Podcast appearances and mentions of Adam Leipzig

How can you navigate uncertainty in a constantly changing market? Why is persistence the key to a sustainable creative career? Plus why distribution is so important, and the four ways to monetise your creative work. All this and more with Adam Leipzig. In the intro, my reflections on running an author-publisher business after a fantastic e-commerce workshop run by Blubolt, and why you will always pay for marketing with either your time or your money; AI-Assisted Artisan Author webinars; and last call for my Kickstarter Bones of the Deep – J.F. Penn. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why writing books still matters in a world saturated with visual media The Jeffrey Katzenberg “next” lesson and the power of fearless persistence How uncertainty and the “long middle” are essential parts of the creative process What film editing can teach writers about cutting, shaping, and refining their work The 10 Laws of Culturenomics, including why awareness is not desire and why distribution is everything How generative AI is changing filmmaking — and why creatives should be the architects, not the tools You can find Adam at AdamLeipzig.com. Transcript of Interview with Adam Leipzig Jo: Adam Leipzig is a producer, former studio executive, and educator whose work spans film, media, and technology. He served as a senior executive at Walt Disney Studios and as President of National Geographic Films. His film credits include March of the Penguins and Dead Poets Society, with projects recognised by the Academy Awards, BAFTA, the Emmys, and Sundance. He is the author of several books on filmmaking and his latest book is Fearless Persistence: Creative Life, Creative Work, and the Ten Laws of Culturenomics. Welcome to the show, Adam. Adam: Thank you so much for having me, Jo. Jo: I'm excited to talk to you today. You have written several books, but you have worked on many more films. So I wondered, why do you think books still have a part to play in reaching people? What do you love about writing books that is different to your filmmaking work? Adam: You can put so much information in a book, and the beautiful thing about a book is that you can pick it up wherever you want, whenever you want, and leave it off and go back to it. It's just waiting for you and it's there. It really allows me, and other authors like me, to share information in a different way, with more details and more stories and more specificity. I love the ability to just share that information and have it always available. You don't need a device, you don't need to have a subscription. You can just go to it whenever you want. You asked me what I love about writing. Like a lot of writers, I'm not sure I love writing, but I do love having written. The thing about a book is that it's a very solitary exercise. A film is a highly collaborative exercise. No movie gets made by one person. It's made by hundreds or sometimes thousands of people. But this book is just me and a laptop and notes and a lot of thought. It's a very introverted, almost monkish existence while you're doing that, and then it has to go out into the world—and that's when it really starts to interact with people. So there's this huge difference between being alone and being always in a collaborative environment, which is what happens when I'm making a movie. Jo: Most listeners will be independent authors in some way, and a lot of us do this because we're control freaks. We like being the only people. So how is that different? You mentioned collaboration in the film industry, but is it almost freeing to do a book without having that? I mean obviously you have editors and publishers and stuff, but— Is it freeing in some creative way? Adam: It is really nice, because there is not another point of view in the room and I can just say what I feel and know that that's there. At the same time, you're right—I have had some amazing editor help and I've had some great early readers that have given me feedback on it and helped me make it so much better than it was when I finished the first draft. I knew that going in. I always test and share what I'm doing to make sure that it lands in the way that I wanted it to land, and it can be helpful for people. Jo: Getting into the book, you have a chapter on “what you do matters.” I feel like this is super hard. This is not a political show, so we're not doing politics, but there are a lot of big things going on in the world. It can be very hard as writers to think, is writing my book actually going to make a difference? So how can you encourage people? Adam: That's the hardest thing, Jo, because there is a lot going on in the world right now. Everything that's going on in the world right now exists because it's following a certain narrative. I don't believe that narratives are come up with because people look at things that are happening and say, “Oh, well let's just write what happened.” I think that we do things from micro experiences that we have with ourselves, our relationships, our families, to the macro experiences of politics and global situations. I believe that happens because there is a narrative that is being followed. So what I say to all creative people is that it's our job to craft and express the narratives that matter—and different narratives—so those narratives can be followed. One of the points that I make in the book is that poets are not overtly really dangerous people. Poets are generally lovely people, a lot of them don't talk too much. They're great to have dinner with, and they just work with words—and often not a lot of words, right? Because beautiful poetry is often concise and simple and spare. Yet there are places where poets are in jail. Because the narratives of those concise, spare, gorgeous idealistic words matter so much that those voices need to be silenced, which means those narratives are dangerous sometimes. Those narratives present an alternate world, an alternate view of reality. I think it's really our job as creative people, as entrepreneurs, as people who are essentially creating narratives out of the soul of our lives and our experience—we want to express those to the world. It's really important for us to express those to the world, especially now, especially because so much is going on. Those narratives are going to become pathways that others can look at and maybe follow. I think that's really important. It's the reason why we do our work. Jo: I absolutely agree with you around writing the narratives that we want in the world. “Be the change you want to see in the world” and all that. I also want to call out the fact that there are hundreds of thousands of books now published, and you come from the film industry, and many more people really watch films or play games than read books. I've wondered about this myself. I've written a few screenplays and sometimes it feels that wouldn't it be better to try and put our words into a visual medium? A lot of authors listening will do micro video like TikTok and all of this. So this is back to the question of— Why books? How can we change these narratives when we feel like we're drowned out by all the media? Adam: I think it's great for authors to express themselves in other media. I have a pretty active Instagram channel, and I love doing that, but it's a really different thing. I'm talking to people in two-minute bursts with very specific things. It's not the same and not the same detail as a book. If we let our understanding of the ocean of content that is always coming to us stop us from doing anything, we wouldn't do anything. That's also true about movies. There are probably 10,000 movies made every year. There are a few hundred that are released. So if every day I thought, “Oh, the movie that I'm working on is maybe not going to be released because there's only a small percent of movies that are made that are released.” Or worse than that, “Of all the movies that are made, there's 500 different shows on Netflix and Apple and Amazon and there's so many choices.” If I thought that everything I was going to do is going to be drowned out, I wouldn't do anything. I just don't believe that's true. I think it's our job to do things. Yes, there's an ocean of content out there, but what we do really matters, and it doesn't have to matter at gigantic scale. We don't know the scale that our work is going to achieve over time. One of the early films that I worked on is a film called Dead Poets Society, and that script was passed on by every studio at least three times. It's probably a film that I couldn't get made now for all kinds of reasons, because it's not a sequel and it doesn't have superheroes or visual effects. When we made that movie, we didn't know the impact it was going to have. It could have been drowned out by things, but it rose to a level that everywhere in the world I go, someone has seen that movie, including people who were not born when that movie was made. We don't know the long arc of our work and the people that it affects. Jo: I love that movie too. “Oh Captain, my Captain.” I can hear everyone saying that behind the screens. This brings us to the title, Fearless Persistence, because of course Dead Poets Society ended up being an incredible success, but not everything turns out so well. I wondered if you could talk about this persistence. How do you keep creating after something you perceived as a failure, or perhaps all the things that didn't get made? Why is persistence so important that you use it in the title? Adam: I've been super fortunate. I've worked with amazing people and on great projects. I've made 40 films at this point, and I'm making more. I've tried to make 400 films. I failed at getting them made 90% of the time, and that's okay. I just keep going. When I was working at Disney and I was an executive at Walt Disney Studios for seven years, there was one movie that we were opening and nobody had really high expectations for it. But it opened huge on a weekend and it beat the competition. We were in our Monday morning meeting and we were dancing on the tables and we were so excited. Jeffrey Katzenberg, who was running the studio at that time, came in, looked around the room, put his hands on his hips, and said, “Next.” We just had to move on. I really learned the meaning of the word “next” about four months later when we had a film that we all knew was going to be hugely successful and make a lot of money and give everyone their bonuses, and it completely bombed at the box office. It was like you gave a party and nobody showed up to eat the hors d'oeuvres. We were in the Monday morning meeting, very glum and not sure what was going to happen. Were we going to be fired? What was going to happen? And Jeffrey walked into the room and said, “Next.” Jo: Mm-hmm. Adam: And we just keep going. I think that is the great and defining quality of people who really have sustainable lives, either as creatives or business people or entrepreneurs. We're persistent. We're just like those little birds—you put their beak in water and they just keep bobbing up. We just keep going. It's not about the people who are the most talented, because I'm certainly not the most talented. I'm certainly not the smartest. I'm certainly not the most creative. There are people who are smarter and more talented and more creative than me all the time, and I get so much energy in being able to know them and work with them. But I am super persistent. I don't stop. If there's something that I really believe in, I'll just keep going. I started taking notes on this book 10 years ago. There are movies that took 12 years to get made. You just keep going. There are times, as a producer, where everybody's fallen away. There was a director attached, there was a star attached. They all left, they did other projects. The material is no longer under option. You don't even have legal rights to it anymore. You just keep blowing on the embers and then eventually maybe it gets made. That's what it's about. Jo: Do you think there's some kind of serendipity or something more that makes a book or a film? Is it timing? Is there just some chemistry? You talked earlier about testing and sharing things to see if they're going to work, but as you mentioned, some films you think are going to be amazing and they bomb. Other things are a slow burn. How do you know when to make a film if you just can't predict this stuff? Adam: You can never predict it, but I think you start with: do you really, really think about it all the time? Do you really care about it? It's not like you're in a meeting or you read a script or you hear an idea and you're super excited about it—but are you still excited about it tomorrow morning? The next day and the next? If you keep waking up every morning thinking, “Wow, that's great, I've got to get that forward,” then I think that is the first indication for me that it's going to have some staying power. I don't think I am that different from everybody else. So if it's something that consistently excites me, I feel like there's going to be at least some other people in the world that it's also going to excite. Jo: Do you think you have a voice, I guess, as a filmmaker as much as a writer? Are there things that excite you consistently that you're drawn to? Or do you think it's much wider as a filmmaker than a writer? Adam: I think it's a lot wider as a filmmaker. Part of it's also just my capacity right now as a writer. I really like the writing in Fearless Persistence and I also recorded the audiobook. I love listening to the audiobook experience. I think it's some of the best writing I've ever done. I have not yet found the capacity to write a novel or to write fiction in the way that other people can. So part of it's just my skill and capacity at this point in my writing career, where I think I'm pretty good at expressing ideas in a nonfiction setting, but I haven't developed the skill set for fiction. In movies, I make documentaries. I make fiction feature films. What attracts me is character. It's always the character, the people, the journey. Are the people really interesting? Do I want to spend two hours of my life in a cinema with them, or 10 hours of my life watching those episodes on a streaming channel? That's what always starts with me. If the character is interesting, then I'll keep going. Jo: I think the book, Fearless Persistence, has a lot of your character in it and your experience. It's not just a nonfiction book of prescriptive rules. You did bring a lot of voice into it, I think. Adam: Thank you. I try to make it be like we're sitting down and we're talking and we're having a conversation. Jo: Coming back to the book—a quote from the book: “Uncertainty isn't the enemy of creativity. It's its greatest ally.” You talk about these messy and unpredictable times. I'm what we call a discovery writer. Some people say “pantser.” It mostly is quite chaotic and unpredictable. Could you talk about this uncertainty and messy creativity? Adam: One of the things I really try to do in Fearless Persistence is give support to all of us in this messy, unpredictable—what I call “the long middle”—where stuff is happening, but you're not seeing obvious results out there. You're either in the world or in your project, and you're just in this mess. That mess is a beautiful place, and I'm trying to give support to the fact that that mess is gorgeous and it's part of the process. It's part of everybody's process. We shouldn't feel as though we are not doing our job when we're in that long, unpredictable, uncertain middle. Because out of that, we discover what we actually want. It gives us a way to refine our taste and refine our direction because we are so uncertain. Then there's this moment—and I don't know if you find this in your own writing, Jo—but there's this moment where that uncertainty changes into: there's no choices here at all. This is just what I have to do. I actually think that the greatest freedom is when there's no choices. Where the path is just there, but we've got to get through the thicket to get to that path. And there's always a thicket. Jo: There's a moment for me where the chaos becomes more certain and I'm like, okay, that's the story. I thought it might have been something else, but now that's what it is. I often have too much material as well. So I wanted to ask you about this too, because as an author with a book, editing is hard for us. Of course there are lots of words and we have to go through it all, but editing on a film—I can't even imagine how hard the editing process is. Could you talk about editing and how you cut and organise these massive projects? Adam: Yes, editing is really hard, but it's also so fun. I think being on a set is great. It's the most fun a kid could have. But being in an editing room is also the most fun a kid could have, because you have all of the pieces and there are so many ways to do it. This is where a film is actually made—in the editing room. Probably the way books are made also is in the editorial process between the writer and your own brain as the editor, or if you have someone who's helping you edit it. Editing is really interesting because it's the only craft that did not exist before filmmaking. Everything else existed, right? There were scripts, there were actors, there were costumes, there was art direction, there was production design, there was music. Editing was a craft that had to be invented for film. So it's a craft that's only about 120 years old. When we make a film, the first thing that the editor does is just put all of the scenes together in a first editor's cut, a rough assembly. It's basically every scene that was in the script as it was shot, and the editor just tries to choose the best angles. That generally comes out maybe a week or two after we wrap photography, and that first cut could be three or four hours long because it's got everything in it. Then the process is: let's take that out. Let's take that out. You don't need this. You can move this scene here and move it there before the other scene. We don't really need that shot. Or can we get to a closeup there? And you get it down, down, down—just like in writing where you kill your darlings. I actually find editing the most fun I have. “Oh, I don't need that sentence.” Or, “I can take out three words here and the sentence is better.” We go through exactly the same process in film editing and squinch it all down to the most compelling and efficient way to tell the story. Jo: I'm glad you say it's fun because I also like editing. I find the editing much more creatively fulfilling because I actually can figure out the book that way. It's so funny, I think as writers, many people either love the editing or they love the first draft. It seems like you enjoy the whole process. Adam: I like the editing so much more than the first draft. I feel like I had to get through the first draft. That was my long middle, that was my uncertain period, that was my thicket. Then my editing was, “Oh, great. Let's cross this out. Let's change that word. Let's lose that paragraph.” That was fun. Jo: So let's say we now have a book or we have a film. In your book, law eight of culturenomics is that “without distribution, there is nothing.” So now we have to get this out there, and this is really difficult. Can you talk about how film distribution has changed? Can you also reflect on how it is for writers, because our distribution has changed a lot too? Adam: So, as you mentioned in the last section of the book, I've observed over the past 30 years that when a work is both aesthetically really excellent and also economically viable and sustainable for the creators, it always observes these ten principles. I call them the 10 Laws of Culturenomics. One of them is “without distribution, there is nothing,” by which I mean: unless your audience, your market, the people that you are seeking to share or serve with the work—unless they can get it, it doesn't really matter. It's like that tree falling in the forest and no one's around to hear it. I always think about my market and my distribution before I start making the movie. I was thinking about that as I was writing the book, because I really want it to be there to meet people where they are and I want them to be able to get it. Film distribution has changed a lot, especially during the pandemic. People stayed home and cinema admissions have fallen off 30% from pre-pandemic levels, so people are going out to cinemas less. That means fewer films are being distributed in cinemas for any viable period of time. Sometimes some movies will be out there for one or two days, literally, in cinemas, and then they go right to streaming. On the streaming side, there was a glut of streaming content. All the streaming channels overinvested in streaming. There were too many shows. I don't know about your Netflix queue or your Amazon queue, but it's unnavigable. There is so much stuff. Now they've cut back a lot—they're just doing a lot less. We're in a situation now where anything can get out there somehow. The question is, does your market, does your audience know about it? Do they want to invest the time to experience it? One of the other Laws of Culturenomics is that “awareness is not desire.” There's a lot of things that we're aware of that we don't want to spend our time with. Everybody was aware of Disney's new Snow White movie. Nobody wanted to go see it. Jo: I must say, I'm not the key demographic for that! Adam: But you knew about it? Jo: Was that a live action one? Adam: Yes. Jo: I don't understand those live action ones, to be honest. Maybe that's why— Adam: I think we are sequelled out. I look at the movie business and I just think what audiences really want is something new, please. Something we haven't seen before. We don't want the 95th iteration of something from the MCU. The studios, because the movies cost so much and they're so risk-averse, talk a lot about “pre-aware titles.” In other words, titles that you've heard of before, so you're going to go see the movie. It works to a certain extent, but I just think it's cinematically boring. In that world, you never could have predicted Oppenheimer. You never could have predicted Barbie. Movies that really don't have a precedent, but they did so well because they're different. I think audiences are craving something different right now. Jo: It's interesting though, isn't it? I agree on one level, but then I also watch Bridgerton and we watched the latest series as soon as it came out. I guess that is pre-aware to a point. I don't read historical romance, yet I really like the show. I think it's because of Shonda Rhimes. I watched Grey's Anatomy for about 20 years. Adam: She's great. Jo: She's amazing. So I feel like this is why it's hard, isn't it? It's hard to know. As fiction writers particularly listening, we have very specific genre audiences, and they often don't cross over into other genres. They love their genre fiction. So it is hard to balance original work that may not be easily sold and the other stuff. I guess that's why the studios do it, right, because they think they can make enough money with the next Marvel movie. Adam: Yes, but I'm curious to know what you think about this, because even within a genre, a really good genre movie or a really good genre book is not the same as all the other books or films in the genre. It's familiar in that it does what the genre says you have to do, but it's different. It's got those unique things that make us feel like super fans, that we really love it. It's familiar enough to fall within the genre—and yes, genres have rules that you've got to follow—but then there's something unique and different that's exciting. And that's why we say, “Hey Jo, you've got to read this book.” Jo: I agree with you. I love that you said “awareness is not desire.” This is another problem with our creative work, right? We have to do marketing. We can throw all this stuff out there, and yet it may or may not work. So let's talk about your book marketing. Obviously you are on this podcast, and I presume your publicists are pitching lots of podcasts, but— What are you doing to promote the book that might be different to a film release? Adam: Well, I don't have a hundred million dollars. Jo: Surprise! Adam: Right? I've got a few hundred dollars, so we're just doing it this way. As you know, once upon a time, legacy publishers actually did marketing. Legacy publishers barely do any marketing now. Every author has to do it themselves. So we have to do this ourselves. It's been the hardest thing. I think it's the hardest thing that we've all had to adopt, that we have to do this thing where there used to be a marketing department and you just hand it over to them and we could just be in our own little creative space. But no, we've got to do this also. So what am I doing? I've amped up my social media. I'm speaking. I am on podcasts like this. I'm sharing as much as I can. I'm asking circles of people who have been early readers of the book. I'm really grateful because I've had really enthusiastic response to it, both from creatives and also some business people, which was surprising to me, but really great. Someone said, “This is the best business book in the past 10 years,” which is really interesting, right? Because you read it, Jo, as an author, but she read it as someone who sits on the board of major companies. That was a pretty interesting response. I'm just asking them to be advocates and share it around. I'd just like to be those people who blow on the embers and let's see if we can make a fire. Jo: We talked about the fun bits earlier. I'm enjoying our conversation, but I know that marketing is not necessarily in the fun bucket. Are you finding bits of the marketing you enjoy? Adam: Yes, I love meeting the audience. I love meeting the people that I'm writing the book for and sharing it with. I've been fortunate enough to be asked to run a writer's workshop in Greece for the past few years. It's a retreat centre called Rosemary's House. It's on the east coast of Greece. A dozen writers. I work with writers all the time, but they're always writing a specific thing, like a screenplay or something. This was a dozen writers all writing different things, and I'd never done that before. I had an extraordinary time. The first year I went, I'd had all these notes for this book, Fearless Persistence, that I'd been compiling for some time. But there I was in the room and I was with the people that I was really intending to write the book for, and that kicked me in the butt and I wrote the book. Then the next year I was back and I finished it while we were there at the writer's retreat. So that was great, and I was with another group of writers. I'll be back there again later this year and the book will be out. So it's this fabulous continuation of really engaging with and meeting the people that I'm seeking to serve with this book. I really enjoy encouraging and mentoring and sharing the systems that are undergirding the creative process, and then the process of how do you build a sustainable life, including all these super practical things that they don't teach you in art school or writing school or film school or even business school. How do you actually build a sustainable life in this practice? I love that. I guess that's marketing, but it's also just being with the people that you're there to serve. Jo: I love that you use “serve.” I use the same word. I say, “Who do you serve?” And that can help people, because I feel like creative people are like, “We don't want to be marketers, we don't want to be salesy.” So if you reframe it as service—who are you trying to help, who are you trying to entertain—that actually helps. Coming to the business side, you mentioned systems. You are right, the book has a lot of business in it, which I love because we talk a lot about business on this show. In one section you say there are only four ways to monetise your creative work. So could you talk a bit about those different ways to monetise your creative work? Adam: Yes. This has been true for maybe 5,000 years because it's not about technology, it's just about how work is monetised. There are only four ways that any piece of work is monetised. For sale. You have a book, and you go to your favourite bookstore and you buy the book, and now you own the book. For rent. You could rent a book from your library, or in a movie context, what you're really renting is the seat for two hours to watch the movie. On subscription. People have subscriptions to Kindle Unlimited or other platforms, or people have subscriptions to a streaming service. Free. When it's ad-supported. That's like linear television where there's ads, or Amazon where there's ads and you don't pay for it. For sale, for rent, on subscription, or free—those are the only ways anything is ever transacted. When it's ad-supported, for example, some people have YouTube channels that are very successful. YouTube is free, and then YouTube is making money from the ads and the creators are getting a tiny little slice of the ad revenue. Jo: Like this podcast. I have sponsors who pay, and they're all related to the author industry. They're companies that I use and work with. I personally recommend them, and that means this podcast is free. Adam: Thank you, sponsors. Jo: Yes, thank you, sponsors! I also have patrons—people who subscribe to the show to support it as well. So I guess we don't have to be in one bucket or another. We can have our work in different buckets. Adam: Ideally, you can have your work in every single one of them. Not always, not necessarily always at exactly the same simultaneous moment, but at a certain point as the work gets out there into the world, as it's lived long enough, it probably will be in every bucket. That's great because we want our work to be as accessible to the people that we're serving in any way they want to get it. Jo: I totally agree. And your audiobook, as you mentioned, will be available in those different formats as well. Adam: Yes. Jo: I find that, especially with nonfiction audio, what I love is being able to listen to just a chapter, just a chapter in a specific part. Someone could actually listen to the 10 Laws of Culturenomics separately to some of the rest of the book. I love that. Adam: I'd never done that before. It was so powerful to record the audiobook because up until that moment, my relationship with this book was fingers typing keyboards, electrons on a screen. It was a completely silent experience. Then I was in this recording booth in Los Angeles and I started speaking the words, and I was visualising the people that I was writing it for as I was doing it. It was so powerful. Then I listened to it and I thought, wow, this is actually a really good experience. It was so powerful that I was recently in Paris because I'm working on some films that are in Europe, and I decided to create a special advanced listener edition of the audiobook, where I took the chapters and put them into individual or grouped listening units. In a recording studio in Paris, I recorded some prefaces and reflections on those listening units, which are now thematic. I'm really proud of that edition. It's not for everybody. The regular Audible audiobook is going to be out there, but this version, which is on my website, I think is a really wonderful version for someone who just wants me to walk with you as you go through the experience of the book. Jo: Are you selling that direct from your website? Adam: Yes, I'm selling it direct on the website. Jo: Brilliant, because we all do that too. You can actually make more money selling audio direct than you do from the streaming. Adam: Yes. Jo: I realise we don't have much time left, but I need to ask you this because the film industry and publishing are in this great time of change with the advent of generative AI. We've seen in the last week the actor Ben Affleck's company, InterPositive, has been acquired by Netflix. So it seems like technology is disrupting a lot. How do you think we can navigate this time? What are your feelings around this new wave of generative AI? Adam: It's a great tool. It's not a great writer. It's actually really a terrible writer. You can always tell when generative AI has written something because it has a certain very annoying style, but it's a great tool. I use it in my production. I teach at the business school at UC Berkeley. We train people on how to use it for various kinds of problems and solutions. But the important thing is that you are the architect of the machine. It's a machine. It is like a paintbrush, but it is not the hand that holds the paintbrush. So I am not concerned that AI is going to go make movies that we all care about, and I am not concerned that it's going to disrupt, in the largest sense, the employment picture. Certainly some jobs are being lost, but new jobs are being gained. It's really interesting. For example, you mentioned Ben Affleck's company, which Netflix just partnered with. It's not making new content. It's creating a better production workflow. It's taking what is shot or what is planned in the production workflow and just making it better and more efficient and implementing it and adding to it. That is a really good use of AI. All the creative power retains within the hands of the creative humans, but it's giving the humans more tools. Jo: I've been reflecting on the idea of the film director, in that people often know their names and they win awards, and yet they didn't necessarily write the script. Some do, obviously, but they didn't act in it, they didn't do all the editing, they didn't do all the different jobs, but it's their creative vision. So is that how you see us playing that part? Adam: I do. I think that's a really good analogy. And look, AI—it's good. It's going to keep getting better. It still has massive error rates, so we still have to be very careful about what we attribute to it and what powers we give it, and what facts we believe from it. Jo: So what are you excited about next? Obviously you are promoting this book, you are doing speaking things, but are you looking to your future continuing to work across film and books? What are you excited about in terms of your creative projects? Adam: The big arc of my creative life is creating ecosystems where creative people can do their best work. This book is part of that. With the movies that I make, as a producer, I try to create the ecosystems where people can do their best work. I envision, and I'm excited about, continuing to do that. Whether it is in a book or in a workshop or in a film that I'm making. I just want to keep doing that: creating these ecosystems where people can really do great work and express themselves creatively, entrepreneurially, and with a positive view of the world to come. Because that is a responsibility, coming back to the first question you asked me. Jo: Brilliant. So where can people find you and your book and everything you do online? Adam: You can find me at my website, which is AdamLeipzig.com, just like the city. Of course, the book is available wherever you buy your books, and the Kindle and the audiobook are exactly where you would expect to find them. You can also find me on Instagram at @AdamLeipzig, and you can find me on LinkedIn as Adam Leipzig. I love interacting with people, so come and find me. AdamLeipzig.com is the best place to find everything. Jo: Brilliant. Well, thanks so much for your time, Adam. That was great. Adam: Jo, thank you so much for having me. It was great talking with you.The post Navigating Uncertainty And Fearless Persistence In A Long Term Creative Career With Adam Leipzig first appeared on The Creative Penn.

Struggling to stay creative, focused, or consistent? In this episode, Lori Harris interviews Hollywood producer Adam Leipzig to break down the real systems behind creativity, productivity, and long-term success. Forget the myth of waiting for inspiration — Adam reveals why creativity is built through action, not emotion. You'll learn how to eliminate overwhelm, stop overthinking, and build momentum using a simple but powerful framework called "fearless persistence." Adam also explains why multitasking is destroying your productivity and how switching to monotasking can help you produce higher-quality work faster. If you've ever felt stuck, distracted, or unsure how to move forward creatively, this episode gives you practical tools you can apply immediately. If you would like some help with figuring out how to transform your life! I can help you create a vision for a life that you absolutely love living. Click here to arrange a session with me. If you're enjoying the podcast, please share the show with a friend or, even better, leave a review to ensure others can benefit from it too! GET TO KNOW ADAM LEIPZIG Adams Bio As a senior executive at Walt Disney Studios and later as President of National Geographic Films, Adam helped bring to life more than forty acclaimed movies, including March of the Penguins, Dead Poets Society, Honey, I Shrunk the Kids, Titus, The Way Back, and A Plastic Ocean. His projects have earned over $2 billion worldwide and received honors from the Oscars, BAFTAs, Emmys, Golden Globes, and Sundance. Earlier in his journey, Adam made history as the first American theater dramaturg outside New York City, producing hundreds of performances before stepping from stage to screen. Across four decades, he has collaborated with more than 10,000 creative artists in film, television, theater, music, and design & building bridges between business discipline and artistic vision. Today, Adam continues to produce films and media internationally while teaching at UC Berkeley's Haas School of Business, where he mentors MBA and executive leaders on creativity, storytelling, and communication. Adam is the writer of Fearless Persistence, his new book about how creators and leaders cultivate courage, stay true to their purpose, and keep going when the path gets hard. Adam's- Website Adam's Projects & Products Upcoming New Book: Fearless Persistence Releasing on April 21, 2026 Pre-order Link: Amazon Free Chapter Download: Free Chapter Adam's Social Media Links Instagram: https://www.instagram.com/adamleipzig/ LinkedIn: https://www.linkedin.com/in/adamleipzig/ YouTube: https://www.youtube.com/@AdamLeipzig Facebook: https://www.facebook.com/AdamLeipzigPublic TikTok: https://www.tiktok.com/@adam_leipzig Threads: https://www.threads.com/@adamleipzig FREE GIFT FROM LORI  Free Audio Life Assessment: What Do You Really Crave? If today's episode still hit a nerve, this was made for you. I created this free 13-minute audio experience to give you the space to finally hear yourself across the five areas of your life that matter most. No scores. No grades. No performance required. Just you and your honest answers to questions that lead you back to what you actually want. Get instant access now at thelifeassessment.com FEATURED ON THE SHOW: If you're enjoying the podcast, I'd love to hear from you! Please share the show with a friend or even better, leave a review to ensure others can benefit from the podcast.

A documentary film titled, LIONS OF THE SEA, is in the process of being created as a journey into the world of Sea Lions. In the story to be told we will meet them in a most protected environmental area off the coast of the Galapagos. Adam Leipzig, the Producer, is no stranger to creating nature documentaries. As past President of National Geographic Films, he brought March of the Penguins to the world, considered one of the best documentaries of all time. As viewers we will see the Sea Lions among the Galapagos Islands, a volcanic chain 600 miles off the coast of Ecuador. The film will be taking us to a place considered a priceless living laboratory, a place that inspired Charles Darwin to write his seminal work, ORIGIN OF THE SPECIES. Adam is heading an extraordinary team of artists in the making of this film including Ecuadorian filmmaker and explorer Luis Felipe Fernandez-Salvador and Mexican Cinematographer Guillermo Navarro, an Academy Award winner for the movie Pan's Labyrinth and who is heading a group of underwater documentarian photographers. Listen to the story behind the making of this film which will eventually show the love and adversity of the Sea Lion's lives and inspire us to appreciate and safeguard the natural wonders around us.

Filmmaker Adam Leipzig discusses a fraction of his long, illustrious career from his early days at Disney to producing films like Titus and The Associate to March of the Penguins and A Plastic Ocean and his latest venture as the CEO of MediaU.Learn more at https://www.mediau.com/Become a supporter of this podcast: https://www.spreaker.com/show/the-projection-booth-podcast_2/support.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5513239/advertisement

Filmmaker Adam Leipzig discusses a fraction of his long, illustrious career from his early days at Disney to producing films like Titus and The Associate to March of the Penguins and A Plastic Ocean and his latest venture as the CEO of MediaU.Learn more at https://www.mediau.com/

S'abonner à la Newsletter: http://eepurl.com/ibm1nD   Vous vous apprêtez à écouter le premier épisode de la Zone enregistré en public: vous avez été plus d'une centaine à venir nous écouter et désormais, l'épisode est disponible dans vos oreilles !  Ça s'est passé le 2 octobre 2022 à l'événement "SORORE: ces femmes qui changent nos narratifs", un évènement entièrement dédié à l'introspection, la connaissance de soi et la créativité, avec des femmes non-blanches inspirantes de la communauté entrepreneuriale de Montréal.  J'ai pu m'entretenir en LIVE avec Mona-Lisa Prosper, entrepreneure, chroniqueuse TV et directrice du programme de démarrage pour entrepreneur.e.s Noir.e.s chez Futurpreneur Canada. Ensemble, on a parlé de ce qui l'a motivé à entreprendre, comment emprunter une voie qui n'est pas forcément celle à laquelle on se destine, créer de la richesse dans les communautés Noir.e.s, savoir quand quitter une entreprise pour construire ailleurs et se sentir alignée.  Avec douceur et bienveillance, je vous souhaite une bonne écoute...  Références: How to know your life purpose in 5 minutes, Adam Leipzig, TEDxMalibu  Dans la Zone, vous retrouverez votre dose bi-hebdo de refléxions et partages sur la créativité, l'entrepreunariat et le bien-être avec des femmes inspirantes et brillantes issues des diasporas non-occidentales. En espérant que chaque épisode vous incitera à plonger vous aussi dans votre zone de génie

Making one movie is a miracle, and Adam Leipzig has worked on 36. Some of them might be among your favorites, from Honey I Shrunk the Kids to Dead Poets Society to March of the Penguins. In this episode, the former Disney and Nat Geo executive tells us what he's learned about producing, marketing, and instinct – and what he's learned about happiness. He's trying to share his insights with his new online filmmaking education platform MediaU. You can check out some free insights on our YouTube channel, and get $100 off on MediaU's Marketing and Distribution Roadmap for Independent Filmmakers by visiting here and using discount code Moviemaker011123. Hosted on Acast. See acast.com/privacy for more information.

En este episodio hablo de qué es el propósito y lo beneficios de definir uno para tu marca. Este contenido forma parte de mi conferencia: Definiendo un Propósito para tu Marca, recientemente dictada para Fundaciones y ONGs, pero que puede perfectamente aplicarse a marcas comerciales y personales. Este episodio fue posible gracias a Nodus Bank International https://www.nodusbank.com/ Video del TEDx (How to know your life purpose in 5 minutes), en el cual Adam Leipzig explica cómo encontrar el propósito en tu vida: https://www.youtube.com/watch?v=vVsXO9brK7M Libro de Simon Sinek, Empieza con el por qué: https://www.amazon.com/dp/B07CMGG92F/ref=cm_sw_r_tw_dp_XB4EZ6KTTZGR14FD6FTG RECURSOS: Suscríbete a mi boletín: https://www.carlosjimenez.info/registro/ Descarga mis ebooks: https://www.carlosjimenez.info/ebooks/ MAS INFORMACIÓN: Website: http://www.carlosjimenez.info/ Youtube: https://www.youtube.com/c/carlosjimenez Instagram: https://www.instagram.com/carlosjimeneznet/ Carlos Jimenez Punto Biz es un podcast producido por Carlos Jimenez, experto en identificar tendencias del mercado y diseñar estrategias de negocios para aprovechar las oportunidades que se derivan de los cambios en el comportamiento de los consumidores en América Latina. En este podcast se habla de tendencias, marketing y estrategias de negocios. Suscríbete a Carlos Jimenez Punto Biz en las principales plataformas ¿Te gusto mi podcast? Califícame y agrega tu comentario.

Interview with Producer and Founder of MediaU Adam Leipzig - On the phone with David Serero - The Culture News

Kunst vs. Content - die Entrepreneurisierung von KunstSponsoring: https://linktr.ee/feuerundbrotWas ist eigentlich Kunst, was ist Content, was unterscheidet Künstler*innen von Unternehmer*innen, gibt es da heute noch einen Unterschied? Mit großer Reichweite und einer ausgefeilten öffentlichen Persona (siehe letzte Folge) kann bzw. will uns jeder etwas verkaufen. Sei es nun Eistee, Pizza oder eine neue Skin Care Linie. Und die die es nicht wollen, werden dazu gedrängt, so beschwerten sich zuletzt die Musikerinnen Halsey, Fka Twigs, Florence Welsh oder auch Charli xcx darüber, wie ihre Plattenlabel sie dazu bringen wollen, mehr "Content" zu liefern, also im Endeffekt kleine Schnipsel, die vielleicht sogar für den nächsten viralen Moment taugen. Was bedeutet es für Künstler*innen heutzutage, dass die Kunst alleine manchmal nicht mehr ausreicht und wie beeinflusst das wiederrum die Kunst? Marketing Genies wie lil Nas X und sein Team scheinen es raus zu haben, diese Welle zu reiten und trotzdem eine nachhaltige Karriere zu gestalten. Andere werden zum viralen One Hit Wonder und verschwinden wieder, aber was macht er denn anders? Auch in anderen Kunstformen wird immer deutlicher, wie sehr Reichweite zählt und dass anders auf die Kunst geblickt wird, wenn wir die digitale Auswertung immer gleich mit betrachten. Sind Künstler*innen also geborene Entrepreneur*innen oder ist Kunst, die aufs Verkaufen ausgelegt ist, automatisch profan? Sind wir selber arrogant, wenn wir da überhaupt Unterschiede machen und wie müssen wir alle unseren Kunstkonsum hinterfragen?Shownotes:Sponsoring: https://linktr.ee/feuerundbrotPayPal it Your Way. Immer schön flexibel: Ein vielseitiges Leben erfordert flexible Zahlungsmöglichkeiten. PayPal bietet dir für jede Situation die passende Lösung. Bezahle, wie und wann du willst – sofort, nach 30 Tagen* oder in 3, 6, 12 oder 24 Raten**. Mit PayPal gestaltest du deinen Sommer so wie du es willst. **vorbehaltlich KreditwürdigkeitsprüfungQuellen:https://glasstire.com/2019/05/12/art-is-not-entrepreneurship/https://solowork.co/story/youre-an-artist-not-an-entrepreneurThe Artist is dead. Long live the creative entrepreneur | Bart Van der Roost | TEDxGhent Are artists entrepreneurs? 3 Reasons Why Artists And Entrepreneurs Are The Same by Adam Leipzig celebrities need to STOP creating beauty brands! Is TikTok Hurting the Music Industry? TikTok's Impact on the Music Industry Why Tik Tok is destroying the music industry See acast.com/privacy for privacy and opt-out information.

Vad är ditt sanna syfte? Vem är du menad att vara? Vad brinner du för? Varför klev du ur sängen i morse? Väldigt få personer vet svaren på dessa frågor, men genom att faktiskt ta reda på detta kan vi leva våra liv i total lycka och framgång. I dagens avsnitt pratar vi om att hitta ditt SYFTE. Vad är ditt WHY och varför är det så viktigt att finna det? Varför är det så svårt att byta riktning i våra liv och styra om vårt mindset? Vi går igenom de främsta anledningarna till att vi inte utvecklas och Sofie berättar om varför hon aldrig tyckt om skolan. ”We can change our lives. We can do, have, and be exactly what we wish.” Believe that and purpose will follow” Nämns i avsnittet:Adam Leipzig - https://youtu.be/vVsXO9brK7M (how to know your life purpose in 5 minutes)Tony RobbinsFölj oss:Ambitchious: @ambitchiouscoEmma Backlund: @emmaabacklundsSofie Backlund: @sofiebacklund Hosted on Acast. See acast.com/privacy for more information.

Welcome back for another Zen Trap Perspective (ZTP).  This weeks video is How to know your life purpose in 5 minutes by Adam Leipzig  https://youtu.be/vVsXO9brK7M  Even though this video is short in time,  it really had an impact on us. If you are looking for your purpose in life and a simple way to figure it out, give this a listen.  Please let us know what you think in the comments also like and subscribe.  PYPPYE

Isis Mussenden is an international costume designer whose film credits include The Chronicles of Narnia, the two animated classics, Shrek and Shrek 2, Dirty Dancing: Havana Nights, American Psycho, and The Waterdance. She has earned CableACE and BAFTA nominations for her designs and was the recipient of both Saturn and CDG awards and a 2018 Ciclope Gold Award. Isis is a native of Los Angeles and attended the University of California at Santa Barbara as a studio art major and later graduated from New York's prestigious Parsons School of Design earning her Bachelor of Fine Arts degree in Fashion Design.   Isis joins us to share her insights into character development and telling stories through clothes and costume. She discusses how she came to be the first costume designer credited on an animated film and describes the intricacies of what she does as a costume designer, particularly the differences between working with human actors versus animated characters. Isis also shares how she became interested in costume design and dives into the details of some of her favorite recent projects.   “There 10 million paths into the business...we're just opening the doors of access, and showing how many different careers and career paths that there are in film and television.” - Adam Leipzig   “You have a whole new perspective. You don't have any preconceived notions whatsoever.” - Tamika Lamison   “Way before I even think of a piece of clothing, I'm just thinking about the story, the character, the person, the way an actor does, but the difference is I have to be all the actors.” - Isis Mussenden    Highlights This Week: How Isis manages to tell character stories even within very specific period constraints as she did in films such as 13 Days, directed by Roger Donaldson How Isis comes into a movie — how she pitches herself and her ideas to the filmmaker The jobs that Isis interviewed for and didn't get and why she remains philosophical about the process of finding jobs that are an excellent fit for her personality and skills The key roles and responsibilities of working as a costume designer and why Isis feels it's beneficial for graduates to start at the bottom in the industry they love Why terminology matters and the difference between the terms' wardrobe designer' and ‘costume designer' How Isis' close relationship with her mother led to her pursuing her interest in costume design Some of the past projects that Isis is particularly proud of Isis' advice for one of MediaU's emerging costume designers   Student of The Week: Lashell Gibbs - Born and raised in Hartford, CT. I loved fashion from a very young age. At the age of 6, I would put on fashion shows for the company of whomever was at my house. I can recall spending days watching fashion shows during fashion week. In high school I would mix and mash fashion styles to create my own unique looks. I went off to college at Alabama State University. While getting my degree in Elementary Education, I found time to dance in band and theater, work in the theater department's costume shop and become Miss Alabama State University. After graduating I taught math to 7th and 8th graders for four years then went on to teach 2nd grade for three years. While teaching I was collecting vintage and unique fashions for my fantasy online store. After my seventh year of teaching, I resigned and took a leap of faith and started a brick-and-mortar store in Hartford named How Bazaar. We sold my clothing designs, vintage fashions, furniture and local artist goods. After three years of owning the store, I had a vision of taking my shop on the road for a college and music festival tour, to raise awareness around sustainable fashion. To realize this vision, I bought a mobile home and turned it into a mobile boutique. I closed the brick-and-mortar store and ran the mobile boutique full-time. I took How Bazaar mobile boutique across country from Art Basel in Miami to SXSW in Austin and on to Coachella in Indio, California. After Coachella I visited Los Angeles and decided to stay to pursue my dream of becoming a costume designer.  While sleeping in my truck at night and selling clothing on Melrose and other markets I would talk with buyers about what I wanted to do. I lucked out one day and had the opportunity to talk with a seamstress for film. She told me to attend Los Angeles Trade Tech College and learn how to sew, because the industry is always looking for people in costume with sewing skills. So, I enrolled and started attending LATTC for fashion and design. During my first semester I applied for the Academy Gold Program (a diversity program for students wanting to work in the film and television industry). To everyone's surprise, the pandemic happened and there was no more school. I returned to Connecticut and received the best news ever. I made it into the Academy Gold Online Program. After attending the Academy Gold Program, I was flabbergasted when my mentor was announced to be the iconic Ruth Carter! Ruth and I would meet over zoom and phone during which we got to know one another. During one of our meetings, she told me if I can make it to ATL I could work with her on Black Panther 2 and continue being mentored. I packed my mobile boutique up and hauled my car to Atlanta and as they say, “the rest is history.”    Resources: Isis Mussenden Website Isis Mussenden on IMDB   Connect with MediaU: MediaU Website MediaU on Facebook MediaU on Instagram MediaU on Twitter Adam Leipzig on LinkedIn Tamika Lamison on LinkedIn      

On the My Creative Careers podcast, we are going to be talking to a vast range of people who have all kinds of careers in the film industry. But today we'll start with a short introduction to us, your hosts Adam and Tamika, and give you a brief insight into how our own creative careers have developed over the years.     Adam Leipzig, Founder, and CEO of MediaU, was previously a senior executive at Walt Disney Studios and the President of National Geographic Films. He has been a producer, distributor, or supervising executive on 35 films that have disrupted expectations, including, A Plastic Ocean, March of the Penguins, Honey I Shrunk the Kids, Dead Poets Society, The Way Back, and Titus. Adam's movies have been awarded or nominated for several Academy Awards, BAFTAs, Golden Globes, and Emmys, to name but a few! In addition to guiding MediaU, Adam is a part of the faculty at UC Berkeley's Haas School of Business.     Tamika Lamison is a valued advisor at MediaU; her expertise as a writer, director, and producer has garnered many awards and accolades. Before becoming the Executive Director of the Commercial Directors Diversity Program which she built for the Directors Guild of America & Association of Independent Commercial Producers, she was a research consultant at the Academy of Motion Picture Arts and Sciences. Tamika also founded and created the non-profit, Make A Film Foundation, which grants film wishes to seriously or terminally ill children by teaming up them with noted writers, directors & producers who help them create their film legacy.    “You never leave theater, you might take extended vacations from it, but  you never leave.” - Adam Leipzig    “When you can make a film that's entertaining and makes a difference or has impact, to me that's a win-win.” - Tamika Lamison    Highlights This Week:  When Tamika was first bitten by the theatre bug and how long she stayed there before she  moved into things that happen on screens  How Tamika's experience of being at the Disney fellowship motivated her transition into different roles in film and TV  Tamika's commitment to staying valued centered, why she founded the Make a Film Foundation, and how it all started with a bad check  Why Tamika is passionate about promoting positive change and how creating Commercial Directors Diversity Program fits into that worldview   Adam's career trajectory, from an early immersion in theatre to being a dramaturg, then creating a theater right through to working at Disney  Why Adam's film A Plastic Ocean demonstrates how telling an authentic story to audiences can make a profound difference in the world.  Why Adam founded MediaU to give content creators access to methods of upskilling and uptrending in a technologically rapidly evolving industry  Adam and Tamika also share their personal superpowers — and they're not necessarily what you might think!        Connect with MediaU:  MediaU Website  MediaU on Facebook  MediaU on Instagram  MediaU on Twitter  Adam Leipzil on LinkedIn  Tamika Lamison on LinkedIn    

Star Victoria graduated Cum Laude from Georgia State University. She was awarded the prestigious Mary Pickford Scholarship to attend USC to obtain her MFA in Film and Television Production. She is an Assistant Director and Producer, best known for La Ruta (2019), Jade (2019), and Lakewood (2010). She was named winner in the Best Woman Student Filmmaker - West Region in the DGA Student Awards. Star was also the winner in the Jury Prize Social Change category by First Look, USA, and joint winner of the Gold Telly Award for Social Video in the General Student category for La Ruta in 2020/21.   On the podcast this week we welcome Star Victoria. Star dives into what the role of the 1st AD involves, how it differs from the director's job, and why it is such a key position in filmmaking. She discusses potential routes into becoming a 1st AD, the key skills and qualities needed, and gives tips and advice on getting a foot in the door. Star Victoria also shares her personal story of the experiences in her early life that brought her to take on behind-the-camera roles rather than pursue her initial passion for acting.   “It's basically putting pieces of a puzzle together so that all the producers, the directors, and actors see how the plan to make this movie is laid out.” - Star Victoria   “I always think of the First AD as the directors firsthand.” - Tamika Lamison   “There's never been a movie or a show that had enough time or enough money.” - Adam Leipzig    Highlights This Week: How the first assistant director allows the Director to focus on the vision of the project rather than its coordination. How Star Victoria gets to understand what the director needs when she's working with them for the first time How a first assistant director keeps the timings on track Ways being a first assistant director has informed Star Victoria's role as a director How she stays in her lane as a director and lets her first assistant do their job How Star Victoria got her first gig in the industry The importance of diversity and inclusivity on film sets and why the industry is seeing more opportunities for women directors The importance of building good relationships in the industry Star Victoria's advice for an up and coming assistant director on how to keep yourself mentally strong during production   Student of The Week: Jada Merritt  - Jada has been working actively as a set PA and Assistant Director in the film and tv industry since 2017. Based in Oklahoma City, her production credits include shows like “American Ninja Warrior”, “Stillwater”, and “Golden Arm”.   Resources: Star Victoria on IMDB   Connect with MediaU: MediaU Website MediaU on Facebook MediaU on Instagram MediaU on Twitter Adam Leipzig on LinkedIn Tamika Lamison on LinkedIn      

Eric Luling has been the Onset Dresser for many big-name movies since 1998, including There Will Be Blood, Avengers, Gone Girl, and Lincoln. Eric shares what the role of an onset dresser entails, from being responsible for the continuity of the set from scene to scene to liaising with the decorator and production designer. He also addresses the common misconception that the onset dresser is not part of the costume department!   On this episode of My Creative Careers, Eric discusses the differences between his role and the responsibilities of the Props Department and where it sometimes overlaps. He gives us the lowdown on how he got into the film business (spoiler - show up and be persistent) and how he subsequently progressed in his career. Eric also gives his advice and insights to people interested in building a creative career in his area of the industry.   “You only give a director a yes or no question — because they have 500 people asking them questions, they have a second and they have to make a decision, and you make it really easy and binary for them.” - Adam Leipzig   “It's really helpful for a lot of people out there ... to know that living the way that you have lived actually helps you in a certain way on the set to gauge people and their reach.” - Tamika Lamison   “An object in a frame should help tell the narrative. If it doesn't get rid of it.” - Eric Luling    Highlights This Week: The different methods that Eric uses to approach the challenges of recreating a period setting or building a fantasy setting as an onset dresser Why good people skills and effective communication strategies are essential for an onset dresser How Eric establishes a good relationship with the director on set The craziest thing that Eric has ever had to find at the last minute to dress a set How Eric learned to be so good with people and why he likes to stand back and observe what's going on in a film Eric gives his advice to an onset dresser at the start of his career and describes what he is looking for when he's dressing for frame Why Eric is always on top of continuity   Student of The Week: Mack Smith - Mackenzie Smith is 25 and from Oklahoma City, Oklahoma. She's been working locally in film for the last 3 years in the art and set decoration department and has worked on films such as Reagan and Killers of the Flower Moon. In her free time she enjoys making art, music, and writing.    Resources: Eric Luling on IMDB   Connect with MediaU: MediaU Website MediaU on Facebook MediaU on Instagram MediaU on Twitter Adam Leipzig on LinkedIn Tamika Lamison on LinkedIn      

MEDIAU is a concept ready to facilitate new pathways to a career in the changing and expanding world of media. It offers an online education available globally credited by and associated with the University of California at Irvine (UCI). There are several unique aspects of an education at MediaU. Adam Leipzig, the Founder, is a former movie producer, and past President of National Geographic Films. Besides spearheading the development of this innovative online media education, he is a Professional Faculty member of the Haas School of Business at the University of California, Berkeley. He and his team of media experts have access to media employers' needs and with that in mind, allow courses to be designed by students with the goal of promoting their creativity and career aspirations. At MediaU the securing of a job is kept in mind as choices are made for individual educational courses. Six months from now the full launch of MediaU programming will be completed. In the meantime, contact MediaU.com to be added to a list for additional information on courses and fees, and available scholarships.

There is a difference between commitment and attachment, one of them requires positive action towards fulfillment while one has a sense of desperation and multiple meanings. Exploring the differences between them from setting goals, keeping relationships, and spiritual perspectives. Also, we explore the awesome exercise “5 minutes to discover your purpose” from the TedX talk by Adam Leipzig who has overseen more than 25 movies as a producer, executive and distributor, and has produced more than 300 stage plays and live events, and he was one of the founders of the Los Angeles Theatre Center. Link to Tedx Talk excerpt: https://www.youtube.com/watch?v=vVsXO9brK7M&list=PLesOj85o4SBhg2xJvcfmezHfPONVl31gY&index=5 If you would like to expand on finding or reaching your purpose, email me at: info@quantumhighways.com for a free discovery session. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/kelly-ann-pierce/support

Adam Leipzig is the founder & CEO of MediaU, which provides accelerated learning for content creators, supported by an accessible online collaborative platform; to develop 21st century media storytelling skills and career pathways, accessed through partner accredited universities and businesses worldwide.. He is a producer, educator, author, advisor. As CEO of Entertainment Media Partners, Adam works with filmmakers, prestige media companies, and creative entrepreneurs to successfully navigate the media landscape, financing and distribution systems. He is a sought-after speaker and business consultant. Adam is the former president of National Geographic Films, and a senior executive at Walt Disney Studios, and he has served in senior capacities at CreativeFuture, the preeminent non-profit organization that advocates for creative communities nationwide. He also teaches at UC Berkeley's Haas School of Business. https://www.linkedin.com/in/adamleipzig/

In this week's episode I speak with Liam McKelvie, motivational speaker and founder of ZeroLimbits. At the age of 2, Liam sadly had his four limbs amputated because of meningitis. In this conversation we cover, motivation, resilience, depression, gratitude, persistence and purpose. The one thing that resonated with me most was the fact that Liam said his positive mental attitude has been developed because he simply had no choice. Can you imagine what we all would be capable if we considered that we had no other choice and that quitting was not an option. Powerful thought. Please do share this with the one person you feel needs to hear Liam's message. Much love Ryan Connect with Liam on LinkedIn: https://www.linkedin.com/in/liammckelvie2/ ZeroLimbits website: https://zerolimbits.com/ TEDx Talk by Adam Leipzig that changed Liam's life: https://youtu.be/vVsXO9brK7M

Faça parte da comunidade do renzoprocast no Telegram: t.me/renzoprocast Nesse episódio abordei o framework do Adam Leipzig com as 5 perguntas (https://www.youtube.com/watch?v=vVsXO9brK7M) para encontrar seu propósito de vida --- Send in a voice message: https://anchor.fm/renzoprocast/message

In this episode of speech analysis, we will be reviewing the TEDx talk from Adam Leipzig, "How to know your life purpose in 5 minutes."

Trust the Process Show - Episode Nine - Featuring Adam Leipzig. I was privileged to speak with Adam for this episode. I was first introduced to Adam from a friend who watched his Ted Talk on how to know your life purpose in 5 minutes - which has 12M views now! - on Youtube (https://www.youtube.com/watch?v=vVsXO9brK7M). Adam has a great outlook on how he sees things, and of course what trust the process means to him! We discuss his successes, his fai... LEARNING opportunities and more!

Um…what? Find my life purpose in 5 minutes?! In today’s episode of the podcast Erin and Jeremy will discuss a strategy put forth by Adam Leipzig on how to discover your life purpose in under 5 minutes. It’s a big hype title – find out if it is able to pass the test! Show Notes: … Continue reading "How to Find Your Life Purpose in 5 Minutes" Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s hard to know where to start with the introduction for Adam Leipzig, our guest on this episode. He has produced more than 30 films that have generated over $2 billion in revenue. Among his credits, “Dead Poets Society”, “March of the Penguins”, “A Plastic Ocean” and “Honey, I Shrunk the Kids.” Adam is on faculty at the University of California, Berkeley, Haas School of Business, where he teaches in the MBA and Executive Education programs, specializing in leadership skills. He also delivered one of the most popular TedX talks of all time, called “How to Know Your Life Purpose in 5 Minutes” which has received close to eleven and a half million views. Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy New Year! Here are show notes for Episode #24… Hot Topic #1: The Power of Habit Breaking bad habits and/or forming new ones is often at the top of our new year’s resolution lists. If that s you, I have a great book to recommend The Power of Habit: Why We Do What We […] The post The Power of Habit, Life Purpose + Chat w/Carol Roth appeared first on Retirepreneur.

There are certain people who seem to have everything figured out in life. Then there are the rest of us. If you’re one of the majority who still hasn’t worked it all out, 2 things you should know. 1 – you’re not alone, and 2 – you can fix that. A guy called Adam Leipzig has identified 5 questions to ...

Who:   Adam Leipzig - Motivational Speaker, Producer, Author, and Hollywood Insider. What We Talked About:  How vital mindset is to success.  Adam has been involved in some of the biggest films in Hollywood like The Dead Poet's Society, March of the Penguins, and Good Morning Vietnam, and he shared his tips and tricks for staying persistent even in the face of self-doubt, including one idea that will help get you moving today! Why I Like Adam:  Even though he's worked with some of the biggest names in Hollywood, Adam is about as down-to-earth as they come.  I promise you will smile or laugh at least once during this interview.  Adam helps you to feel like you can accomplish anything. Great Line:  It's not talent or luck that get you there, but persistence.   Where to Learn More:  http://www.adamleipzig.com   http://www.themindawareshow.com

Following 9/11, the mystery to the Twin Towers continues. We remember where we were that day in 2001. But we care about the new iPhone. We are joined in the studio by film producer and distributor Adam Leipzig, a fun guest who wrote a book to help independent filmmakers. Adam worked at Disney and shares memories of his work in the film industry.

Following 9/11, the mystery to the Twin Towers continues. We remember where we were that day in 2001. But we care about the new iPhone. We are joined in the studio by film producer and distributor Adam Leipzig, a fun guest who wrote a book to help independent filmmakers. Adam worked at Disney and shares memories of his work in the film industry.

33voices interviews Adam Leipzig, CEO at Entertainment Media Partners.

 Entertainment Industry Insights Podcast Annnouncing a new occasional podcast featuring interviews with Entertainment Industry Thought Leaders. In this episode, I talked to former Disney executive and National Geographic Films President Adam Leipzig about his new book, upcoming workshop, and his views on the state of the independent film business.     - - - - - - - - - - - - - - - - - - - - - - - - - - - - The post Entertainment Industry Insights Podcast, Episode 001: Adam Leipzig originally appeared on Entertainment Law Offices of Gordon P. Firemark. Entertainment Law Offices of Gordon P. Firemark - Los Angeles Entertainment Lawyers - Theatre, Film, TV & New Media

Adam Leipzig has overseen more than 25 movies as a producer, executive, and distributor, including March of the Penguins and Dead Poets Society, and has worked with legendary directors Robert Altman, Peter Yates, and Peter Weir. Most recently, he served as the president of National Geographic Films, and is a former senior vice president at Walt Disney Pictures. Today, Adam trains entrepreneurs, filmmakers, and other members of the creative economy, and also publishes Cultural Weekly, a fast-growing online magazine that explores how our creative culture intersects media, money, technology and entertainment. Adam's new book, Inside Track for Independent Filmmakers: Get Your Movie Made, Get Your Movie Seen, and Turn the Tables on Hollywood, will be published this month. Laurel Airica took to words like a bird to the skies and began her literary flights of fancy early in her life. Particularly enchanted by rhythm and rhyme, palindromes, puns and other ‘electro-poetic' linguistic phenomena, she announced to her parents with absolute certainty at age three or four, "I bet I now know all the words in the English language." Laurel began writing poetry at the age of seven. Later in life, Laurel was inspired to take everything she'd discovered about letters and words and to turn it into the performance art she now calls, WordMagic: An Enchanted Literary Entertainment. In so doing, she transformed herself into the ‘Metaphysical Mother Goose.'

Adam Leipzig has overseen more than 25 movies as a producer, executive, and distributor, including March of the Penguins and Dead Poets Society, and has worked with legendary directors Robert Altman, Peter Yates, and Peter Weir. Most recently, he served as the president of National Geographic Films, and is a former senior vice president at Walt Disney Pictures. Today, Adam trains entrepreneurs, filmmakers, and other members of the creative economy, and also publishes Cultural Weekly, a fast-growing online magazine that explores how our creative culture intersects media, money, technology and entertainment. Adam's new book, Inside Track for Independent Filmmakers: Get Your Movie Made, Get Your Movie Seen, and Turn the Tables on Hollywood, will be published this month. Laurel Airica took to words like a bird to the skies and began her literary flights of fancy early in her life. Particularly enchanted by rhythm and rhyme, palindromes, puns and other ‘electro-poetic' linguistic phenomena, she announced to her parents with absolute certainty at age three or four, "I bet I now know all the words in the English language." Laurel began writing poetry at the age of seven. Later in life, Laurel was inspired to take everything she'd discovered about letters and words and to turn it into the performance art she now calls, WordMagic: An Enchanted Literary Entertainment. In so doing, she transformed herself into the ‘Metaphysical Mother Goose.'

Ever wonder what America's greatest asset is? Adam Leipzig describes how Americans and their innovation and creativity are the cornerstone to our successful industries. Adam, who was President of National Geographic Films, and was Vice President of Disney, in addition to being a major player in the Hollywood scene, focuses on creativity. He believes that we can all turn our Passion into Profits.  His site http://www.adamleipzig.com encourages all of us to tap into our inner creative selves. For even more inspiration, subscribe to his online magazine CulturalWeekly.com

Adam Leipzig makes his QOD show debut to talk about what really makes someone happy, and gives us five simple questions we can answer to help us find our life’s purpose in just a few minutes.   Adam’s website is adamleipzig.com. You can find today’s full talk here.  HEADS UP! Money Mind Academy enrollment closes this Friday! Learn more at www.moneymindacademy.com. Support this podcast at — https://redcircle.com/the-quote-of-the-day-show-daily-motivational-talks/donations