Podcast appearances and mentions of andy horwitz

Jess Larsen welcomes Andy Horwitz and Laura Walker Lee for another episode of the mini-series “Hollywood Explained” to talk about what to expect in show business after a year marked by a strike that changed the whole story of Hollywood. Get ready for an insightful conversation that will bring up many questions and answers on how Hollywood will look like in 2024. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join Jess Larsen and guest Andy Horowitz as they navigate the behind the scenes of filmmaking. From sctructuring the script with the directors, VFX supervising stunts and film budgets, learn about Hollywood's production tactics that are changing the way movies are made. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Jess Larsen is joined by Fund CEO Laura Walker, and Film Producer Andy Horowitz to explore the business side of Intellectual Property in Hollywood. Discover why IP has become the secret weapon for movie studios, helping them mitigate risks and secure a built-in audience. Learn about the challenges of obtaining rights, the intricate process of optioning, and the vital role of bonding in safeguarding productions. Explore real-life stories, life rights, and the art of portraying real individuals on screen. From securing deals to protecting identities, this episode unveils the often unseen complexities of Hollywood's IP game. Learn more about your ad choices. Visit megaphone.fm/adchoices

As SAG-AFTRA joins the writers strike, Hollywood faces its biggest challenge in over 60 years. But in practical terms, what does this actually mean to the movie business? Join host Jess Larsen followed by movie producer Andy Howitz and Fund CEO Laura Walker Lee on a detailed conversation about the meaning on this new movement inside Hollywood.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's guest began his filmmaking career under the tutelage of legendary Producer Charles Roven where he was a producer's assistant on Hollywood blockbusters such as Get Smart, The International and of course, Christopher Nolan's, The Dark Knight.Following his apprenticeship, he was swiftly promoted through the ranks of Atlas Entertainment, soon becoming a leading producer for the company working on projects such as American Hustle, Triple Frontier and Suicide Squad.Now heading up his own exciting new venture, Big Swell Entertainment it's a pleasure to have him here.My guest is Andy Horwitz. 

We talk to film producer Andy Horwitz. He talks about about how to let writers go from projects, trying to treat people fairly but also the principle of 'protect the movie at all costs'.Adam explains the process of movie making, the difference between TV and film rejection and why he was so desperate to become a movie producer.He tells rejection stories, his own battles to get Triple Frontier made and what's most important to him - blockbuster money, awards or working with good people.Andy talks about the original Suicide Squad conundrum of it being a commercial success but a critical failure, how he feels about being attached to projects like that and what he learned from it.A fascinating discussion with a nice guy in a difficult job.

On this weeks episode we're joined by Hollywood producer and friend of the podcast, Andy Horwitz, Executive Vice-President at Atlas Entertainment, and producer on such projects as American Hustle, Suicide Squad (2016), and the Netflix film Triple Frontier. Join us as we discuss the role of a producer in Hollywood, what his friends think he does, and how movies are adapted and altered for better or for worse. All this and much more on The Geekcentric Podcast. Check out Geekcentric on: YouTube Instagram Twitter Join Nate on Twitch at - twitch.tv/nateplaysgames Follow NatePlaysGames on Instagram & DiscordAll this and much more on The Geekcentric Podcast.

Join your host Ryan Perez and guest Andy Horwitz (who is the Executive Vice President at Atlas Entertainment) as they talk about growing up in Los Angeles, getting his start, not going the conventional film school path, starting out as an assistant and working his way up, the state of the film industry, and the stories behind the making of their films like "American Hustle" and "Triple Frontier" amongst many more! See acast.com/privacy for privacy and opt-out information.

Andy Horwitz was a member of the founding team of Black Mountain Systems, which, after a 13-year journey, was recently acquired by Vista Equity (the Company is now Allvue after a merger). As Co-CEO, Andy helped lead the team on this journey and shares 2 insights that stayed true at every stage; Always Be Selling (it's your ear to the market) and Churn Kills.

Andy Horwitz has been a producer and executive in the motion picture industry for 13 years. He’s currently Executive Vice President of Atlas Entertainment, known for such films as 12 Monkeys, Three Kings, The Dark Knight trilogy, American Hustle, Batman V Superman, Suicide Squad, Wonder Woman, and most recently, Triple Frontier. Horwitz recently produced Triple Frontier for Netflix, which was released in 2019 and became the 2nd highest viewed film on the streaming service. Horwitz also served as a co-producer on Suicide Squad and American Hustle. He’s produced numerous other films of all shapes and sizes. His films have collectively grossed over $1 billion and have received multiple Golden Globes, BAFTAs’, SAG awards, and Oscar nominations. In this episode of The Maximus Podcast we talk to Andy about his career, his great love of fitness, and how this COVID thing has affected the industry. You can download the episode on iTunesYou can download it on StitcherYou can download it on SoundcloudTo learn more about Joe Cebula visit his Instagram @joe_cebula If you love our content Join the Inner Circle at www.themaximuspodcast.comWe’d like to thank our sponsors. Visit www.lalo.com and use the code MAXIMUS20 for 20% off Footwear. Also check out www.tenthousand.cc and use the code MAXIMUS15

In this inaugural “Points of Entry” episode, host Katie Kheriji-Watts speaks with culturebot.org founder Andy Horwitz about economic shame and labor advocacy in the arts world, the intersection of counterculture and online technology, the patience required to effect change in large institutions and what it’s like to experience parenthood for the first time at the age of 50. mentioned in this episode : Andy Horwitzhttp://www.andyhorwitz.com “The Future, Revisited: ‘The Mother of All Demos’ at 50” - LA Review of Books https://lareviewofbooks.org/article/the-future-revisited-the-mother-of-all-demos-at-50The Brooklyn Communehttps://brooklyncommune.orgCulturebothttps://www.culturebot.orgfollow Points of Entry : http://www.pointsofentry.comhttps://www.instagram.com/pointsofentryspecial thanks : Solene de Bony, Fabrice Allain, Gabriel Nazoa, Zied Kheriji

Andy Horwitz produces movies for Atlas Entertainment the film production company behind massive hits like The Dark Knight, Wonder Woman, and Justice League. Some of Andy's projects include the Oscar Nominated film American Hustle starring Jennifer Lawrence, Amy Adams, Bradley Cooper, and Christian Bale...Suicide Squad, and the recently released Netflix Film Triple Frontier that stars Ben Affleck, Oscar Isaac, Pedro Pascal, and Charlie Hunnam.    Andy shares his story of how he went from film school graduate to film producer and some lessons he learned along the way. Andy also goes into detail about how a movie gets made starting with the idea all the way through theatrical release.  Follow the podcast on Instagram or Facebook Follow Jeremiah on Instagram or Twitter

Relationships between individuals mirror relationships between alliance partners.   Like in a marriage, if you take the time to listen to your professional partner and communicate with them what your needs are too, your relationship will be in a healthy place.   Andy Horwitz is the Vice President of Business and Corporate Development at Palo Alto Networks where he manages a close relationship with Google.   In this episode of Alliance Aces, we caught up with Andy at GoogleNEXT to talk about Joint Solutions, business development, and best practices for a collaborative business environment.  

From May 5 – June 9, 2014 critic, curator and cultural provocateur Andy Horwitz gave a series of five lectures on live performance at NYU. In this lecture, "A Decade of Change: NYC as Global City (2004 – 2014)", Andy examines the economic, cultural and structural transformation of NYC between 2004 - 2014, the implications of those changes for artists living and working in NYC and the opportunities it presents for strengthening regional cultural production. Drawing from his extensive body of critical writing on Culturebot.org, the findings of The Brooklyn Commune Project’s report on arts, economics and cultural production in the performing arts, and his years of experience as a curator, producer and artist advocate, over the course of five lectures Horwitz weaves disparate but interrelated topics together to offer a uniquely insightful perspective into the current state of performance and its possible futures. These lectures were made possible with support from the Tisch Initiative for Creative Research at the Tisch School of the Arts, New York University, (Dana Whitco, Director). Special thanks to Allyson Green, Dean of the Tisch School of the Arts; the Department of Dance, Cherylyn Lavagnino and Sean Curran, Co-Chairs. Special thanks also to William Moulton and Paul Galando, Tisch Dance.

From May 5 – June 9, 2014 critic, curator and cultural provocateur Andy Horwitz gave a series of five lectures on live performance at NYU. On May 19, 2014 the lecture was titled "Irrational Exuberance: The Performing Arts Market Explained". Here Andy examined the performing arts market in NYC from 2004 – 2014 as viewed through the lens of the APAP conference and related showcases. Taking a historical and global perspective, Andy addresses issues of supply and demand and the relationship between economic and cultural structures in the current nonprofit performing arts, aesthetic bias and resource allocation. Drawing from his extensive body of critical writing on Culturebot.org, the findings of The Brooklyn Commune Project’s report on arts, economics and cultural production in the performing arts, and his years of experience as a curator, producer and artist advocate, over the course of five lectures Horwitz weaves disparate but interrelated topics together to offer a uniquely insightful perspective into the current state of performance and its possible futures. These lectures were made possible with support from the Tisch Initiative for Creative Research at the Tisch School of the Arts, New York University, (Dana Whitco, Director). Special thanks to Allyson Green, Dean of the Tisch School of the Arts; the Department of Dance, Cherylyn Lavagnino and Sean Curran, Co-Chairs. Special thanks also to William Moulton and Paul Galando, Tisch Dance.

From May 5 – June 9, 2014 critic, curator and cultural provocateur Andy Horwitz gave a series of five lectures on live performance at NYU. On June 2, 2014 the lecture topic was "Performance at an Exhibition" where Andy explored how the “rediscovery of performance” in the visual art market has affected the aesthetics, conditions and discourse of dance and contemporary performance. What are the historical, aesthetic and philosophical contexts of this trend, what are the economic and political implications of the museum’s embrace of spectacle and ephemerality and how has this informed – and been informed by – NYC’s transformation into a Global City? Drawing from his extensive body of critical writing on Culturebot.org, the findings of The Brooklyn Commune Project’s report on arts, economics and cultural production in the performing arts, and his years of experience as a curator, producer and artist advocate, over the course of five lectures Horwitz weaves disparate but interrelated topics together to offer a uniquely insightful perspective into the current state of performance and its possible futures. These lectures were made possible with support from the Tisch Initiative for Creative Research at the Tisch School of the Arts, New York University, (Dana Whitco, Director). Special thanks to Allyson Green, Dean of the Tisch School of the Arts; the Department of Dance, Cherylyn Lavagnino and Sean Curran, Co-Chairs. Special thanks also to William Moulton and Paul Galando, Tisch Dance.