND EMOTIONALLY VULNERABLE.
THERE ARE TIMES ON THE SET
YOU'RE CREATING OVERWHELMING
ART.
TOM, THE THAT GENTLEMAN I WORKED
WITH, BEFORE FIRST PLACE, HE'S
SEEN ME ON AN AD CAMPAIGN.
THERE'S A CERTAIN FREEDOM THAT
HAVING THAT CAMERA AND PICKING
IT UP FOR THE FIRST TIME TO
CREATE ART, THE ART IS WHAT YOU
START THE CONVERSATION WITH, BUT
IT HAS OPENED UP MY LIFE TO
KNOWING PEOPLE LIKE HIM AND A
NUMBER OF OTHER ART DIRECTORS
AND CREATIVE DIRECTORS WHERE I
CAN HAVE CONVERSATIONS THAT I
COULDN'T HAVE HAD BEFORE I HAD
THE CAMERA.
IT'S AN INTERESTING ONE BUT YOU
FIND THAT THE MORE YOU HAVE THAT
CONVERSATION ON SET, THE MORE
EVERYONE -- THE MORE PEOPLE YOU
FIND THAT ARE JUST IN THE EXACT
SAME EXPERIENCE GOING THROUGH
THAT LIFE, AND IT MAKES FOR A
BOND THAT IS CLOSE BEYOND THE
CREATION THAT YOU HAVE ON THAT
PROJECT, IT MAKES FOR SOMEBODY
THAT YOU CAN TRUST AND THAT YOU
CAN TALK TO.
AND SO, IN A WAY, MY CONDITION
STOPPED ME FROM BEING ABLE TO
TALK UNTIL THE CAMERA WAS
BROUGHT AND THE CAMERA WAS
INITIALLY THE MOUTHPIECE, BUT
THEN MADE IT TO WHERE I WAS ABLE
TO OPEN UP TO A WAY I WAS NOT
BEFORE.
>> IF I COULD MAKE ONE QUICK
POINT.
I THINK MY FILMS SHOW MY
SENSITIVITY, AND MY CONCERN AND
CARE FOR PEOPLE.
AND I THINK THAT I DO THAT WITH
ALL MY FILMS.
THAT'S ONE OF THE WAYS THAT I
COMMUNICATE MY INNER GENUINENESS
TOWARDS HELPING AND LIFTING ALL
PEOPLE.
>> THANKS.
ARE THERE OTHER QUESTIONS?
WE'RE GOING TO THE TOP.
>> HI THERE.
FIRST OFF, I WANT TO THANK YOU
GUYS FOR, YOU KNOW, SHARING ALL
OF THIS STUFF ABOUT YOUR LIFE.
ONE THING THAT I NOTICED BOTH
LAURA AND BLAIR TALKING ABOUT, I
DON'T KNOW IF THIS IS TRUE FOR
YOU, JOHN, BUT I JUST WANTED TO
KNOW, I HEARD FROM BOTH OF YOU
THE EXPERIENCE OF UNDERSTANDING
YOUR OWN NEURODEVELOPMENTAL
STRUGGLES, WHEN YOU HAVE A CHILD
AS WELL WHO MIGHT -- OR BLAIR
DURING THE FILM, I REMEMBER A
MOMENT THEY ASKED DO YOU THINK
YOUR DAUGHTER MIGHT HAVE AUTISM,
FOR LAURA YOU SAID IT WAS
THROUGH YOUR SECOND CHILD.
I WAS WONDERING WHAT THE
EXPERIENCE OF BEING SOMEONE
WITH -- BEING NEURODIVERGENT AND
HAVING A NEURODIVERGENT CHILD.
>> THAT'S A GREAT QUESTION.
WE STILL DON'T ACTUALLY KNOW
WITH MY DAUGHTER IF SHE IS.
BUT WHAT'S BEEN REALLY SPECIAL
ABOUT IT, WHETHER OR NOT SHE
TURNS OUT TO HAVE A
NEURODIVERSITY OR NOT, WE'VE
BEEN ABLE TO HAVE AN OPEN
DIALOGUE BETWEEN A FATHER AND
DAUGHTER AT A YOUNG AGE, TO
WHERE SHE UNDERSTANDS THAT IF
SHE HAS FEELINGS AND EXPERIENCES
EMOTIONS IN A CERTAIN WAY THAT
IT IS OKAY.
AND THAT IF SHE -- LIKE WE SAID
FROM ONE OF THE PREVIOUS
QUESTIONS, SHE SEES ANOTHER
CHILD OR FRIEND THAT HAS THAT,
THAT SUPPORTING THEM IN A
CERTAIN WAY CAN BE BENEFICIAL.
I THINK THAT THERE ARE DAYS WHEN
I GO THROUGH STRUGGLES
INTERNALLY OF WOULD I WANT MY
DAUGHTER TO HAVE WHAT I HAVE,
AND GO THROUGH WHAT I GO
THROUGH.
AND SOME DAYS THAT'S
HEARTBREAKING, THE IDEA OF IT,
BECAUSE IT'S PAINFUL.
BUT THERE ARE OTHER DAYS WHEN IT
IS THE CATALYST THAT HAS
INSPIRED ME TO DO PROJECTS.
LIKE THE ONE WE SAW.
SO, I LOOK AT IT AS EITHER WAY,
EITHER WAY SHE'LL ALWAYS KNOW
THAT I AM THERE FOR HER.
AND I NEVER THOUGHT AT A YOUNG
AGE IT WOULD BE THE OTHER WAY
AROUND AND SHE WOULD BE THERE
FOR ME BUT IT'S MADE US CLOSER.
>> I HAVE TWO KIDS.
MY YOUNGEST IS 23.
AND MY OLDEST IS 25.
MY OLDEST IS NOT ON THE
SPECTRUM.
THE REASON I BRING THAT UP IS
RAISING THE YOUNGER ONE, RAISING
SHAY ON THE SPECTRUM, I
UNDERSTOOD WHERE THE POTHOLES
WERE, EVEN THOUGH MY DIAGNOSIS
CAME LATE.
I WAS A PRETTY GOOD HELP FOR
FINDING THE RIGHT EDUCATIONAL
SUPPORTS FOR HIM.
I HOME SCHOOLED FROM GREAT 7
THROUGH HIGH SCHOOL BECAUSE I
COULDN'T GET SUPPORTS I NEED
NEEDED AT SCHOOL.
THE CHALLENGE WAS MY DAUGHTER,
INDEPENDENT, INCREDIBLE HUMAN
BEING, I WAS AFRAID SHE WOULD
FEEL LIKE SHE WOULD HAVE TO TAKE
CARE OF ME, A HUGE CONCERN ON MY
MIND ALL THE TIME.
SHE WENT TO COLLEGE EARLY,
SIMON'S ROCK, AN EARLY COLLEGE
AT AGE 15, I WANTED HER TO BE
AROUND NEUROTYPICAL FAMILY AND
NOT FEEL LIKE SHE HAD TO TAKE
CARE OF ME.
I GOT FEEDBACK FROM HER
TEACHERS.
HAVING A SPECTRUM PARENT MEANT
SHE HAD TO VERBALIZE MORE OFTEN.
THE TEACHER SAID SHE WAS QUITE
GOOD AT EXPRESSING IN WORDS HOW
SHE FELT, GETTING WHAT SHE
NEEDED, ADVOCATING FOR HER OWN
NEEDS.
IN IN A WAY, THE THING I WAS
MOST WORRIED ABOUT WAS SHE
WOULDN'T BE COMPLETE.
I ACTUALLY APPARENTLY GAVE HER
SOMETHING, A TOOL THAT SHE
NEEDED.
I FEEL LIKE I'M STUMBLING OVER
IT.
>> NO, THANK YOU.
>> SO, PART OF MY OWN ACCEPTANCE
OF BEING PART OF THIS COMMUNITY
IS FROM WATCHING MY DAUGHTER
EXPERIENCE THE WORLD.
AND SHE'S HER OWN THINKER.
AND SHE -- HER BRAIN OPERATES IN
ITS OWN WAY.
BUT I SEE A LOT OF HOW I
INTERFACE WITH THE WORLD AT HER
AGE.
SO THAT WAS PARTLY -- I DIDN'T
GO THROUGH IT BUT PARTLY WHY I
CAN CONSIDER MYSELF
NEURODIVERGENT.
>> THANK YOU SO MUCH.
>> AND WE'LL GO TO A QUESTION
FROM ONLINE.
>> GOOD AFTERNOON, EVERYONE.
FIRST QUESTION FROM ONLINE IS AS
ARTISTS, DO YOU EVER EXPERIENCE
ARTIST BLOCK?
IF SO, HOW DO YOU GO ABOUT YOUR
PROCESS OF GETTING PAST IT?
AND FINDING YOUR INSPIRATION
AGAIN?
>> SURE, OF COURSE.
EVERYONE GOES THROUGH ARTIST
BLOCK.
IT'S DIFFICULT TO PRODUCE AND
PUT OUT ALL THE TIME.
THERE'S A POINT WHERE YOU'RE NOT
CONSUMING ENOUGH COMING IN.
YOU'RE PUTTING TOO MUCH GOING
OUT.
YOUR RESERVOIR RUNS DRY.
I WOULD SAY FINDING SOMETHING
COMPLETELY OPPOSITE TO DO.
WHEN I LEARNED TO ICE SKATE, I'M
TERRIBLE AT IT, BY THE WAY.
EVERYONE CRINGES WHEN I'M ON
SKATES.
NOT ONLY DO I WANT TO SKATE, I
WENT TO LEARN TO PLAY HOCKEY.
I FOUND THE FARTHEST THING FROM
PLAYING THE VIOLIN, BUT IT
CLEARS MY MIND.
SOMETHING ABOUT BEING ON THE
ICE, TOTALLY CLUELESS WHAT TO
DO, I HAVE THE GRACE OF A ROCK
BUT IT CLEARS YOUR MIND.
TAKING WALKS IN THE WOODS,
WHATEVER, WALK COMPLETELY AWAY,
DON'T FEEL PRESSURED TO COME
BACK UNTIL YOU'RE READY.
THAT WOULD BE MY ADVICE.
>> NOW I'M GOING TO SAY THE
EXACT OPPOSITE.
[LAUGHTER]
YES, I HAVE GONE THROUGH ARTIST
BLOCK.
AND THERE'S A COUPLE -- IF THIS
PERSON THAT ASKED, SOUNDS LIKE
THEY MIGHT BE AN ARTIST AS WELL.
THERE IS DIFFERENT TYPES,
ESPECIALLY IN A PROFESSIONAL
CAREER.
THERE'S THE ARTIST BLOCK IN THE
I NEED TO CREATE AND CAN'T SEE
IT OR I'M NOT WORKING ANDS
THEREFORE MY ART IS NOT ANY GOOD
ANYMORE.
WITH IT BEING SPECIAL IT'S QUICK
TO TRANSPOSE PROPERTIES OF MY
PERSONAL VALUE AND MY ART'S
VALUE.
SO, I ACTUALLY HAVE GONE THROUGH
THAT.
FOR YEARS, THERE WAS --
HEARTBREAKING BUT I KEEP A LOT
OF CAMERAS AT THE HOUSE.
THERE'S A COUPLE THAT ARE JUST
ALWAYS ONES I TAKE OUT.
AND THERE WERE TIMES AND PERIODS
WHERE I WENT THROUGH SUCH AN
ARTIST BLOCK THAT I WOULD CHARGE
UP THE CAMERA WITH BEST
INTENTIONS, AND NOT GO OUT THAT
DAY, BUT IT WOULD BE SUCH A LONG
TIME THAT BETWEEN THE PERIODS OF
PICKING UP THE CAMERA THE
BATTERY HAD GONE DEAD AND I HAD
TO RECHARGE AGAIN.
WHAT I FOUND FOR ME IS BEING
WILLING TO NOT TAKE IT
SERIOUSLY, BEING WILLING TO -- I
THINK WHEN YOU GET TO A CERTAIN
PEDESTAL YOU FEEL ESPECIALLY
WHEN THERE'S LARGE FIGURE OF
MONEY ATTACHED TO THE WORK THAT
YOU CREATE, YOU FEEL THAT YOU
SHOULDN'T DO IT UNLESS YOU'RE
GETTING PAID FOR IT.
AND THAT'S A DANGER AND A
POTHOLE TO FALL INTO.
WHAT I STARTED HAVING TO DO IS
SAYING, HEY, I'M GOING OUT EVERY
DAY, AND I DO EVERY DAY, ABOUT
THREE TO FIVE P.M., AND I JUST
TAKE PICTURES OF THE WORLD
AROUND, NOT FOR ANY PURPOSE OF
EVER SELLING OR CREATING GREAT
ARTWORKS, BUT JUST FOR
APPRECIATING THE LIGHT.
BECAUSE MINUS THREE IS ALL ABOUT
LIGHT.
IT'S BEING ABLE TO EXPERIENCE IT
AND TELL YOURSELF THAT'S WHAT
LIFE LOOKS LIKE.
WHAT I FOUND IS IN DOING SO, THE
NEXT TIME I TAKE MY CAMERA UP ON
SET I'M SHARPER.
>> CLAIRE, DID YOU HAVE A
QUESTION?
>> IT'S KIND OF MORE OF A THANK
YOU, I GUESS.
YOU MIGHT HAVE GATHERED I'M NOT
FROM AROUND HERE.
I WAS HERE IN THE STATES TWO
WEEKS AGO, IT TAKES ME 38 HOURS
TO GET TO THIS SIDE OF THE
COAST.
I WENT HOME, I KNEW I WAS COMING
BACK.
AND I NEARLY DIDN'T MAKE IT.
SUSAN BLOCK YOUR EARS.
I WAS AT THE AIRPORT, SO
OVERWHELMED BY THE JOURNEY TO
COME, THAT I WAS STUCK.
BUT I HAVE A REALLY STRONG
BELIEF THAT I END UP IN PLACES I
NEED TO BE BECAUSE I NEED TO
HEAR SOMETHING.
IN PARTICULAR, BLAIR, WHAT YOU
SAID ABOUT COMPARTMENTALIZED,
I'VE NEVER BEEN ABLE TO
ARTICULATE THAT.
I WANTED TO SAY THANK YOU TO THE
THREE OF YOU AND TELL YOU THAT
IT WORKED.
SOMEONE HEARD IT.
AND I DON'T KNOW HOW TO THANK
YOU FOR THE TOOLS YOU'VE JUST
GIVEN ME THROUGH THE FILM AND
CONVERSATION, SO THANKS.
[APPLAUSE]
>> IF I MAY, YOU'VE ACTUALLY HIT
ON A COUPLE THINGS FOR ME.
THERE WERE -- ONE OF THE PARTS
OF THE FLIGHT, WITH THE DOG'S
TAG, TAKING MY DOG'S TAGS UP,
NOT BEING ABLE TO CRY, THEY
WANTED TO COMPARTMENTALIZE
EMOTION.
WHEN YOU'RE IN A SPACE SUIT I
CAN'T TOUCH YOUR FACE.
IF YOU OPEN IT, IT'S A FATAL
SITUATION.
SO, WHEN THEY TOLD ME YOU NEED
TO TAKE SOMETHING MEANINGFUL TO
YOU, BUT ALSO YOU CAN'T CRY, AS
SOON AS YOU DO SHUT THAT OFF,
THAT WAS HOW I LEARNED ALMOST
THE VALUE OF COMPARTMENTALIZING,
BUT GOING BACK TO YOUR
TRAVELING, BEFORE COVID I WAS
DOING SHOOTS IN BEIJING, AND
I -- ONE OF THE MORE SIGNIFICANT
BREAKDOWNS I'VE EVER HAD, AND
THE FIRST TIME I EVER
EXPERIENCED A TRUE PANIC ATTACK,
WAS PRIOR TO THE FLIGHT BECAUSE
I SAID I'M NOT GOING TO SURVIVE
THIS 18-HOUR FLIGHT.
NO LOGIC ACTUALLY HIT IN.
AND WHAT'S SPECIAL FOR ME ABOUT
THAT TO THIS DAY, THAT IS THE
FIRST BREAKDOWN THAT WAS
SIGNIFICANT ENOUGH FOR ME TO
SEEK PROFESSIONAL HELP, AND THAT
WAS THE CATALYST FOR BEING ABLE
TO UNDERSTAND A LITTLE BIT MORE
ABOUT THIS LIFE AND THIS
EXPERIENCE, SO AS MUCH AS IT WAS
PAINFUL, IT WAS -- IT'S PROBABLY
WHAT MADE ALL THESE THINGS
POSSIBLE.
SO THANK YOU FOR BEING HONEST
ABOUT THAT.
THAT'S PRETTY COOL.
>> WE'LL HAVE TIME FOR TWO MORE
QUESTIONS.
WE'RE GOING TO TAKE ONE MORE
ONLINE QUESTION.
>> SO THIS MESSAGE IS FROM
ONLINE FROM LAURA'S DAUGHTER,
ALANA.
SHE SAID, I'M SO PROUD TO BE
YOUR DAUGHTER.
CAN YOU EXPLAIN WHAT IT WAS LIKE
TO SHARE YOUR LOVE FOR MUSIC
WITH ME AND TEACH ME VIOLIN?
>> OH, WOW!
SNEAKY LITTLE THING.
[LAUGHTER]
YES, NO, I THINK ALANA AND I
HAVE A REALLY SPECIAL BOND.
ONE OF THE COOL THINGS YOU GET
TO DO, YOU'LL EXPERIENCE THIS AS
YOUR DAUGHTER GETS OLDER, YOU
KNOW YOUR KIDS AND KIDS AND THEN
YOU GET TO RE-KNOW THEM AS
ADULTS, YOU DON'T HAVE TO WORRY
IF THEY ARE GOING TO STEP IN
FRONT OF A MOVING VEHICLE.
FOR ALANA AND I, I THINK IT WAS
ART.
I HAVE A DANCE BACKGROUND, I
STARTED AS A DANCER AT AGE 3.
SHE'S A DANCER.
WE HAD THIS THING ABOUT
MOVEMENT, MUSIC.
I NEED TO STOP PLAYING WITH THAT
BECAUSE I'M SURE THAT'S LOUD.
SO, SHE'S PICKED UP THE VIOLIN
AND I'VE WORKED WITH HER IN
MIDDLE SCHOOL, CAME IN AND
VOLUNTEERED WITH THE ORCHESTRA.
AND THEY ENJOYED HAVING ME THERE
SO MUCH THEY ENDED UP HIRING ME
OUT OF THEIR FUNDS THEY RAISED
FOR ME TO CONDUCT THE ORCHESTRA.
WE HAD A BLAST.
IT WAS SO MUCH FUN WORKING WITH
THE KIDS.
THEY ALL WORKED REALLY HARD.
WHEN JOHN MADE THE SHADOW
LISTENER, THE DOCUMENTARY ABOUT
ME, WE ACTUALLY HAD A CONCERT
TOGETHER.
AND ALANA SAID, LET ME ASK MY
FRIENDS FROM SCHOOL, MAYBE THEY
WILL COME.
WE FILLED AN ORCHESTRA.
WE HAD A WHOLE STRING ORCHESTRA
OF KIDS THAT CAME FROM PEOPLE
SHE KNEW.
I COULDN'T BELIEVE IT.
THEY ALL WERE SO EXCITED TO HELP
AND PLAY.
THE ORCHESTRA IN THE FILM IS
ACTUALLY ALL FORMER STUDENTS AND
FRIENDS OF ALANA'S WHO SHE
BROUGHT IN AND SHE'S PLAYING TOO
ON HER VIOLIN.
IT WAS FUN THAT WE HAD THOSE
ENDPOINTS OF STARTING OFF LIFE
WITH MUSIC AND HAVING THIS BIG
CONCERT BEFORE SHE WENT OFF TO
SIMON'S ROCK.
SO, YEAH.
AND I'M CALLING YOU LATER.
[LAUGHTER]
WITH CAMERAS ON.
>> SO, I'D LIKE TO SAY HELLO TO
BLAIR.
I'VE WORKED WITH BLAIR FOR MANY
YEARS AT THE DISCOVERY CHANNEL.
AND ONE OF THE THINGS THAT THE
REASON I KEPT GOING BACK TO
BLAIR, I FEEL A LITTLE BIT
FOOLISH IN THE SENSE, ALMOST
LIKE A CLOWN, I DIDN'T EVEN
REALIZE.
HE WOULD TELL ME HE WOULD HAVE
CLOSE TO PANIC ATTACKS OR THINGS
BUT WE BRUSHED OVER IT AND JUST
MOVED ON.
BUT ONE OF THE THINGS WE KEPT
GOING BACK TO BLAIR FOR HIS
FANTASTIC WORK WAS REALLY WHAT
STRUCK ME MOST WAS HIS PRE-WORK,
BEFORE EVERY PROJECT.
AND I'M NOT SURE IF THAT WAS
JUST PART OF CONDITION OR WHAT
YOU WERE DOING, BUT WHEN BLAIR
WOULD PRE-WORK, ALL THIS
PRE-WORK, WOULD SET US UP FOR
SUCCESS.
ANY SORT OF CHALLENGES, ANY SORT
OF HURDLES, JUST LOGISTICS AND
STUFF, HE WOULD BE FANTASTIC
ABOUT TAKING THOSE THINGS AND
JUST CHECKING THEM OFF THE LIST,
CHECKING OFF THE LIST, SO WHEN
WE WENT TO THE ACTUAL SHOOT, HE
WAS ABLE TO -- WE WERE ABLE TO
FREE UP OUR MINDS AND
COLLABORATE AND JUST, YOU KNOW,
GET INTO THAT CREATIVE SPACE
WHERE WE HAD IDEAS OF WHAT WAS
SUPPOSED TO HAPPEN.
AND THEN YOU KIND OF -- THE
MAGIC HAPPENS WHEN YOU DO ALL
THE THAT PRE-WORK BEFOREHAND.
AND BLAIR WAS PHENOMENAL AT
DOING THAT.
I'D LIKE TO ASK THE OTHER TWO
PANELISTS, PRE-WORK FOR WHAT YOU
GUYS DO, OR HOW YOU GET INTO
YOUR PROCESS, HOW DOES THAT -- I
MEAN, IS THAT SOMETHING THAT YOU
USE BECAUSE OF HOW YOU GUYS ARE
FUNCTIONING OR, YOU KNOW, IS IT
JUST -- HOW DOES IT HELP YOU
MOVE ALONG WITH YOUR PROJECTS?
>> THE PHOTO CONSCIOUS IN THE
PASSENGER SEAT WAS HIS.
RIVER MONSTERS.
AND A FUN BACK STORY, IF WE
WILL.
WE WERE ASKED TO PHOTOGRAPH THIS
CAMPAIGN WITH -- AM I ALLOWED TO
SAY FAKE FISH?
A $25,000 FAKE FISH MADE BY
UNIVERSITY STUDIOS, THEY DROVE
THIS THING OUT IN A TRUCK TO
HAVE JERRY WADE, THE HOST OF
RIVER MONSTERS, FIGHT IT IN THE
OCEAN.
WE HAD A ENOUGH OF DIFFERENT
TASKS.
WE WERE GOING TO PUT A LOT OF
ELECTRICITY AND PEOPLE IN THE
WATER AT THE SAME TIME.
AND SO MY THOUGHTS WERE I NEED
TO START LEARNING THE DYNAMICS
OF LIGHT, WITH THAT WATER, WITH
THAT CHAOS.
SO THAT I CAN, ONE, SAFELY GET
THE SHOOT DONE AND, TWO, MAKE A
GOOD IMAGE.
TWO WEEKS PRIOR WENT TO MY
ASSISTANT'S HOUSE EVERY DAY.
WE TOOK A HOSE, AND WATERED THE
TOP OF HIS HIBACHI GRILL TO
WATCH HOW LIGHT REFRACTED
KNOWING THE PAINT USED ON THE
FAKE FISH WOULD HAVE THE SAME
TRANSITIVE PROPERTIES.
THEREFORE DIFFRACTION THAT COMES
WITH THE CAMERA WOULD BE EQUAL.
A FUNNY THING ABOUT THAT SHOOT
THOUGH IS THE HOST WHO WAS A
WONDERFUL MAN, JEREMY IS A GREAT
GUY, WE HAVE FIVE ASSISTANTS IN
THE WATER, PROBABLY LINUS AND I,
JEREMY SAYS TO THE CREW, I ONCE
CAUGHT A BULL SHARK AT THIS
EXACT SAME BEACH.
AND WE WERE A LITTLE BIT
HESITANT BECAUSE WE'RE IN THE
DARK, USING FLASHING LIGHTS, A
LOT OF MOVEMENT IN THE OCEAN.
AND THEN HE SAYS, YEAH, IT WAS
LAST NIGHT.
[LAUGHTER]
AND WE ALL IMMEDIATELY WENT OUT
OF THE OCEAN AND STARTED
SHOOTING ON SHORE.
>> I STRUGGLE WITH PREPARATION.
ONE OF THE THINGS THAT KIND OF
ROUTINE MAINTENANCE OF LIFE
THAT'S TOUGH FOR ME.
THE LAST SHOOT WITH BLAIR WHERE
HE HAS EAR PHONES IN, I HAD MY
SHOT LIST, HAD ON IT I NEED TO
MAKE SURE I REMEMBER TO SHOOT
THE PHONE WITH THE SONG TITLE ON
IT.
AND WE ENDED UP DOING THE SHOOT,
I START DRIVING HOME, PULL OUT
MY SHOT LIST, I NEVER DID IT.
SO I WISH I HAD BLAIR'S
ATTENTION TO DETAIL AND
PREPARATION.
BUT THAT'S SOMETHING I STRUGGLE
WITH, FOR SURE.
>> I MOVE FURNISH.
MY HUSBAND JOKINGLY CALLS IT MY
MONTHLY CONSTRUCTION PROJECT.
I DON'T KNOW WHAT IT IS, WHEN
I'M GETTING READY FOR SOMETHING,
I CAN'T THINK ABOUT THE GIG.
I GET SO OVERWHELMED WITH MY OWN
THOUGHTS I START MOVING STUFF
AROUND THE HOUSE.
I NEED SOMETHING TO DO,
SOMETHING TO BUILD, SOMETHING TO
PAINT, SOMETHING TO FIX.
I TOOK UP CAR REPAIR ACTUALLY SO
HE DO MY HUSBAND'S BRAKES ON HIS
CAR TOO.
IT'S SOMETHING THAT KEEPS ME
GOING.
UNTIL I'M READY TO SIT DOWN.
I'M ALSO ONE OF THOSE PEOPLE
WHEN I COMPOSE I SIT DOWN AND
KNOCK OUT THE WHOLE THING AT
ONCE.
I CAN'T WALK AWAY AND COME BACK.
THAT'S THAT OVER-FOCUS THAT I
THINK AUTISM PROBABLY BRINGS TO
ME.
I HAVE TO WORK MYSELF INTO THIS
PERFECT SPOT AND THEN GO DO IT.
>> AS THE FINAL ITEM THAT I'LL
ASK YOU ABOUT, BECAUSE I THINK
THE AUDIENCE MAY WANT TO KNOW
THIS, ABOUT YOUR FUTURE PLANS.
ARE THERE PLACES PEOPLE SHOULD
BE LOOKING OUT FOR YOU IN THE
FUTURE THAT YOU'RE GOING TO BE
DOING?
THINGS THAT BE UPCOMING?
I WANTED TO GIVE YOU THE
OPPORTUNITY TO SHARE IF YOU WANT
TO SHARE ANYTHING THERE.
>> I'M STILL WILLING TO PLAY
CARNEGIE.
[APPLAUSE]
>> I HAVE FOUR DIFFERENT VIDEO
MOVIE PROJECTS THAT I'M WORKING
ON RIGHT NOW IN ADDITION TO MY
TEACHING.
I JUST CAN'T STOP.
WE TALKED ABOUT THE ARTIST
BLOCK.
I DON'T REALLY HAVE THAT.
I HAVE THE ARTIST FINISH ISSUE.
HOPEFULLY I'M GOING TO BE
PRODUCING A LOT MORE WORK.
>> I HAVE AN 11:00 MEETING
TOMORROW AT THE SMITHSONIAN.
I THINK IT'S LIKELY THAT YOU
GUYS WILL SEE THE PRINTS FROM
THE SPACE SERIES IN THERE IN THE
NEAR FUTURE.
OTHER THAN THAT, I'M GOING TO GO
HOME AND WATCH MY TRAINS.
[APPLAUSE]
>> AMAZING.
[APPLAUSE]
WELL, THANK YOU SO MUCH FOR
BEING HERE.
IT'S JUST BEEN INCREDIBLE
HEARING FROM YOU.
I DEFINITELY WILL BE CHECKING
THE SMITHSONIAN FOR ANY
PERMANENT EXHIBITIONS BY ANYONE
THAT IT MOO BE IN THIS ROOM.
SO, NOW WE WILL HAVE A MOMENT TO
TRANSITION.
WE'RE GOING TO HEAR FROM THE
SPONSOR OF THE FILM, DENISE
RESNIK, AND FIRST PLACE ARIZONA
BEFORE WE ENTER THE RECEPTION.
DENISE AND HER ORGANIZATION HAVE
GRACIOUSLY OFFERED TO HOST A
RECEPTION FOR ALL OF US TO ENJOY
WHO ARE HERE IN THE ROOM.
SO THANK YOU SO MUCH, DENISE.
I'LL HAND IT OVER TO YOU.
>> WELL, THANK YOU VERY MUCH.
[APPLAUSE]
WHEN I SAID EARLIER, IT'S NOT
WHAT WE SAY ABOUT COMMUNITY,
IT'S HOW IT MAKES US FEEL, AND
YOU HAVE ALL MADE US FEEL
INSPIRED.
YOU HAVE MADE US FEEL HUMBLED.
YOU HAVE MADE US FEEL THAT WE
NEVER SAY NEVER.
AND THAT YOU, BLAIR, AS YOU
TALKED ABOUT YOUR DAUGHTER, AND
AS A MOTHER OF A 32-YEAR-OLD SON
WITH AUTISM, I DIDN'T WANT TO
HEAR THAT HE COULD HAVE A JOB OR
THAT HE COULD HAVE A HOME OR
THAT HE COULD HAVE AN INCLUSIVE
COMMUNITY.
I WANTED TO BE ABLE TO SHOW HIM
AND TO SHOW OTHER PEOPLE DURING
MY LIFETIME.
AND THAT IS WHY AND HOW WE
CONTINUE TO RAISE THE BAR IN
TERMS OF WHAT WE DREAM ABOUT,
WHAT WE THINK ABOUT, WHAT WE DO.
IN TERMS OF MODELING INCLUSIVE
COMMUNITIES, HERE AND
EVERYWHERE.
AND I LOVED WHAT YOU SAID, DR.
GORDON, AS YOU REFERENCED OUR
TALENT HERE, THESE AMAZING
PEOPLE, THAT IMBUED WITH
TREMENDOUS EXPRESSION AND HOW
THAT TOUCHES US AND HOW THAT
INSPIRES US, AND FOR YOU, LAURA,
TALKING ABOUT YOUR SOCIALIZING
INSTRUMENT, DON'T WE ALL WANT TO
HAVE A SOCIALIZING INSTRUMENT?
SOMETHING THAT CONNECTS US TO
THE WORLD, TO OUR COMMUNITIES,
TO PEOPLE WE CARE ABOUT.
AND FOR YOU, JOHN, WHO TALKED
ABOUT ACCEPTANCE AND
APPRECIATION, AND INSPIRATION,
THAT FILM CONTINUES TO INSPIRE
AND I NEVER TIRE OF WATCHING IT
AND THINKING ABOUT ALL THE
DETAILS AND ALL THE THINKING AND
TALENT THAT WENT BEHIND THAT.
AND, BLAIR, I'M ALWAYS STRUCK BY
YOUR GREATNESS AND YOUR
HUMILITY, AND HOW WE MAKE
OURSELVES LIFELONG HUMBLE
LEARNERS, BECAUSE COMMUNITY
DEVELOPMENT, LIKE PEOPLE, ARE
PERFECTLY IMPERFECT.
AND WE NEED MORE CHANCES AND
MORE OPPORTUNITIES TO GET IT
RIGHT FOR OURSELVES, FOR THOSE
WHO COME AFTER US, FOR THE
PEOPLE WE CARE AND WE LOVE THE
MOST.
AND SO, WHEN WE TALK ABOUT FIRST
PLACE AND THE GLOBAL LEADERSHIP
INSTITUTE, WE CELEBRATE HOW ONE
FIRST LEADS TO THE NEXT.
AND THAT'S WHAT YOU'RE DOING.
CONTINUING TO SET THE BAR HIGHER
AND HIGHER, FAR BEYOND WHAT WE
MIGHT HAVE DREAMED ABOUT,
CERTAINLY WHEN OUR SON WAS
DIAGNOSED 30 YEARS AGO AND WE
WERE TOLD TO LOVE, ACCEPT, PLAN
TO INSTITUTIONALIZE HIM, HE'S
MORE PROFOUNDLY IMPACTED BY HIS
AUTISM, I WOULD LOVE TO HAVE A
CONVERSATION WITH HIM, TO BE
ABLE TO UNDERSTAND WHAT IS GOING
ON IN THERE, BUT I CONTINUE TO
HAVE TO TAP IN TO HOW HE'S
SUPPRESS EXPRESSING HIMSELF
THROUGH EMOTION AND MUSIC.
WE NEED TO BE REMINDED HOW
DIFFERENT WE ARE.
THE EXPRESSION OF COMMUNITY,
REAL COMMUNITY, IT'S DEFINED BY
WHO WE INCLUDE VERSUS WHO WE
EXCLUDE.
SO, THANK YOU SO VERY MUCH FOR
THIS OPPORTUNITY TO BE INCLUDED
HERE AT THIS PROGRAM, AND TO
ALSO SHARE WITH YOU "SOUND
TRACKS" SHARED AROUND THE WORLD
AT OUR 12th GLOBAL LEADERSHIP
INSTITUTES, AND WE'RE PLANNING
THE 13th FOR THIS FALL.
YOU RAISED THE BAR FOR US.
I'LL GIVE YOU A TASTE OF WHAT
FIRST PLACE IS, AS A PROPERTY,
OPERATING, DEVELOPER, MODELING
HOW WE LEARN, PRACTICE,
UNDERSTAND HOW TO GET IT RIGHT,
FOR WHOM, WHAT WE NEED TO DO
BETTER AND HOW WE CONTINUE TO
LEAD NOT ALONE BUT THROUGH
COLLABORATORS AND COMMUNITIES
ACROSS THE COUNTRY AND AROUND 2876 01:52:26,005 THE WORLD.