Podcasts about Arts council

Summit County Deputy Manager Janna Young, former Kamas land owner David Ure, and Arts Council of Park City and Summit County Arts Community Inclusion and Engagement Coordinator Andrea Zavala and Marketing and Community Relations Manager Kendall Kelley join Leslie Thatcher on the Local News Hour.

Kristen Chesak from the Arts Council gives us a rundown of Holiday Week events in and around Kalamazoo in the Arts community.See omnystudio.com/listener for privacy information.

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen to Print In this week's episode we're bringing you a story for Christmas.  ‘The Cavalry' is by award-winning and critically acclaimed Welsh poet and novelist Christopher Meredith. The story you're about to hear is a seasonal piece set in the early 1960s in south Wales.  It's called 'The Cavalry' and it's from Chris's collection 'Brief Lives' which is published by Seren. You can order a copy of Brief Lives here https://www.serenbooks.com/book/brief-lives/  Christopher Meredith is the award-winning author of five novels and five collections of poetry and also translates Welsh to English. Prizes include an Eric Gregory Award, the Arts Council of Wales Young Writer Prize and the Fiction Prize for his first novel, Shifts. His second novel, Griffri, was shortlisted for the Book of the Year Award.  His collection of poems, The Meaning of Flight, was long-listed for The Book of the Year Award 2006.  He has given readings all over Britain and Europe as well as in Israel/Palestine and the USA.  Born and brought up in Tredegar, he was a steelworker and a schoolteacher before becoming a professor of creative writing at the University of Glamorgan. He lives in Brecon. A collection of six short fictions, titled Brief Lives, was released in 2018. Find out more about Christopher Meredith by visiting his website here https://christophermeredit9.wixsite.com/website All content in audio, onscreen and in print is protected and may not be copied or used for any purposes including generative AI/AI training.  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen to Print. This podcast is produced using public funding from Arts Council England.

A First Night preview with Nmptn Arts Council Events Producer Steve Sanderson by WHMP Radio

What happens when curiosity, resilience, and storytelling collide over a lifetime of building something meaningful? In this episode, I welcome Nick Francis, founder and CEO of Casual Films, for a thoughtful conversation about leadership, presence, and what it takes to keep going when the work gets heavy. Nick's journey began with a stint at BBC News and a bold 9,000-mile rally from London to Mongolia in a Mini Cooper, a spirit of adventure that still fuels how he approaches business and life today. We talk about how that early experience shaped Casual into a global branded storytelling company with studios across five continents, and what it really means to lead a creative organization at scale. Nick shares insights from growing the company internationally, expanding into Southeast Asia, and staying grounded while producing hundreds of projects each year. Along the way, we explore why emotionally resonant storytelling matters, how trust and preparation beat panic, and why presence with family, health, and purpose keeps leaders steady in uncertain times. This conversation is about building an Unstoppable life by focusing on what matters most, using creativity to connect people, and choosing clarity and resilience in a world full of noise. Highlights: 00:01:30 – Learn how early challenges shape resilience and long-term drive. 00:06:20 – Discover why focusing on your role creates calm under pressure. 00:10:50 – Learn how to protect attention in a nonstop world. 00:18:25 – Understand what global growth teaches about leadership. 00:26:00 – Learn why leading with trust changes relationships. 00:45:55 – Discover how movement and presence restore clarity. About the Guest: Nick Francis is the founder and CEO of Casual, a global production group that blends human storytelling, business know-how, and creativity turbo-charged by AI. Named the UK's number one brand video production company for five years, Casual delivers nearly 1,000 projects annually for world-class brands like Adobe, Amazon, BMW, Hilton, HSBC, and P&G. The adventurous spirit behind its first production – a 9,000-mile journey from London to Mongolia in an old Mini – continues to drive Casual's growth across offices in London, New York, LA, San Francisco, Amsterdam, Barcelona, Sydney, Singapore, Hong Kong and Greater China. Nick previously worked for BBC News and is widely recognised for his expertise in video storytelling, brand building, and corporate communications. He is the founding director of the Casual Films Academy, a charity helping young filmmakers develop skills by producing films for charitable organisations. He is also the author of ‘The New Fire: Harness the Power of Video for Your Business' and a passionate advocate for emotionally resonant, behaviorally grounded storytelling. Nick lives in San Francisco, California, with his family. Ways to connect with Nick**:** Website: https://www.casualfilms.com/ YouTube: https://www.youtube.com/@casual_global  Instagram: https://www.instagram.com/casualglobal/  Facebook: https://www.facebook.com/CasualFilms/  Nick's LinkedIn: https://www.linkedin.com/in/nickfrancisfilm/  Casual's LinkedIn: https://www.linkedin.com/company/casual-films-international/  Beyond Casual - LinkedIn Newsletter: https://www.linkedin.com/build-relation/newsletter-follow?entityUrn=6924458968031395840 About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Michael Hingson  01:21 Well, hello everyone. I am your host, Mike hingson, that's kind of funny. We'll talk about that in a second, but this is unstoppable mindset. And our guest today is Nick Francis, and what we're going to talk about is the fact that people used to always ask me, well, they would call me Mr. Kingston, and it took me, as I just told Nick a master's degree in physics in 10 years to realize that if I said Mike hingson, that's why they said Mr. Kingston. So was either say Mike hingson or Michael hingson. Well, Michael hingson is a lot easier to say than Mike hingson, but I don't really care Mike or Michael, as long as it's not late for dinner. Whatever works. Yeah. Well, Nick, welcome to unstoppable mindset. We're glad you're Nick Francis  02:04 here. Thanks, Mike. It's great to be here. Michael Hingson  02:08 So Nick is a marketing kind of guy. He's got a company called casual that we'll hear about. Originally from England, I believe, and now lives in San Francisco. We were talking about the weather in San Francisco, as opposed to down here in Victorville. A little bit earlier. We're going to have a heat wave today and and he doesn't have that up there, but you know, well, things, things change over time. But anyway, we're glad you're here. And thanks, Mike. Really looking forward to it. Tell us about the early Nick growing up and all that sort of stuff, just to get us started. Nick Francis  02:43 That's a good question. I grew up in London, in in Richmond, which is southwest London. It's a at the time, it wasn't anything like as kind of, it's become quite kind of shishi, I think back in the day, because it's on the west of London. The pollution from the city used to flow east and so, like all the kind of well to do people, in fact, there used to be a, there used to be a palace in Richmond. It's where Queen Elizabeth died, the first Queen Elizabeth, that is. And, yeah, you know, I grew up it was, you know, there's a lot of rugby played around there. I played rugby for my local rugby club from a very young age, and we went sailing on the south coast. It was, it was great, really. And then, you know, unfortunately, when I was 10 years old, my my dad died. He had had a very powerful job at the BBC, and then he ran the British Council, which is the overseas wing of the Arts Council, so promoting, I guess, British soft power around the world, going and opening art galleries and going to ballet in Moscow and all sorts. So he had an incredible life and worked incredibly hard. And you know, that has brought me all sorts of privileges, I think, when I was a kid. But, you know, unfortunately, age 10 that all ended. And you know, losing a parent at that age is such a sort of fundamental, kind of shaking of your foundations. You know, you when you're a kid, you feel like a, you're going to live forever, and B, the things that are happening around you are going to last forever. And so, you know, you know, my mom was amazing, of course, and, you know, and in time, I got a new stepdad, and all the rest of it. But you know, that kind of shaped a lot of my a lot of my youth, really. And, yeah, I mean, Grief is a funny thing, and it's funny the way it manifests itself as you grow. But yeah. So I grew up there. I went to school in the Midlands, near where my stepdad lived, and then University of Newcastle, which is up in the north of England, where it rains a lot. It's where it's where Newcastle Football Club is based. And you know is that is absolutely at the center of the city. So. So the city really comes alive there. And it was during that time that I discovered photography, and I wanted to be a war photographer, because I believe that was where life was lived at the kind of the real cutting edge. You know, you see the you see humanity in its in its most visceral and vivid color in terrible situations. And I kind of that seemed like an interesting thing to go to go and do. Michael Hingson  05:27 Well, what? So what did you major in in college in Newcastle? So I did Nick Francis  05:31 history and politics, and then I went did a course in television journalism, and ended up working at BBC News as a initially running on the floor. So I used to deliver the papers that you know, when you see people shuffling or not, they do it anymore, actually, because everything, everything's digital now digital, yeah, but when they were worried about the the auto cues going down, they we always had to make sure that they had the up to date script. And so I would be printing in, obviously, the, you know, because it's a three hour news show, the scripts constantly evolving, and so, you know, I was making sure they had the most up to date version in their hands. And it's, I don't know if you have spent any time around live TV Mike, but it's an incredibly humbling experience, like the power of it. You know, there's sort of two or 3 million people watching these two people who are sitting five feet in front of me, and the, you know, the sort of slightly kind of, there was an element of me that just wanted to jump in front of them and kind of go, ah. And, you know, never, ever work in live TV, ever again. But you know, anyway, I did that and ended up working as a producer, writing and developing, developing packets that would go out on the show, producing interviews and things. And, you know, I absolutely loved it. It was, it was a great time. But then I left to go and set up my company. Michael Hingson  06:56 I am amazed, even today, with with watching people on the news, and I've and I've been in a number of studios during live broadcasts and so on. But I'm amazed at how well, mostly, at least, I've been fortunate. Mostly, the people are able to read because they do have to read everything. It isn't like you're doing a lot of bad living in a studio. Obviously, if you are out with a story, out in the field, if you will, there, there may be more where you don't have a printed script to go by, but I'm amazed at the people in the studio, how much they are able to do by by reading it all completely. Nick Francis  07:37 It's, I mean, the whole experience is kind of, it's awe inspiring, really. And you know, when you first go into a Live, a live broadcast studio, and you see the complexity, and you know, they've got feeds coming in from all over the world, and you know, there's upwards of 100 people all working together to make it happen. And I remember talking to one of the directors at the time, and I was like, How on earth does this work? And he said, You know, it's simple. You everyone has a very specific job, and you know that as long as you do your bit of the job when it comes in front of you, then the show will go out. He said, where it falls over is when people start worrying about whether other people are going to are going to deliver on time or, you know, and so if you start worrying about what other people are doing, rather than just focusing on the thing you have to do, that's where it potentially falls over, Michael Hingson  08:29 which is a great object lesson anyway, to worry about and control and don't worry about the rest Nick Francis  08:36 for sure. Yeah, yeah, for sure. You know, it's almost a lesson for life. I mean, sorry, it is a lesson for life, and Michael Hingson  08:43 it's something that I talk a lot about in dealing with the World Trade Center and so on, and because it was a message I received, but I've been really preaching that for a long time. Don't worry about what you can't control, because all you're going to do is create fear and drive yourself Nick Francis  08:58 crazy, completely, completely. You know. You know what is it? Give me the, give me this. Give me the strength to change the things I can. Give me the give me the ability to let the things that I can't change slide but and the wisdom to know the difference. I'm absolutely mangling that, that saying, but, yeah, it's, it's true, you know. And I think, you know, it's so easy for us to in this kind of modern world where everything's so media, and we're constantly served up things that, you know, shock us, sadness, enrage us, you know, just to be able to step back and say, actually, you know what? These are things I can't really change. I'd have to just let them wash over me. Yeah, and just focus on the things that you really can change. Michael Hingson  09:46 It's okay to be aware of things, but you've got to separate the things you can control from the things that you can and we, unfortunately aren't taught that. Our parents don't teach us that because they were never taught it, and it's something. That, just as you say, slides by, and it's so unfortunate, because it helps to create such a level of fear about so many things in our in our psyche and in our world that we really shouldn't have to do Nick Francis  10:13 completely well. I think, you know, obviously, but you know, we've, we've spent hundreds, if not millions of years evolving to become humans, and then, you know, actually being aware of things beyond our own village has only been an evolution of the last, you know what, five, 600 years, yeah. And so we are just absolutely, fundamentally not able to cope with a world of such incredible stimulus that we live in now. Michael Hingson  10:43 Yeah, and it's only getting worse with all the social media, with all the different things that are happening and of course, and we're only working to develop more and more things to inundate us with more and more kinds of inputs. It's really unfortunate we just don't learn to separate ourselves very easily from all of that. Nick Francis  11:04 Yeah, well, you know, it's so interesting when you look at the development of VR headsets, and, you know, are we going to have, like, lenses in our eyes that kind of enable us to see computer screens while we're just walking down the road, you know? And you look at that and you think, well, actually, just a cell phone. I mean, cell phones are going to be gone fairly soon. I would imagine, you know, as a format, it's not something that's going to abide but the idea that we're going to create technology that's going to be more, that's going to take us away from being in the moment more rather than less, is kind of terrifying. Because, I would say already, even with, you know, the most basic technology that we have now, which is, you know, mind bending, compared to where we were even 20 years ago, you know, to think that we're only going to become more immersive is, you know, we really, really as a species, have to work out how we are going to be far better at stepping away from this stuff. And I, you know, I do, I wonder, with AI and technology whether there is, you know, there's a real backlash coming of people who do want to just unplug, yeah, Michael Hingson  12:13 well, it'll be interesting to see, and I hope that people will learn to do it. I know when I started hearing about AI, and one of the first things I heard was how kids would use it to write their papers, and it was a horrible thing, and they were trying to figure out ways so that teachers could tell us something was written by AI, as opposed to a student. And I almost immediately developed this opinion, no, let AI write the papers for students, but when the students turn in their paper, then take a day to in your class where you have every student come up and defend their paper, see who really knows it, you know. And what a great teaching opportunity and teaching moment to to get students also to learn to do public speaking and other things a little bit more than they do, but we haven't. That hasn't caught on, but I continue to preach it. Nick Francis  13:08 I think that's really smart, you know, as like aI exists, and I think to to pretend somehow that, you know, we can work without it is, you know, it's, it's, it's, yeah, I mean, it's like, well, saying, you know, we're just going to go back to Word processors or typewriters, which, you know, in which it weirdly, in their own time, people looked at and said, this is, you know, these, these are going to completely rot our minds. In fact, yeah, I think Plato said that was very against writing, because he believed it would mean no one could remember anything after that, you know. So it's, you know, it's just, it's an endless, endless evolution. But I think, you know, we have to work out how we incorporate into it, into our education system, for sure. Michael Hingson  13:57 Well, I remember being in in college and studying physics and so on. And one of the things that we were constantly told is, on tests, you can't bring calculators in, can't use calculators in class. Well, why not? Well, because you could cheat with that. Well, the reality is that the smart physicists realized that it's all about really learning the concepts more than the numbers. And yeah, that's great to to know how to do the math. But the the real issue is, do you know the physics, not just the math completely? Nick Francis  14:34 Yeah. And then how you know? How are the challenges that are being set such that you know, they really test your ability to use the calculator effectively, right? So how you know? How are you lifting the bar? And in a way, I think that's kind of what we have to do, what we have to do now, Michael Hingson  14:50 agreed, agreed. So you were in the news business and so on, and then, as you said, you left to start your own company. Why did you decide to do that? Nick Francis  14:59 Well, a friend of. Ryan and I from University had always talked about doing this rally from London to Mongolia. So, and you do it in an old car that you sort of look at, and you go, well, that's a bit rubbish. It has to have under a one liter engine. So it's tiny, it's cheap. The idea is it breaks down you have an adventure. And it was something we kind of talked about in passing and decided that would be a good thing to do. And then over time, you know, we started sending off. We you know, we applied, and then we started sending off for visas and things. And then before we knew it, we were like, gosh, so it looks like we're actually going to do this thing. But by then, you know, my job at the BBC was really taking off. And so I said, you know, let's do this, but let's make a documentary of it. So long story short, we ended up making a series of diary films for Expedia, which we uploaded onto their website. It was, you know, we were kind of pitching this around about 2005 we kind of did it in 2006 so it was kind of, you know, nobody had really heard of YouTube. The idea of making videos to go online was kind of unheard of because, you know, broadband was just kind of getting sorry. It wasn't unheard of, but it was, it was very, it was a very nascent industry. And so, yeah, we went and drove 9000 miles over five weeks. We spent a week sitting in various different repair yards and kind of break his yards in everywhere from Turkey to Siberia. And when we came back, it became clear that the internet was opening up as this incredible medium for video, and video is such a powerful way to share emotion with a dispersed audience. You know, not that I would have necessarily talked about it in that in those terms back then, but it really seemed like, you know, every every web page, every piece of corporate content, could have a video aspect to it. And so we came back and had a few fits and starts and did some, I mean, we, you know, we made a series of hotel videos where we were paid 50 quid a day to go and film hotels. And it was hot and it was hard work. And anyway, it was rough. But over time, you know, we started to win some more lucrative work. And, you know, really, the company grew from there. We won some awards, which helped us to kind of make a bit of a name for ourselves. And this was, there's been a real explosion in technology, kind of shortly after when we did this. So digital SLRs, so, you know, old kind of SLR cameras, you know, turned into digital cameras, which could then start to shoot video. And so it, there was a real explosion in high quality video produced by very small teams of people using the latest technology creatively. And that just felt like a good kind of kick off point for our business. But we just kind of because we got in in kind of 2006 we just sort of beat a wave that kind of started with digital SLRs, and then was kind of absolutely exploded when video cell phones came on the market, video smartphones. And yeah, you know, because we had these awards and we had some kind of fairly blue chip clients from a relatively early, early stage, we were able to grow the company. We then expanded to the US in kind of 2011 20 between 2011 2014 and then we were working with a lot of the big tech companies in California, so it felt like we should maybe kind of really invest in that. And so I moved out here with some of our team in 2018 at the beginning of 2018 and I've been here ever since, wow. Michael Hingson  18:44 So what is it? What was it like starting a business here, or bringing the business here, as opposed to what it was in England? Nick Francis  18:53 It's really interesting, because the creatively the UK is so strong, you know, like so many, you know, from the Beatles to Led Zeppelin to the Rolling Stones to, you know, and then on through, like all the kind of, you know, film and TV, you know, Brits are very good at kind of Creating, like, high level creative, but not necessarily always the best at kind of monetizing it, you know. I mean, some of those obviously have been fantastic successes, right? And so I think in the UK, we we take a lot longer over getting, getting to, like, the perfect creative output, whereas the US is far more focused on, you know, okay, we need this to to perform a task, and frankly, if we get it 80% done, then we're good, right? And so I think a lot of creative businesses in the UK look at the US and they go, gosh. Firstly, the streets are paved with gold. Like the commercial opportunity seems incredible, but actually creating. Tracking it is incredibly difficult, and I think it's because we sort of see the outputs in the wrong way. I think they're just the energy and the dynamism of the US economy is just, it's kind of awe inspiring. But you know, so many businesses try to expand here and kind of fall over themselves. And I think the number one thing is just, you have to have a founder who's willing to move to the US. Because I think Churchill said that we're two two countries divided by the same language. And I never fully understood what that meant until I moved here. I think what it what he really means by that is that we're so culturally different in the US versus the UK. And I think lots of Brits look at America and think, Well, you know, it's just the same. It's just a bit kind of bigger and a bit Brasher, you know, and it and actually, I think if people in the US spoke a completely different language, we would approach it as a different culture, which would then help us to understand it better. Yeah. So, yeah. I mean, it's been, it's been the most fabulous adventure to move here and to, you know, it's, it's hard sometimes, and California is a long way from home, but the energy and the optimism and the entrepreneurialism of it, coupled with just the natural beauty is just staggering. So we've made some of our closest friends in California, it's been absolutely fantastic. And across the US, it's been a fantastic adventure for us and our family. Michael Hingson  21:30 Yeah, I've had the opportunity to travel all over the US, and I hear negative comments about one place or another, like West Virginia, people eat nothing but fried food and all that. But the reality is, if you really take an overall look at it, the country has so much to offer, and I have yet to find a place that I didn't enjoy going to, and people I never enjoyed meeting, I really enjoy all of that, and it's great to meet people, and it's great to experience so much of this country. And I've taken that same posture to other places. I finally got to visit England last October, for the first time. You mentioned rugby earlier, the first time I was exposed to rugby was when I traveled to New Zealand in 2003 and found it pretty fascinating. And then also, I was listening to some rugby, rugby, rugby broadcast, and I tuned across the radio and suddenly found a cricket game that was a little bit slow for me. Yeah, cricket to be it's slow. Nick Francis  22:41 Yeah, fair enough. It's funny. Actually, we know what you're saying about travel. Like one of the amazing things about our Well, I kind of learned two sort of quite fundamentally philosophical things, I think, you know, or things about the about humans and the human condition. Firstly, like, you know, traveling across, you know, we left from London. We, like, drove down. We went through Belgium and France and Poland and Slovenia, Slovakia, Slovenia, like, all the way down Bulgaria, across Turkey into Georgia and Azerbaijan and across the Caspian Sea, and through Turkmenistan, Uzbekistan, Kyrgyzstan, Kazakhstan, into Russia, and then down into Mongolia. When we finished, we were due north of Jakarta, right? So we drove, we drove a third of the way around the world. And the two things that taught me were, firstly that human people are good. You know, everywhere we went, people would invite us in to have meals, or they'd like fix our car for not unit for free. I mean, people were so kind everywhere we went. Yeah. And the other thing was, just, when we get on a plane and you fly from here to or you fly from London, say to we, frankly, you fly from London to Turkey, it feels unbelievably different. You know, you fly from London to China, and it's, you know, complete different culture. But what our journey towards us, because we drove, was that, you know, while we might not like to admit it, we're actually quite, you know, Brits are quite similar to the French, and the French actually are quite similar to the Belgians, and Belgians quite similar to the Germans. And, you know, and all the way through, actually, like we just saw a sort of slowly changing gradient of all the different cultures. And it really, you know, we are just one people, you know. So as much as we might feel that, you know, we're all we're all different, actually, when you see it, when you when you do a drive like that, you really, you really get to see how slowly the cultures shift and change. Another thing that's quite funny, actually, was just like, everywhere we went, we would be like, you know, we're driving to Turkey. They'd be like, Oh, God, you just drove through Bulgaria, you know, how is like, everything on your car not been stolen, you know, they're so dodgy that you Bulgarians are so dodgy. And then, you know, we'd get drive through the country, and they'd be like, you know, oh, you're going into Georgia, you know, gosh, what you go. Make, make sure everything's tied down on your car. They're so dodgy. And then you get into Georgia, and they're like, Oh my God, you've just very driven through Turkey this, like, everyone sort of had these, like, weird, yeah, kind of perceptions of their neighbors. And it was all nonsense, yeah, you know. Michael Hingson  25:15 And the reality is that, as you pointed out, people are good, you know, I think, I think politicians are the ones who so often mess it up for everyone, just because they've got agendas. And unfortunately, they teach everyone else to be suspicious of of each other, because, oh, this person clearly has a hidden agenda when it normally isn't necessarily true at all. Nick Francis  25:42 No, no, no, certainly not in my experience, anyway, not in my experience. But, you know, well, oh, go ahead. No, no. It's just, you know, it's, it is. It's, it is weird the way that happens, you know, well, they say, you know, if, if politicians fought wars rather than, rather than our young men and women, then there'd be a lot less of them. Yeah, so Well, Michael Hingson  26:06 there would be, well as I tell people, you know, I I've learned a lot from working with eight guy dogs and my wife's service dog, who we had for, oh, gosh, 14 years almost, and one of the things that I tell people is I absolutely do believe what people say, that dogs love unconditionally, unless they're just totally traumatized by something, but they don't trust unconditionally. The difference between dogs and people is that dogs are more open to trust because we've taught ourselves and have been taught by others, that everyone has their own hidden agenda. So we don't trust. We're not open to trust, which is so unfortunate because it affects the psyche of so many people in such a negative way. We get too suspicious of people, so it's a lot harder to earn trust. Nick Francis  27:02 Yeah, I mean, I've, I don't know, you know, like I've been, I've been very fortunate in my life, and I kind of always try to be, you know, open and trusting. And frankly, you know, I think if you're open and trusting with people, in my experience, you kind of, it comes back to you, you know, and maybe kind of looking for the best in everyone. You know, there are times where that's not ideal, but you know, I think you know, in the overwhelming majority of cases, you know, actually, you know, you treat people right? And you know what goes what goes around, comes around, absolutely. Michael Hingson  27:35 And I think that's so very true. There are some people who just are going to be different than that, but I think for the most part, if you show that you're open to trust people will want to trust you, as long as you're also willing to trust Nick Francis  27:51 them completely. Yeah, completely. Michael Hingson  27:54 So I think that that's the big thing we have to deal with. And I don't know, I hope that we, we will learn it. But I think that politicians are really the most guilty about teaching us. Why not to trust but that too, hopefully, will be something we deal with. Nick Francis  28:12 I think, you know, I think we have to, you know, it's, it's one of the tragedies of our age, I think, is that the, you know, we spent the 20th century, thinking that sex was the kind of ultimate sales tool. And then it took algorithms to for us to realize that actually anger and resentment are the most powerful sales tools, which is, you know, it's a it's something which, in time, we will work out, right? And I think the problem is that, at the minute, these tech businesses are in such insane ascendancy, and they're so wealthy that it's very hard to regulate them. And I think in time, what will happen is, you know, they'll start to lose some of that luster and some of that insane scale and that power, and then, you know, then regulation will come in. But you know whether or not, we'll see maybe, hopefully our civilization will still be around to see that. Michael Hingson  29:04 No, there is that, or maybe the Vulcans will show up and show us a better way. But you know, Nick Francis  29:11 oh, you know, I'm, I'm kind of endlessly optimistic. I think, you know, we are. We're building towards a very positive future. I think so. Yeah, it's just, you know, get always bumps along the way, yeah. Michael Hingson  29:24 So you named your company casual. Why did you do that? Or how did that come about? Nick Francis  29:30 It's a slightly weird name for something, you know, we work with, kind of, you know, global blue chip businesses. And, you know, casual is kind of the last thing that you would want to associate with, a, with a, with any kind of services business that works in that sphere. I think, you know, we, the completely honest answer is that the journalism course I did was television, current affairs journalism, so it's called TV cadge, and so we, when we made a film for a local charity as part of that course. Course, we were asked to name our company, and we just said, well, cash, cash casual, casual films. So we called it casual films. And then when my friend and I set the company up, kind of formally, to do the Mongol Rally, we, you know, we had this name, you know, the company, the film that we'd made for the charity, had gone down really well. It had been played at BAFTA in London. And so we thought, well, you know, we should just, you know, hang on to that name. And it didn't, you know, at the time, it didn't really seem too much of an issue. It was only funny. It was coming to the US, where I think people are a bit more literal, and they were a bit like, well, casual. Like, why casual, you know. And I remember being on a shoot once. And, you know, obviously, kind of some filmmakers can be a little casual themselves, not necessarily in the work, but in the way they present themselves, right? And I remember sitting down, we were interviewing this CEO, and he said, who, you know, who are you? Oh, we're casual films. He's like, Oh, is that why that guy's got ripped jeans? Is it? And I just thought, Damn, you know, we really left ourselves open to that. There was also, there was a time one of our early competitors was called Agile films. And so, you know, I remember talking to one of our clients who said, you know, it's casual, you know, when I have to put together a little document to say, you know, which, which supplier we should choose, and when I lay it on my boss's desk, and one says casual films, and one says agile films, it's like those guys are landing the first punch. But anyway, we, you know, we, what we say now is like, you know, we take a complex process and make it casual. You know, filmmaking, particularly for like, large, complex organizations where you've got lots of different stakeholders, can be very complicated. And so, yeah, we sort of say, you know, we'll take a lot of that stress off, off our clients. So that's kind of the rationale, you know, that we've arrived with, arrived at having spoken to lots of our clients about the role that we play for them. So, you know, there's a kind of positive spin on it, I guess, but I don't know. I don't know whether I'd necessarily call it casual again. I don't know if I'm supposed to say that or not, but, oh, Michael Hingson  32:00 it's unique, you know? So, yeah, I think there's a lot of merit to it. It's a unique name, and it interests people. I know, for me, one of the things that I do is I have a way of doing this. I put all of my business cards in Braille, so the printed business cards have Braille on them, right? Same thing. It's unique completely. Nick Francis  32:22 And you listen, you know what look your name is an empty box that you fill with your identity. They say, right? And casual is actually, it's something we've grown into. And you know it's we've been going for nearly 20 years. In fact, funny enough for the end of this year is the 20th anniversary of that first film we made for the for the charity. And then next summer will be our 20th anniversary, which is, you know, it's, it's both been incredibly short and incredibly long, you know, I think, like any kind of experience in life, and it's been some of the hardest kind of times of my entire life, and some of the best as well. So, you know, it's, it is what it is, but you know, casual is who we are, right? I would never check, you know? I'd never change it. Michael Hingson  33:09 Now, no, of course not, yeah. So is the actual name casual films, or just casual? Nick Francis  33:13 So it was casual films, but then everyone calls us casual anyway, and I think, like as an organization, we probably need to be a bit more agnostic about the outcome. Michael Hingson  33:22 Well, the reason I asked, in part was, is there really any filming going on anymore? Nick Francis  33:28 Well, that's a very that's a very good question. But have we actually ever made a celluloid film? And I think the answer is probably no. We used to, back in the day, we used to make, like, super eight films, which were films, I think, you know, video, you know, ultimately, if you're going to be really pedantic about it, it's like, well, video is a digital, digital delivery. And so basically, every film we make is, is a video. But there is a certain cachet to the you know, because our films are loved and crafted, you know, for good or ill, you know, I think to call them, you know, they are films because, because of the, you know, the care that's put into them. But it's not, it's, it's not celluloid. No, that's okay, yeah, well, Michael Hingson  34:16 and I know that, like with vinyl records, there is a lot of work being done to preserve and capture what's on cellular film. And so there's a lot of work that I'm sure that's being done to digitize a lot of the old films. And when you do that, then you can also go back and remaster and hopefully in a positive way, and I'm not sure if that always happens, but in a positive way, enhance them Nick Francis  34:44 completely, completely and, you know, it's, you know, it's interesting talking about, like, you know, people wanting to step back. You know, obviously vinyl is having an absolute as having a moment right now. In fact, I just, I just bought a new stylist for my for my record. Play yesterday. It sounded incredible as a joy. This gave me the sound quality of this new style. It's fantastic. You know, beyond that, you know, running a company, you know, we're in nine offices all over the world. We produce nearly 1000 projects a year. So, you know, it's a company. It's an incredibly complicated company. It's a very fun and exciting company. I love the fact that we make these beautifully creative films. But, you know, it's a bit, I wouldn't say it's like, I don't know, you don't get many MBAs coming out of business school saying, hey, I want to set up a video production company. But, you know, it's been, it's been wonderful, but it's also been stressful. And so, you know, I've, I've always been interested in pottery and ceramics and making stuff with my hands. When I was a kid, I used to make jewelry, and I used to go and sell it in nightclubs, which is kind of weird, but, you know, it paid for my beers. And then whatever works, I say kid. I was 18. I was, I was of age, but of age in the UK anyway. But now, you know, over the last few 18 months or so, I've started make, doing my own ceramics. So, you know, I make vases and and pictures and kind of all sorts of stuff out of clay. And it's just, it's just to be to unplug and just to go and, you know, make things with mud with your hands. It's just the most unbelievably kind of grounding experience. Michael Hingson  36:26 Yeah, I hear you, yeah. One of the things that I like to do is, and I don't get to do it as much as I would like, but I am involved with organizations like the radio enthusiasts of Puget Sound, which, every year, does recreations of old radio shows. And so we get the scripts we we we have several blind people who are involved in we actually go off and recreate some of the old shows, which is really a lot of fun, Nick Francis  36:54 I bet, yeah, yeah, sort of you know that connection to the past is, is, yeah, it's great radio. Radio is amazing. Michael Hingson  37:03 Anyway, what we have to do is to train some of the people who have not had exposure to old radio. We need to train them as to how to really use their voices to convey like the people who performed in radio, whatever they're doing, because too many people don't really necessarily know how to do that well. And it is, it is something that we're going to work on trying to find ways to get people really trained. And one of the ways, of course, is you got to listen to the old show. So one of the things we're getting more and more people to do when we do recreations is to go back and listen to the original show. Well, they say, Well, but, but that's just the way they did it. That's not necessarily the way it should be done. And the response is, no, that's not really true. The way they did it sounded natural, and the way you are doing it doesn't and there's reality that you need to really learn how to to use your voice to convey well, and the only way to do it is to listen to the experts who did it. Nick Francis  38:06 Yeah, well, it's, you know, it's amazing. The, you know, when the BBC was founded, all the news readers and anyone who appeared on on the radio to to present or perform, had to wear like black tie, like a tuxedo, because it was, you know, they're broadcasting to the nation, so they had to, you know, they had to be dressed appropriately, right, which is kind of amazing. And, you know, it's interesting how you know, when you, when you change your dress, when you change the way you're sitting, it does completely change the way that you project yourself, yeah, Michael Hingson  38:43 it makes sense, yeah, well, and I always enjoyed some of the old BBC radio shows, like the Goon Show, and completely some of those are so much fun. Nick Francis  38:54 Oh, great, yeah, I don't think they were wearing tuxedo. It's tuxedos. They would Michael Hingson  38:59 have been embarrassed. Yeah, right, right. Can you imagine Peter Sellers in a in a tux? It just isn't going to happen. Nick Francis  39:06 No, right, right. But yeah, no, it's so powerful. You know, they say radio is better than TV because the pictures are better. Michael Hingson  39:15 I agree. Yeah, sure, yeah. Well, you know, I I don't think this is quite the way he said it, but Fred Allen, the old radio comedian, once said they call television the new medium, because that's as good as it's ever going Nick Francis  39:28 to get. Yeah, right, right, yeah. Michael Hingson  39:32 I think there's truth to it. Whether that's exactly the way he said it or not, there's truth to that, yeah, but there's also a lot of good stuff on TV, so it's okay. Nick Francis  39:41 Well, it's so interesting. Because, you know, when you look at the it's never been more easy to create your own content, yeah, and so, you know, and like, in a way, TV, you know, he's not wrong in that, because it suddenly opened up this, this huge medium for people just to just create. Right? And, you know, and I think, like so many people, create without thinking, and, you know, and certainly in our kind of, in the in the world that we're living in now with AI production, making production so much more accessible, actually taking the time as a human being just to really think about, you know, who are the audience, what are the things that are going to what are going to kind of resonate with them? You know? Actually, I think one of the risks with AI, and not just AI, but just like production being so accessible, is that you can kind of shoot first and kind of think about it afterwards, and, you know, and that's never good. That's always going to be medium. It's medium at best, frankly. Yeah, so yeah, to create really great stuff takes time, you know, yeah, to think about it. Yeah, for sure, yeah. Michael Hingson  40:50 Well, you know, our podcast is called unstoppable mindset. What do you think that unstoppable mindset really means to you as a practical thing and not just a buzzword. Because so many people talk about the kinds of buzzwords I hear all the time are amazing. That's unstoppable, but it's really a lot more than a buzzword. It goes back to what you think, I think. But what do you think? Nick Francis  41:15 I think it's something that is is buried deep inside you. You know, I'd say the simple answer is, is just resilience. You know, it's, it's been rough. I write anyone running a small business or a medium sized business at the minute, you know, there's been some tough times over the last, kind of 1824, months or so. And, you know, I was talking to a friend of mine who she sold out of her business. And she's like, you know, how are things? I was like, you know, it's, it's, it's tough, you know, we're getting through it, you know, we're changing a lot of things, you know, we're like, we're definitely making the business better, but it's hard. And she's like, Listen, you know, when three years before I sold my company, I was at rock bottom. It was, I genuinely thought it was so stressful. I was crushed by it, but I just kept going. And she's just like, just keep going. And the only difference between success and failure is that resilience and just getting up every day and you just keep, keep throwing stuff at the wall, keep trying new things, keep working and trying to be better. I think, you know, it's funny when you look at entrepreneurs, I'm a member of a mentoring group, and I hope I'm not talking out of school here, but you know, there's 15 entrepreneurs, you know, varying sizes of business, doing all sorts, you know, across all sorts of different industries. And if you sat on the wall, if you were fly on the wall, and you sit and look at these people on a kind of week, month to month basis, and they all present on how their businesses are going. You go, this is this being an entrepreneur does not look like a uniformly fun thing, you know, the sort of the stress and just, you know, people crying and stuff, and you're like, gosh, you know, it's so it's, it's, it's hard, and yet, you know, it's people just keep coming back to it. And yet, I think it's because of that struggle that you have to kind of have something in built in you, that you're sort of, you're there to prove something. And I, you know, I've thought a lot about this, and I wonder whether, kind of, the death of my father at such a young age kind of gave me this incredible fire to seek His affirmation, you know. And unfortunately, obviously, the tragedy of that is like, you know, the one person who would never give me affirmation is my dad. And yet, you know, I get up every day, you know, to have early morning calls with the UK or with Singapore or wherever. And you know, you just just keep on, keeping on. And I think that's probably what and knowing I will never quit, you know, like, even from the earliest days of casual, when we were just, like a couple of people, and we were just, you know, kids doing our very best, I always knew the company was going to be a success act. Like, just a core belief that I was like, this is going to work. This is going to be a success. I didn't necessarily know what that success would look like. I just but I did know that, like, whatever it took, we would map, we'd map our way towards that figure it out. We'd figure it out. And I think, you know, there's probably something unstoppable. I don't know, I don't want to sound immodest, but I think there's probably something in that that you're just like, I am just gonna keep keep on, keeping on. Michael Hingson  44:22 Do you think that resilience and unstoppability are things that can be taught, or is it just something that's built into you, and either you have it or you don't? Nick Francis  44:31 I think it's something that probably, it's definitely something that can be learned, for sure, you know. And there are obviously ways that it can there's obviously ways it can be taught. You know, I was, I spent some time in the reserve, like the Army Reserve in the UK, and I just, you know, a lot of that is about teaching you just how much further you can go. I think what it taught me was it was so. So hard. I mean, honestly, some of the stuff we did in our training was, like, you know, it's just raining and raining and raining and, like, because all your kits soaking wet is weighs twice what it did before, and you just, you know, sleeping maybe, you know, an hour or two a night, and, you know, and there wasn't even anyone shooting at us, right? So, you know, like the worst bit wasn't even happening. But like, and like, in a sense, I think, you know, that's what they're trying to do, that, you know, they say, you know, train hard and fight easy. But I remember sort of sitting there, and I was just exhausted, and I just genuinely, I was just thought, you know, what if they tell me to go now, I just, I can't. I literally, I can't, I can't do it. Can't do it. And then they're like, right, lads, put your packs on. Let's go and just put your pack on. Off you go, you know, like, this sort of, the idea of not, like, I was never going to quit, just never, never, ever, you know, and like I'd physically, if I physically, like, literally, my physical being couldn't stand up, you know, I then that was be, that would be, you know, if I was kind of, like literally incapacitated. And I think what that taught me actually, was that, you know, you have what you believe you can do, like you have your sort of, you have your sort of physical envelope, but like that is only a third or a quarter of what you can actually achieve, right, you know. And I think what that, what the that kind of training is about, and you know, you can do it in marathon training. You can do it in all sorts of different, you know, even, frankly, meditate. You know, you train your mind to meditate for, you know, an hour, 90 minutes plus. You know, you're still doing the same. You know, there's a, there's an elasticity within your brain where you can teach yourself that your envelope is so much larger. Yeah. So, yeah, you know, like, is casual going to be a success? Like, I'm good, you know, I'm literally, I won't I won't stop until it is Michael Hingson  46:52 right, and then why stop? Exactly, exactly you continue to progress and move forward. Well, you know, when everything feels uncertain, whether it's the markets or whatever, what do you do or what's your process for finding clarity? Nick Francis  47:10 I think a lot of it is in having structured time away. I say structured. You build it into your calendar, but like, but it's unstructured. So, you know, I take a lot of solace in being physically fit. You know, I think if you're, if you feel physically fit, then you feel mentally far more able to deal with things. I certainly when I'm if I'm unfit and if I've been working too much and I haven't been finding the time to exercise. You know, I feel like the problems we have to face just loom so much larger. So, you know, I, I'll book out. I, you know, I work with a fan. I'm lucky enough to have a fantastic assistant who, you know, we book in my my exercise for each week, and it's almost the first thing that goes in the calendar. I do that because I can't be the business my my I can't be the leader my business requires. And it finally happened. It was a few years ago I kind of, like, the whole thing just got really big on me, and it just, you know, and I'm kind of, like, being crushed by it. And I just thought, you know what? Like, I can't, I can't fit other people's face mask, without my face mask being fit, fitted first. Like, in order to be the business my business, I keep saying that to be the lead in my business requires I have to be physically fit. So I have to look after myself first. And so consequently, like, you know, your exercise shouldn't be something just get squeezed in when you find when you have time, because, you know, if you've got family and you know, other things happening, like, you know, just will be squeezed out. So anyway, that goes in. First, I'll go for a bike ride on a Friday afternoon, you know, I'll often listen to a business book and just kind of process things. And it's amazing how often, you know, I'll just go for a run and, like, these things that have been kind of nagging away in the back of my mind, just suddenly I find clarity in them. So I try to exercise, like, five times a week. I mean, that's obviously more than most people can can manage, but you know that that really helps. And then kind of things, like the ceramics is very useful. And then, you know, I'm lucky. I think it's also just so important just to appreciate the things that you already have. You know, I think one of the most important lessons I learned last year was this idea that, you know, here is the only there. You know, everyone's working towards this kind of, like, big, you know, it's like, oh, you know, when I get to there, then everything's going to be okay, you know. And actually, you know, if you think about like, you know, and what did you want to achieve when you left college? Like, what was the salary band that you want? That you wanted to achieve? Right? A lot of people, you know, by the time you hit 4050, you've blown way through that, right? And yet you're still chasing the receding Summit, yeah, you know. And so actually, like, wherever we're trying to head to, we're already there, because once you get there, there's going to be another there that you're trying to. Head to right? So, so, you know, it's just taking a moment to be like, you know, God, I'm so lucky to have what I have. And, you know, I'm living in, we're living in the good old days, like right now, right? Michael Hingson  50:11 And the reality is that we're doing the same things and having the same discussions, to a large degree, that people did 50, 100 200 years ago. As you pointed out earlier, the fact is that we're, we're just having the same discussions about whether this works, or whether that works, or anything else. But it's all the same, Nick Francis  50:33 right, you know. And you kind of think, oh, you know, if I just, just, like, you know, if we just open up these new offices, or if we can just, you know, I think, like, look, if I, if I'd looked at casual when we started it as it is now, I would have just been like, absolute. My mind would have exploded, right? You know, if you look at what we've achieved, and yet, I kind of, you know, it's quite hard sometimes to look at it and just be like, Oh yeah, but we're only just starting. Like, there's so much more to go. I can see so much further work, that we need so many more things, that we need to do, so many more things that we could do. And actually, you know, they say, you know, I'm lucky enough to have two healthy, wonderful little girls. And you know, I think a lot of bread winners Look at, look at love being provision, and the idea that, you know, you have to be there to provide for them. And actually, the the truest form of love is presence, right? And just being there for them, and like, you know, not being distracted and kind of putting putting things aside, you know, not jumping on your emails or your Slack messages or whatever first thing in the morning, you know. And I, you know, I'm not. I'm guilty, like, I'm not, you know, I'm not one of these people who have this kind of crazy kind of morning routine where, like, you know, I'm incredibly disciplined about that because, you know, and I should be more. But like, you know, this stuff, one of the, one of the things about having a 24 hour business with people working all over the world is there's always things that I need to respond to. There's always kind of interesting things happening. And so just like making sure that I catch myself every so often to be like, I'm just going to be here now and I'm going to be with them, and I'm going to listen to what they're saying, and I'm going to respond appropriately, and, you know, I'm going to play a game with them, or whatever. That's true love. You know? Michael Hingson  52:14 Well, there's a lot of merit to the whole concept of unplugging and taking time and living in the moment. One of the things that we talked about in my book live like a guide dog, that we published last year, and it's all about lessons I've learned about leadership and teamwork and preparedness from eight guide dogs and my wife's service dog. One of the things that I learned along the way is the whole concept of living in the moment when I was in the World Trade Center with my fifth guide dog, Roselle. We got home, and I was going to take her outside to go visit the bathroom, but as soon as I took the harness off, she shot off, grabbed her favorite tug bone and started playing tug of war with my retired guide dog. Asked the veterinarians about him the next day, the people at Guide Dogs for the Blind, and they said, Well, did anything threaten her? And I said, No. And they said, there's your answer. The reality is, dogs live in the moment when it was over. It was over. And yeah, right lesson to learn. Nick Francis  53:15 I mean, amazing, absolutely amazing. You must have taken a lot of strength from that. Michael Hingson  53:20 Oh, I think it was, it was great. It, you know, I can look back at my life and look at so many things that have happened, things that I did. I never thought that I would become a public speaker, but I learned in so many ways the art of speaking and being relaxed at speaking in a in a public setting, that when suddenly I was confronted with the opportunity to do it, it just seemed like the natural thing to do. Nick Francis  53:46 Yeah, it's funny, because I think isn't public speaking the number one fear. It is. It's the most fit. It's the most feared thing for the most people. Michael Hingson  53:57 And the reality is going back to something that we talked about before. The reality is, audiences want you to succeed, unless you're a jerk and you project that, audiences want to hear what you have to say. They want you to be successful. There's really nothing to be afraid of but, but you're right. It is the number one fear, and I've never understood that. I mean, I guess I can intellectually understand it, but internally, I don't. The first time I was asked to speak after the World Trade Center attacks, a pastor called me up and he said, we're going to we're going to have a service outside for all the people who we lost in New Jersey and and that we would like you to come and speak. Take a few minutes. And I said, Sure. And then I asked him, How many people many people were going to be at the service? He said, 6000 that was, that was my first speech. Nick Francis  54:49 Yeah, wow. But it didn't bother me, you know, no, I bet Michael Hingson  54:54 you do the best you can, and you try to improve, and so on. But, but it is true that so many people. Are public speaking, and there's no reason to what Nick Francis  55:03 did that whole experience teach you? Michael Hingson  55:06 Well, one of the things that taught me was, don't worry about the things that you can't control. It also taught me that, in reality, any of us can be confronted with unexpected things at any time, and the question is, how well do we prepare to deal with it? So for me, for example, and it took me years after September 11 to recognize this, but one of the things that that happened when the building was hit, and Neither I, nor anyone on my side of the building really knew what happened. People say all the time, well, you didn't know because you couldn't see it. Well, excuse me, it hit 18 floors above us on the other side of the building. And the last time I checked X ray vision was fictitious, so nobody knew. But did the building shake? Oh, it tipped. Because tall buildings like that are flexible. And if you go to any tall building, in reality, they're made to buffet in wind storms and so on, and in fact, they're made to possibly be struck by an airplane, although no one ever expected that somebody would deliberately take a fully loaded jet aircraft and crash it into a tower, because it wasn't the plane hitting the tower as such that destroyed both of them. It was the exploding jet fuel that destroyed so much more infrastructure caused the buildings to collapse. But in reality, for me, I had done a lot of preparation ahead of time, not even thinking that there would be an emergency, but thinking about I need to really know all I can about the building, because I've got to be the leader of my office, and I should know all of that. I should know what to do in an emergency. I should know how to take people to lunch and where to go and all that. And by learning all of that, as I learned many and discovered many years later, it created a mindset that kicked in when the World Trade Center was struck, and in fact, we didn't know until after both towers had collapsed, and I called my wife. We I talked with her just before we evacuated, and the media hadn't even gotten the story yet, but I never got a chance to talk with her until after both buildings had collapsed, and then I was able to get through and she's the first one that told us how the two buildings had been hit by hijacked aircraft. But the mindset had kicked in that said, You know what to do, do it and that. And again, I didn't really think about that until much later, but that's something that is a lesson we all could learn. We shouldn't rely on just watching signs to know what to do, no to go in an emergency. We should really know it, because the knowledge, rather than just having information, the true intellectual knowledge that we internalize, makes such a big difference. Nick Francis  57:46 Do you think it was the fact that you were blind that made you so much more keen to know the way out that kind of that really helped you to understand that at the time? Michael Hingson  57:56 Well, what I think is being blind and growing up in an environment where so many things could be unexpected, for me, it was important to know so, for example, when I would go somewhere to meet a customer, I would spend time, ahead of time, learning how to get around, learning how to get to where they were and and learning what what the process was, because we didn't have Google Maps and we didn't have all the intellectual and and technological things that we have today. Well intellectual we did with the technology we didn't have. So today it's easier, but still, I want to know what to do. I want to really have the answers, and then I can can more easily and more effectively deal with what I need to deal with and react. So I'm sure that blindness played a part in all of that, because if I hadn't learned how to do the things that I did and know the things that I knew, then it would have been a totally different ball game, and so sure, I'm sure, I'm certain that blindness had something to do with it, but I also know that, that the fact is, what I learned is the same kinds of things that everyone should learn, and we shouldn't rely on just the signs, because what if the building were full of smoke, then what would you do? Right? And I've had examples of that since I was at a safety council meeting once where there was somebody from an electric company in Missouri who said, you know, we've wondered for years, what do we do if there's a fire in the generator room, in the basement, In the generator room, how do people get out? And he and I actually worked on it, and they developed a way where people could have a path that they could follow with their feet to get them out. But the but the reality is that what people first need to learn is eyesight is not the only game in town. Yeah, right. Mean, it's so important to really learn that, but people, people don't, and we take too many things for granted, which is, which is really so unfortunate, because we really should do a li

Kristen Chesak from the Arts Council with her weekly report, focusing on a variety of Holiday themed events.See omnystudio.com/listener for privacy information.

On this episode of the Hays Post Podcast, Becky Kiser, news reporter, talks with the new executive assistant at the Hays Arts Council, Kiernan McCarty, along with Chandler Reich, executive director, and Brittney Squire, board president.   Listen Here

Send us a textWelcome to a new mini series of the Alternative Stories and Fake Realities Podcast This week we have short fiction from Welsh poet, novelist and short story writer Christopher Meredith.   The story you're about to hear is a seasonal piece set in the early 1960s in south Wales.  It's  called 'The Cavalry' and it's from Chris's brilliant collection 'Brief Lives' which is published by Seren.You can order a copy of Brief Lives here https://www.serenbooks.com/book/brief-lives/ Christopher Meredith is the award-winning author of five novels and five collections of poetry and also tranlsates Welsh to English. Prizes include an Eric Gregory Award, the Arts Council of Wales Young Writer Prize and the Fiction Prize for his first novel, Shifts. His second novel, Griffri, was shortlisted for the Book of the Year Award.  His collection of poems, The Meaning of Flight, was long-listed for The Book of the Year Award 2006.  He has given readings all over Britain and Europe as well as in Israel/Palestine and the USA.  Born and brought up in Tredegar, he was a steelworker and a schoolteacher before becoming a professor of creative writing at the University of Glamorgan. He lives in Brecon. A collection of six short fictions, titled Brief Lives, was released in 2018. Find out more about Christopher Meredith by visiting his website here https://christophermeredit9.wixsite.com/websiteAll content in audio, onscreen and in print is protected and may not be copied or used for any purposes including generative AI/AI training.Join us next week on the alternative stories and fake realities podcast for award winning audio drama.  The Angry House by Thomas Wrightson is a ghost story set in Cornwall in the late 1990s and it was the winner of the 2025 Pen to Print Audio play competition.  Production, sound design and editing in this episode were by Chris Gregory.If you'd like to support the work of Alternative Stories, gain early access to many of our podcasts and hear exclusive bonus episodes please consider joining our Patreon.  You can find a link here: https://www.patreon.com/AltStoriesSupport the show

We sit down with Melanie Cooper, Executive Director of the Arts Council of York County, for a wide-ranging conversation about creativity in York County. We discuiss how the arts fuel economic growth, mental health, and a community's sense of place. From galleries, festivals, classes, and the Ag + Art Tour to youth advisory programs and artist studios, Melanie explains how the Arts Council supports creatives while helping revitalize Old Town and reflects candidly on the tension between art, entertainment, and making a living as an artist in a changing city.Melanie Cooper is the Executive Director of the Arts Council of York County where she has occupied multiple roles for over a decade. With a background in arts, culture, and civic engagement, from Alaska public affairs to historic site work, she now champions local artists, creative programs, and cultural growth throughout Rock Hill and York County.

Kristen Chesak from the Arts Council with a rundown of events in the Arts including a preview of "Run Thru The Lights" and more.See omnystudio.com/listener for privacy information.

Hays Post reporter Becky Kiser chats with Hays Arts Council Executive Director Chandler Reich and Council Member Brittney Squire   Full Article Here

Kristen Chesak, Executive Director of the Arts Council of Greater Kalamazoo, previews the December Art Hop and a big schedule of entertainment ahead this week. See omnystudio.com/listener for privacy information.

Kristen Chesak from the Arts Council provides details on Holiday event coming up this week around Kalamazoo.See omnystudio.com/listener for privacy information.

We have stories and poems from the heart and the hearth.    Peter Martin seeks tongue in cheek forgiveness for suppling contra-band fuel for the ‘Hearth of the Home'.  Anne Deroe paints a picture of a bustling family home brim-full of creativity in her ‘Humble Abode'.    Mary Pooley ‘On Hearing the News' considers those displaced and Patricia Donnellan's poem ‘Under the Eaves' is for the departing swallows and humanity at large.  Arthur Watson's poignant poem brings us full circle to ‘Home'.   With music from Sam n' Ash, Seamus and Caoimhe Uí Fhlatharta,  Ger O'Donnell and Maria Ryan and Ryan Sheridan Mountshannon Arts is supported by The Arts Council of Ireland and Clare County Council. Originally broadcast 9th November 2025  

For part two of A Flow of Words ‘My Humble Abode' we have stories and poems of communion, connection and setting down roots.   Arthur Watson tests the water and feels transformed in ‘Transubstantiation'. Eileen Donnellan tells of deep connection and heartbreak  in ‘Home is Where the Heart Is' A message delivered from the leafy heights of a horse chestnut tree still resonates years later and Anthony Lenihnan wonders ‘Who is Blessing Who'? Róisín Bugler gives thanks for the opportunity to set down permanent family roots in ‘Spring Day'. Ruth Marshall yields the rich reward of a mortgage milestone at Lughnasa in ‘Harvest Home'. With music from Jack O Rourke, Lyra, Peter Byrne and Niamh Dunne Mountshannon Arts is supported by the Arts Council of Ireland and Clare Co. Council  Originally broadcast 16th November 2025      

Mike Chmielewski talks with Meggy Abe from the Palmer Arts Council. Meggy explained the goal of the Palmer Arts Council’s goal – to bring more art opportunities to Palmer. They do this through education, workshops, performances, and literary events. The Arts Council is excited to host Parlor in the Round, Friday, November 23rd at 7:00 […]

Hays Post reporter Becky Kiser chats with Hays Arts Council Executive Director, Chandler Reich, and Brittney Squire, from the Board of Directors   Listen Here

Kristen Chesak from the Arts Council with this week's rundown of events including the 140th Anniversary Celebration at the YWCA.See omnystudio.com/listener for privacy information.

Host Jason Blitman talks to award-winning Irish writer Gráinne O'Hare about her debut novel, Thirst Trap. Conversation highlights include:❤️‍

Over the past three years, comedian Ailish McCarthy has been working on getting a legislative gap filled. Although comedians are considered artists by the Department of Culture, Communications and Sport, they remain ineligible for grants and funds allocated by the Arts Council.Sinn Féin TD Aengus Ó Snodaigh launched an amendment to the Arts Bill this Thursday to have their joke-telling recognized in law.Ailish McCarthy joins Seán in the studio to discuss…

The Arts Council should consider revising how they assess grant applications and has warned that comedians have been "frozen out". This is according to Minister for Culture and Arts Patrick O'Donovan. So, if it was brought in, just how would the application process work and who could qualify? Gift Grub investigates!

Over the past three years, comedian Ailish McCarthy has been working on getting a legislative gap filled. Although comedians are considered artists by the Department of Culture, Communications and Sport, they remain ineligible for grants and funds allocated by the Arts Council.Sinn Féin TD Aengus Ó Snodaigh launched an amendment to the Arts Bill this Thursday to have their joke-telling recognized in law.Ailish McCarthy joins Seán in the studio to discuss…

Kristen Chesak from the Arts Council with a preview of the November Art Hop and many other events on this week's calendar.See omnystudio.com/listener for privacy information.

Joe talks with Barbara Sax, President of the Arts Council of Livingston, about her career as an art teacher, the roles that emotion and intuition play in her own artistic process, and keeping the creative spirit alive in our community. Plus, Archana highlights some of the fantastic programs scheduled on our November calendar; Hongmei shares some thoughts on Taylor Swift's latest album; and Ragini tells us about some of the most anticipated new books hitting library shelves this month.

Today on Galway Talks with John Morley (Monday, 20th October 2025) 9am-10am Medical negligence costs a challenge for health service, consultants hear  Can we better look after the diaspora? the Minister consults with Galway businesses   Did Ben Dunne really organise the kidnapping of a ‘well-known entertainer'? We find out the author of a new book on the Dunnes   10am-11am Loughrea woman highlights health service inadequacies in emotional viral TikTok      Research shows world-first breakthrough for bowel cancer immunotherapy  Why are country musicians excluded from Arts Council funding? And should they be made a priority?   11am-12pm Galway Greats - Donal Lynch Sport Review with Ollie Turner 

The Arts Council currently does not recognise Comedy as an artform, which means comedians receive no funding as result. However, the Comedy Amendment Bill is going to the Dáil on October 23rd to try and change this.Comedian Ailish McCarthy has been campaigning on this issue for many years, and joins Ciara Doherty to discuss.

This week on Skip the Queue, we're stepping into the turret and turning up the tension, as we explore one of the UK's most talked-about immersive experiences.Our guest is Neil Connolly, Creative Director at The Everywhere Group, who have brought The Traitors Live Experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous.So, how do you even begin to transform a TV juggernaut into a thrilling, guest-led experience? Let's find out who's playing the game… and who's about to be banished…Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references: The Traitors Live website: https://www.thetraitorslive.co.uk/Neil's LinkedIn: https://www.linkedin.com/in/neil-connolly-499054110/Neil Connolly is a creative leader of design and production teams focused on development, production and installation of live theatre, entertainment, multi-media and attractions for the themed entertainment industry worldwide.Neil began his career as a performer, writer, producer & artist in Londons alternative theatre/art scene. It was during this time Neil developed a love and passion for story telling through the platform of interactive playable immersive theatre.Having been at the vanguard of playable & immersive theatre since 2007, Neil had a career defining opportunity in 2019 when he devised, wrote & directed an immersive experience as part of Sainsbury's 150th Birthday Celebrations. Making him the only immersive theatre & game maker in the world to have HRH Elizabeth Regina attend one of their experiences.In a distinguished career spanning 20 years, Neil has brought that passion to every facet of themed entertainment in the creative direction and production of attractions such as; Handels Messiah, Snowman & The Snowdog, Peppa Pig Surprise Party, Traitors Live, The Crystal Maze Live Experience, Tomb Raider Live Experience & Chaos Karts, an AR go-kart real life battle. Other clients and activations include: Harrods, Sainsbury's, Camelot/The National Lottery, Samsung, Blenheim Palace, Land Rover and Warner Brothers.Neil has worked across 4 continents for many years with private individuals; designing, producing and delivering live entertainment on land, sea & air. A world without boundaries requires freethinking.Neil is currently working with Immersive Everywhere on creative development of show and attraction content for projects across U.K, Europe, North America & Asia. Transcriptions:  Paul Marden: This week on Skip the Queue, we're stepping into the turret and turning up the tension as we explore one of the UK's most talked about immersive experiences.Paul Marden: Our guest is Neil Connolly, Creative Director at The Everywhere Group, who've brought The Traitor's live experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous. So how do you even begin to transform a TV juggernaut into a thrilling guest-led experience? Let's find out who's playing the game and who's about to be banished.Paul Marden: So, we're underground. Lots of groups running currently, aren't they? How did you make that happenNeil Connolly: Yeah, so now we're two floors under us. There's a lower basement and some other basement. So the building that we are in, there's a family in the 1890s who owned all of the land around Covent Garden and specifically the Adelphi Theatre.Paul Marden: Right.Neil Connolly: And they wanted their theatre to be the first theatre in the UK to have its lights powered by electricity. So they built their own private power station in this building. Like, literally like, all this, this is a power station. But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this building until the 1980s when the establishment was assumed through the important UK network.Neil Connolly: And then it was sat there empty, doing nothing for 40 years. And so the landlord that is now started redeveloping the building 10 years ago, added two floors onto the top of the building. So now what we're in is an eight-storey structure and we've basically got the bottom four floors. Two of which are ground and mezzanine, which is our hospitality area. And the lower two floors, which are all in the basement, are our experience floors. What we're looking at right now is, if you look off down this way to the right, not you people on audio, but me here.Neil Connolly: Off this side is five of the round table rooms. There's another one behind me and there's two more upstairs. And then I've got some Tretters Towers off to the left and I've got my show control system down there.Neil Connolly: On the floor above me, we've got the lounges. So each lounge is connected to one of the round table rooms. Because when you get murdered or banished, one of the biggest challenges that I faced was what happens to people when they get murdered or banished? Because you get kicked out of the game. It's not a lot of fun, is it? Therefore, for me, you also get kicked out of the round table room. So this is a huge challenge I face. But I built these lounge concepts where you go— it's the lounge of the dead— and you can see and hear the round table room that you've just left. We'll go walk into the room in a while. There's lots of interactivity. But yeah, super fun. Neil Connolly: But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this establishment until the 1980s when the establishment was considered through the important UK network.Paul Marden: Yeah. So we've got 10 million people tuning in to Traitors per episode. So this must be a lot of pressure for you to get it right. Tell us about the experience and what challenges you faced along the way, from, you know, that initial text message through to the final creation that we're stood in now.Neil Connolly: So many challenges, but to quote Scroobius Pip on this, do you know Scroobius Pip? Paul Marden: No. Neil Connolly: Great, he's amazing. UK rapper from Essex.Neil Connolly: Some people see a mousetrap and think death. I see free cheese and a challenge.Neil Connolly: There's never any problems in my logic, in my thinking. There's always just challenges to overcome. So one of the biggest challenges was what happens to people when they get murdered or banished. The truth of the matter is I had to design a whole other show, which happens after this show. It is one big show. But you go to the Lounge of the Dead, there's more interactivity. And navigating that with the former controller, which is O3 Media and IDTV, who created the original format in the Netherlands, and basically designing a game that is in the world and follows the rules of their game with some reasonable adjustments, because TV and live are not the same thing.Neil Connolly: It takes 14 days to film 12 episodes of The Traitors. Paul Marden: Really? Okay. Neil Connolly: So I was like, how do I truncate 14 days of somebody's life down into a two-hour experience and still deliver that same impact, that same power, that same punch?Paul Marden: Yep.Neil Connolly: But I knew from the beginning of this that it wasn't about time. There is a magic triangle when it comes to the traitors, which is time, space, atmosphere. And time was the thing that I always struggled with. I don't have a Scottish cattle show, and I don't have two weeks. No. So I'm like, 'Cool, I've got to do it in two hours.' So our format follows exactly the same format. We do a breakfast scene, then a mission, then a roundtable banishment, then there's a conclave where the traitors meet and they murder somebody. And I do that in a seven-day structure, a seven-day cycle. But it all happens within two hours around this round table.Neil Connolly: I'm the creative director for Immersive Everywhere. We're a vertically integrated structure in the sense that we take on our own venues. So we're now standing in Shorts Gardens in the middle of Covent Garden. So we've leased this building. We've got a lease that is for a number of years and we have built the show into it. But we also identify the IP, go after that ourselves, we capitalise the projects ourselves. We seek strategic partners, promoters, other people to kind of come involved in that journey. But because we're also the team that are licensing the product, we are also the producers and I'm the creative director for that company. So I developed the creative in line with while also getting the deal done. This is incredibly unusual because other producers will be like, 'Hey, I've identified this IP and I've got it.' Now I'm going to approach a creative agency and I'm going to get them to develop the product. And now I've done all of that, I'm going to find someone else to operationally put it on, or I'm going to find a venue to put it on in, and then I'm going to find my ticketing partner.  But we don't do that. We have our own ticketing platform, and we have our own database, so we mark our own shoulders.Neil Connolly: As well as other experiences too. Back, we have our own creative industry, we are the producers, we are the female workers. So we cast it, we hire all the front of house team, we run the food and beverage, we run the bars. The operations team is our operations team because they run the venue as well as the show at the same time. So that's what I mean. We're a vertically integrated structure, which means we do it, which makes us a very unusual proposition within... certainly within the UK market, possibly the world. It makes us incredibly agile as a company and makes us to be able to be adaptive and proactive and reactive to the product, to the show, to the market that we're operating in, because it's all under one roof.Neil Connolly: This show started January 24th, 2023. Right. It's very specific because I was sitting on my sofa drinking a lovely glass of Merlot and I had just watched... UK Traitors, Season One. Yep. Because it came out that Christmas. Immediately I was like, 'Oh my God, this is insane.' And then I got a text message that particular night from our head of licensing, a guy named Tom Rowe, lovely man. And he was like, Neil, I'm at a licensing event with some friends of mine and everyone's talking about this thing called Traitors. I've not watched it. Have you watched it? Sounds like it might be a good thing. And so I sat back and drank my Merlot. And about five minutes later, I text him back and I was like, Tom, get us that license.Neil Connolly: And then I sent him a bunch of other details of how the show in my head would work, both from a commercial standpoint, but also from a creative standpoint, because I'm a commercially minded creative. Right. So I instantly took out my notebook and I started writing down exactly how I thought the show was going to do, the challenges that we would face and being able to translate this into a live thing. But I literally started writing it that night. And then he watched the first episode on the train on the way home. And then he texted me the next morning and he was like, 'I love it.' What do we need to do? And I was like, 'Get us in the room.' Two days later, we were in the room with all three media who own the format globally.Paul Marden: Okay.Neil Connolly: So we sat down and then they came to see one of our other shows and they were like, 'Okay, we get it now.' And then that was like two and a half years of just building the show, getting the deal done and facing the myriad of challenges. But yeah, sometimes it just starts with the text message.Paul Marden: So they get to experience all the key parts of the TV.Neil Connolly: All the key beats. Like right now, I'm holding one of the slates. They're not chalkboard slates. Again, this is... Oh, actually, this is a good challenge. So in the TV show, they've got a piece of slate and they write on it with a chalkboard pen. This seems so innocuous and I can't believe I'm talking about this on a podcast.Neil Connolly: Slategate was like six months of my life. Not in its entirety, but it was a six month long conversation about how we do the slates correctly. Because we do... 48 shows a day, six days a week. And those slates will crack. They will bash. And they're kind of a bit health and safety standards. I was like, can't have them. Also, they write on them with chalk pens, white ink chalk pens. But in the TV show, you only do it once a night. Yeah.Paul Marden: And then you have a producer and a runner.Neil Connolly: They just clean them very, very leisurely and set them back for the next day. And I was like, no, I've got to do a whole bunch of roundtable banishments in two hours. So we talked a lot about material, about style, literal viewership, because if you take a seat at the table. Yeah. If you're sitting at the table here, you'll notice that we've got a raised bit in the middle. If I turn mine around, the other person on the other side can't see it. So I was like, 'Okay, cool.' So we had to do a whole bunch of choreography. But also, the room's quite dark. Yes. At times, atmospheric. Yeah. In that magic triangle time-space atmosphere. So anything that was darker, or even that black slate, you just couldn't read it. And then there was, and then I had to— this is the level of detail that we have to go into when we're designing this kind of stuff. I was like, 'Yeah, but I can't clean off these slates with the white ink because everyone will have to have like a wet cloth chamois. Then I've just got loads of chamois around my venue that I just don't need.' And so then we're like, 'Oh, let's use real slates with real chalk.' And I was like, 'No, because dust will get everywhere.' I'll get chalk just all over my table. It'll just ruin everything. It'll ruin the technology that's inside the table because there's lots of hidden tricks inside of it. Paul Marden: Is there really? Yeah, yeah, yeah.  Neil Connolly: There's loads of hidden tricks inside the table. So after a while, going through many different permutations, I sat down with Christian Elenis, who's my set designer and my art director. And we were, the two of us were nearly in tears because we were like, 'We need,' and this only happened like.Neil Connolly: I would say two, three weeks before we opened. We still hadn't solved how to do the slate, which is a big thing in the show. Anybody who's seen the show and loves the show knows that they want to come in, they want to write somebody's name on the slate, and they want to spell the name incorrectly.Neil Connolly: Everyone does it on purpose. But I wanted to give people that opportunity. So then eventually we sat down and we were like, Christian, Neil. And the two of us in conversation went, why don't we just get a clear piece of Perspex, back it with a light coloured vinyl. And then Christian was like, 'Ooh,' and I'll make it nice and soft and put some felt on the back of it, which is what I'm holding. And then why don't we get a black pen? And we were like, 'Yeah,' like a whiteboard marker. And then we can just write on it. And then A, I can see it from the other side of the table. Thing one achieved. Two. Every marker pen's got an eraser on the top of it. I don't know why everyone thinks this is important, but it is. That you can just rub out like that, and I'm like, 'There's no dirt, there's no mess, and I can reuse this multiple times, like dozens of times in the same show.' And I know that sounds really weird, but that's the level of design I'm going to need.Paul Marden: I was just about to say, and that is just for the chalkboard. Yeah. Now you need to multiply that. How many decisions?Neil Connolly: How many decisions in each game. But also remember that there are eight round tables in this building. Each round table seats 14 people. And we do six sessions a day. So first ones at 10 a. m. Then we do 12, 2, 4, 6, and 8 p. m. So we do 48 shows a day, six days a week.Paul Marden: I love the concept that these are shows. This is not this is not visitor attraction. This is theater repeated multiple times a day for multi audience is concurrently.Neil Connolly: And I've just spent five minutes describing a slate to you. Yeah. But like, I haven't even got— it's like the sheer amount of technology that is in the show. And again, theatrical, like, look above our heads. Yeah. You've got this ring light above every seat. It's got a pin light. There's also microphones which are picking up all the audio in the room, which again is translating to the lounge of the dead. Every single one of the round table rooms has four CCTV cameras. Can you see that one in the corner? Each one of them is 4K resolution. It's quite high spec, which is aimed at the opposite side of the table to give you the resolution in the TV. In the other room. Then you've got these video contents. This is constantly displaying secret information through the course of the show to the traitors when they're in Conclave because everyone's in blindfolds and they took them off. They get secret instructions from that. There's also a live actor in the room. A live actor who is Claudia? They're not Claudia. They're not pastiches of Claudia. They are characters that we have created and they are the host of The Traitor's Game. Right. They only exist inside this building. We never have them portrayed outside of this building in any way whatsoever.Neil Connolly: They are characters, but they live, they breathe— the game of Traitors, the world of Traitors, and the building that we have designed and constructed here. And they facilitate the game for the people. And they facilitate the game for the people. One actor to 14 people. There are no plants, even though everyone tries to tell me. Members of the public will be convinced that they are the only person that's in that show and that everyone else is a plant. And I'm like, no, because that would be insane.Neil Connolly: The only actor in the room is the host.Paul Marden: 14 people that can sit around this table. How many of them are in the same group? Are you with your friends or is it put together where there are other people that you won't know in the room? If you book together, you play together.Neil Connolly: Yes. Okay, so if you don't book 14 people... Ah, we also capped the number of tickets that you can purchase to eight. Right. So you can only purchase a maximum of eight tickets unless you do want a full table of 14, at which point you have to then purchase a VIP package because you are booking out a whole table for yourselves. The game doesn't work if there's less than 10 people at the table. So there has to be 10, 11, 12, 13 or 14 people sat at a round table for the show to actually happen, for it to work. By capping the number of tickets that you book for eight, then that guarantees that strangers will be playing together. And that is the basis of strangers. Yeah, yeah. Like, you need to be sat around a table with people you know, you don't know, that you trust and you don't trust. Yeah. Fact of the matter. And do you see people turning on the others in their own group? Every single time. People think genuinely, and I love this from the public, you would think that if you're turning up as a group of eight and a group of four and a group of two, that the bigger group would just pick everybody off to make sure that someone in their group gets through to the end game.Neil Connolly: I'm sure they think that and they probably plot and plan that before they arrive on site. As soon as this game starts, gloves are off and everyone just starts going for each other. We've been open nearly two months now. I have seen, like, children murdered of their mothers.Neil Connolly: Husbands murder their wives, wives murder their husbands. I've seen, like, three generations—like, we get, because it's so intergenerational, like our lowest, the lowest age that you can play this is 12. Right. And then it's upwards. I've seen three generations of family come in and I've seen grandkids murder their own nan.Neil Connolly: Absolutely convinced that they're a traitor. Yeah, yeah, yeah. 100%. Or they banish them. Like, it's just mental. I've also seen nans, who are traitors, murder their grandkids.Neil Connolly: Like, and this is in a room full of strangers. They're just like, 'No, I'm not going to go for Barbara, who I met two hours ago in the bar. I'm going to go for my own grandson. It's mental.'Neil Connolly: The very, very first thing that I always think about whenever I'm creating an experience or whenever I'm designing a show is I put myself in the position of 'I'm a member of the public.' I have bought a ticketNeil Connolly: What's the coolest thing that I am going to do for my money? What is my perceived value of my ticket over actually what is the value of that ticket? I wanted to give people the experience of knowing what it was like to be sitting in one of these chairs at this table and feeling their heart. The pounding in their chest and I mean, the pounding in their chest, that rush of adrenaline from doing nothing— from sitting in a chair and all you were doing was sitting in a room talking to people and your heart is going.Neil Connolly: Because you're either being accused of being a liar. And trying to defend against it. And trying to defend against it. Or you actually are lying and you're trying to whittle your way out of it. And that feeling is the most alive that you will ever feel. Not ever. Like, I'm sure they're... No, no, no. But, like, give people that opportunity and that experience, as well as, like, access to the world of traitors and the law and everything else. But also, it's like any other theme park ride. People go on roller coasters because the imminent fear of death is always there. Yeah. And you feel alive. You're like, you've got such a buzz of adrenaline. Whereas, arguably, we do exactly the same thing as roller coasters, but in a much more longer-drawn format and multiple times. Yeah. And people do feel alive. When people walk out of the show, you see them go upstairs to the bar, and they are... Yeah.Paul Marden: You've said to me already that you don't use the word 'immersive,' but you know, I'm, I'm, I'm sat. The company is called 'immersive' everywhere. I'm sat behind the scenes. Okay. I'm sat in the room and the room is hugely convincing. It's like the highest fidelity escape room type experience that I've ever sat in. It feels like I'm on set, yeah, yeah. Um, I can totally believe that, in those two hours, you can slip. I sat on a game. It was only a two-minute game at iApple, but I was being filmed by one of the team. But within 30 seconds, I'd forgotten that they were there because I was completely immersed in the game. I can believe that, sitting in here right now, you could forget where you were and what you were doing, that you were completely submerged in the reality of the land that you're in.Neil Connolly: Yeah, 100%. Like, the world does not exist beyond these worlds. And for some people, like, I have my own definition. Everyone's got a different definition of what immersive is. I've got my own definition. But... I can tell you right now, as soon as people enter this building, they're in the bar, they're kind of slowly immersed in that world because the bar is a themed bar. It's done to the same, like we designed and built that bar as well. But as soon as they start descending that spiral staircase and coming into the gameplay floors, into the show floors, they just forget the rest of the world exists. And especially when they sit down at this table, it doesn't matter. I'm sat next to you here, but you could be sat at this table with your loved one, strangers, whatever. The gloves come off and just nothing exists apart from the game that you're about to go through.Paul Marden: You've been open now for a couple of months. More success than you were anticipating, I think. So pre-sales went through the roof? Yes. So you're very happy with the results?Neil Connolly: Yeah, yeah, we were. Yeah, well, we still are.Neil Connolly: We were very confident before we'd even started building the show, like the literal structural build, because we did very well. But then that set expectations quite high because I had a lot of people that had bought tickets and I was like, 'OK, I need to put on a good show for these people. And I need to make sure that they get satisfaction relative to the tickets that they bought.' But I don't feel pressure. I do feel anxiety quite a lot. Creatively? Yeah. I mean, I meditate every day.Paul Marden: But you've created this amazing world and you're inviting people into it. And as a creative, you're opening yourself up, aren't you? People are walking into the world that you've created.Neil Connolly: Yeah, this was said to me. This is not something that I came up with myself, and I do say this really humbly, but it was something that was said to me. It was on opening day, and a bunch of my friends came to playtest the show. And they were like, 'Oh, this is your brain in a building.'Neil Connolly: And I was like, 'Yeah, I hadn't thought about that.' But yeah, it is my brain in a building. But also that's terrifying, I think, for everybody else, because I know what happens inside my brain and it's really quite chaotic.Neil Connolly: But, you know, this I am. I'm so proud of this show. Like you could not believe how proud I am of this show. But also a huge part of my job is to find people that are smarter than me at the relative thing that they do, such as the rest of my creative team. They're all so much smarter than me. My job is vision and to be able to communicate that vision clearly and effectively so that they go, 'I understand.' The amount of times that people on the creative team turn around to me and go, 'Neil, that's a completely mental idea.' If people are saying to me, 'No one's ever done that before' or 'that's not the way things are done.'Neil Connolly: Or we can do that, but we're going to have to probably invent a whole new thing. If people are saying those things to me, I know I'm doing my job correctly. And I'm not doing that to challenge myself, but everything that I approach in terms of how I build shows is not about format. It's not about blueprints. It's not like, 'Hey, I've done this before, so I'm just going to do this again because I know that's a really neat trick.' I go back to, 'I made the show because I wanted people's heart to pound in their chest while they're sitting in a chair and make them feel alive.'Paul Marden: Is that the vision that you had in your head? So you're articulating that really, really clearly. Is that the vision that you sold to everybody on, not maybe day one, but within a couple of days of talking about this? No, it was day one.Neil Connolly: It was day one. Everyone went, that's a completely mental idea. But, you know, it's my job to try and communicate that as effectively and clearly as I can. But again, I am just one man. My job is vision. And, you know, there's lighting design, sound design, art direction, there's game logic. We haven't even gotten to the technology of how this show works yet, or how this room works.Neil Connolly: Actually, I'll wander down the corner. Yeah, let's do that. But, like, there's other, like, lots of hidden tricks. Like, this is one of the games, one of the missions. In the world and the lore of the show, the round table is sacrosanct.Paul Marden: Yes.Neil Connolly: Traitors is the game. The game is in other people. I can do so many missions and there's loads of missions and they're really fun in this show. But the game is in other people. It's in the people sat on the other side of the room. But also I wanted to do a thing where people could interact directly with the set. And so I designed one of the missions to be in the round table itself.Neil Connolly: So there's a course of these moon dials, which you basically have to align through the course of it. And there are sensors built into the table so that they know when they're in the correct position. How you find out the correct position is by solving a very, very simple puzzle and then communicating effectively to a bunch of strangers that you just met.Neil Connolly: And the sensors basically read it all. And when that all gets into position, the lights react, the sound reacts, the video content reacts, the whole room reacts to you. So I wanted to give people something tangible that they can touch and they make the room react to them. Yes, it's. I mean, I've designed, I've got background in escape rooms as well, right? Um, so I've done a lot of that kind of stuff as well. So I wanted people to feel in touch, same, but like, there's more tangible props over here. Um, yeah, that is a model box of the room that we are stood in, yeah. Also, there's an exact replica of it on the other side of it. There are very subtle differences between it, and that informs one of the missions. So that is two model boxes in this roundtable room. There's one of these in every single roundtable room. So there's 16 model boxes of the show that you're stood in on the set. And again, theatre. It's a show. But it's one of the missions, because I wanted people to kind of go, 'Oh, there's a live actor in front of me.' I'm having fun. Oh, look at all these lights and all the sound. Oh, there's a model box over here. That's in theatre land and blah, blah, blah. But that is also a really expensive joke. It's a really expensive joke. And there's other, like, lots of hidden tricks.Neil Connolly: Let's go look at backstage. Yeah, yeah, yeah, absolutely.Neil Connolly: I say backstage, like how we refer to it or how I always go. I use 'I' and 'we' very interchangeably. Like right now you're on the set. Like you're on the stage. Yes. We're just wandering around a long corridor. There are round table rooms off to either side. But like, you know, there's a green room upstairs where the actors get changed, where the front of house team are, where the bar team all are. But as soon as they go out onto the show floor, they're on stage—yes, completely. We'll very quickly have a look at the gallery—yes, show control. Hi, Robbo. Do you mind if I stand in your room for the purposes of the audio? I'm talking to the technical manager, Thomas Robson. We're recording a podcast.Paul Marden: Robbo, oh yeah, okay. My mind is absolutely blown. So you've got every single room up on screen.Neil Connolly: Yeah, so that's great. There's 164 cameras—something like that. But every roundtable room has four cameras in it. Each camera is 4K resolution. So we've got cameras on all of them. We've got audio into those rooms. That's two-way, so that if show control needs to talk directly to them, they just press a button here and they can talk directly to the room itself. Mainly just like, stop misbehaving, we're watching you.Neil Connolly: We've then got cameras into all of the lounges, all of the show spaces, all the front of house, all of the bar areas, the mezzanine and back of house. And then you've got QLab running across all of the different shows. We've got backups on all of these screens. So if one... of the computers goes down, we can very quickly swap it in for a backup that's already running. We've got show control, which is, there's a company called Clockwork Dog, who, they're an amazing company. What COGS, their show control system, is doing is pulling in all of the QLab from sound, all of the QLab from lighting, and also we built our own app. to be able to run the show. So there's a whole logic and decision tree based on the decisions that the public do through the course of the game. So yes, there is a beginning, a middle, and an end in terms of our narrative beats and the narrative story of the show that we're telling people. But also that narrative can go in. Hundreds of different directions depending on the actions and the gameplay that the people do during the course of the show. So, you haven't just learned one show— you have to learn like You have to learn a world, and you have to learn a whole game.Neil Connolly: Like, there's the server, stacks, which we had to build. You had to network and cable the entire building. So we have built an entire new attraction, which didn't exist before. And also we're pulling in information from the front of house system which is also going into the show itself because again, you put your name into the iPad when you arrive on site and then you tick a box very crucially to say, 'Do you want to be selected as a trader? Yes or No.' Because in the game, it's a fundamental rule. If you say no, you cannot be selected as a traitor by the host during traitor selection. That doesn't mean you can't be recruited.Paul Marden: By the traitors later on in the game. So you could come and do this multiple times and not experience the same story because there were so many different pathways that you could go down.Neil Connolly: But also, the game is in other people. Yes. The show is sat on the opposite side of the table to you because, like, Bob and Sandra don't know each other. They'll never see each other ever again. But Bob comes again and he's now playing against Laura. Who's Laura? She's an unknown quantity. That's a whole new game. That's a whole new show. There's a whole new dynamic. That's a whole new storyline that you have to develop. And so the actors are doing an incredible job of managing all of that.Paul Marden: Thanks, Robbo. Thank you. So you've worked with some really, really impressive leading IP, Traders, Peppa Pig, Doctor Who, Great Gatsby. What challenges do you face taking things from screen to the live experience?Paul Marden: Challenges do I face? We're wandering here.Neil Connolly: So we are in... Oh, we're in the tower.Neil Connolly: Excellent. Yep, so we're now in Traitor's Tower. Good time for you to ask me the question, what challenges do I face? Things like this. We're now stood in Traitor's Tower. Paul, let me ask you the question. Without the show lights being on, so we're just stood on a set under workers, what's your opinion of the room that we're stood in?Paul Marden: Oh, it's hugely impressive. It feels like, apart from the fact you've punched the fourth wall out of the telly, it does feel like you're on set.Neil Connolly: It's a really faithful reproduction of the set. So that's kind of one of the challenges is managing the public's expectations of what they see, do and feel on site. So that I don't change the show so that people come and play the game that they're expecting to play. But making reasonable adjustments within that, because TV and live are two very, very different things. So first and foremost was making sure that we get the format right. So the game that people play, which informs the narrative of the show and the narrative structure of the show. Breakfast, mission, round table, conclave. Breakfast, mission, round table, conclave. I've designed a whole bunch of new missions that are in this, taken some inspiration from missions that people know and love from the TV shows, whether that's the UK territory or other territories around the world. And also just other stuff is just clear out of my head. So there's original content in there. paying homage and respect to the world that they've built and allowing ourselves to also play and develop and build out that world at the same time. Other challenges.Neil Connolly: This is not a cheap project. No, no. I mean, the production quality of this is beautiful. Yeah, yeah, thank you. It is stunning. When people walk in here, they're like, 'Oh my God, this is... High end.' I am in a luxury event at a very affordable price.Paul Marden: Thank you. And then we're going back upstairs again. Yes. And in the stairwell, we've got the crossed out photos of all of those that have fallen before us.Neil Connolly: No, not quite. All of the people that are in this corridor, there's about 100 photos. These are all the people who built the show.Neil Connolly: So this is David Gregory. He's the sound designer. This is Kitty, who is Immersive Everywhere's office manager. She also works in ticketing. That is Tallulah and Alba, who work in the art department. Elliot, who's our lighting designer. So all of these people are the people who brought the show to life.Paul Marden: Amazing.Neil Connolly: And we wanted to pay homage to them because some of them gave years of their lives to building the show from literally the inception that I had in 2023. Through to now and others are the people who literally spent months of their life underground in these basements building hand-building this set and so we wanted to pay homage to them so we got all of their photos we did the iconic red cross through it yeah and we stuck them all up in the corridor just because we thought it'd be a nice thing to do.Paul Marden: You're in the business of trading and experiences and that ranges from art exhibitions to touring shows. There's always going to be a challenge of balancing innovation and profitability. What is the formula? What is the magic formula?Neil Connolly: I believe, first and foremost, going back to what I was telling you earlier about us being a collaborative organisation. We are not a creative crack that has been used for the show. We are also the producers of the show. And to make my point again, I'm a commercially minded creative. So I actually sit down with the producers and go, 'Okay, cool.' There are 112 seats in the show.Paul Marden: Yep.Neil Connolly: Therefore, how many shows do we need to do per day? How many shows do we need to do per week? How many shows do we need to do per year? Therefore, let's build out a P &L. And we build a whole business plan based around that.Paul Marden: By having everybody— that you need in the team— makes it much easier to talk about that sort of stuff. It makes it much easier for you to design things with the end result in mind. You don't have a creative in a creative agency going off— feeding their creative wants without really thinking about the practicalities of delivering on it.Neil Connolly: Exactly. So you've got to think like, literally, from the very, very beginning: you've got to think about guest flow. You've got to think about throughput. You've got to think about your capacities. Then you've got to basically build out a budget that you think— how much, hey, how much really is this going to cost? Yeah. Then you build out an entire business plan and then you go and start raising the money to try and put that on. And then you find a venue. I mean, like the other magic triangle, like the traitor's magic triangle is, you know, time, space, atmosphere. That's how you do a show. Like with my producer's hat on, the other magic triangle is show, money, venue.Neil Connolly: The truth of the matter, like I make no bones about it, I can design shows till the cows come home, but I'm always going to need money to put them on and a venue to put them in. Also, I want to stress this really important. I use the words 'I' and 'we' very interchangeably.Paul Marden: It's a team effort.Neil Connolly: You can see that in that corridor. I am not a one-man band. I am the creative director of a company. I am a cog that is in that machine, and everybody is doing... We are, as a team... I cannot stress this enough. Some of the best in the business are doing what we do. And everyone is so wildly talented. And that's just us on the producing side. That's immersive everywhere, limited. Then I've got a whole other creative team. Then we've got operations. Then we've got... It's just mad. It's just mad, isn't it? This is a job. Who would have thought, when you were at school, this was an opportunity? Not my principal or my maths teacher.Neil Connolly: So, sorry, just to balance the kind of economies of scale. That was the question, wasn't it?Paul Marden: Well, we were talking about what is the formula for making that an investment, but you know, the authority here is the effort you've put in to do this feels high, but at the same time, you have to find this thing. There is a lot of investment that goes into the front.Neil Connolly: But that comes back to creatives. Caring and I'm not saying the creatives don't, but I care. I care about building businesses. Yeah, not necessarily like building my own CV, like there's so many projects that across our desks. I'll be like, 'Yeah, that'd be really fun to work on.' But do I think that I can make that a touring product? Can it be a long-running location-based entertainment sit-down product? Can it be an art shop? Like you've kind of got a balance with what do you think is just creatively cool versus what can we do as a company that is a commercially viable and financially stable product? And so all that comes through in terms of the creative, but also in terms of the activities of how we run the building, how this model realizes. Because if you think about it, let's make Phantom of the Opera run in the West End. Yes. The show is very obvious, with many casts on a room, away, fruit team away, terrace, it's a big activity. If they haven't sold half that away, they have to use the whole show and play all those people.Neil Connolly: But if they haven't sold half that away from one of my shows... I only have to activate four of my rooms, not eight of them. Therefore, I don't have to call in four actors. I don't have to call in a bunch of the other front of house team and I can scale in the operations on the back. It's an entirely scalable process. Flexible, yeah, yeah, yeah. Oh, 100%. But also, like, we've got eight rooms here. If we decide to take this to another territory, and that territory demands a much higher throughput, then instead of eight rooms, I can do 20 rooms, 30 rooms. As long as we know that the market is there to be able to kind of get people through it.Neil Connolly: I love this show and I'm so proud of it. The main reason why I'm proud of it is when the show finishes, let's go into one of the lounges. Have you been into one of the lounges?Paul Marden: I've had a nose around a lounge.Neil Connolly: There are different shapes and sizes. We won't go into that one. We'll go into this one down here. That one, that one. It's always such a buzz when you're stood in the bar and the shows kick out, and you see tables and tables of 14 people going up into the bar.Neil Connolly: Area and before they've even gotten a drink, they will run straight over to their friends, families, strangers, whoever they were playing with in that table of 14, and instantly be like, 'Right, I need to know everything that was going on inside your head, your heart, and your soul over the last two hours of my life because this was my experience.'Neil Connolly: And they'll just go, and they'll be like, 'And this is what I was thinking.' And then I thought it was you because you did this and you touched your nose in a weird way. And then I thought you were sending secret signals. And then everyone's like, 'No, that's not what I was doing.' I was just trying to be a normal person. And they were like, 'Well, why did you say that thing?' It sounded super weird. And they're like, 'That's just what I do.' And it's just totally mental. And then they all get a drink from the bar. And we call it the bar tab chat.Neil Connolly: It's another revenue stream.Neil Connolly: I do talk about this like it's a show. And it is a show. You've walked around, do you think it's a show? Completely. I talk to established houses all the time. Like, you know, the big theatres of the land. Organisations that are national portfolio organisations who receive a lot of Arts Council funding. The thing that they want to talk to us about all the time is new audiences. They're like, 'How do I get new audiences through my door?' What can I do? And I'm like, 'Well, firstly, make a show that people want to go and see.'Neil Connolly: Again, they're like, 'But I've got this amazing writer and he's a really big name and everyone's going to come because it's that name.' And I'm like, 'Yeah, that's wicked. That's cool.' And they can all go pay reverence to that person. That's really wonderful. Whereas when you look at the attractions landscape or the immersive theatre landscape or like anything like... Squid Game, or The Elvis, Evolution, or War of the Worlds, which has also laid reality, or any of that kind of stuff, across the landscape, it is nothing but new audiences. Yeah, yeah, yeah. It is nothing but actual ticket-buying audiences.Neil Connolly: And they come from all different walks of life. And what I love is that they do come in to this experience and we hit them with this like secret theatre.Neil Connolly: And they're like, 'Oh my God.' And often it's a gateway to them being like, 'Oh, I didn't realise that.' Maybe I'll go see a Western show or maybe I will go to the National Theatre and see something. Because that's the level of archery. Because those organisations, I love them and I've worked in a few of them, but those buildings can be quite austere, even though they're open and porous, but it's still very difficult to walk through that threshold and feel a part of it.Paul Marden: Whereas coming in here, coming into an event like this, can feel like a thing that they do.Neil Connolly: Because it's the same demographic as theme park junkies. People who love going to theme parks love going to stuff like this because it's an experience, it's an otherness, it's an other nature kind of thing. Because modern audiences want to play and do, not sit and watch. But we all exist in the kind of same ecosystem. I'm not taking on the National Theatre.Paul Marden: Gosh, no. I always talk about that. I think the reason why so many attractions work together in the collaborative way that they do is they recognise that they're not competing with each other. They're competing with sitting on your backside and watching Netflix.Paul Marden: Yeah, yeah.Paul Marden: Our job for all of us is to drag people away from their screens and drag people off of their sofas to do something. And then that's the biggest challenge that we all face.Neil Connolly: I think then that kind of answers the question that you asked me earlier, which I didn't answer. And I'm very sorry.Neil Connolly: is about identifying different pieces of IP. Like, yes, we largely exist in the world of licensing IP. And how do we identify that kind of IP to be able to translate? Not just how do we do it, but like, actually, how do we identify the right thing that's going to... How do you spot the winner? Yeah, exactly. Yeah. And that is one of the biggest challenges to your point of we're talking directly to people who consume arts, culture and media and technology in a slightly more passive way, whether that's just at home and watching Netflix and then bringing that to life. In a very, very different way. If you have a very clear marketing campaign that tells people what it is that they're buying and what they're expected to see or do on their particular night out, because that's what modern people really care about, what they do with their money. Yeah. And they want to have a good night out. And I'm in the business of giving people a good night out. We also happen to be murdering a lot of people in the course of the show.Neil Connolly: Still a good night out. Still a good night out. But I'm in a place where the dead sit. Yeah, exactly. Lounge of the dead. And like, you know, this is a really cool space. Oh, it's just beautiful. You know, we've got the telephone really works. There's lots of information that comes through that. The radio works, that does different things. The TV screen on the wall, that has the actual live feed into the round table room that you've just left. And there's other little puzzles and hints and tricks in this room, which means that after you've been murdered or banished and you come to the Lounge of the Dead, you're still engaged with the game to a degree. You just don't directly influence the outcome of the game. But you're still involved in it. You're still involved in it. It's super fun. Oh, and you can have a drink in here.Paul Marden: I don't let people drink in the round table. Even more important. What's this?Neil Connolly: The dolls, the creepy dolls. What this is, this is the void. Creatively speaking, this is where all the gold goes when people win or lose it. And the creepy dolls are from the TV show. Ydyn nhw'r un gwirioneddol o'r sioe? Felly, gafodd studio Lambert, sy'n gwneud y sioe tebyg, llawer o brops o'r sioe tebyg i ni eu rhoi ar y ddispleiddio yma. Felly, mae gennych chi'r Dolls Creepy o'r lles 3 yno. Rydyn ni'n mynd i fyny. Yn ôl yma, mae'r peintiwch Deathmatch.Paul Marden: Which is from season three.Neil Connolly: And they get the quill and they write the names and got the quill upstairs. We've also got over here, the cards that they used to play the death match with. Excellent.Paul Marden: So you began your career in theatre. How did that evolve into the world of immersive live experiences?Neil Connolly: Life story. I am the son of a postman and a cook. And if you haven't noticed already, I'm from Ireland. There was no theatre in our lives, my life, when I was growing up. And I stumbled into a youth theatre. It's called Kildare Youth Theatre. And the reason why I joined that is because there was a girl that I really fancied.Neil Connolly: She had just joined this youth theatre and I was like, 'Oh, I'm gonna join that as well' and that kind of opened the world of theatre for me. At the same time, I then got spotted by this guy, his name's Vijay Baton, his real name's Om, but he converted to Hare Krishnanism in the 90s. And he set up a street theatre company in Ireland. He just taught me street theatre. So he taught me stilt walk, he taught me juggling, he taught me how to build puppets. And so I spent years building puppets with him and going around Ireland doing lots of different street theatre while I was a teenager. And doing street theatre and doing my youth theatre and then kind of all of that kind of came to a head when I had to decide what I was going to do with my life. I applied to go to drama school. And I applied to two drama schools. One was Radha. Didn't get in. Didn't even get an audition. And the other one was Rose Bruford. And they took me. And the reason why they took me— I probably wasn't even that good. But on the day that I was auditioning to get into Rose Bruford was the same day as my maths exam for my final exams at school. You call them your A-levels, we call them the leaving certificate.Neil Connolly: And while all of my friends were back in Ireland doing their maths exam, I was in an audition room pretending to be a tree or the colour black.Neil Connolly: Who knows? And they kind of went, 'Well, if I fail my maths exam, I don't get into university in Ireland.' Like, it's just a blanket thing. And so I was like, 'I literally sat across the panel' and I was like, 'eggs, basket.' And they were like, 'cool.' So they let me in based off of that. So I got a classical training. Then what happened is I came out of university. I was living with two of my friends, Natalie and Joe. And we had our own little production company called The Lab Collective. And we just started making shows. In weird ways, we joined a company called Theatre Delicatessen. Let's get away from this. Yeah, yeah, yeah.Neil Connolly: So Theatre Deli was a company set up to take over disused spaces in London and convert them into art spaces.Neil Connolly: Basically legalised squatting. It's the same as like a guardianship. But we weren't living in the buildings. We were just putting on shows and we put on art shows, we put on theatre shows. We did Shakespeare for a while. We wrote our own work and we just did lots of really, really cool stuff. And I worked in music festivals, classically trained actor. So I was trying to do shows. I did a lot of devising. I also joined an improvisation group. And kind of through all that mix, like those years at Delhi, which was making these weird shows in these weird buildings, were very, very formative years for us. The Arts Council wouldn't support the kind of work that we were making. We were like, 'Cool, how do we get space?Neil Connolly: How do we get or make money to support ourselves? And what are the shows? There's the magic triangle all over again. Space, show, money. And that's your apprenticeship, I guess, that brings you to here. Yeah, yeah, yeah. And like, again, I make no bones about it. 10 years ago, I was selling programs on the door of the Royal Festival Hall while doing all of that stuff. So in one of the Theatre Daily buildings, we did a show called Heist, which is you break into a building and steal stuff. That's what the public do.Neil Connolly: And a bunch of us did that. I mean, it's so much fun— kind of doing it. And off the back of that, somebody else basically tried to chase down the crystal maze. And then they went away, and then they called me up and they were like, 'Hey, I've got the rights. Do you want to make the crystal maze?' And I was like, 'Yeah, sounds like fun.' So I got involved with that, did that for a while. And then, from there, this is the end of a very long story. I'm so apologised. Yeah, from there, all of those different things that I've done through the course of my life in terms of operations, designing experiences, being a creative, understanding business.Neil Connolly: Building a P&L, building a budget, talking to investors, trying to convince them to give you money. All of that stuff kind of basically came together. And over the last few years, like the wildest ride is that pre-2020.Neil Connolly: We were just a bunch of people doing a bunch of weird things, making weird shows and weird attractions in kind of different ways. And then that year happened. And I don't know what happened, but literally every single major studio, film, TV production, game designer, licensor in the world, suddenly just went— brand extensions, world extensions, and they all just started calling us. And they were like, 'Hi, I've got this thing.' Can you develop it into a thing? Because I need to extend my brand or I want to build a world and extend that for the public. And we were like, 'Yeah, okay, cool.' And we were just lucky, serendipitously, to be in the right place at the right time. To be those people that people can approach. And we're always, we're very approachable.Neil Connolly: As you can tell, I talk a lot. And, you know, so the last five years, it's just been a mad ride.Paul Marden: So look, Neil, it's been amazing. I have had the most fun. Last question for you. What's next? Are you putting your feet up now because you finished this? Or on to the next? Neil Connolly: Very much on to the next thing. So we're already in production with our new show, which is called Peppa Pig Surprise Party. And that is opening at the Metro Centre in Gateshead next year. Oh, how exciting is that? It's very exciting.Paul Marden: So quite a different demographic.Neil Connolly: The demographic for Peppa Pig is two to five year olds. It's been a really fun show to design and create. To go back to a question that you asked me very early on, there is no blueprint, there is no format. I have embraced the chaos tattooed on my arm. And always when I approach things, any new show or any new creative, I am thinking of it from a ticket buying perspective: 'I have paid my money.' What is the coolest thing that I can possibly do with that money? And so therefore, I'm now looking at families and, like, what's the coolest thing that they can do for that ticket price in the world of Peppa Pig?Paul Marden: Let's come back in the new year, once you've opened Peppa Pig, let's go to Gateshead and see that. That sounds pretty awesome to me. I reckon there's a whole new episode of Designing Worlds for two to five-year-olds that we could fill an hour on.Neil Connolly: Oh yeah, 100%. It's a totally different beast. And super fun to design.Paul Marden: Oh mate. Neil, it has been so wonderful having a wander around the inside of your crazy mind.Paul Marden: If you've enjoyed today's episode, please like it and leave a comment in your podcast app. It really does make it so much easier for other people to find us. This episode was written by Emily Burrows from Plaster, edited by Steve Folland, and produced by Sami Entwistle from Plaster and Wenalyn Dionaldo. Thanks very much. See you next week.  The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

Send us a textThe Ballad of Kendra and Matt (or, The Song That Never Made It to the PA)  A neighborhood celebration, a home-recorded love song, a forgotten “play” button — and a reminder that even when things go sideways, community and humor always find a way. Magnus tells the true story behind a tune that almost didn't get heard — until now.Support the show_________________________________________________This podcast is a production of the Henry Miller Memorial Library with support from The Arts Council for Monterey County! Let us know what you think!SEND US AN EMAIL!

Festivals Acadiens et Créoles is celebrating its 50th anniversary this weekend. The three-day Cajun and Zydeco music festival in Lafayette's Girard Park is an authentic celebration of Acadiana's vibrant traditions, complete with food, art and performances by local musicians. Festival founder and Acadiana folklorist Barry Ancelet and Cajun singer-songwriter Zachary Richard tell us more about the festival's history and what to expect this year. The City of Baton Rouge is redesigning its website and is asking residents to help by taking and submitting pictures that help capture the beauty, culture and character of the area.  Mayor-President Sid Edwards' office launched the photo campaign, ImaginEBR, with the help of the Arts Council of Greater Baton Rouge. Edwards' press secretary, Falon Brown, joins us with more. United States Space Command is relocating from Colorado to Huntsville, Alabama. But that doesn't guarantee all of its employees will move with it.The Gulf States Newsroom's Stephan Bisaha tells us about recruitment to the southern space belt. —Today's episode of Louisiana Considered was hosted by Karen Henderson. Our managing producer is Alana Schreiber. We receive production and technical support from Garrett Pittman, Adam Vos and our assistant producer, Aubry Procell. You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, the NPR App and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

Send us a textSupport the show_________________________________________________This podcast is a production of the Henry Miller Memorial Library with support from The Arts Council for Monterey County! Let us know what you think!SEND US AN EMAIL!

Palmer Arts Council Managing Director Meggie Aube speaks with Mike Chmielewski. The Palmer Arts Council has been in operation for 25 years, offering a range of activities including musicals, plays, summer camps, art classes, and more. The Palmer Arts Council offers free arts classes on Mondays for students aged 12-18. All supplies and materials are […]

Culture Night now in its twentieth year, is an annual public event taking place all over Ireland that celebrates the richness and diversity of culture in Ireland today. Esri Ireland, the market leader in Geographic Information Systems (GIS), has announced that The Arts Council has used Esri's technology to create a digital map of events happening around Ireland for Culture Night 2025. The interactive, easy-to-use map will chart your cultural course and help you to navigate over 1,800 free events taking place across the island of Ireland. From music, theatre, and comedy to poetry readings, walking tours, and puppet workshops, there is something for all ages and interests on the 2025 programme. The Culture Night digital map allows you to search the 1700 events taking place tonight by county, location, venue, and event name. It also allows you to search by start time, age suitability, and accessibility. See more stories here. More about Irish Tech News Irish Tech News are Ireland's No. 1 Online Tech Publication and often Ireland's No.1 Tech Podcast too. You can find hundreds of fantastic previous episodes and subscribe using whatever platform you like via our Anchor.fm page here: https://anchor.fm/irish-tech-news If you'd like to be featured in an upcoming Podcast email us at Simon@IrishTechNews.ie now to discuss. Irish Tech News have a range of services available to help promote your business. Why not drop us a line at Info@IrishTechNews.ie now to find out more about how we can help you reach our audience. You can also find and follow us on Twitter, LinkedIn, Facebook, Instagram, TikTok and Snapchat.

This month brings a new refresh to On West Gray! Bryce Holland takes over as host and welcomes Leslie Nottingham, Executive Director of the Norman Arts Council, to talk about the NAC and everything it does for our community. For more information on the Norman Arts Council, visit www.NormanArts.org For more information about the City of Norman, visit www.NormanOK.gov Questions or comments about the podcast can be emailed to PublicAffairs@NormanOK.gov Twitter - @cityofnormanok Instagram - @thecityofnorman Facebook YouTube

Join hosts John Salling and Sherri Kropp on the Fayetteville 411 podcast as they discuss the upcoming 2025 International Folk Festival in Fayetteville. Guest Miles McKeller-Smith from the Arts Council shares exciting details about the event, including the Parade of Nations, diverse food vendors representing more than 30 cultures, live performances by local and international artists and family-friendly activities.

In this City Update, get all the details about the upcoming International Folk Festival which takes place September 26 and 27th in downtown Fayetteville. Over 30 countries will be represented in the Parade of Nations on Saturday and you can experience rich traditions and food from all around the world as well as some great entertainment. For more information visit theArtsCouncil.com.

Mike Esneault converses with James Fogle, for the Arts Council of Greater Baton Rouge's AC23+ Artist Legacy Series podcast. James is the owner of Mid City Ballroom, Baton Rouge Music Exchange and Pop Shop Records. Through these ventures as well as his work as a musician/performer, James has greatly enriched the Baton Rouge arts community. They discussed this as well as other topics related to being an artist in the Greater Baton Rouge area for over the last 40+ years.

Lucy Roth's new novel has one of the best names going. 'When Sally Killed Harry', is a feminist serial-killer thriller. When Sally discovers she's not the only one to have been jilted by dreamy con-man Harry, she takes matters into her own hands, and becomes his worst nightmare.It's Lucy's first thriller, but she has published novels and non-fiction books as Lucy Nichol. 'Parklife' talks about friendship, music and recovery in the 90s. There's also 'The Twenty Seven Club', which is a dark comedy around mental health and fandom. Also, 'Snowflake', 'No Worries If Not', and 'A Series of Unfortunate Stereotypes'. As a journalist, Lucy has written for The Independent, The Guardian, The I, NME and lots more.We talk about the Arts Council Funding Lucy acquired to write the novel, what it helped her do, and who it helped her talk to. It's a thoroughly researched book, with Lucy interviewing a criminologist, a detective, an expert in psychopathy, and the former CEO of Rape Crisis. You can hear why that was so vital for her writing.We discuss how her disorganised filing system keeps her organised, what thriller readers don't want to see and how her perspective on characters change through time.This week's episode is supported by Faber Academy. Their flagship, 'Writing a Novel' course is back. Find out more at faberacademy.com/writing-a-novelSupport the show onpatreon.com/writersroutineko-fi.com/writersroutineGet a copy of the book at uk.bookshop.org/shop/writersroutineIf you have a few moments, please do this survey which really helps the show - https://acast-d25653fd59cf.intercom-clicks.com/via/e?ob=9oUbiH0woKcJwV9Q8WUiC8BruxQ%2BHlrTALuRpe9%2FPddwKlJNiOX0Ooxy4zRWp%2Fpm&h=66ec8e1b64337f9ef329aeed760397c3843bd55e-ayi0335i_215470486248154@writerspodwritersroutine.com Hosted on Acast. See acast.com/privacy for more information.

The Moneywise Radio Show and Podcast Wednesday, September 3rd BE MONEYWISE. Moneywise Wealth Management I "The Moneywise Guys" podcast call: 661-847-1000 text in anytime: 661-396-1000 website: www.MoneywiseGuys.com facebook: Moneywise_Wealth_Management LinkedIn: Moneywise_Wealth_Management Guests: Em Radmacher, Creative Director for the Arts Council of Kern & Parker Robinson, Graphics Administrative Assistant for the Arts Council of Kern website: https://kernarts.org/latination/  

The San Benito County Arts Council is accepting thought-provoking applications for their "EAT" exhibit that opens in October. And, California's senators fight for emissions limits on heavy-duty trucks following a federal attempt to reject California's state standards.

The Pend Oreille Arts Council (POAC) has been bringing the arts to life in Bonner County since 1978. For nearly five decades, this local nonprofit has inspired creativity, enriched education, and connected the community through unforgettable arts experiences. Claire Christy, Arts Coordinator for the Pend Oreille Arts Council, invites you to immerse yourself in the magic of the arts with their highly anticipated 3-day Artist Studio Tour—Labor Day Weekend August 29–31, from 10:00 am to 4:00 pm. Step inside the creative worlds of 20 talented artists as they open the doors to 16 unique studios across Sandpoint, Sagle, and the surrounding areas. From paintbrush to pottery wheel, canvas to carving tools, you'll see art in action, hear the stories behind the work, and even have the chance to take home a one-of-a-kind treasure. The Artist Studio Tour is more than an event—it's a celebration of North Idaho's thriving arts community and an invitation to support the incredible talent in our own backyard. Discover more about POAC's wide variety of programs, classes, and events at ArtinSandpoint.org, and explore the full lineup of participating artists at artinsandpoint.org/artist-studio-tour.

Local leaders raise awareness about affect of ICE raids on Asian-Americans. Also, a new adaptation gives Shakespeare's classic play a feminine update. Finally, a free summer concert series keeps music accessible in Amador County.

Send us a textA clown stands alone… somewhere between Henry Miller and Samuel Beckett… somewhere between laughter and the cosmic void.Henry Miller once said, “A clown is a poet in action.” Today, that poet is Kangalee—the one-man actor and director—returning to the stage with a new mono-drama that refuses to stay in one world. Silent film. Revolutionary vaudeville. Delirious mime. Poetry. Nirvana.This is the modern holy fool—not Keaton, but Kangalee—struggling, leaping, breaking through to offer us something sacred.And for the first time in America, Henry Miller's most mysterious story comes alive on stage in Smile: A Clown's Ascension — based on The Smile at the Foot of the Ladder.This episode is a conversation with Kangalee! Please visit:Kangalee Arts EnsembleHM 21 SymposiumWith support form the Arts Council of Monterey CountySupport the show_________________________________________________This podcast is a production of the Henry Miller Memorial Library with support from The Arts Council for Monterey County! Let us know what you think!SEND US AN EMAIL!

Break out your paint brushes, it's almost time for the St. Charles Arts Council's Plein Air event, which is coming on August 18th. St. Charles Art's Council President of the Board, Sue McDowell, and events coordinator, Karen Porter, took us through what to expect with the event, as well a the Arts Council's new gallery and ARC.

In this episode of Chamber Chat with Kate & Kat, we welcome Ann Brock, Vice President of the newly formed Wahoo Arts Council. Ann shares the council's mission, upcoming projects, and how you can get involved—whether you're an artist, performer, or simply someone who loves supporting the arts.Tune in to find out how the Wahoo Arts Council plans to inspire creativity, build connections, and bring even more culture to our community.

Learn about the 2025-2026 Arts & Cultural Events season with Caroline Wall, Arts and Cultural Events Program Manager.

Creative & Senior Development Manager at the Arts Council of Greater New Haven

In this episode, Katie and Steve sit down with Nancy Hill, Director of the Shasta County Arts Council, to talk about how the arts show up in everyday life across Redding and Shasta County.Even if you don't consider yourself an “art person,” there's something here for you: murals, music, downtown events, youth programs, and ways the Arts Council supports local artists and businesses.You'll hear how the arts bring people together, create opportunities for connection, and make Redding a more vibrant and welcoming place to live—whether you're picking up a paintbrush or just enjoying what's around you.Listen in to learn:What the Shasta County Arts Council really doesWhy arts and culture matter for the whole communityEasy ways to get involved or support local arts, no matter your backgroundFind out how creativity is already woven into Redding's story—and how you can be part of it.Learn more about the Arts Council >>Read the transcript >>Contact the City of Redding Podcast Team Email us at podcast@cityofredding.org Connect with us on Facebook, Twitter and Instagram Visit the City of Redding website Love the podcast? The best way to spread the word is to rate and review!

"Artists are entitled, just like every other worker, to a livable, predictable, sustainable wage." – Jennifer Laine, San Benito County Arts CouncilIn this powerful season finale, guests explore five urgent themes—economic power of the arts, youth-led civic engagement, cultural equity, legislative reform, and creative healing. From museum-building to policy change and correctional programs, they reveal how arts work fuels systemic solutions and community transformation across California.Show Guests:+Jackie Melendez-Assistant City Manager, City of Chino+Tracy Hudak-Director of Field Engagement,California for the Arts  +Josiah Bruny-CEO,Music Changing Lives  +Danielle Brazell-Executive Director,California Arts Council (CAC)  +Kristen Sakoda-Director, Los Angeles County Department of Arts and Culture  +Jennifer Laine-Executive Director, San Benito County Arts Council & President of California Arts Advocates  +Shira Lane-Founding Executive Director, Atrium 916  +Dr. Meghna Bhat-Founder,Gula Stories+Ruben Reveles, Futuristic Chicanx Artist  +Alex Gallardo Valdeolivar-AIC Coordinator/ Instructor, Arts Council of Kern+ Eric Estrada, Co-Host, Assoc Producer, Voices of the Community+ Eduardo Robles: Summit Roaming Reporter, California for the Arts and Voices of the Community+ George Koster: Creator, Host, Producer, Voices of the CommunityYour voice matters! Support the arts now! They are vital for economic growth, community health, and empowering future leaders. Watch, listen, and share this crucial episode with your networks, local officials, and arts funders.

Mike Esneault talks with the Arts Council of Greater Baton Rouge's Artist in Residence and Artist Liaison, Mike Weary. They discuss various aspects of being a professional freelance visual artist as well as Mike's experiences working as an arts administrator, educator and gallery curator.