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23 episodes with best short film
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3 episodes with best short film
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3 episodes with best short film
2 episodes with best short film
2 episodes with best short film
My guests are multi-hyphenate creatives and frequent collaborators Edgar Morais and Luke Erberl. Edgar Morais is a filmmaker, photographer and actor. His directorial debut, the short film"Heatstroke", screened in competition at PÖFF, Maryland, ISFF Detmold, FEST New Directors New Films, IndieLisboa among others and won the CinEuphoria award for Best Screenplay. His second short film, "We Won't Forget", world premiered in competition at Palm Springs ShortFest and screened at over 25 festivals worldwide including, Hamptons IFF, IndieLisboa, Woodstock, Tirana, Dresden, Rooftop Films, and Rio de Janeiro. It received the Grand Jury Prize and the award for Best Editing at Castrovillari, the Honorable Mention at FEST New Directors New Films and was selected as Vimeo Staff Pick and Short of the Week. The film received a nomination for a Portuguese Academy Award (Sophia) for Best Short Film. Edgar has directed music videos for bands such as Mothxr and Grammy-nominated Shiny Toy Guns. As an actor, he has worked with directors such as Teresa Sutherland, Victoria Mahoney, and Tiago Guedes in films that have screened at Cannes, Venice, Fantasia, Gothenburg, Vila do Conde, and Rotterdam. Edgar received recent widespread critical acclaim for his starring turn in Albania's submission to the Oscars "A Cup of Coffee and New Shoes On" (Fischer Audience Award winner at Thessaloniki IFF) earning him the award for Best Actor at the Prishtina IFF as well as rave reviews for his performance from the likes of Variety and Screen Daily. Luke Eberl is a filmmaker and actor. His directorial feature film debut, "Choose Connor" screened at Rome Film Festival, Seattle, Newport Beach, Woodstock, CineVegas and Philadelphia, where it won the Jury Prize for Best American Independent. It was released theatrically and on video by Strand Releasing to outstanding reviews by the likes of The New York Times, Los Angeles Times and Washington Post. Luke was subsequently named one of the "10 Young Americans to Watch” by Eric Kohn in MovieMaker Magazine. He has directed music videos for bands such as Mothxr and Grammy-nominated Shiny Toy Guns and the short film "We Won't Forget" which screened at over 25 festivals including Palm Springs ShortFest, Hamptons IFF, Woodstock, Tirana, Dresden, Rooftop Films, IndieLisboa and Rio de Janeiro and won the Grand Jury Prize and the award for Best Editing at Castrovillari, the Honorable Mention at FEST New Directors New Films, was nominated for a Portuguese Academy Award (Sophia) for Best Short Film and was selected as Vimeo Staff Pick and Short of the Week. As an actor he has worked with directors such as Tim Burton, Alfonso Arau, Vincent Paterson, Peter Hoar, and Clint Eastwood on his Oscar-winning "Letters from Iwo Jima". Music in this episode by Kaki King.
In Matt's first episode as our new co-presenter, we are joined in the studio by writer/director David Robinson-Smith. Hailing from Budgewoi NSW, David’s interest in film first started in primary school leading to a stint at the Australian Film Television and Radio School where he directed his Master's film Mudcrab which was a 'Short of the Week' Pick, won a host of national and international awards, and was nominated for Best Short Film at the 2024 AACTA Awards. His followup, We Used to Own Houses, was also critically acclaimed and won Best Short Film at CICLOPE Asia 2024, was nominated for Best Direction in a Short Film at the 2023 Australian Director’s Guild Awards and won Best Short Film, Best Innovation and Best Original Score at the 2024 St Kilda Festival. We’re so excited to have David join us in the station today to talk about his film career to date, his upcoming feature projects and his latest short, The Shirt Off Your Back which is showing tonight and next Monday, June 9, at the Sydney Film Festival which is on until sunday, June 15th. The Shirt Off Your Back at the Sydney Film Festival 2025 Mudcrab (2022) We Used to Own Houses (2023) David's Instagram Matt's Instagram This episode was produced and edited by Zaity Salman. Out of the Box is recorded at the fbi station in Redfern, which is on unceded Gadigal Land. We pay our respects to Gadigal elders past and present and recognise the ongoing colonial violence committed across this country. Wherever you’re tuning in from in so-called Sydney, the land always was, always will be, Aboriginal land. See omnystudio.com/listener for privacy information.
What are the 4Qs? (1) Three favorite films. (2) An underrated film. (3) An overrated film. (4) A lesser-known film people should seek out. Wednesday I chatted with actor, writer and producer Alex Frnka about her film “Blue Moon” that took home the Audience Award for Best Short Film, Drama at Film Invasion Los Angeles in 2022. Welcome back to check out Alex's 4 Questions! You can follow Alex on Instagram at @alexfrnka (https://www.instagram.com/alexfrnka). And if you appreciate a good book, Alex has her own podcast “Babes In Bookland” that explores the wide, wide world of women's memoirs. Check it out at Babesinbookland.com or on Instagram at @babesbinbooklandpod (https://www.instagram.com/babesinbooklandpod) _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Discover Indie Film Links DIF Podcast Website - DIF Instagram - DIF BlueSky Discover Indie Film Foundation (nonprofit for the arts) Website Sherman Oaks Film Festival Film Invasion Los Angeles
Hope everyone is enjoying this beautiful Spring Wednesday! Actor, writer and producer Alex Frnka brought the film “Blue Moon” to Film Invasion Los Angeles in 2022 and the film blew everyone away. Wonderfully written, wonderfully acted, wonderfully shot, and wonderfully directed by FI-LA alum Diliana Deltcheva, “Blue Moon” took home the Audience Award for Best Short Film, Drama. This was no surprise, as the film's authentic intensity impacts everyone who sees it. We had around seven people onstage for the “Blue Moon” Q&A at FI-LA 2022, which means that this podcast marks my first opportunity to have an extended conversation with Alex. She did not disappoint! I hope you enjoy listening to this podcast as much as I enjoyed recording it. You can follow Alex on Instagram at @alexfrnka (https://www.instagram.com/alexfrnka). And if you appreciate a good book, Alex has her own podcast “Babes In Bookland” that explores the wide, wide world of women's memoirs. Check it out at Babesinbookland.com or on Instagram at @babesbinbooklandpod (https://www.instagram.com/babesinbooklandpod) _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Discover Indie Film Podcast Links DIF Podcast Website - DIF Instagram - DIF BlueSky Discover Indie Film Foundation (nonprofit for the arts) Links DIF Foundation - Sherman Oaks Film Festival - Film Invasion Los Angeles
#realconversations #filmmaker #director #Deathbed #indie #IT#writer CONVERSATIONS WITH CALVIN WE THE SPECIESMeet KEITH ARMONAITIS: “This magical interview with Keith continues our six-year journey frommeeting at the Garden State Film Festival to revelations, appreciations,discoveries, and absorptions; all particulates of the special world of Indiefilmmaking. Keith is so integral and inspirational. A perfect interview” Calvinhttps://www.youtube.com/c/ConversationswithCalvinWetheSpecIEs460 Interviews/Videos 8400 SUBSCRIBERSGLOBAL Reach. Earth Life. Amazing People. PLEASE SUBSCRIBE **KEITH ARMONAITIS: Indie Filmmaker, Director, Writer, Award Winner;IT Pro; Film, ‘Deathbed' at Garden State Film Festival.YouTube: https://youtu.be/TpTSDfVeWFcABOUT: Last 20 yrs Keith wrote a dozen screenplays. Hismovie “Missed” won Best Narrative Short at Garden State Film Festival and hasfound its true following in the LGBTQ+ community. His movie “Swung” won LouCostello Award for Best Comedy Short at GSFF. Keith's directorial debut, “BeHome Soon” premiered at GSFF, winning Best Short Film and starring,brilliantly, Heather Brittain O'Scanlon. KEITH CONTACT: LinkedIn:https://www.linkedin.com/in/keitharmonaitis/Facebook: https://www.facebook.com/karmonaitis/Twitter @karmonaitisInstagram @karmonaitis ** WE ARE ALSO ON AUDIOAUDIO “Conversations with Calvin; WE the SpecIEs”ANCHOR https://lnkd.in/g4jcUPqSPOTIFY https://lnkd.in/ghuMFeCAPPLE PODCASTSBREAKER https://lnkd.in/g62StzJGOOGLE PODCASTS https://lnkd.in/gpd3XfMPOCKET CASTS https://pca.st/bmjmzaitRADIO PUBLIC https://lnkd.in/gxueFZw
Die Bully Die is a short film built on the notion of retribution and exorcising the pain inflicted by a high-school bully. Actors and writers Matthew Backer & Drew Weston are directed by Nathan Lacey & Nick Lacey, and collectively they bring forth a horror comedy that shows in bloody fantasy sequences how a victim might just want to throw that pain back at their inflictor. Die Bully Die was the winner of the Sydney Film Festival Dendy Award for Best Short Fiction, and is nominated for Best Short Film at the 2025 AACTA Awards. Nick and Nathan also received nominations for Best Direction in a Short Film at the Australian Directors Guild, while Nathan was nominated for Best Editing in Short Drama by the Australian Screen Editors, with cinematographer Patrick Coe nominated at Australian Cinematographers Society for Short Film Cinematography, and the sound team featuring Troy Mauri, Brendan Croxon, Cristobal Penailillo, and Jack Moiseyev, were honoured with a nomination at the Australian Screen Sound Guild. In the following interview, Nathan and Nick talk about building a trauma informed horror comedy, what the collaborative process with actors and writers Matthew Backer & Drew Weston was like, how Gaspar Noe's style influenced the production, and a lot more. If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. If you can and have the means to support us, please visit Patreon.com/thecurbau to support our work from as little as $1 a month. Hosted on Acast. See acast.com/privacy for more information.
Die Bully Die is a short film built on the notion of retribution and exorcising the pain inflicted by a high-school bully. Actors and writers Matthew Backer & Drew Weston are directed by Nathan Lacey & Nick Lacey, and collectively they bring forth a horror comedy that shows in bloody fantasy sequences how a victim might just want to throw that pain back at their inflictor. Die Bully Die was the winner of the Sydney Film Festival Dendy Award for Best Short Fiction, and is nominated for Best Short Film at the 2025 AACTA Awards. Nick and Nathan also received nominations for Best Direction in a Short Film at the Australian Directors Guild, while Nathan was nominated for Best Editing in Short Drama by the Australian Screen Editors, with cinematographer Patrick Coe nominated at Australian Cinematographers Society for Short Film Cinematography, and the sound team featuring Troy Mauri, Brendan Croxon, Cristobal Penailillo, and Jack Moiseyev, were honoured with a nomination at the Australian Screen Sound Guild. In the following interview, Nathan and Nick talk about building a trauma informed horror comedy, what the collaborative process with actors and writers Matthew Backer & Drew Weston was like, how Gaspar Noe's style influenced the production, and a lot more. If you want to find out more about the work we do on The Curb, then head over to TheCurb.com.au. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. If you can and have the means to support us, please visit Patreon.com/thecurbau to support our work from as little as $1 a month. Hosted on Acast. See acast.com/privacy for more information.
Join us for an inspiring conversation with three incredible creatives shaping the entertainment world! Meet our special guests: Miatta Vincent Ronca Screenwriter and Executive Producer Miatta Vincent Ronca has optioned several films, including Once Upon a Wedding to Foxboro Productions and Butterflyto Sidney Kimmel Productions. In 2019, she won the Writers Lab Screenwriting Competition, and in 2020, she was a semifinalist in the CineStory TV Fellowship Contest. Later that same year, she debuted her sketch show Miatta's Festival Show on TikTok. In 2022, she formed her production company, II of Cups Productions. In 2024, her screenplay The Academy was a semifinalist in The Pan African Film Festival's John Singleton Competition. Her short film The Devil Ain't Pius premiered at the Essence Film Festival in July 2024 and was nominated for Best Short Film at the Bronzelens Film Festival in August. Keena Ferguson Frasier Director / Producer Keena Ferguson Frasier is an actor's director. Having starred in TV shows like Atlanta, The Young and the Restless, S.W.A.T., Sistas, Lessons in Chemistry, and many more, Keena has become a director that actors love to work with. She is an NAACP award winner and an HBO nominee for her film Lindon Passing, which she wrote and directed. Recently, she directed seven episodes for season 2 of the AMC series Lace and two episodes of the Chicago drama KoldxWindy for season 2. Delece James Producer Delece James is an experienced Development Executive and Executive Producer in the television and film industry. Her recent successful projects include American Gangster: Trap Queens, First Lady of BMF: The Tonesa Welch Story, and The Devil Ain't Pius. She is also a philanthropist and an active member of several organizations. Delece's passion lies in showcasing diverse content and challenging industry norms. Don't miss this chance to gain insights from these powerful voices in the industry! Watch the weekly LIVE stream on BraveMaker YouTube. Follow BraveMaker on social media: Instagram TikTok Facebook --- Support this podcast: https://podcasters.spotify.com/pod/show/bravemaker/support
Episode Page Our guest for this episode is the filmmaker and artist, Maja K. Mikkelsen. And the occasion of our conversation is her latest film - ‘The Last Observers' - which comes out December 18 in the United States and has already been out in Europe. It's a brilliant portrayal of a Swedish couple's 36 year commitment to record the weather, every three hours, every day for 36 years. And for you bird nerds listening, they are based in Falsterbo one of the top destinations for observing the autumn bird migration in Europe, where they initially started their life together ringing birds. And the couple - Karin and Lennart - also happen to be Maja's parents. I really love this film because it is shows another way. The way I see Karin and Lennart is as a different sort of activist. They have a deep contentment and gratitude for what they have in a Western society where the prevailing attitude is for faster, more and better. They also show deep commitment - to each other and to the more-than-human world. Every day, every third hour for 36 years they recorded the weather. And before they took over the weather station, they worked so they could volunteer to ring birds in Falsterbo. Yes, we need the Greta's of the world and Extinction Rebellion. But we also need people like Karin and Lennart who push against harmful cultural norms in a much more quiet fashion. Not everyone can or wants to lead a march or get arrested through civil disobedience or free solo El Capitan in Yosemite. They show through Maja's film that there is more than one way to live and have a relationship with nature and the more than human world. We've talked to some amazing artists this year and I'm glad we are ending the year with one of the most thoughtful. Maja's film is top notch in my book and many other seem to agree as it earned Best Short Film at Mounatainfilm and Best Cinematography and Best Director at the Ulsan Ulju Mountain Film Festival in South Korea, apologies for what I am sure is not the correct pronunciation. If you go to patagonia.com/stories, you can find the film or visit majakmikkelsen.com. I'd love to hear your thoughts, so feel free to post a comment to this episode if you're watching on YouTube or Spotify. Links Maja K Mikkelsen Website Patagonia “The Last Observers”
Bassist, composer, educator and actor John Brown teaches at Duke University and currently serves as Vice Provost for the Arts, Director of the Jazz Program and Professor of the Practice of Music. He has performed internationally with artists like Wynton Marsalis, Ellis Marsalis, Delfeayo Marsalis, Elvin Jones, Nnenna Freelon, Cyrus Chestnut, Diahann Carroll, Rosemary Clooney, Nell Carter, Lou Donaldson, Slide Hampton, Nicholas Payton, Frank Foster, Larry Coryell, Cedar Walton, Fred Wesley, Bernard Purdie and Mark Whitfield, as well as giving regular performances as a substitute with the North Carolina Symphony since 1992. He has performed for President Barack Obama, and at major national and international venues and festivals in Asia, Europe and across North and South America. John has a Grammy nomination for his performance and co-writing on Nnenna Freelon's 1996 Concord release, Shaking Free, and he has an Emmy nomination for producing the first Duke Student Arts Showcase. He has also produced and performed on recordings for Nnenna Freelon and Linda Lavin. The film One Night in Kernersville (documenting the first recording session of John's Big Band) won “Best Short Film” at the Full Frame Film Festival, “Best Cinematography” at the Charlotte Film Festival and was featured on the Documentary Channel. John has also served multiple times as a juror and as Chair for the Pulitzer Prize in Music and for various engagements with the National Endowment for the Arts.
Director Susie Singer Carter Susie is an award-winning writer, playwright, director, producer, and actress. She started her TV/Film career in 2006 writing, producing, and directing two children's series for CBS Saturday morning, “Cake” and “Dance Revolution”. She moved into features writing “BRATZ” for Lionsgate and co-producing “Soul Surfer” for Sony. Her short film, “My Mom and The Girl” starring Valerie Harper in her final beautiful performance, won numerous awards including Best Direction, Best Short Film, Best Ensemble Cast, was officially selected at the “Emerging Filmmaker Showcase” at Cannes 2017 winning a spot in the PBS Fine Cuts series, and was Oscar's qualified in 2018. During the pandemic, Susie launched two successful podcasts. Her talk show, "Love Conquers Alz", received Best Podcast 2020 by New Media Film Festival and is now in its third season. She recently completed the firs season of her scripted comedy/horror, "I Love Lucifer", nominated for 7 Audio Verse Awards. Most recently, Susie was commissioned to adapt the book PLAIN JANE, and is currently attached to direct the dramedy based on the debut novel of the same title by Barrie Levitt Knee. Susie is currently writing, producing, and directing a feature documentary, No Country For Old People, a critically needed documentary inspired by her Mother's last 6 months of life in a Long Term Care facility in 2022. Susie knows the power of storytelling and has attracted an impressive list of the most talented and staunch advocates to contribute to the film. She has also partnered with The National Consumer Voice for Quality Long Term Care who are fiscally sponsoring the film by providing a 501(c)(3) status.
One of South Africa's most prolific criminal cases, “The Station Strangler”, will be streamed on Showmax. The documentary delves into the world of serial killer Norman Afzal Simons, who is believed to have killed 21 young boys and one adult from the mid-80s to the mid-90s in the Cape Flats.The schoolteacher was convicted of the rape and murder of 10-year-old Elroy van Rooyen and sentenced to 25 years in in 1995. Twenty-eight years after his imprisonment, Simons was released on parole and placed under 24-hour monitoring in November 2023, opening up fresh wounds in a community where justice has been denied for decades. Meanwhile, the true-crime feature documentary, which will premiere on November 6, is produced by IdeaCandy which brought viewers “Tracking Thabo Bester”, “Devilsdorp” “Steinheist” and “School Ties”. Joining us this evening to talk about this documentary is award-winning director, Nadine Cloete. Nadine has won the Audience Award at Encounters for Action Kommandant, while Address Unknown won the SAFTA for Best Short Film. She is also the Production and Development Manager for Non-Fiction at the National Film and Video Foundation. See omnystudio.com/listener for privacy information.
In this episode of Shared Humanity: The humans behind the headlines, host Nelba Márquez-Greene, Yale School of Public Health Activist in Residence, is joined by Reverend Sharon Washington Risher. Reverend Risher was catapulted into the limelight after the Charleston, South Carolina shooting at the Mother Emanuel African Methodist Episcopal Church on June 17, 2015. Her beloved mother, Mrs. Ethel Lee Lance, was killed along with eight others – including two cousins and a childhood friend. Today she is a sought-after inspirational speaker, traveling across the country telling her personal experience of losing loved ones to gun violence, racism, and hate in America, as well as the path to forgiveness and an offering of hope for tomorrow. Her book, For Such A Time as This: Hope and Forgiveness After the Charleston Massacre, was released in 2019. Risher is a volunteer spokesperson for MOMS Demand Gun Sense and the Everytown Survivor Network, two of the largest grassroots advocacy groups for common-sense gun laws and reform in America. She is also a volunteer and Chairwoman of the Board of the Death Penalty Action Organization. Winner of the Bronze Film Festival Short Doc category- Best Short Film, “Quiet No More”, produced by Blue Chalk Media, tells Risher's story. Risher has published articles with the Washington Post, New York Times, and Oprah Daily, and has appeared on national news. Connect with Reverend Sharon Risher www.sharonrisherspeaks.com twitter@RisherRev Facebook, sharonrisherspeaks Learn more about Shared Humanity: https://sph.yale.edu/sharedhumanity Follow the Yale School of Public Health: Instagram: https://www.instagram.com/yalesph/ Facebook: https://www.facebook.com/YaleSPH/ X: https://twitter.com/YaleSPH TikTok: https://www.tiktok.com/@yalesph LinkedIn: https://www.linkedin.com/school/yalesph/ Threads: https://www.threads.net/@yalesph
It's the most wonderful time of year! That's right it's the beginning of spooky season and that means it's our female focused series Hot Ghouls of Halloween and were talking all three Black Christmases (1974, 2006, 2019) with filmmaker and programer Dara Jade Moats. So three films, two hosts and one guest; tune in and find out it how it went. Dara Jade Moats a filmmaker whose chilling shorts have haunted festival screens across the country, earning her accolades like ‘Best Short Film' and ‘Best Blood Bath'. As a writer and film programmer, she brings a curated blend of genre thrills to life. Her cinematic journey includes roles as Associate Producer at the National Film Board of Canada and contributions to the Fantasia International Film Festival. T Today, she channels her expertise into programming for the Saskatoon Fantastic Film Festival, Blood in the Snow, Calgary Underground, and Cucalorus. She is currently working on bringing to life a body horror rom-com she has co-written and hopes to co-direct! IMDB Letterboxd Celleuloid Adventure Girls and Other Work Talk to us Goose www.howdyoulikethatmovie.com Twitter
British actress Corinna Brown tells us why representation is so important to her and through the poetry of Rupi Kaur, explains why you are more than just pretty. Corinna best known for her role as Tara Jones in Heartstopper, the multi-award-winning, BAFTA nominated Neftlix adaptation of Alice Osman's LGBTQ+ graphic novels which rose to the top ten most-watched English series on Netflix within two days of the first season's release. The series has assembled a surge of fans mesmerised by the show's ability to create diverse, authentic storylines for fans around the world to relate to. Corinna trained at East 15 drama school. She has worked across film, television and theatre, including making her television debut in the BBC Three film My Murder with John Boyega. In 2023, Corinna starred in Essex Girls, a coming-of-age short film directed by Yero-Timi Bie that explores Black-British girlhood and the magic of female friendship, nominated for Best Short Film at the 2023 London Film Festival. The much anticipated third season of Heartstopper, released on Netflix this week, sees Tara face the trials of living as a lesbian from a young age and what it means to grow up and develop alongside a romantic partner. Corinna's book choices are: ** Shiver by Maggie Stiefvater ** Noughts and Crosses by Malorie Blackman ** Children of Blood and Bone by Tomi Adeyemi ** Milk & Honey by Rupi Kaur ** Seven Methods of Killing Kylie Jenner by Jasmine Lee Jones Vick Hope, multi-award winning TV and BBC Radio 1 presenter, author and journalist, is the host of season seven of the Women's Prize for Fiction Podcast. Every week, Vick will be joined by another inspirational woman to discuss the work of incredible female authors. The Women's Prize is one of the most prestigious literary awards in the world, and they continue to champion the very best books written by women. Don't want to miss the rest of season seven? Listen and subscribe now! This podcast is sponsored by Baileys and produced by Bird Lime Media.
Clare writer Nell Hensey has won a Zebbie Award for Best Short Film Script at the 17th Writers' Guild of Ireland (WGI) Zebbie Awards. Nell, from Barefield won the award as co-writer of Good Chips with Brigid Leahy. To find out more, Alan Morrissey was joined by Nell Hensey. Photo (c): Nell Hensey via Facebook
With some artists the creative spark doesn't stop just because the guitar gets put down. That's Annie Williams. Anyone who knows her would say the same. From her self-built straw bale house to her hand-sewn performance costumes to her deeply personal songs, the muse follows her everywhere she goes, and does its best to keep up. She just released her debut album, Visitor, seven years and one lifetime in the making. Produced with Bill Reynolds of Band of Horses, it's at once playful and fresh and, like Annie, pretty damn original. The cover of the record is a photograph of the artist jumping through a ring of fire on her motorcycle. The fire was real, the ring was homemade.The Morse Code is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this thought-provoking conversation we talk about some of the more notable moments in a career nosing into its twentieth year, like, say, her arrival in Nashville. She was living in Wyoming and a touring christian hip hop group saw her play and invited her to roll with them back to Tennessee. I mean of course.We discuss how her decision to break away from her small business designing handmade bags dovetailed unexpectedly with her first publishing deal, and how that led to sync licenses on several TV shows. And you might be hard pressed to get her to admit it, but Annie is an actor, and a good one. She was approached to star in the film A Funeral for Lightning directed by Emily Kai Bock, which premiered at TIFF and went on to win the Grand Jury Award for Best Short Film at the LA Film Festival. Like many of her opportunities, it was gifted, not sought.There's a word for people like Annie Williams and that word is autodidact. She teaches herself to do things and then she does those things at her own speed in a sort of secret dance with the world around her. Its an orchestration of energy, at once mysterious and inevitable.There's so much I won't tell you about, so you can discover it yourself. I guess I should say she plays an unreleased song live in the studio. Emily. Listen:I hope you take a moment to listen to or watch episode #141 of the Morse Code Podcast. It's a good one. Find Annie:Website: https://annie-williams.com/IG: https://www.instagram.com/anniewilliams___The Morse Code is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to The Morse Code at korby.substack.com/subscribe
Actress, writer and director Alessandra Williams co-stars in the upcoming drama, Lissa's Trip opposite Sofia Vassilieva and directed by Jeffrey Scott Lando and will premiere on Tubi, June 20. Williams portrays dual characters, Alex / Millie the Macaw and Vassilieva was the recipient as Best Actress at The First Glance Film Festival in 2023 and Vassilieva won Best Actress and Lando was the Best Director recipient at Puerto Aventuras International Film Festival in 2024. Williams also starred opposite Mark Wahlberg in Netflix's Spenser Confidential, directed by Peter Berg. She also co-starred opposite Wahlberg in the STX action thriller Mile 22. And, Williams, wrote and directed Green Kola, a short film comedy/parody about the behind-the-scenes world of today's Hollywood. In this inspired portrait of show business, she plays actress Nina Finch, America's sweetheart, opposite world renown French photographer Antoine Verglas, who plays himself and executive produced and was the recipient of Best Short Film at The Manhattan Film Festival in 2022 and will also Best Short at The Paris Independent Film Festival and London International Film Festival. Williams also wrote and directed an episode of a new dramedy series (currently untitled) from director/producer Timur Bekmambetov (Abraham Lincoln: Vampire Hunter), which will be streamed via Netflix. A New York City native of Italian and Russian descent, William's professional acting career was jumpstarted when she was cast as an American dancer opposite Shahid Kapoor and Anushka Sharma in director Parmeet Sethi's Bollywood crime comedy, Badmaa$h Company. Prior to that, she had been a successful commercial actress in Manhattan booking over twenty commercial gigs. A life member of the prestigious Actor's Studio in New York and Los Angeles, where she has been studying for over ten years, Vino landed a top agent and began auditioning and winning prominent roles on television series, beginning with the recurring part of Gina Gershon's assistant, Lindsay, in How To Make it in America.
Gina is an actress and filmmaker, gaining recognition for her sci-fi film AUTOPILOT, which she served as producer and lead, achieving 16 festival selections, 5 award wins, including "Best Short Film" at the Vail Film Festival. The film took the global stage at the prestigious Fantasia Film Festival in Montreal, sharing the spotlight with a film produced by Ben Affleck and Matt Damon. Driven by inclusive storytelling, Gina founded Pretty Magic Productions in 2020 to uplift under-represented and POC perspectives. This is evident in her award-winning projects like BLUE, which won "Best Drama" at Hollywood Just4Shorts featuring actors over 70. AUTOPILOT, crafted with a predominantly Asian female crew, earned "Outstanding Sci-Fi/Fantasy" at the Micheaux Film Festival. Recognized for her dynamic physicality in acting, Gina has carved a niche with kick-ass action roles in films such as TRANSPO, SANTA CON, and the Oscar Qualifying short FETISH. In the world of voiceover, Gina has voiced many series regular characters for Netflix and Disney+ shows including multiple Top 10 Netflix series like HOMETOWN CHA CHA CHA, SWEET HOME, and THE GLORY. Currently, Gina is making AUTOPILOT into a feature titled Trüebadour, a development recently covered by Deadline. Gina has been featured speaking about her creative leadership and acting career on ABC 7 News, various Apple podcasts, and at Comic Con. Gina loves fire spinning, trying new vegan restaurants, and filling her home with too many plants. ▬▬▬▬▬▬▬▬ GINA SU ⌲ IMDb: https://www.imdb.com/name/nm8165467/ ⌲ IG: https://www.instagram.com/missginasu/ ⌲ Website: https://www.ginasu.com/ ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #AutopilotFilm #Autopilot #TruebadourFilm #Truebadour #MissGinaSu #GinaSu #Transpo #SantaCon #Fetish #ComicCon #BestShortFilm #VailFilmFestival #FantasiaFilmFestival #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://podcasters.spotify.com/pod/show/the-moving-spotlight/support
In our latest podcast episode entitled "Stages, Screens, & Spokes: Journeys with the Multifaceted Artist," we had the pleasure of interviewing the incredibly talented Katherine King. Katherine is a true polymath, excelling as an actress, playwright, screenwriter, singer-songwriter, and now, an award-winning film director. Here's a recap of our engaging discussion. A Multifaceted Talent Katherine King's artistic journey is nothing short of remarkable. Hailing from Santa Monica, California, Katherine has made significant strides in various creative fields. She has acted in numerous commercials, print ads, and films, including Disney's "Boyster" and feature films like "An Axe to Grind" and "The Downside of Bliss." As a playwright, she has written five full-length plays, four of which were showcased at the Hollywood Fringe Festival. Her short play, "Future Wives," was featured at the Hollywood Short and Sweet Festival. Katherine's directorial debut, "The Delicate Cycle," premiered at the Chandler Film Festival and won Best Short Film. From Page to Stage to Screen Katherine's transition from stage to screen was a natural progression. She shared with us how her background in theater helped shape her approach to filmmaking. "I've always had a strong vision when writing," she explained. "Directing allowed me to bring that vision to life in a new and exciting way." Katherine's first film, "The Delicate Cycle," tells the heartwarming story of a boy and a man who form an unlikely friendship in a laundromat. The film's exploration of human connections and emotional resilience resonated with audiences and critics alike. Crafting Authentic Stories A key theme in our conversation was Katherine's dedication to authenticity in storytelling. She emphasized the importance of listening and observing to create genuine characters. "I'm fascinated by people who are different from me," she said. "This curiosity drives my writing and helps me create characters that feel real." Katherine's keen eye for detail and her ability to capture the nuances of human behavior shine through in her work, making her stories relatable and impactful. The Delicate Cycle: A Labor of Love Katherine's passion for her craft was evident as she discussed the making of "The Delicate Cycle." Filming in a laundromat, a location she passed daily on her bike rides, added a layer of authenticity to the project. Despite the challenges of indie filmmaking, Katherine assembled a talented team and created a film that has earned numerous accolades. The film's success at the Chandler Film Festival and subsequent awards, including Best Comedy Film and Best Original Story, are a testament to her dedication and vision. Looking Ahead: Rickshaw Romance Katherine's creative pursuits don't stop at filmmaking. She gave us a sneak peek into her upcoming reality show, "Rickshaw Romance." The show will feature blind dates taking place on pedicabs, offering a unique and intimate setting for couples to connect. Katherine's experience as a pedicab driver inspired the concept, and she believes it will bring a fresh perspective to the world of dating shows. "It's about bringing people together in real life without the distractions of technology," she explained. Kerine King's journey is a testament to the power of creativity and perseverance. Her ability to excel in multiple artistic disciplines and her commitment to telling authentic stories make her a force to be reckoned with in the entertainment industry. ============= Submit Your Film to Our Film Collective: ifapfilmcollective.com Connect With Floyd Marshall Jr: instagram.com/floydmarshalljr tiktok.com/@floydmarshalljr0 --- Send in a voice message: https://podcasters.spotify.com/pod/show/aconversationwithfm/message Support this podcast: https://podcasters.spotify.com/pod/show/aconversationwithfm/support
Join us on the 3 Geeks Podcast as we dive deep into the world of independent filmmaking with the exceptionally talented duo, Levi Wilson and Lisa Hammer. In honor of Asian American and Pacific Islander Heritage Month, we're thrilled to feature their celebrated coming-of-age short film, Luke and Emma and a Gas Station on Franklin Ave, now streaming on AMC+. This poignant and humorous film, set in 1980s rural America, follows the journey of 11-year-old Luke, a mixed Asian boy navigating the complexities of identity, puppy love, and racism in a predominantly white world. In this episode, we delve into the inspiration behind the film, exploring Wilson's semi-autobiographical narrative and the personal experiences that shaped this heartfelt story. Wilson shares insights on the challenges and triumphs of bringing such a relevant and authentic Asian-American experience to the screen, emphasizing its ongoing relevance in today's society. We'll also uncover the magic behind Wilson and Hammer's production company, Wilson Arts Diversified, and their journey through the film festival circuit, where Luke and Emma and a Gas Station on Franklin Ave garnered numerous accolades, including Best Short Film at the New Faces New Voices screening and wins at the New York Int'l Women Fest and Austin Int'l Art Fest. But that's not all—get a sneak peek into their exciting future projects. The duo is currently developing a feature-length version of Luke and Emma, along with several other compelling comedy and drama screenplays. Hammer shares her passion for collaborating with Wilson, highlighting the creative synergy they experience whether they're writing, directing, or acting together. Additionally, we discuss their work on the dark comedy series Great Kills on Amazon Prime, co-created by Hammer and directed by James Merendino. The series, now wrapping up its second season, features an impressive cast including Eric Roberts, Cathy Mortiarty, and Bai Ling, and follows a documentary film crew capturing the life of a Staten Island hitman. Levi Wilson, a Kentucky native turned New Yorker, has an impressive background as a producer, writer, director, and actor. His portfolio includes independent series, comedy shorts, and notable features such as The Invisible Life of Thomas Lynch and Punk's Dead: SLC Punk! 2. Lisa Hammer, an accomplished director, writer, actor, and musician, brings her unique vision to their projects, with works like Maybe Sunshine and Turn of the Century receiving critical acclaim and cult followings. Join us for an in-depth conversation with these rising stars as they share their journey, inspirations, and future aspirations. Don't miss out on this inspiring episode celebrating creativity, diversity, and the power of storytelling. Follow us @3geekspodcast and email us at 3geekspodcast@gmail.com for more updates and exclusive content. LisaHammer.com My site has the projects we spoke of on the front page and they can get to "Luke and Emma" from there, as well as "Great Kills" and the Night Flight Plus show. You can also access these on our linktree: https://linktr.ee/WilsonArtsDiversified
Arrow Shorts is a showcase for great short-form film-making. From the scary to the bizarre, Arrow highlights the amazing work being created by filmmakers in a shorter-length medium. Film-maker Izzy Lee joins this episode of the podcast to talk about her incredibly fresh and original short film Meat Friend. Meat Friend was nominated for a 2023 Fangoria Chainsaw Award for Best Short Film, and it follows an ex-con, sentient pile of hamburger meat (voiced by Steve Johanson) who teaches after-school lessons to a child (Marnie McKendry). It's a seriously gonzo piece of short film-making that plays like Sesame Street on acid - and it's unlike anything you've ever seen!
Welcome to Horror bring you another filmmaker interview! Lee sits down with James Hood, writer and director of “Caretaker”, the haunting and enigmatic film that won Best Short Film at this year's Romford Horror Film Festival. Massive thanks to James for his time, and for giving us the opportunity to view “caretaker”, the episode also comes with a brief spoiler free review from the team as well, and we urge you to seek this film out now! Find James at Instagram: james_w_hood Letterboxd: https://boxd.it/ffeD
Harvey Brownstone conducts an in-depth Interview with Marc Saltarelli, Filmmaker, “Studio One Forever” About Harvey's guests: Today's guest, Marc Saltarelli, is a multi-award-winning filmmaker whose narrative films and documentaries have made him one of the most respected and admired directors and producers in the film industry. His movies have collectively been screened in over 250 major film festivals around the world. Some of his most popular films are, “Where We Began”, which won the Planet Out Award for Best Short Film, “To Comfort You”, which won the Best Picture and Best Drama awards at the Beverly Hills Short Fest, “Pride”, which won awards at the Accolade Competition and the Long Island Gay and Lesbian Film Festival, “Remember to Breathe”, which earned 5 Best Picture nominations worldwide, and WON an award at the Long Island Gay and Lesbian Film Festival, “I Knew Andy Warhol”, which was the centerpiece of the Warhol exhibit at the Palm Springs Museum of Art, and won the award for Best Documentary at the Hollywood Reel Independent Film Festival, and “Red Ribbons of Love”, which was named Best Documentary last year at the Toronto LGBTQ Film Festival. He's here to discuss his latest feature film, a fabulous documentary entitled, “Studio One Forever”, which tells the untold story of the most iconic gay disco in America, Studio One in Los Angeles. Studio One was much more than just a disco - it was a mecca for gay men looking for identity and a sense of community in a world that saw them as outcasts. Its adjoining nightclub, The Backlot, created the very first space where the gay community and members of the Hollywood elite socialized together. From 1974 to 1993, Studio One and The Backlot became the center of nightlife in West Hollywood, and an important staging ground for the rise of the gay rights movement and the fight against AIDS. Featuring appearances by Chita Rivera, Thelma Houston, Lance Bass, Bruce Vilanch, Melissa Rivers, Felipé Rose from the Village People and many others, this highly compelling and insightful movie takes the audience on a fascinating journey of the history of the gay community, through the lens of this groundbreaking disco. The movie just won the award for the Best LGBTQ film at the Hollywood Reel Independent Film Festival. Our guest's life-long passion for filmmaking is deeply rooted in the belief that movies should not only entertain - they also have the power to effect positive change in the world. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Marc Saltarelli, go to: https://marcsaltarelli.com/https://www.facebook.com/112323677116857https://www.instagram.com/marcsaltarellihttps://www.twitter.com/@studioonemoviehttps://www.youtube.com/channel/UCmTQep1HVgokzTvozixY6PQ #MarcSaltarelli #harveybrownstoneinterviews
On today's show, Tobias Elvhage engages in a deep exploration of several critical issues. He starts by examining who is driving the transgender agenda for children and moves on to analyze how parents have come to be seen as opponents to their child's well-being and happiness. A key part of the discussion is the impactful story of Walt Heyer, why his life is relevant and must be heard, it can be further explored Here. Additionally, Tobias sheds light on the real-life stories that form the basis of "Gender Transformation: The Untold Realities." The program also gives a voice to de-transitioners, allowing them to share their personal journeys. Finally, Tobias provides information on how individuals can access and organize viewings of "Gender Transformation: The Untold Realities," ensuring that these crucial narratives reach a wider audience. GUEST OVERVIEW: Tobias Elvhage, the director and writer of "Gender Transformation: The Untold Realities," is a producer and director renowned for his passion for creating engaging and emotionally resonant stories. He completed his studies at Berghs School of Communication and served as a producer at Stockholm Media School. His recent portfolio spans a wide spectrum, from "haute cuisine" docuseries to historical and contemporary documentaries, including docuseries featuring reenactments. His film "Pure Life" achieved recognition, winning Best Short Film at the LA Documentary Film Festival in May 2023 and securing the Winner title at the European Cinematography Awards in April 2023.
In this episode of MFM Speaks Out, Dawoud Kringle comes out of retirement to present a 2023 retrospective. We will share some of the content we brought to you in 2023, and enjoy a few other surprises as well. Our guest for the January episode was Haana. Haana is a violinist, vocalist, electronic music artist, visual performer, and entirely self-contained as a one-woman orchestra. She played with Kanye West, and Alvin Ailey, as well as festivals such as Joshua Tree Festival and Coachella and others in the US, Canada, UAE, and Australia, Barack Obama's inaugural ball, and at Michael Jordan's wedding. Haana has endorsement deals with Ableton, Native Instruments, Even Headphones (manufactured by Blue Microphones), and Realist Violins. She appeared in ads for Intel, Harvey Nichols, Nike, Ferrari, and Apple Computers. In addition, she has experience as a film composer and does artist mentorship/marketing, branding, and production consultation. In February, MFM board member and co-producer of this very podcast Adam Reifsteck joined us for a very fascinating discussion. Adam is a New York-based composer, electronic music artist, producer, entrepreneur, and music activist. He writes for small ensembles, produces electronic music, and performs improvised group compositions on Wi-Fi-connected laptops. He has collaborated with string quartets, university choirs, and visual and electronic artists. His approach to composition includes elements of improvisation. He is a recipient of grants from the Lower Manhattan Cultural Council, the Irving S. Gilmore Foundation, and the Kalamazoo (MI) Community Foundation. His music has been performed by the Attacca Quartet, Amernet String Quartet, Cadillac Moon Ensemble, Duquesne University Chamber Singers, Flutronix, Gaudete Brass Quintet, Mana Saxophone Quartet, Western Michigan University Chorale, and many other ensembles. Adam is also an active recording engineer and producer whose studio alias SONIC FEAR has become synonymous with lush, genre-bending sounds—from dance floor-ready tracks to downtempo meditations. He is the founder and CEO of Teknofonic Recordings, an independent record label and artist development platform providing electronic musicians with learning resources, networking opportunities, and career support. Adam holds a master's of music degree in composition from Western Michigan University and a bachelor's of music in music technology from Duquesne University. He is a member of Broadcast Music Inc., the Society of Composers and Lyricists, the Recording Academy, the Audio Engineering Society, and Musicians for Musicians. Our March episode was a landmark. We interviewed Keyna Wilkins, the first MFM member from Australia. Wilkins holds a Master of Music Composition at Sydney Conservatorium, studied composition, classical and jazz piano, and classical flute with several prestigious instructors, and intuitive conceptual improvisation with Tibetan Buddhist musician Tenzin Cheogyal. holds an MA in Flute Performance at Bristol University (UK) in 2008. She is known as a soloist and leader of cutting-edge ensembles and has written over 60 compositions, including 4 major orchestral works. Her works have been commissioned and/or performed by ensembles such as The Metropolitan Orchestra, Syzygy Ensemble, Elysian Fields, The Sydney Bach Society, and many others. She has released 9 albums of original music on all streaming platforms including 4 solo albums. Wilkins is also an Associate Artist with the Australian Music Centre and has five tunes in the Australian Jazz Realbook. She also writes music for films and theatre including the short film "Remote Access" which won Best Short Film at the Imagine This International Film Festival in New York in 2019 and her works are featured on ABC, Triple J, Fine Music FM, Cambridge Radio, SOAS London and many more. Her music is published by Wirripeng and she is a member of Musicians for Musicians. MFM member Sylvian Leroux was our guest in April. Sylvian is a flutist, saxophonist, guitarist, composer, arranger, bandleader, educator, inventor, and prominent member of Musicians for Musicians. Sylvain Leroux grew up in Montreal where he studied classical flute at Vincent d'Indy; and improvisation and composition in New York at the Creative Music Studio where he attended classes by luminaries Don Cherry, the Art Ensemble of Chicago, Karl Berger, Cecil Taylor, and many others. A pioneer of African/Jazz collaborations, Sylvain is a foremost player of the Fula flute, the traditional flute from Guinea. He was selected as “Rising Flute Star” by the Downbeat Magazine Critics' Poll for many years, achieving the #2 spot in 2019. As a bandleader, he brought traditional West African music to Zankel Hall with his Fula Flute Ensemble and held the fort for more than a decade at New York City's Zinc Bar with his African Jazz group “Source”. His 2002 CD “Fula Flute" achieved cult status, and stimulated a worldwide interest in the instrument. His 2012 album “Quatuor Creole” was hailed as “a perfect contemporary music release.” He curated New York's “Griot Summits” which featured performances by 25 West African griots from five countries. He has performed and recorded with Emeline Michel, Adam Rudolph, Karl Berger, Hassan Hakmoun, Billy Martin, and many West African stars. As a maker and seller of Fula flutes around the world, he invented and patented the Qromatica, a Fula flute capable of chromatic functionality. This led him to initiate "L'ecole Fula Flute", a music literacy project that graduated many excellent young flutists who are now re-energizing an endangered flute tradition. Our May 2023 episode featured Mark Chimples, a.k.a. Mark C. Mark is the guitarist and synthesizer player with Live Skull. Formed in 1982, Live Skull is considered by many aficionados to be the quintessential New York City noise band. Rising concurrently with bands such as Sonic Youth and Swans, Live Skull helped define the post-No Wave underground "noise rock" in the 1980s music scene in New York City. Over the following decades, Live Skull released five albums and three EPs with a rotating cast of 11 members, all of whom added new ideas to the group's evolving sound. Themes of struggle and chaos permeated and inspired their music. Their constant progression inspired New York Times critic Robert Palmer to call them “as challenging, as spiritually corrosive, and ultimately as transcendent as Albert Ayler's mid-'60s free-jazz or the implacable drone-dance of the early Velvet Underground. It's one of the essential sounds of our time." Music on this episode:Haana - Bison RougeAdam Reifsteck / Sonic Fear - AuroraKeyna Wilkins - Floating in SpaceSylvain Leroux - In Walked BudLive Skull - Party ZeroSpaghetti Eastern - Jungle BlueArturo O'Farrill and the Afro Latin Jazz Orchestra - Amidst the Fire and WhirlwindDave Liebman - Journey Around Truth SoSaLa - Dadada Dadada DaaDawoud Kringle - Keep Trying CreditsProducer and host: Dawoud KringlePublisher: Musicians For Musicians (MFM), Inc. and Sohrab Saadat LadjvardiTechnical support: Adam ReifsteckLinksBe sure to follow and tag MFM on Facebook ([https://www.facebook.com/M4M.org/] and Instagram (https://www.instagram.com/mfm_association/).
That Show Hasn't Been Funny In Years: an SNL podcast on Radio Misfits
The Oscars and "Saturday Night Live," believe it or not those worlds have crossed paths several times. In this episode, Nick tells you about everyone who has worked in the hallowed halls of Studio 8H, that has ever been nominated for, or won, an Academy Award. From some surprising acting nominations (yes, Dan Aykroyd has really been nominated for an acting Oscar), to nominations in categories like Best Score, Best Short Film, Best Screenplay and more. Scenes from the award nominated movies are played, details of the films and performances are given, and you'll hear stories about SNL alums like: Kristen Wiig, Marc Shaiman, Bill Murray, Adam McKay, Joan Cusack, Howard Shore, Eddie Murphy and more. Awards Season is in full swing, and this episode will give you all the trivia and knowledge you need to know when you attend that Oscar party in March. SNL, and The Academy Awards! [EP52]
It's been a minute since I got a chance to talk to some filmmakers who really are passionate about what they are doing. Writer/director Marcus Albino, co-founder of Cloak and Cauldron Films and producer Brad Frizzell , founder of Greeked Pictures created this this great crime drama thats making a lot of buzz called “Black Maria.” Recently, it was nominated for "Best Short Film" at Shockfest. I instantly loved it and since a mutual friend (who also happens to be a fan of the podcast) worked on it, got us in touch and we started chatting.The movie is really intense and has one of the best crafted dinner scenes I've seen in years! Check out Cloak and Cauldron Films for more. I guarantee you'll be hearing a lot from these guys in the future! If you haven't done so already, check out Classic American Movies on Facebook and Instagram. I do tons of posts, free giveaways and more!
Henry Ian Cusick is an actor and director. He is best known for his role as Desmond Hume in the US television series Lost (2024), for which he received a Primetime Emmy Award nomination. He also starred as Stephen Finch in the ABC drama Scandal (2012), as Marcus Kane in the CW drama The 100 (2014), and as Russ Taylor in the CBS drama MacGyver (2016). Cusick also directed a short film Dress (2013), which won the Best Short Film award at the 2013 Hawaii International Film Festival (HIFF). It's A Hawaii Thing Productions. Quality content for the Hawaii Enthusiast and traveler. Celebrities, artists & community leaders vomming together to showcase the spirit of the islands. New weekly program dedicated to anything and everything unique to life in Hawaii. To Learn more about It's A Hawaii Thing visit: https://www.itsahawaiithing.com/ It's A Hawaii Thing is a https://www.wikiocast.com/ production.
In this episode we speak with film director, Richard Raymond. We focus on his journey from directing the feature film ‘Desert Dancer' which starred Freida Pinto and was distributed by Relativity to directing the short film “Souls of Totality” - the only film ever to have been shot during a solar eclipse!‘Souls' won Best Short Film at Raindance in 2018, the Grand Jury prize at Hollyshorts, had a special mention at the Edinburgh International Film Festival and was selected for Tribeca Film Festival. Online it's everywhere from platforms like ‘DUST' to ‘Alter' and ‘Omeleto,' and has had millions of views. Richard also takes us through why he went back into short films, the planning involved in shooting a film during an actual solar eclipse, how he gets his work funded and his methods for making sure his work is seen by the right people. We really encourage you to watch ‘Souls Of Totality' before listening. You can watch it here on Vimeo: https://vimeo.com/295048498We also delve into the brilliant “A Million Eyes,' his latest short film. You can watch that here: https://www.youtube.com/watch?v=unyb8wu4FDoAnd here is the trailer for Desert Dancer: https://www.youtube.com/watch?v=OzCdDC3e0AEWe hope you enjoy this one as much as we did!
In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus Anthony Thomas are joined by Annetta Laufer, a Writer/Director who has directed episodes of Dr. Who and the upcoming HBO series Get Millie Black. Annetta, like many of us, was stuck in an endless loop of directing short films, but remained true to her taste and principles, whilst waiting for the TV and Film industry to reach the place where her voice is situated. We dig down into her journey and talk about the following: -Why did you begin directing? -Do you think schemes are helpful? -How did you get your break in TV directing? -What is the biggest difference between shorts and TV? -How do you prep when working in TV? -What is a script supervisor? -What are the most difficult challenges a director faces when working in TV? Biography Annetta is a Writer/Director and the founder of Roman Candle Productions, a film production company focused on black and female–led films. Her short films have screened at national and international film festivals including Encounters Film Festival, London Short Film Festival, Aesthetica Film Festival, Pan African Film Festival and Uppsala Film Festival.Her short films have earned her the Best Film award at the BFM International Film Festival/Screen Nation for WINNIE AND THE DUPPYBAT, which was also a finalist for the HBO Short Film Award at the American Black Film Festival. She won the Best Screenwriter award at the Indian Cine Film Festival in Mumbai for SCARLET, Best Short Film award at the Black International Film Festival for AFRO PUNK GIRL and was BAFTA long-listed for her last short film THE ARRIVAL. Annetta is currently developing her feature film COLONY ROOMS, a drama set within the Caribbean community in 1960s Soho London, with the BFI and producer Joy Gharoro Akpojotor (Blue Story, Boxing Day). She is also developing her 2nd feature film WILD SWIMMING (RIVER MISTRESS) with producer Yvonne Isimeme Ibazebo (Netflix/Top Boy, Fox Searchlight/Rye Lane) and Film4, and developing her first TV series LEMON FISH with Buccaneer Media. As a director, Annetta directed the 2022 New Years Special of the British TV Series DOCTOR WHO for BBC Studios. She is also attached to Morgan Lloyd Malcolm's upcoming film adaptation of her Laurence Olivier Award winning play EMILIA, based on the life and times of Renaissance poet and Shakespeare contemporary Emilia Bassano. Manon Ardisson (God's Own Country) and Chiara Ventura from Ardimages UK are producing. Annetta is represented by Josh Varney and Hannah Linnen at 42 Management. Nuggets of the week Annetta: The Last of Us Oz: Hustle Harder, Hustle Smarter by Curtis "50 Cent" Jackson Marcus: How Michelle Yeoh Threatened 'Everything Everywhere' Directors Daniel Kwan and Daniel Scheinert. Credits Music by Oliver Wegmüller Socials Annetta: Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
Step into the vibrant world of award-winning director and cinematographer, Michael Cooke, hailing from the heart of Atlanta, Georgia. This podcast invites you to explore the remarkable career of a creative visionary whose talent spans across commercial, narrative, and documentary realms, leaving an indelible mark on the world of visual storytelling. Michael's journey began in 2007 when he entered the realm of music videos, serving as a Director of Photography for some of hip-hop's most prominent figures. Over the years, he honed his craft as a freelance cinematographer, lending his lens to the dynamic world of music videos. However, his trajectory would soon shift as he transitioned into the director's chair, crafting compelling commercials for global giants like Apple, American Express, and Walmart. In the past decade, Michael Cooke has emerged as one of the industry's most sought-after independent directors, having helmed numerous projects across various genres. His focus has evolved towards the art of narrative storytelling, culminating in his directorial debut with the short film "Across the Tracks" in 2014. This crowdfunded endeavor would go on to win accolades including the Best Diaspora Short Film at the African Movie Academy Awards and Best Short Film at the UK's Music Video and Screen Awards, cementing Michael's status as a rising star. A fervent commitment to stories with social relevance and profound meaning is the hallmark of Michael's craft. Currently, he is navigating the festival circuit with two recent projects: "Freeman Hospitality," a short pilot/film exploring the world of a black security service set in 2055, and "Yogurt Raisin," a narrative that confronts themes of race, identity, and over-policing on the eve of a groom's wedding. Whether directing or wielding his camera, Michael Cooke's mission is to craft visuals that linger in the minds of viewers for years to come. Join us in this podcast as we unravel the artistry and vision of a filmmaker whose work transcends boundaries, leaving a lasting impact on the world of cinema. This is the story of Michael Cooke, where each frame is a canvas for storytelling, and every project is a testament to the enduring power of visual narrative. Michael Cooke's Website: https://www.mikecooke.tv/Michael Cooke's Socials: https://www.instagram.com/mikecooketv Visual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante
We chat with Garrette White about a movie he worked on that just won Best Short Film at the World Film Festival. We also talk about other projects, such as a short film about being addicted to Greek Yogurt. Our feature bands this week is Mary Kutter and Hurricane Highway.
GUEST OVERVIEW: Tobias Elvhage, director and writer of Gender Transformation: The Untold Realities, is a producer and director with a passion for engaging and touching stories. He has studied at Berghs School of Communication and Producer at Stockholm Media School. His most recent productions ranges from "haute cuisine" docuseries, to historical as well as contemporary documentaries and docuseries with reenactments. His recent film “Pure Life” was voted Best Short Film at the LA Documentary Film Festival in May 2023 and was awarded Winner of the European Cinematography Awards in April 2023. GUEST OVERVIEW: Peter Maughan is a lawyer and founder of Peter Maughan & Co law firm.
Evan Matthews is a rising star in the film industry who interned with legendary producer Mike Medavoy at Phoenix Pictures and served as right hand to Mark Burnett on iconic shows like The MTV Movie Awards and Survivor. Evan's groundbreaking sci-fi thesis, "Recoil" (2015), has garnered 10 awards and over 20 nominations across 50 international film festivals, featuring an astounding 265 VFX shots. His talent shines in the award-winning short film "The Teleios Act" (2019), which secured numerous accolades, including Best Director and Best Short Film. My guest, Evan Matthews, and I discuss: Evan's internship with legendary producer Mike Medavoy at Phoenix Pictures. Evan's role as the right hand to Mark Burnett, featuring stories from The MTV Movie Awards, Survivor, The Apprentice, and On the Lot. Evan's groundbreaking sci-fi thesis, "Recoil" (2015), earned him 10 awards and over 20 nominations across 50 international film festivals, setting a school record with 265 VFX shots. Evan's award-winning short film, "The Teleios Act" (2019), secured multiple jury prizes, including Best Director, Audience Choice, Best Actress, and the coveted Best Short Film accolade. Dive into film school with Evan! Evan Matthews holds a BA in Film Theory and Critical Studies, as well as a Masters in Screenwriting and Directing from USC's prestigious School of Cinematic Arts. Get tips on what to do if you make eye contact with Johnny Depp. Learn about his time at Harpers Bazaar, which included a session with Ryan Reynolds. Discover Evan's directorial debut, "Motherland," and much more! You're going to love my conversation with Evan Matthews Instagram Watch "The Teleios Act" Watch "Recoil" IMDB Evan's director reel Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Buy me a coffee (support the show) Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show Love the books I talk about on the show? Here is my Amazon store to shop.
It was during this time that Steven got his big break and was booked for his first “Tonight Show” appearance on Friday, August 6, 1982. The king of late night enjoyed the performance so much he invited Steven to appear again the following Thursday, a rarity on “The Tonight Show.” His back-to-back appearances helped put his fledgling career into high gear. The comic soon found himself performing his off-beat routines on “Saturday Night Live,” “Late Night with David Letterman,” and numerous trips back to “The Tonight Show with Johnny Carson.”Wright expanded his comedy career to include comedy albums, film and television appearances. His 1985 debut album, I Have A Pony, earned him a Grammy nomination. In 1985, Steven starred in his first HBO Special “A Steven Wright Special.” In 1989, Steven was honored with an Academy Award for Best Short Film for his film entitled “The Appointments of Dennis Jennings” in which he starred and co-wrote. Other stars of the film included “Roseanne's” Laurie Metcalf and British comedian, Rowan Atkinson. In September of 1990, Steven starred in his second stand-up special for HBO called “Wicker Chairs and Gravity.” The special included stand-up from The Winter Garden Theatre in Toronto and a short film shot on location in New York and New Jersey.Steven has been seen in numerous films including “Desperately Seeking Susan,” Mike Meyers' “So I Married An Axe Murderer,” Oliver Stone's “Natural Born Killers,” and Nora Ephron's “Mixed Nuts.” Steven was the voice of the DJ, K-Billy in “Reservoir Dogs” and starred with John Cleese and Jack Palance in New Line's animated film, “The Swan Princess” as the voice of Speed, the turtle. Steve also appeared as a sitcom actor in MGM's “Speechless” with Harry Shearer, and as a Mountie in the MGM release “Canadian Bacon”, opposite the late John Candy.In 1999, Steven played a guest starring role in Albert Brooks' film “The Muse” starring Brooks, Sharon Stone, Andie MacDowell, and Jeff Bridges. In ‘98 he played a supporting role in Dave Chappelle's “Half-Baked” and was a featured voice in “Babe 2: Pig in the City”.-more-2-2-2-2 Wright BioSteven wrote, directed and stars in the 1999 short film, “One Soldier,” the story of a man obsessed with the unanswerable questions in life. The film was screened at numerous film festivals and can be seen on the Independent Film Channel. Steven was also seen in the Jim Jarmusch film “Coffee and Cigarettes” and the film “The Aristocrats.” In October of 2006, Steven premiered the hour special, “When The Leaves Blow Away,” on Comedy Central. The special was released on DVD in April 2006 and includes Steven's 1999 short film “One Soldier” and a segment of a 1988 performance at a Boston comedy club.Steven's second CD, “I Still Have A Pony,” was released by Comedy Central Records on September 25, 2007. The CD earned Steven his second Grammy Award nomination for Best Comedy Album.Steven was honored as the first inductee into The Boston Comedy Hall of Fame on December 15, 2008. The ceremony included performances by legendary Boston comedians Tony V, Don Gavin, Lenny Clarke, Kenny Rogerson, Steve Sweeney, Mike Donovan, Barry Crimmins, Mike McDonald and Fran Solomita.On June 2, 2009, Warner Bros. Records re-released Steven's groundbreaking, Grammy nominated first CD, “I Have A Pony,” packaged with Steven's first HBO special, “A Steven Wright Special” on DVD; part of Warner Bros. Records 50th anniversary celebration.On June 15, 2013 Steven received The Johnny Carson Comedy Legend Award. The award is given each year to a celebrated comedian who has been influenced by Carson in some way and has left his or her own mark on the comedy world. In past years, award recipients have included Dick Cavett, Cloris Leachman and Ed Asner.Steven was nominated for an Emmy Award as a Producer on the 2014 season of the hit FX series, Louie; he also guest starred in a previous season of the show. Steven is a regular guest with David Letterman, Conan O'Brien, Jimmy Kimmel and Craig Ferguson and continues touring the U.S., Canada and overseas.For more visit www.StevenWright.com, @StevenWright or https://www.facebook.com/StevenWrightOfficial
GUEST 1 OVERVIEW: Andrew Montford is Director of Net Zero Watch, which campaigns for rational climate policies and against climate alarm. His website is: http://www.netzerowatch.com/ GUEST 2 OVERVIEW: Tobias Elvhage, director and writer of Gender Transformation: The Untold Realities, is a producer and director with a passion for engaging and touching stories. He has studied at Berghs School of Communication and Producer at Stockholm Media School. His most recent productions ranges from "haute cuisine" docuseries, to historical as well as contemporary documentaries and docu series with reenactments. His recent film “Pure Life” was voted Best Short Film at the LA Documentary Film Festival in May 2023 and was awarded Winner of the European Cinematography Awards in April 2023. GUEST 3 OVERVIEW: Rodney Atkinson is a stalwart defender of UK independence and ardent foe of the European Union and is an author of Treason at Maastrict: The Emancipated Society as well as And Into The Fire: Fascist Elements in Post War Europe and the Development of the EU. He has been a successful linguist and linguistic theorist and was formerly a lecturer at the University of Mainz, Germany and a merchant banker in the City of London. He is the Founder of the Freenations website (visited by individuals and government institutions from over 100 countries) an occasional adviser to MPs and the proprietor of his own commercial property company. https://freenations.net/
This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain. The first film Miramax would release in 1987 was Lizzie Borden's Working Girls. And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden. After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself. Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow. But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A Yes, it's that good, and it would cost only $30k to produce. But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically. Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines. Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition. After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties. The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled. After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release. What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days. Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly. Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m. If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended. I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee. If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode. And away we go… Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster. So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again. The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer. The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October. The screening did not go well. Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film. That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision. The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week. Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it. The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week. Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998. One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing. In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production. Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival. However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her. Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner. Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies. Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen. The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer. Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw. Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly. Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted. After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes. Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down. Twice. Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world. By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film. But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out. While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen. Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges. Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k. The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres. Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies. The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more. Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres. And here is where you just can't always trust the IMDb or Wikipedia by themselves. The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode. The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada. In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland. It would, however, definitely be a one week run. Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500. It would not get any award nominations, and it would never open at another movie theatre. The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987. So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America. Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Being a director, winning the Angénieux Encouragement Award at Cannes, navigating the film industry, and differences between working on ads, TV and cinema: award-winning Egyptian director Haya Khairat gives us an insider view on life behind the camera. In conversation with Mikey, Haya shares her experiences grappling with cynicism, being a women director, and keeping her passion for cinema alive. She also lists her key dos and don'ts for aspiring directors and recommends her top 5 films and filmmakers that keep her inspired. Haya Khairat is an Egyptian director, cinematographer and photographer. She was the first Egyptian to win the Angénieux Special Encouragement Award at the Cannes Film Festival. Haya worked as first assistant cameraman for “Afrah al-Qobba”, “La Tatfi al-Shams” and “Al-Rehla”. She was also the director of photography for “Dark Chocolate” which won “Best Short Film” at the Cairo Film Festival in 2019.Created & hosted by Mikey Muhanna, afikra Edited by: Ramzi RammanTheme music by: Tarek Yamani https://www.instagram.com/tarek_yamani/About Outline:Outline is a process-focused conversation that looks at guests' individual projects rather than their full bodies of work. The conversation sketches the journey of the project; the spark of curiosity that led to the project, the process of implementing the idea, the struggles that emerged throughout the implementation, and the aftermath of the project that includes new questions and new ideas. The name “Outline” stems from the idea of creating a retroactive project outline which is part of a broader emphasis on the process of curiosity, creativity, and critical thinking from a nuts and bolts perspective. Outline is not discipline-specific; the series will be held with artists, academics, writers, filmmakers, among others. Join the live audience: https://www.afikra.com/rsvp FollowYoutube - Instagram (@afikra_) - Facebook -Twitter Support www.afikra.com/supportAbout afikra:afikra is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity. Read more about us on afikra.com
Hungarian filmmaker Flóra Buda sat down with HFPA journalist Aniko Navai to discuss her animated short film "27", which just won the Palme d'Or for Best Short Film at the 2023 Cannes Film Festival. They also discuss her inspirations, the difference between animation and live action, her desires to push into longer form stories, and more.
Proud theatre geek turned Army Special Forces Green Beret, turned 'Medal of Valor'-earning firefighter and now back to actor, Jeff Bosley is a film and television actor. During his years in theatre performing on stage Jeff's studies focused on The Meisner Technique. As he transitioned to film & television his education expanded to Stanislavski's 'Method' while studying for nearly 5 years at the Lee Strasberg Theatre & Film Conservatory. He continues to train and study at Strasberg, the American Film Institute, the SAG-AFTRA Conservatory and multiple studios in the Los Angeles area.His current work and projects have earned him major roles transporting him to international movie sets and Cannes Film Festival Screenings. His indie feature film 'Parallax' (which he starred in and produced) has been making the festival rounds for the last several years with 11 awards as of December 2021- including multiple winners of Best Actor, Best Producer, Best Short Film and Best Thriller.
Proud theatre geek turned Army Special Forces Green Beret, turned 'Medal of Valor'-earning firefighter and now back to actor, Jeff Bosley is a film and television actor. During his years in theatre performing on stage Jeff's studies focused on The Meisner Technique. As he transitioned to film & television his education expanded to Stanislavski's 'Method' while studying for nearly 5 years at the Lee Strasberg Theatre & Film Conservatory. He continues to train and study at Strasberg, the American Film Institute, the SAG-AFTRA Conservatory and multiple studios in the Los Angeles area.His current work and projects have earned him major roles transporting him to international movie sets and Cannes Film Festival Screenings. His indie feature film 'Parallax' (which he starred in and produced) has been making the festival rounds for the last several years with 11 awards as of December 2021- including multiple winners of Best Actor, Best Producer, Best Short Film and Best Thriller.
Hess Wesley's debut as a writer and co-director for the short film "Adonai" and has been recognized with over 25 film awards, including Best Short Film at the Burbank International Film Festival, the People's Film Festival in Harlem, and the Urban Film Festival in Miami. He has acted in independent films, TV pilots, and more than 30 national and regional ads. Hess also founded his own production company, Hess Wess Productions, and stays active writing, directing, and producing. ▬▬▬▬▬▬▬▬ Hess Wesley ⌲ IMDB: https://www.imdb.com/name/nm2294686/ ⌲ IG: https://www.instagram.com/hesswesley/?hl=en ⌲ Website: https://www.hesswesley.com/ ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #Adonai #Commercials #Infiniti #ESPN #Voiceover #ChurchsChicken #SportsAndActing #Football #Director #Producer #Miami #Haiti #HaitinActor #CreatingShortFilms #ShortFilms #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://podcasters.spotify.com/pod/show/the-moving-spotlight/support
This month we welcome Jeff Bosley to the podcast. Jeff is a talented film and television actor with a remarkable background and extensive training that originated on the stage. Jeff's impressive achievements in theatre include numerous nominations and awards, such as the Theatre Recognition Award, Theatre Service Award, and two Best Actor nominations.In addition to his theatrical accomplishments, Jeff has also made a name for himself in the film industry. He produced and starred in the indie feature film 'Parallax,' which has garnered 11 awards since December 2020, including Best Actor, Best Producer, Best Short Film, and Best Thriller.Jeff's life experiences are as diverse as they are impressive. A former Army Special Forces Green Beret and Medal of Valor-earning firefighter, Jeff pours every ounce of his hard-earned wisdom into his craft, both on and off the screen. Jeff and Kervin discuss transitioning from the military to Hollywood, Stoicism, and the 2023 Oscars. We are excited to share this episode with you.--------------Links:https://www.instagram.com/thejeffbosley/https://twitter.com/thejeffbosley/https://www.facebook.com/thejeffbosley/https://www.jeffbosley.com/https://www.imdb.com/name/nm4759617/-------------Get your discount on a brand new BlendJet2 by going to our link: https://zen.ai/analytics12----------------------Disclaimer:The views and opinions expressed on the podcast are those of the hosts and guests and do not necessarily reflect the official policy or position of any organization or entity. The information provided on the podcast is for general informational purposes only and should not be considered as professional advice or as a substitute for independent research and analysis. Each individual listener should research and identify their own opinions based on facts and logic before making any decisions based on the information provided on the podcast. The podcast hosts and guests are not responsible for any actions taken by individuals based on the information provided on the podcast.
Steve Anthopoulous joins Chaya Goldstein-Schuff to discuss his award winning short film VOICE ACTIVATED, a film about a deliveryman who stutters and is forced to cooperate with a voice activated car. Steve shares what inspired him to create the film, and his personal journey that got him to where he is today. Steve talks about the theme of avoidance and the power of caring about stuttering less and the freedom that came from talking more about stuttering. Steve is a comedy writer and director. His short film VOICE ACTIVATED premiered at the Sydney Film Festival, won best screenplay at Stellar Short Film Festival, and was nominated for Best Short Film by the Australian Academy of Cinema and Television Arts and Best Short Production by Screen Producers Australia. Voice Activated was a recipient of the Screen NSW Screenability fund. Steve has directed ads for Ausfilm, Netflix and Staples, and loves comedies that find a way to be both fun and meaningful. Links: Trailer Cleveland Film Festival steveanthopoulos.com Instagram
How do you direct live TV? Whether 21 cameras or three, a live audience or not, there are so many considerations that differ from narrative filmmaking. What are those things? Filmmaker Sharon Everitt shares how she does it on this episode. (Episode 38) Hosted by Director/Producer Jenn Page. To join our private FB group for directors, or to learn about The Working Director accelerator that helps emerging filmmakers become working directors faster, visit TheWorkingDirector.Pro. MORE ON SHARON: SHARON EVERITT is a 3-time Emmy nominee and has directed over 100 episodes of television, including “That's My Time with David Letterman” on Netflix, “Jimmy Kimmel Live!” on ABC, NBC's “World of Dance”, and NBC's “A Little Late with Lilly Singh”. Sharon is also an accomplished narrative writer/director whose projects frequent the film festival circuit. Her 2019 musical comedy “Brentwood” played dozens of festivals around the world and won Best Short Film at the Independent Filmmaker Showcase in Los Angeles. Sharon's original sci-fi “Polybius” premiered at Fantastic Fest in 2019, and her sci-fi fantasy “Below the Root” was optioned by Walt Disney Pictures. Sharon began her career as a television editor, and was the Executive Producer of ABC's long running Disney Christmas Day Parade special. She was part of NBC's Alternative Directors Program, was named one of the “Future Women of Television” by Blackmagic Collective in 2020, and is part of the 2022 DGA Women's Mentorship Group. Follow Sharon: IMDB WEBSITE INSTAGRAM --- Send in a voice message: https://anchor.fm/theworkingdirector/message
Hosts Katie Walsh and Blake Howard join multi-hyphenates filmmaker-film festival director Jason Fitzroy Jeffers and studio executive-film director-critic-programmer-screenwriter-educator Brandon Harris to talk about MIAMI VICE (2006) holding an uncomfortable mirror up to the reflection of early 2000s Miami.Join our Patreon for as little as $1 a month for an exclusive weekly podcast Rum and Rant + access to the OHM discord here.ABOUT JASON FITZROY JEFFERSJason Fitzroy Jeffers is a filmmaker from Barbados whose work focuses on giving rooted and nuanced voice to the Caribbean, pockets of subtropical Black life across the American South, and other marginalized, equatorial, Afro-diasporic spaces.As a filmmaker, he has produced award-winning shorts such as Papa Machete and Swimming in Your Skin Again that have screened at film festivals such as Sundance, BlackStar, TIFF, Sheffield and more. More recently, he co-directed the short film Drowning by Sunrise for The Intercept, and produced T, the 2020 winner of the Golden Bear for Best Short Film at Berlinale. Prior to this, Jeffers was a journalist with The Miami Herald, and his writing has also appeared in outlets such as American Way and Ocean Drive.In addition to his film work, Jeffers is also the Founding Director of the Miami-based Caribbean filmmaking collective Third Horizon, which stages the annual Third Horizon Film Festival, a showcase of cinema from the Caribbean, its diaspora, and other underrepresented spaces in the Global South. It was named one of the “25 Coolest Film Festivals in the World” in 2019 and 2021 by MovieMaker Magazine. For this and other work at the intersection of filmmaking and social justice, Jeffers was named a 2019 Ford Foundation / Rockwood Leadership Institute JustFilms fellow.Jeffers is currently in development on two feature-length projects: he is co-writing and producing Untitled Opa-locka Project, a science fiction set in inner-city Miami, which has been supported by Sundance Talent Forum, SFFILM and Cinereach; and he is also directing The First Plantation, a documentary on the fight for reparations in Barbados for which he was named a Doc Society New Perspectives fellow.ABOUT BRANDON HARRISOriginally from Cincinnati, Ohio, Brandon Harris has worked in the world of American Cinema as a studio executive and film director, critic and programmer, screenwriter and educator. Formerly a Development Executive for Amazon Studios, where he oversaw productions such as Master (2022) and The Voyeurs (2021) and acquisitions such as Blow the Man Down (2020) and Time (2020), Harris's lauded writings about cinema, politics, culture, and the intersections between them have appeared in The New Yorker, The New Republic, The Guardian, VICE, The Daily Beast, Variety, N+1, The New Inquiry, Brooklyn Rail, In These Times, Hammer to Nail, and Filmmaker Magazine, where he remains a contributing editor. Harris, formerly the festival programmer at the Indie Memphis Film Festival, is the director of Redlegs (2012), a New York Times Critics Pick. His genre bending mix of memoir and history Making Rent in Bed-Stuy, released in 2017 by Amistad Books, is a New York Times Book Review Editor's Choice and was named a Vogue Magazine book of the year.Join our Patreon for as little as $1 a month for an exclusive weekly podcast Rum and Rant + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON:ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
In 2007, the dynamic husband and wife filmmaker duo of Bayou Bennett and Daniel Lir founded Dream Team Directors. Their vision was to combine imagination, humor, beauty and a desire to positively impact the world through their stunning creative work. They started their collaboration as writer/director with the viral hit “Text Me” which won multiple awards, was featured in Teen Vogue, Seventeen, NY Press and voted for honors by Execs at Fox Searchlight, DreamWorks, MTV, New Regency. The film quite literally captured the texting and Facebook generation and was praised by producers such as Martin Brown's "Moulin Rouge". In their 13 years of working as a stellar team, they have had the opportunity to collaborate, direct and produce with great talents such as Oscar nominee Mark Ruffalo, Oscar nominee Juliette Lewis, Golden Globe nominee Anthony Mackie, Lea Michele of Fox's "Glee” and "Scream Queens", Coldplay, P. Diddy, Paris Hilton, Lindsey Stirling and top model, Bella Hadid. Their company motto, "Let our dream team manifest your dream", symbolizes the expansion and positive attention they win for their celebrity and high-profile brand clients such as Adidas, Atlantic Records, Smashbox Cosmetics, Chrome Hearts and more. Their most recent inspiring drama, “Tombstone Pillow”, shot in a Manila cemetery where 6,000 families live received a flood of awards including Best Inspiring Film, Best Drama, Best Screenplay, Best Cinematography and Best Short Film which brings their total festival wins to over 60. They also offer a course called Build Your Brand, Your Following, Your Empire to help people learn how to create content by just your mobile phone. Learn how to use your phone to create professional videos that get you more customers. Learn how to present your product or service online and get excellent results. Learn how to make planning and creating your content fun, effective, and budget-friendly. Learn how to create endless social media video content on any budget. Five tips on how to become a successful filmmaker: Learn how to sell. It's an Art but there is a business side of it. Always have your branding down. How are you different from other filmmakers? Always know your worth and your value. It is important how much you should charge. Don't be afraid to promote. Never Give Up, no matter how hard it is. Connect with Bayou Bennett: Social Media links: https://www.instagram.com/bayoubennett/ https://www.instagram.com/dreamteamdirectors/ http://www.linkedin.com/in/bayou-bennett-8046b614/ http://www.facebook.com/bayoubennett http://www.youtube.com/channel/UCuG8VVz66CVBAe114SUQ34A http://www.twitter.com/dreamteamfilm Website: www.dreamteamdirectors.com Connect with me: Email: mayly@donutprincessla.com Business Website: www.donutprincessla.com YouTube: Mayly Tao / DONUT PRINCESS LA Apple Podcast: Short N' Sweet: A Donut Princess Podcast Instagram: @donutprincessla / @maylytao Facebook: Donut Princess Los Angeles Twitter: Donut Princess LA Tiktok: teochewdaily LinkedIn: Mayly Tao *Donate supplies to poor Khmer communities: https://gofund.me/e2569649 *Watch the Donut King Film here: thedonutkingfilm.com (also available on Hulu, Apple TV, Google Play, and Amazon Prime Now) Book Now: Donut Exotics: www.donutexotics.com Donut Princess LA: www.donutprincessla.com First Class Doc Prep: email jessie@1stclassdocprep.com
Emma Branderhorst is a 26-year-old director from Amsterdam. Her work mainly deals with major social themes such as period poverty, children of war, and bullying, which she turns into a personal and intimate story. The ‘slice of life' effect is significant in her work which is how she can make the characters feel ‘alive' and that the story doesn't only focus on the problem. She intentionally tells stories through powerful and independent female protagonists from a feminine perspective. Her film Under the Skin premiered at Berlinale Generation and won the Wildcard Dutch Film Festival for best new film talent (2019) and Cinekid's best youth film (2020). Her latest film Spotless (2022), won the Krystal Bear at Berlinale Generation, the Cinekid award for Best Short Film, the Grand Prix at Regard in Canada, and was recently submitted to the Oscars 2023. In this episode, Emma and Dr. Taz talk about the significant gaps in women's rights in a patriarchal society and the struggles women experience during their period. Emma also shares her filmmaking journey and what inspired her to take on major social themes and intentionally transform them into a story from a female perspective.Today on Super Woman Wellness: How women around the world struggle with their periodWhy talking about women's period is a tabooMotivation for telling a story from a female perspective vs. the generic male perspectiveHow to keep viewers engaged and focused on the story This show is supported by:Athletic Greens | Get a free year's supply of vitamin D and 5 free travel packs with your first purchase at athleticgreens.com/DRTAZ!Follow Emma:Website: emmabranderhorst.comInstagram: @emmabranderhorstFollow Dr Taz:Instagram: @drtazmdWebsite: doctortaz.com This show is produced by Soulfire Productions
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