Podcast appearances and mentions of Billy Goldenberg

"I'd like to report a truck driver that's been endangering my life."—David Mann (Dennis Weaver) in Duel. For the 20th TMR Movie Roundtable we are joined once again by our good friends Frank Johnson, Antony Rotunno, Mark Campbell and Oscar Campbell for a five-way discussion on the nerve-rattling 1971 thriller Duel, directed by the young Steven Spielberg and starring Dennis Weaver as Everyman pushed to the edge by a relentless, anonymous foe. David Mann (Dennis Weaver) is just an ordinary chap minding his own business and driving his beloved red Plymouth Valiant through the California desert, when a predatory monster of a smoke-spewing lorry (sorry, truck) inexplicably picks him as its unsuspecting prey. What starts as a routine car journey swiftly spirals into a heart-pounding game of cat-and-mouse with no rules and no escape. What's fuelling the truck's murderous pursuit? How does Spielberg turn a regular highway into a battlefield of primal fear? And what might this filmic clash of Man versus Machine have to say to us today? Join us as we examine the tension, explore the film's minimalist brilliance, and ask what "takeaways" might be gleaned from Spielberg's early TV/cinematic masterpiece. [Podcast theme music by Antony Raijekov (CC BY-NC-SA 4.0). In accordance with the conditions of that licence TMR wishes to state that the fact that this music appears in TMR podcasts should in no way be understood as implying that its creator endorses anything produced by TMR.] [For show notes please visit https://themindrenewed.com]

UNSTOPPABLE director Billy Goldenberg and editor Brett Reed have had a working relationship for over twenty years, going back to their time together on COYOTE UGLY (2000).  Since that film, they've logged a lot of hours as "editor and assistant" or "editor and additional editor", but their new film brings about a whole new dynamic, "director and editor". UNSTOPPABLE is the inspiring true story of Anthony Robles (Jharrel Jerome) who was born with one leg but whose indomitable spirit and unbreakable resolve empowered him to defy the odds and pursue his dreams. With the unwavering love and support of his devoted mother Judy (Jennifer Lopez) and the encouragement of his coaches, Anthony fights through adversity to earn a spot on the Arizona State Wrestling team. But it will demand everything he has, physically and mentally, to achieve his ultimate quest to become an NCAA Champion. WILLIAM GOLDENBERG, ACE While UNSTOPPABLE is Billy's first shot at directing, he is one of the most well-respected and sought-after film editors working today. He won an Academy Award, BAFTA Award, and the American Cinema Editors' (ACE) Eddie Award for his outstanding work on the 2013 Best Picture winner, Argo, directed by Ben Affleck. His recent editing credits include Air, 22 July, Unbroken, and Concussion. Goldenberg received dual Oscar nominations in 2013, also being nominated, along with editor Dylan Tichenor, for his work on Kathryn Bigelow's Zero Dark Thirty.  In 2015, Billy was again nominated for an Oscar, a BAFTA Award, and an Eddie Award for the historical thriller The Imitation Game, starring Benedict Cumberbatch and Keira Knightley.  He was previously Oscar-nominated for his editing work on Seabiscuit, and on Michael Mann's controversial film The Insider (with Paul Rubell and David Rosenbloom). Goldenberg was also part of the editing team on Mann's Heat, Ali, and Miami Vice BRETT M. REED Prior to cutting UNSTOPPABLE for Billy, Brett also collaborated with Artists Equity on Doug Liman's film THE INSTIGATORS, starring Matt Damon, Casey Affleck and Hong Chau. Additionally, he edited OLD, directed by M. Night Shyamalan for Universal Pictures, as well as several episodes of Shyamalan's television show THE SERVANT for Apple TV+.  Previously Reed cut CLOUDS directed by Justin Baldoni for Disney+; Christoph Waltz' GEORGETOWN; Automatik's DREAMLAND directed by Miles Joris-Peyrafitte and starring Margot Robbie; and Nick Hamm's bio-thriller DRIVEN, starring Erin Moriarty and Lee Pace. Brett's earlier work with Billy Goldenberg included supporting him as an Additional Editor on TRANSFORMERS: RISE OF THE BEASTS, LIVE BY NIGHT, CONCUSSION, UNBROKEN and ARGO. Reed was also a First Assistant Editor on THE AMAZING SPIDER-MAN 2, ZERO DARK THIRTY, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES, NATIONAL TREASURE, amongst others. Directing and editing UNSTOPPABLE In our discussion with Billy and Brett, we talk about: Editors as first-time directors Cutting for a director who's an Oscar-winning editor Seeing double on the wrestling mat Obsessing and finessing an L-cut Making the most of a montage The Credits Visit Extreme Music for all your production audio needs Listen to Billy talk about cutting AIR and NEWS OF THE WORLD Check out the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

#elvis68comebackspecial  #60smusic  #elvispresley How Steve Binder Found the Perfect Ballad for Elvis' 68 Comeback Special PT5In 1968, Elvis was about to make his much-anticipated comeback to the music scene, but there was a problem – they needed the perfect song to capture his emotions and re-ignite his career. That's where Steve Binder, the director of the '68 Comeback Special, came in.The song, written by Walter Earl Brown, & Billy Goldenberg resonated deeply with Steve Binder and he knew it was the one. It captured the essence of Elvis' journey, his struggles, and his desire for a better world. It was a song that represented hope and unity.Hello and welcome to our channel! Today we have a clip with our special guest Steve Binder, the director of the iconic Elvis 68 Comeback Special. Steve is a legendary director and producer, whose work spans over six decades and includes some of the most iconic moments in music and television history. We are thrilled to have him with us today to talk about his experience directing the legendary Elvis Presley and the making of the 68 Comeback Special. So without further ado, let's welcome Steve to the show.NOW PLAYING➜https://www.paramountplus.com/movies/video/FMGXP5s7R1iWeCQAiI_FJvA_Zf_NqwOd/*********************************************************************Watch Full Unedited Episodes in:Join this channel to get access to perks:https://www.youtube.com/channel/UCpDurwXKpDiXuGBdsklxigg/joinSupport the show

Award-winning author Jon Burlingame joins the podcast for an entertaining review of the best in TV music, as told in his new book, "MUSIC FOR PRIME TIME."   Jon recounts wonderful stories of the earliest TV series and how their theme songs and scores were developed.  Some of the classic shows we revisit are Peter Gunn, Rawhide, The Man From Uncle, The Twilight Zone, I Love Lucy, The Flintstones, Roots, and  The Avengers.  We also discuss composers Max Steiner, Bernard Herrmann, John Williams,  Jerry Goldsmith, Quincy Jones, and Billy Goldenberg's early work with Stephen Spielberg.  Jon also tells us the story of how "Friends" may have saved the TV Theme song.  And we share our admiration for current composers who are keeping TV music as popular as ever with their scores for HBO'S GAME OF THRONES & WESTWORLD, Disney's THE MANDALORIAN, and the Netflix hit STRANGER THINGS.  This is an entertaining and informative look back at the history of TV music that ends with a positive look at the bright future ahead.Jon Burlingame is the nation's foremost writer on music for TV and Film.  MUSIC FOR PRIME TIME is Jon's newest book, and it provides the most comprehensive review of TV music ever written.  Purchase MUSIC FOR PRIMETIME on AmazonPurchase The Music of James Bond on AmazonLink to Jon Burlingame's WEBSITELink to COMPOSER BILLY GOLDENBERG Podcast with Gary GeraniLink to Composer MAX STEINER podcast with Steven Smith The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

It's been almost three years, but we are finally covering a TV movie! And what better way to mark the occasion than to have TV movie expert, and author/editor of Are You in the House Alone: A TV Movie Compendium 1964-1999, Amanda Reyes join us for a discussion of Fear No Evil (1969)!  Before we dive into the film, prepare your watchlists because we'll be throwing a ton of recommendations your way! Letterboxd list of all the films referenced in this episode: https://letterboxd.com/hexmassacre/list/unsung-horros-episode-tv-movie-mayhem-w-amanda/ Buy Amanda's Book: https://www.amazon.com/Are-You-House-Alone-Compendium/dp/1909394440/ref=sr_1_1?keywords=are+you+in+the+house+alone+book&qid=1678648749&sprefix=are+you+in+the+h%2Caps%2C161&sr=8-1 Cruise Into Terror Soundtrack: https://www.amazon.com/Gerald-Fried-Collection-Vol-Soundtrack/dp/B08PJNY2F9 The UFO Incident blu-ray w/ Billy Goldenberg documentary: https://kinolorber.com/product/the-ufo-incident-blu-ray Fear No Evil/Ritual of Evil blu-ray: https://kinolorber.com/product/fear-no-evil-ritual-of-evil-double-feature-blu-ray Amanda's HONEYMOON WITH A STRANGER article on Fangoria: https://www.fangoria.com/original/a-look-back-at-honeymoon-with-a-stranger/ Supporting Characters podcast episode with Amanda: https://open.spotify.com/episode/4qjqKBcVrgAzN5h0YZrj6D?si=OzXKqziRRS-qmyEiI7ynqw Made for TV Mayhem Blog & Podcast: www.madefortvmayhem.com Twitter and instagram: @madefortvmayhem  Facebook: https://www.facebook.com/madefortvmayhem Follow this podcast on Instagram and Facebook @unsunghorrors. Follow Lance on Instagram and Letterboxd @lschibi Lance's shop: https://lanceschibi.bigcartel.com/ Follow Erica on Letterboxd or Instagram @hexmassacre or add on Discord HexMassacre #2790 Logo by Cody Schibi Part of the Prescribed Films Podcast network (www.thepfpn.com) Next Movie! https://www.youtube.com/watch?v=VUfqfoPyGlM

Enjoy this wonderful song, sung by our own Trystan McLean Ashmead; which was written in 1968 by Billy Goldenberg (composer) and Walter Earl Brown (lyricist) for Elvis Presley; who sang it as the grand finale on his TV Special - recorded in June - that same year.

Enjoy this wonderful song, sung by our own Tristan McLean Ashmead; which was written in 1968 by Billy Goldenberg (composer) and Walter Earl Brown (lyricist) for Elvis Presley; who sang it as the grand finale on his TV Special - recorded in June - that same year.

Kevin is joined by Academy Award-winning film editor, William Goldenberg. William Goldenberg, EditorWilliam (Billy) Goldenberg is an award-winning editor who has worked on over 20 films and television shows. His numerous awards include the BAFTA and the Academy Award for Best Film Editing for Argo. Goldenberg also received Oscar nominations for his editing work on Seabiscuit, The Insider, Zero Dark Thirty, and The Imitation Game. He has worked closely with award-winning directors Michael Mann, Ben Affleck, and Kathryn Bigelow.And the Oscar goes to… (2:25)Billy talks about what it was like being nominated for the Academy Award for Editing for two films in the same year, Zero Dark Thirty and Argo. Goldenberg recounts how it was the most nerve-wracking thing that has ever happened to him. He talks about winning for Argo and his acceptance speech, focusing on the microphone to blur out the stars in the front row and how he has not been able to re-watch the speech.Learning to take criticism (8:19)Kevin asks Billy to talk about his mentor, Michael Kahn. Billy tells the story about how he took over for Kahn on the film Alive and the process of editing and re-editing on film. Kahn taught Billy a valuable lesson on how to take criticism and react positively.Working with directors (16:16)Billy and Kevin discuss what it takes to be a successful editor in Hollywood, and they delve into the process of what it is like to be in the editing room with such award-winning directors as Michael Mann and Ben Affleck. Goldenberg relates a story about going back and forth with Michael Mann while working on the film Ali.Length vs. Pace (19:30)Kevin brings up a vital concept in film editing, pace. The pair discuss the difference between the length of a film and the pace of the film and how it relates to how the audience reacts to a movie. Billy talks about being in the editing room with Ben Affleck for Gone Baby Gone and working on the pace and length of the film.Film school and early work (31:22)Billy talks about switching from medical school to film school and how he wanted to be an editor from early on. He talks about his first job as a PA and one of his first jobs as an assistant editor on Steven Spielberg's film Always. How Bradley Cooper changed Argo (40:10)Kevin asks Billy to talk about his most memorable audience testing experience. Billy recounts multiple test screenings for Argo and how feedback from Bradley Cooper led to a significant change in the film that resulted in fantastic testing results.Host: Kevin GoetzGuest: William GoldenbergProducer:  Kari CampanoFor more information about William Goldenberg:IMDB: https://www.imdb.com/name/nm0325549/For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, Twitter, Instagram: @KevinGoetz360Linked In @Kevin GoetzScreen Engine/ASI Website: www.ScreenEngineASI.com

Film historian Gary Gerani joins the podcast to discuss his documentary extra “Romantic Mysticism” on composer Billy Goldenberg.  We discuss Billy's early career working with Steven Spielberg on the pilot for NIGHT GALLERY (Spielberg's professional directorial debut) as well as the TV movie "Duel."  Gary provided the audio commentary on the pilot for the Kino Lorber Blu-ray release in November of 2021 and he provides background into the three episodes that make up the pilot, including "Eyes," starring Joan Crawford in one of her last performances and directed by Spielberg. Then we get into a discussion of the 1975 TV movie, THE UFO INCIDENT starring James Earl Jones and Estelle Parsons.  Gary provided the audio commentary for the Kino Lorber Blu-ray release in June of 2022 and struck a deal with Kino to include his documentary on that release.  And finally, we discuss the recent release of NIGHT GALLERY season 2, which is packed with extras, including numerous audio commentaries from Gary Gerani.Purchase "The UFO Incident" which includes the documentary as an extra.Gary Gerani's Facebook page.Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers.  Contact us today to see how we can work together to achieve your goals.  www.otakumedia.tv

TVC 581.2: Emmy Award-winning writer/producer Joseph Dougherty, author David Koenig (Shooting Columbo: The Lives and Deaths of TV's Rumpled Detective), Dan Farren, and Tony Figueroa discuss the important role that music played in the original Columbo (particularly the score that Oliver Nelson wrote for “The Greenhouse Jungle”); favorite moments of Columbo episodes; and the New York company that briefly produced a line of Columbo yogurt. Shooting Columbo is available in hardcover, as an eBook, and as an audiobook through Amazon.com. Joseph Dougherty's new book, A Screenwriter's Companion, is available for pre-order through Amazon.com and Fayetteville Mafia Press. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

When editor and 1st AE Chris Patterson reached out to me earlier this year, he was stuck trying to figure out how to convince his colleagues he was ready to edit. He knew he had the skills, but he didn't have the experience (or the credits) such that people were willing to take the chance on him. Not even six months later after working with me in the Optimizer coaching & mentorship program he posted this in the #wins channel in our Slack community: Editor Chris Patterson has spent much of his career as the lead 1st AE working with some of the biggest names in editing & directing. A short list of the features he's worked on includes Ready Player One, The Post, Royal Tenenbaums, Zero Dark Thirty, The Town, and Analyze That. And Chris has worked with editors such as Michael Kahn, Dylan Tichenor, Billy Goldenberg, and many more. But when Chris decided it was time to make the transition into the editor's chair, he hit more than a few roadblocks: One of his biggest fears was “bothering people” in his outreach. Another fear was “selling himself” without sounding egotistical about his level of skill and experience in the industry (I mean c'mon...he's worked with Spielberg!). And ultimately he didn't know how to address the “elephant in the room” that he didn't have enough editing credits for someone to take a chance on him. When the pandemic hit and Hollywood shut down, Chris recognized that he was ready to make the transition to editor. Yet his fears of bothering people and asking for help left him feeling stuck and unsure of how to make the change. That's when he joined the Optimizer community and learned some valuable lessons and tools which led him to getting a job editing his first feature. In today's conversation, Chris talks about the challenges he faced with networking, the mindset shifts he made, and the a-ha moments he had to get him unstuck and moving to the next level of his career. And in the later half of the interview you'll hear me put Chris on the Hot Seat as we prepare him for how to confidently sell himself as a capable editor that any producer would hire for his next project. → Click here to learn more about working with me in the Optimizer program Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: How Chris got his first job working with Michael Kahn Explanation of the two traps that keep you stuck in a career you have outgrown. What practical questions you need to ask yourself when making a career transition. The final straw that got Chris to say no to the assistant jobs and risk going for an editing gig. The most valuable lesson that you don't learn in film school. Chris's strategy for convincing people that he can be an editor. The lessons he learned by working with the best editors in the business. The key takeaway Chris got from my Advanced Networking class. An exercise anyone can do to sell yourself with confidence. How to structure your story so that your skills sell your ability when your experience doesn't yet. Set realistic expectations to set yourself up for success and not failure. Chris's advice to anyone trying to succeed in their career. Useful Resources Mentioned: Optimizer Coaching Program Continue to Listen & Learn Ep113: The Importance of Setting Boundaries, Advocating For Yourself, and Asking For Help | with Janace Tashjian I need help making a career transition | Optimize Yourself Insider's Guide to Writing Cold Outreach Ep106: On the Vital Importance of "Being Nice" | with Jesse Averna, ACE Ep104: How to Keep Working As An Editor (After You've Made the Transition From AE) | with Susan Vaill, ACE How to Find the Right Type of Mentor For You (and When You Should Seek the Best) How to Go From Cold Contact to Your Ideal Mentor In Seven Simple Steps IMDbPro for Networking: The 10 Features That Will Take Your Outreach to a New Level Ep80: How to Avoid Getting Pigeonholed, The ‘Concentric Circles of Networking' & More | with Doc Crotzer, ACE Our Generous Sponsor: This episode was brought to you by Ergodriven, the makers of the Topo Mat (my #1 recommendation for anyone who stands at their workstation) and now their latest product. New Standard Whole Protein is a blend of both whey and collagen, sourced from the highest quality ingredients without any of the unnecessary filler or garbage. Not only will you get more energy and focus from this protein powder, you will notice improvements in your skin, hair, nails, joints and muscles. And because they don't spend a lot on excessive marketing and advertising expenses, the savings gets passed on to you. Guest Bio: Chris Patterson began his editing career in New York City, coming up as an assistant & associate editor under Andrew Mondshein on such films as Analyze That and Casanova. After moving to Los Angeles,he worked under such luminaries as Michael Kahn and Dylan Tichenor on such movies as Ready Player One and Zero Dark Thirty. He is currently editing Sean Patrick Flanery's feature film directorial debut Frank and Penelope. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

Matthew Sweet marks the return of the Fast and Furious franchise to cinemas, and a new score by Brian Tyler, with a look at film music for fast cars and the quest for speed. The programme includes music from Hanna, Monte Carlo or Bust, The Great Race, Le Mans 66, Rush, Mad Max Fury Road, Ronin, The French Connection, Black Panther, Bullitt and fromt he enw Fast and Furious film. There's also a close look at Billy Goldenberg's score for Steven Spielberg's early film, Duel.

It's not easy to start all over and pursue a career in a competitive industry without many models of those who are similar to you. But after 9/11, Harry Yoon found himself contemplating his future and wanting to make life choices that would reflect his deepest passions and callings. At 31 years old, he walked away from a career in technology, sold everything, and headed to Hollywood in search of a vocational path in the film industry. Two decades later, Harry has experienced the dream of editing a movie that reflects the authenticity of the Korean immigrant experience which was a part of his own story as a second-generation Korean American: Minari, written and directed by Lee Isaac Chung and currently nominated for six Academy Awards. In this special bonus episode, producer Helen Lee talks with Harry about the risks he took to enter this industry, and how he was able to use his bicultural skills and experiences to survive and thrive. Helen and Harry also discuss the elements of Christian faith interwoven throughout the movie and why it carries a message that the church needs now more than ever. About the Guest: Harry Yoon is a wildly-talented editor based in Los Angeles. His most recent work can be seen on HBO and A24's teen drama “Euphoria,” created and directed by Sam Levinson. Yoon continued to collaborate with A24 as an additional editor on The Last Black Man In San Francisco, which was directed by Joe Talbot and premiered at Sundance. Yoon coedited Detroit, Kathryn Bigelow's feature film about a true-crime incident that occurred during the 1967 Detroit riots. He met Kathryn and his coeditor Billy Goldenberg while serving as the VFX Editor on Bigelow's Zero Dark Thirty. Yoon edited the historical drama The Best Of Enemies, written and directed by Robin Bissell, starring Sam Rockwell and Taraji P. Henson. He also worked as an additional editor on Universal Pictures's First Man, directed by Damien Chazelle, which premiered at Toronto International Film Festival and starred Ryan Gosling and Claire Foy. Yoon's previous credits as an editor include HBO's The Newsroom and several feature films that premiered at the Sundance Film Festival, including Drunktown's Finest, directed by Sydney Freeland, and Half-Life, directed by Jennifer Phang. His credits as a VFX Editor and Assistant Editor include The Revenant and The Hunger Games.  You can follow Harry on Instagram.SPECIAL OFFER | Save 40% on Movies Are Prayers and get free US shipping when you use promo code EVN40 at checkout.Organizations/resources that Harry is connected with or recommends include:CAAMVisual CommunicationSideTimeBrehm Center interview with Harry Yoon and Lee Isaac ChungGold OpenAbout the Host:Helen Lee is the director of product innovation at IVP; she is also the author of The Missional Mom and The Race-Wise Family, co-authored with Dr. Michelle Reyes. Helen also serves as the producer of The Every Voice Now Podcast and as the executive producer of Get in the Word with Truth's Table and The Disrupters. Follow Helen on Twitter and InsSupport the show

TVC 529.2: Documentary filmmaker and film/TV historian Gary Gerani updates Ed on the latest developments about Romantic Mysticism (his upcoming documentary on the life and music of Billy Goldenberg), and discusses some of his other upcoming projects. The Dark Intruder Blu-ray release, now available from Kino Lorber, includes commentary by Gary Gerani, plus an interview with Mike Westmore, son of legendary Universal makeup artist Bud Westmore. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They’re great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

Broadway Actress & Cabaret Icon, Karen Mason is "Baring It All with Call Me Adam" about starring on Broadway as well as her legendary cabaret career (she's a 13-time MAC Award winner). Karen gives the inside scoop on: Cast Pranks Sunset Boulevard (starring the legendary Glenn Close) Cabaret legacy with long-time collaborator Brian Lasser Working with Award Winning composers Alan & Marilyn Bergman, Michele Brourman, Amanda McBroom, Scott Evan Davis, Billy Goldenberg, her husband Paul Rolnick Rapid Fire Questions Tune into Mason's Makin' Music every Thursday at 5pm on Karen's Facebook Page Karen is also teaching a MasterCourse called The Song Is YOU! at Singasium. Sign up here! This interview has been split into two episodes. The second part of this interview, focusing on Lessons Learned, will be released at a later date. Connect with Karen: Website Facebook Twitter Instagram YouTube Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Karen Mason: Karen Mason was recently seen as “Madame Giry” in the North American premier of Love Never Dies — Andrew Lloyd Webber’s epic sequel to the Phantom of the Opera. On Broadway, Karen garnered rave reviews starring as “The Queen of Hearts” in Wonderland. She originated the role of “Tanya” in Abba’s Mamma Mia!, receiving a 2002 Drama Desk nomination for Best Actress. Her other leading roles include "Norma Desmond" in Sunset Boulevard, which she performed to critical acclaim on Broadway & in Los Angeles for three years; "Velma von Tussel" in the final Broadway company of Hairspray; “monotony” singer, "Mazeppa" in Jerome Robbins’ Broadway; 'Rosalie" in Carnival (another Drama Desk nomination); plus featured roles in Broadway’s Torch Song Trilogy; & Play Me a Country Song. Karen won the Outer Critics Circle award for her performance in And the World Goes ‘Round, & starred Off-Broadway in her own show Karen Mason Sings Broadway, Beatles and Brian. Karen has headlined Carnegie Hall, The Kennedy Center, Lincoln Center, Feinstein’s at the Regency, Rainbow & Stars, the Algonquin; The Cinegrill & UCLA/ASCAP Concert Series in Los Angeles; The Plush Room in San Francisco; & Davenport’s in Chicago. She has shared concert stages with Michael Feinstein, Jerry Herman, Chita Rivera, Luciano Pavarotti, Rosemary Clooney, Liza Minnelli, and John Kander & Fred Ebb, among others. Her highly acclaimed recordings include her newest single, "It’s About Time," written by Paul Rolnick & Shelly Markham; her 2009 Mac award-winning Right Here/Right Now, 2005’s The Sweetest of Nights, the Mac award-winning When The Sun Comes Out, as well as three other CD’s: Christmas! Christmas! Christmas!, recorded live at the West Bank Café; Better Days, featuring songs by her longtime composer/arranger, Brian Lasser (including the 1998 Emmy award-winning song “Hold Me“); & Not So Simply Broadway. Karen has been featured on original cast recordings of Wonderland; Jeffrey (Varese Sarabande), And the World Roes 'Round (RCA Victor), The Child In Me, Vol. 1 (Harbinger Records), Lost In Boston ll (Varese Sarabande), & the studio cast recording of Wonderful Town (Jay Records), Her television appearances include the hit dramas ED and Law & Order: SVU. Film credits include Sleeping Dogs Lie & A Chorus Line. Learn more about your ad choices. Visit megaphone.fm/adchoices

TVC 514.2: Screenwriter, filmmaker and TV and film historian Gary Gerani shares a few memories of his longtime friendship with Billy Goldenberg, the Emmy-winning composer who passed away earlier this year at age 84. Known for his work in television, including the early work of Steven Spielberg (Duel, the pilot for Night Gallery, and the premiere episode of Columbo), Goldenberg set the tone for the distinctive sounds of many TV shows and TV-movies throughout the 1970s and ’80s. Gary is currently editing a documentary about the Goldenberg’s life and career, plus he provides commentary for the 50th anniversary Blu-ray release of Fear No Evil and Ritual of Evil available from Kino Lorber. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They’re great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

TVC 514.1: Screenwriter, filmmaker and TV and film historian Gary Gerani (Pumpkinhead, Vampirella, Fantastic Television) discusses the 50th anniversary Blu-ray release of Fear No Evil and Ritual of Evil, the highly acclaimed made-for-TV movies starring Louis Jourdan that not only were two of the first made-for-TV horror movies, but paved the way for such later supernatural TV efforts as The Sixth Sense, The Night Stalker, and The X Files. Fear No Evil and Ritual of Evil also marked Billy Goldenberg’s first works as a full-length film composer. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They’re great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

From March 2017: Emmy Award-winning producer/director Steve Binder tells Ed the backstory of "If I Can Dream," the iconic final number of Elvis: The 1968 Comeback Special, including an incredible act of selflessness by Billy Goldenberg, the show's musical director. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week: Directed by Roger Corman! The music of Billy Goldenberg! The trials of Colin Clive! Boris Karloff goes bowling! And King Tut inspires "The Mummy"! Learn more about your ad choices. Visit megaphone.fm/adchoices

Segunda parte en la que la televisión y su música son las protagonistas, con compositores como Billy Goldenberg, Lee Holdridge, David Rose, George Fenton, Thomas Newman o Michael Kamen. Las series son las siguientes: El Equipo-A, Autopista al cielo, Hermanos de sangre, Al este del Edén, Misión: Imposible, Colombo, Orville, Perdidos, Hombre rico,hombre pobre, SeaQuest, Planeta Azul, Ángeles en América, Cosmos, De la Tierra a la Luna, El pájaro espino, National Geographic: Grandes ballenas.

Segunda parte en la que la televisión y su música son las protagonistas, con compositores como Billy Goldenberg, Lee Holdridge, David Rose, George Fenton, Thomas Newman o Michael Kamen. Las series son las siguientes: El Equipo-A, Autopista al cielo, Hermanos de sangre, Al este del Edén, Misión: Imposible, Colombo, Orville, Perdidos, Hombre rico,hombre pobre, SeaQuest, Planeta Azul, Ángeles en América, Cosmos, De la Tierra a la Luna, El pájaro espino, National Geographic: Grandes ballenas.

Melee Markus is kinda sick so he let Apeshit Andy and Krazy Kaptain Khalid take center stage. This turned out to be a very good idea since both of them are pros. Also, there is a gut-wrenching twist at the end! Listen how the Kaptain brings you the sweet sounds of the score to the Konami game "Super Castlevania IV" for the SNES composed by Masanori Adachi and Taro Kudo. Apeshit on the other hand casually drops a neat score-bomb in the form of Buzz Kulik's "Around the world in 80 days" by Billy Goldenberg. Enjoy!

(Author's Note: If you'd like to submit a question for an upcoming article, don't hesitate to reach out and send me a message. I read every single email I receive.) On a weekly basis I receive emails, Facebook messages, and tweets from people all over the world who work in creative fields. Some people send me pages worth of their life stories, others are looking for quick tips to optimize something very specific in their lives, but most often the messages I receive are from people frustrated with where they are in their career who don’t know where to go next. The question below from Matt is a common concern many people have who are passionate about breaking into feature film editing but not sure if they're willing to pay the price necessary to achieve success. If you're not interested in feature film editing specifically, the advice below applies to just about any other creative field in the entertainment industry. Dear Zack, I'm Matt, 27, a video editor from England. I've been lucky enough to work as an editor for Manchester United and for brands like Adidas, but the dream inside me is big feature film editing. I've edited a couple of lower budget projects and love the creative challenge. I've been a film nerd since however long I can remember and when I see a great film I always think how awesome it would be to have had a creative part in that. I know you address this in the podcast but...I'm wondering if pursuing this goal is worth it in terms of the sacrifice knowing the long hours involved and what it can do to your social and family life...and health. I enjoy editing and feel I have a talent in crafting edits and storytelling but I also like my social life and traveling and having adventures with friends. Is it realistic to be able to work 6 months on 6 months off given the financial gain of working at that level and the intensity of a project like...the Avengers? It's probably only a question I can answer but any thoughts you could offer would truly be most appreciated. Thanks, Matt Hi Matt, The hard truth is that there's no right answer to this question. You already hit the nail on the head when you said, "It's probably only a question I can answer." But that having been said, I have provided three questions below that you can ask yourself that will hopefully help you clarify your true purpose and whether the cost of you pursuing your goal is worth the sacrifice. 1. Do you have a deep understand of WHY editing feature films is the right creative profession for you? Before determining what the true sacrifices are if you want to become an A-list feature film editor of huge films like The Avengers, the first step you must take is identifying and understanding your deeper "Why's." The answer to this question might come simply to you at first, but the deeper you get, the more complex your answer becomes very quickly. Think of this process like peeling the layers of an onion. Start simply by asking yourself: "Why do I love editing?" And your answer can be as simple as: "It's fun cutting shots together with music." Now ask yourself, why is it fun cutting shots together with music? "Because I get an adrenaline rush when the perfect shot comes together at the right moment with a moment in the music." Okay...so why is that so important? "Well I guess when I think about it, I know if I feel a rush at that moment, the audience will too. So I guess that means I love making other people feel something." Okay...so why is that so important? "Making people feel something is important to me because I want the work I do every day to have a positive impact on others and thus on the world." NOW we're getting somewhere. You no longer want to edit big budget feature films because "It's fun cutting shots together with music," your deeper WHY is that you really want to make people feel something so you have a positive impact on the world. Only after you've spent the time to define your deeper WHY will you then be able to more closely align your career path and your job choices with what truly matters to you (more on aligning your needs with your employer's needs below). Action Step: Set aside a minimum of 1 hour to clearly define your most important 'Why's.' Before spiraling down the rabbit hole and questioning whether or not you should pursue your true passion (or ditch it altogether) despite the tremendous personal sacrifices, spend some time thinking deeper about why working on big films like The Avengers is your ultimate goal. Here are some additional resources to help you define your 'Why's': Ep48: Feeling Lost? It’s Time to ‘Find Your Why’ | with David Mead Simon Sinek's TED Talk about 'The Golden Circle' Start With Why: How Great Leaders Inspire Action Enroll in my 'Design Yourself' program (which contains an entire module dedicated to the process of 'Defining Your Why') 2. Are you excited about the process, not just the outcome? In your message above Matt you mention, "When I see a great film I always think how awesome it would be to have had a creative part in that." Having a "creative part in that" comes at a price. One of the biggest mistakes I see people make in the entertainment industry is focusing so much of their effort on the outcome while completely losing sight of the process. Hopefully after taking the necessary time as I suggested above to 'Define Your Why' this question becomes moot, but it's important to ask yourself if you're intimately familiar with the process of editing huge tentpole films like The Avengers? Or are you chasing the outcome of success? Sure it would be amazing to go out with friends, tell them you edit huge Marvel films, and see amazed and impressed looks on their faces. How cool are you! Of course it would be awesome to give speeches, win awards, and be at the top of your profession (and command a HUGE weekly rate). And how fantastic would it be going to bed every night knowing that literally tens of millions of people across the globe watched and loved your work? Everyone living the life I just described has had to pay their dues for decades to reach that outcome: They have spent tens of thousands of hours behind a computer in a dark room (probably with no windows) They have sacrificed countless nights & weekends away from their families They have missed dance recitals, holiday shows, and birthday parties They have put their health on the back burner many times to meet deadlines They have endured a creative career with no certainty from job to job, often spending months (or even years) earlier in their careers where it was extremely tough to find steady work at all If you're chasing film editing because you're interested in the glamour, consider 99% of your life will be spent behind a computer, and 1% will be schmoozing at fancy parties. Is it worth it? If the 99% excites you more than the 1%, you're on the right path. If the 99% sounds absolutely miserable, you'll never get the opportunity to experience the 1%. Action Step: Prioritize time to weigh the true cost of becoming an A-list feature film editor against what you would receive in return. If the cost of spending the next 2-3 decades climbing the ladder to the top of the feature world is worth it and then some, pursue your dream! But if giving up your social life and sacrificing time and adventures with your friends is non-negotiable, this career path might not be the best fit for you. Proceed below to go even deeper down the rabbit hole of defining your own needs versus the job requirements. Here are some additional resources to help you understand what it really takes to edit feature films at the highest level (and calculate the true costs): Ep105: Jeffrey Ford's Secret Weapon to Editing (and Surviving) Marvel Films Ep50: EditFest 2018 Panel 'The Extended Cut: How to Survive and Thrive In Editorial' Ep18: Surviving the Insanity of the Edit Suite | with Billy Goldenberg, ACE Ep60: Legendary Film Editor Walter Murch on Surviving 50+ Years In Post Ep40: Editing Hollywood Blockbusters | with Alan Bell, ACE Dear Hollywood: We Create Entertainment For a Living...We're Not Curing Cancer 3. Taking into account the career ladder you want to climb, have you considered whether or not your future employers' needs align with your own personal needs? One of the most common mistakes many people make in the entertainment industry is taking any work that comes their way because, "You never know when the next job will come around." But if the work you're taking builds a resume and a contact list that doesn't align with your own personal needs over the long term, in a decade you'll end up hating your profession and want to transition to something else (e.g. everyone who is desperately trying to get out of reality and transition to scripted television right now). I have very clearly defined my own personal needs. By doing so, I have created a "filter" so to speak that allows me to either consider or politely decline offers and opportunities that either align or do not align with my needs. Here is a small list of my own personal needs: Commuting drives me bonkers, so I will no longer accept work with a commute longer than 60 minutes With two kids (8 and 6) I prioritize weekends just for them. So I won't accept jobs that expect me to routinely work 6 or 7 day weeks I'm focused on building my website, my private coaching program, and training for American Ninja Warrior, so I won't accept jobs that expect me to work more than 10+ hours a day (with an allowance for crunch time here and there) Having clearly defined my own 'Why,' I won't accept projects or work with toxic people that don't align with my deeper motivation for editing I've very efficient with my time, so I won't work with a team that micromanages my process or forces me to work without internet (not having access to Trello would be a deal breaker!) Because all of the needs listed above are paramount to my own well-being and long-term health, I'm very firm when approached with jobs that don't align with these needs. Action Step: Listen to my podcast interview with Norman Hollyn where we discuss the process of aligning your needs with your employers' needs using the Venn Diagram below. Make a minimum of two columns. In column #1 list your employer's needs and expectations (refer to the resources in question #2 if you aren't familiar with those expectations). In column #2 list your own personal needs over the long term. Where do they intersect? To Summarize... Unfortunately there is no clear cut answer to your question Matt. Only you can determine if the sacrifices will be worth attaining your ultimate goal of editing huge feature films. But to make the process a little easier on you: Define your deeper 'Why's' so you understand what drives you and motivates you every single day Determine whether you are more excited waking up every single morning to embrace the process or simply enjoy the outcome Clarify whether your own personal needs align with your employers' needs And to answer your final question, "Is it realistic to be able to work 6 months on 6 months off given the financial gain of working at that level?" there's no question editing huge Marvel movies like The Avengers will pay a generous weekly rate...but is that rate enough to compensate you for the sacrifices necessary to reach that level in your career? If the answer is yes...then go for it!

Opening the show will be a brief message from one of our hosts, Nick Richards. Then, Michael Viers sits down with one of his oldest filmmaking buddies, Kyle Arpke! On Today’s episode we’ll be discussing Steven Spielberg’s first feature film, the made-for-TV movie DUEL. Produced in 1971 for ABC’s Movie of the Week, DUEL tells the harrowing tale of a drive through the desert gone awry. David Mann is a middle-aged, meek salesman on his way to handle some business. His leisure drive becomes stressful once he finds himself behind a larger tanker truck. Not wanting to be late, Mann passes the truck and thus begins a cat-and-mouse tale that pits man versus machine. It begins harmless with Mann and the truck casually (and not so casually) passing each other, but as Mann’s stress rises, so do the stakes. The truck is obviously not going to let these indiscretions go, and the film becomes a high speed thriller about one persons will to survive a truck that wants him off the road. The film was written by Richard Matheson based on his story by the same name which was originally published in Playboy Magazine. The film was thrilling and was considered one of the best TV movies ever made and helped put Spielberg on the map as a film director. The film was photographed by Jack A. Marta, scored by Billy Goldenberg and stars Dennis Weaver as David Mann and a supporting cast that features Jacqueline Scott, Eddie Firestone and Lucille Benson. Remember to like, rate and subscribe on Apple Podcasts. Our show is available on Apple Podcasts, Google Play Music, Stitcher Radio and SoundCloud You can follow Kyle Arpke at @TheKarp14 on Instagram and on Facebook. You can follow Michael Viers at @Michael_Viers on Instagram and on Facebook. Also new is that the show is officially on IG as well at @shamelistpictureshow

He might have written "Fifty Percent" but today we get one hundred percent of the Emmy Award winning composer, Billy Goldenberg, who has worked with everyone from Bea Arthur to Barbra Streisand, Elvis Presley to Mike Nichols, Diana Ross to Steven Spielberg. Billy's Broadway credits include the dance music to Let It Ride, 110 in the Shade, High Spirits, Henry Sweet Henry, the music to Ballroom, and the creator of Bea Arthur: On Broadway. Billy pulls back the curtain on his career to discuss how Bea Arthur taught him comic timing, what it was like working with a quixotic Michael Bennett, and why he helped launch Marvin Hamlisch's career! Also, Billy shines the spotlight on Maureen Stapleton, Dorothy Loudon, and Bob Merrill! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4

Click to Download Audio On a weekly basis I receive emails, Facebook messages, and tweets from people all over the world who work in creative fields. Some people send me pages worth of their life stories, others are looking for quick tips to optimize something very specific in their lives, but most often the messages I receive are from people frustrated with where they are in their career who don’t know where to go next. It occurred to me recently that the advice I’m providing to an individual privately might be beneficial to many others struggling with similar obstacles in their own lives. So here goes my first attempt at a new series called ‘Dear Zack.’ If you find this beneficial, please let me know in the comments below or send me a quick message letting me know you’d like to read more of these in the future! Dear Zack, I've been editing pretty consistently for the past year and more, but recently I've been having trouble finding work and I want to make sure that I'm doing everything I can to better my chances. I've reached out to people that I have a good relationship with in the past (directors, producers, line producers, editors, etc.) to let them know that I'm available. I've also reached out to agencies with not much luck except for being hip-pocketed at [two big-name agencies].Of course, I'm staying positive since I believe that I've been turning out good cuts and people have enjoyed working with me. But I just wanted to take the extra steps and see if I can learn from a person of your experience. Is there anything more that you did during a time like this other than have patience? Thanks, Martina   Hi Martina, There is no doubt that patience is a required virtue when working to build a fulfilling career. One of the fundamental mindsets I teach in all of my online programs is that life is game of chess, not a game of checkers. You have to be willing to play the long game and stop looking for the next easy move - just because a quick jump is available doesn’t mean it’s the best strategy to win the game. Don’t confuse patience with complacency, however. Often times people reach a certain point in their careers where they believe they have earned the right to their next job, and all they have to do is wait to be discovered. No matter the level you’re at in your career, every single strategic move should have one singular objective: Putting yourself in the right place at the right time so the right people discover you, and thus you “get lucky.” “Luck” is simply the intersection of hard work and opportunity. I’m not implying in any way whatsoever that you are sitting around waiting to be discovered, clearly you are reaching out to past contacts and you’ve built a relationship with not one but two big-name agencies. This is a great start! But you definitely haven’t reached the point yet where there’s nothing else that can be done except sit and be patient. If you follow my podcast and blog then you may already know I spent years jumping from one random indie project to the next (often unpaid), and I was also unemployed for long stretches before finally landing my dream job editing Burn Notice (something I dive into in great detail in my ‘Ultimate Guide to Making It In Hollywood’). While it’s been a few years since being at this stage of my career, I still remember it like it was yesterday. Furthermore, I have yet to speak to a fellow editor (or most other professions in Hollywood for that matter), where people didn’t struggle jumping to the next level in their careers. For example, it took Kelley Dixon (Breaking Bad, Better Call Saul, The Walking Dead) twenty years of working as an assistant to become an “overnight success story.” Take a breath and know this is all part of the journey. The only way to ensure failure is if you give up. Knowing you are at a similar crossroads in your career today that everyone goes through at some point, here are three questions to ask to ensure you are doing everything possible to put yourself in the right place at the right time to be “discovered.” I have also provided concrete action steps so you can start making sh*t happen! 1. Do your résumé and portfolio clearly demonstrate why you are the best fit for the jobs you’re pursuing? Based on your statement, “I’ve been editing pretty consistently for the past year and more,” I’ll assume you are not brand new to the game and have some experience under your belt (most likely you’ve assisted as well?). If you did come up as an assistant editor like most people do, there is a place called “the gray zone” where it can be really tough to transition from assisting to only taking editing work. This is a tough transition, but building a fulfilling career requires pursuing projects that align with your creative passions and your skillset. Sometimes this means making tough financial decisions and (gasp!) turning down what appears to be perfectly good work short term (like assisting) because it no longer aligns with your long term goals. If you simply need a paycheck job to cover your rent and groceries, then survival is priority number one and you don’t have the room to be picky. There’s no shame in making a living. But approaching jobs with this mindset for an extended period of time can unfortunately lead to a less-than-perfect résumé that some might consider a bit “scattershot” (Don’t worry, my résumé was like this for almost a decade). If you’re concerned one of the reasons you aren’t being considered for job opportunities is because your past work experience is less than ideal, let’s get creative with how you present yourself (while staying honest, of course). Action Step: Create multiple versions of your résumé. Because I don’t have a clear sense of your level of experience from your email Martina, for the sake of argument, let’s pretend you have at least five years of industry experience and some of that includes assistant work. Perhaps you have a scattershot portfolio of past projects that includes some comedy work but also commercials, trailers, documentary shorts, indie features, and several years as a tv assistant in multiple genres. If your goal with your résumé is to show how much experience you have as a whole, having one generic list of all your past projects can actually hurt you more than it helps you. At best you have 30-60 seconds to convince someone that you are the right creative fit for the job, so make that decision as easy as possible by organizing your résumé strategically for each potential opportunity. Pigeonholing is the reality in creative industries. While I don’t believe that we should ever be limited to only doing one type of genre work, producers and directors are looking for a slam dunk, so give them the clearest picture possible of why your past experience makes you the right fit for this current opportunity...even if this means dropping a bunch of stuff from your résumé that isn’t the right fit. If you don’t feel you have enough experience to drop anything, then at least have your résumé flow in such a way that the most relevant work is listed first and the least relevant is on the bottom (or the next page). People commonly make the mistake of listing their work history chronologically as if they're applying for a middle management job at Microsoft. This isn’t necessary in creative industries. IN SHORT: Your résumé has one job - demonstrating you are the right creative fit. Make it as simple as possible and craft a unique version for each individual opportunity. BONUS Action Step: Make it braindead easy to navigate your online portfolio. If you also have an online portfolio of sample work, organize it in such a way that people can find the right genre quickly. A home page with every single piece of work you’ve ever done only confuses the person who’s considering you, especially if you’re listing projects you may or may not have edited at all (e.g. you list projects that you assisted on only). Think in terms of building funnels: If someone comes to your site and wants to only watch comedy (or action, or drama, etc), does your site flow in such a way that doing so is obvious and simple? If you haven’t already, I suggest organizing your portfolio site with categories, tabs, tags, or anything else that allows a potential producer or director to curate your content instantly. And if you’re old school and still have a DVD reel, make multiple versions or even custom versions for each job application (I know it sounds crazy, but my custom reel is the main reason I landed Burn Notice). When you reach out for potential jobs, in your email provide direct links to specific examples of your past work - do the hard work for them. While it might not be possible to have five different versions of a website the way you can have five unique versions of your résumé, by providing the right breadcrumbs you make it super simple for them, and you’ll also feel confident they are watching the right work at the right time. Lastly, if you worked on a specific show, don’t just link to the homepage for that show on your website and expect others to dig through and find the right clips. Provide sample scenes directly on your site that demonstrate your best work on that series (and list your specific contribution). If someone sends me a link to watch their work and I end up on a YouTube landing page instead, I’m not going to watch anything because I don’t know where to start or how they were involved. IN SHORT: If your prospective employer can’t find the absolute best clip that represents why you are the best fit for their project within 30 seconds, your site needs to be reorganized. 2. Are you properly leveraging your past relationships? If you are good at what you do, once your foot is in the door and you have a few years under your belt, you will not build your career using your résumé or portfolio: You will build your career with referrals. One of the most frustrating parts about building a creative career in Hollywood is that most jobs are filled before you ever hear about them. You will most likely never know about 95% of the opportunities that might be perfect for you. If a job opening has become public knowledge, that simply means the people looking have already exhausted their contact list. So it’s imperative that you stay relevant on that contact list so you’re part of the “insider” conversations before employers are forced to recruit people on the “outside.” The great thing about building your career with referrals is that rather than always looking for work yourself or having just one agent potentially hunting down work for you, instead you have an entire network of producers, directors, editors, and other colleagues constantly referring you when jobs become available, and you will hear about a lot more than 5% of the opportunities that are a perfect fit for you...without any effort at all! Sounds like a dream, right? The key to building a perpetual sales machine of friends and colleagues looking for work for you is maintaining those relationships even when you aren’t working with them. Sure it helps if you are the best editor they’ve ever worked with and you are #1 on their call list, but short of that, the next best strategy is to be the most recent person on their list. Most job opportunities are filled quickly. If someone comes to me asking if I “know a good assistant,” for example, I don’t have a giant spreadsheet of every single great assistant I’ve ever worked with in my career and their current availability. I don’t take the time to weigh the pros and cons of each to determine who is the most deserving or the most able. The ones I do think of right away and refer to others are often the ones I’ve been in contact with most recently. Action step: Reconnect with people in your existing network...but without asking them to consider you for any upcoming opportunities. You mention in your email, Martina, that you’re already reaching out to past colleagues to “let them know you’re available.” Instead of reconnecting simply to land your next job, instead think of a way you can strengthen your relationship with them by providing value to their lives first. I recommend checking out The Socially Awkward Introvert’s Guide to Networking if you’re looking for creative ways to provide value to colleagues you’ve worked with in the past. For example, rather than sending a mass email to everyone you’ve worked with in the past updating them on your work history and your availability (Side note: Rarely will I consider someone who has Bcc’d me on a chain message), instead email each colleague individually and begin a conversation that shows genuine interest in what they’re working on. End the email with an open-ended but simple question such as, “I read that you are currently directing [XYZ] film. It looks like a challenging project, are you having fun? I hope it’s as much fun as when you and I worked on [ABC] together.” Start up a casual conversation, try to slip in some “in jokes” from past projects, remind them you’re a fun guy or gal. After a couple of exchanges there’s no harm in mentioning you’d love the opportunity to work together again if they’re looking. But providing value to them always comes first - your needs come second. IN SHORT: Do your best to stay in contact with people who can refer work to you, but do so in such a way you never actually have to ask them to consider you. 3. Are you prioritizing the time to build new relationships? You mention in your email Martina that you are reaching out to people you already have a good relationship with, and you are also reaching out to agencies...but are you also working hard to expand your network and meet new people? Whenever I’m actively looking for my next project, I consider unemployment my full-time job, and my number one job duty is expanding my network of contacts. Similar to dating, the catch-22 of meeting new people is that it’s nearly impossible to find the time to network while you’re working, but when you’re unemployed you often reek of desperation because you need work NOW.  Barring having a Delorean parked in your garage so you can start building new relationships two years ago, the next best time to start networking and building them is today. But like connecting with past colleagues, when building new relationships you cannot expect to get anything in return. Your only goal is to provide value to others. Here’s why creating new relationships is so important, especially the higher you climb the ladder: People don’t hire based on experience nearly as much as they hire based on trust and comfort. I am inundated multiple times per week with emails that say the following: “I’m just letting you know that I’m available and I would love to be considered if any opportunities arise.” Here’s the honest truth that few are willing to admit: People will not consider you or refer you for other open projects if they haven’t worked in the trenches with you before. If someone is putting their name on the line, they need to know you can hack it when the bullets are flying, deadlines are tight, and tensions are high. And even more importantly, they need to trust that you have a good attitude under pressure. If I’ve worked with someone in the past and not heard from them in a year, there’s a VERY short list of people I trust enough that I would refer jobs to if they simply sent me the “I’m available for work again” email. But if I have never worked with that person before, the “I’m available” email will have a 0% success rate (even if I like them personally). If a prospective employer is weighing your résumé against someone else who has the same level of experience, they will always choose the person they are more comfortable with. And if they don’t know either candidate, often times the tiebreaker goes to whomever has a stronger referral from within that employer’s network. Therefore, your objective is to meet new people and make them comfortable with you so they trust hiring or referring you for a job in the future. Action step: Strategically build your dream list of contacts...then start reaching out. During several of the long stretches of unemployment earlier in my career, I developed what I now call “The IMDB Game.” After having made the mistake for several years of taking the shotgun approach to networking and job hunting (i.e. sending out hundreds of résumés and demo reels to every single job opening in the industry), I decided it was time to start using a sniper rifle instead (‘Shooter’ pun intended). Here’s how “The IMDB Game” works: Make a list of all of the ‘Dream Projects’ you’d love to work on. At a minimum choose 5-10 of your favorite tv shows, or feature directors & producers, or trailer houses...whatever makes the most sense for the type of work you do. Research all of the relevant people that work on those projects and make a spreadsheet organizing them with the following columns: Name Current project Past (relevant) projects Potential connections? Contact info (email, social media, etc) Find any potential connections you have in common. IMDB Pro has a great feature for this, but if you don’t want to pay the membership fee, with a little elbow grease you can dig through credits of their past projects to see if you have worked with any of the same people. Once you’ve compiled your list, begin reaching out to either your dream connections directly or reaching out to people you’ve both worked with in the past and see if you can get a brief intro. The likelihood of someone responding to you goes up exponentially if you’re referred by someone they trust. Above all else, remember your main objective when reaching out to new contacts is not to land a job: Your sole purpose is to provide value to their lives. IN SHORT: When you’re unemployed, expanding your network should become your full-time job. Rather than taking the shotgun approach, strategically approach the right people who are the best fit for the dream projects you’d like to work on. To Summarize... Unfortunately there is no defined path to success in any creative career, especially filmmaking. But despite the lack of any road to follow, after interviewing many successful people including editing legends such as Walter Murch, Carol Littleton, Kelley Dixon, Jeffrey Ford, and Billy Goldenberg, I’ve distilled what seems like a thousand different ways to “make it” into three very distinct steps anyone can follow, all of which I discuss in detail in my Ultimate Guide to ‘Making It’ In Hollywood: You need a clear picture of the ladder you want to climb You have to do awesome work People have to know you do awesome work It sounds to me Martina like the area you need to focus most of your attention is making sure the right people know that you do awesome work. Rather than “being patient,” here’s a quick summary of the steps you can take to ensure you are making sh*t happen: Customize your résumé to fit each specific job opportunity Organize your portfolio so prospective employers can find the right work quickly Reconnect with past colleagues and connections...but without asking to be considered for a job Strategically expand your professional network with people working on your dream projects I hope this helps you design your own unique roadmap to success, Martina! Be well. Zack Arnold If you would like to submit your own question for a future article, feel free to contact me here.

If you intend to climb the career ladder straight to the top, step #1 is understanding the four different types of creative jobs. Only once you understand where your job fits in can you then reframe your perspective to get the most out of every opportunity (or know if it’s time to bail out). Imagine for a moment you’ve wanted to be a doctor your whole life, and the first year of medical school is finally here. After getting a toy stethoscope for your fifth birthday, you spent the next eighteen years dreaming of wearing the white coat, helping others in need, and writing the letters ‘M.D.’ after your name. Yet despite knowing that being a doctor is the only true career path for you, you’re frustrated, anxious, and depressed. Why? You feel like all the work you’re putting in could potentially be a total waste of time because you haven’t seen enough results yet....you want to be a doctor NOW. “What if medical school isn’t right for me? I should just become an independent doctor instead.” “Maybe I should network with medical directors at local hospitals to see if there are any openings. I know I have the skills and can prove myself today.” “I deserve the white coat. Why hasn’t someone discovered me yet?” Wait a second...no medical student has ever been pulled out of their first year of medical school and given a white coat and a degree because they were “discovered.” While no one would disagree that becoming a doctor is incredibly hard, it’s also simple (not to be confused with easy).  It’s common knowledge that becoming a doctor requires everyone to follow the same path, and following that path combined with hard work and good grades almost guarantees a career in medicine. Success Rarely Has a Defined Path Unfortunately following a single defined path is a luxury you don’t have if you work in a creative field (especially filmmaking). You may have gotten your first camera at five years old and spent every moment since learning the crafts of directing, editing, cinematography, etc. Yet  despite the fact that in your mind you are a “filmmaker,” your current job title says otherwise. Let’s say you’re an assistant, and your job duties include fetching the director’s coffee, pickup up the producer’s dry cleaning, and getting lunch for the grumpy editors who never talk to you. In short: You’re a gofer. You’re confident you have the skills to be a successful filmmaker, but you feel like all you do is spin your wheels, stuck in the exact same place. Not knowing whether or not your efforts at your current job will pay off has left you  frustrated, anxious, and depressed. You’re confident you have the skills to be a successful filmmaker, but you feel like all you do is spin your wheels, stuck in the exact same place. Even worse, you recently read a story about director Ryan Coogler who’s first feature film right out of film school Fruitvale Station won him the grand jury prize at Sundance, and now he’s directing Marvel’s Black Panther! Ryan Coogler and Michael B. Jordan, two guys way cooler than me and you. Knowing there are real people not much older (or even younger) than you who are light years ahead in the same career is demoralizing, especially when you have no clue if your current job is leading you to the promised land...or completely wasting your time. Resentment creeps in, your performance suffers, and what was formerly an “opportunity” has become an “obligation.”   What if simply understanding where your current job fits into your own unique career path completely changed the way you approach your duties day-to-day and you suddenly had 100% confidence that this was the exact path leading to your dream job. Imagine having the same level of clarity as a first-year medical student that you were in the right place and all that mattered were your results. Would your mindset change? Your mood? Your performance? If you intend to climb the career ladder straight to the top, your first step is understanding the four different types of creative jobs. Only once you understand where your job fits in can you then reframe your perspective to get the most out of every opportunity (or know if it’s time to bail out). The ‘Paycheck’ Job The ‘Paycheck’ job is unfortunately the most common simply because the vast majority of jobs in the world are things that need to get done that most people just don’t want to do. It pays the rent and keeps you from starving, but that’s about it. You aren’t passionate about the work you do You aren’t building your professional network You aren’t learning new skills You definitely aren’t climbing the right career ladder It’s boring It’s stressful You don’t necessarily like your co-workers You get sick often and never have any energy Time feels like it stands still You live for the weekends Once your basic needs are met, the ‘Paycheck’ job is simply stealing your time, your energy, and your life. To be clear: There is nothing wrong with working a ‘Paycheck’ job if the most important priority in your life is to cover your rent, buy groceries, or support your family. There is no shame in working to survive, it’s a stage of life everyone goes through at some point. But once your basic needs are met, the ‘Paycheck’ job is simply stealing your time, your energy, and your life. Staying at a ‘Paycheck’ job for longer than necessary comes at a tremendous cost that in my opinion far outweighs any financial benefits, and it can lead to: Diminished passion for your craft Chronic anxiety Irritability Depression Total. Creative. Burnout. Assuming you have no interest in working a ‘Paycheck’ job the rest of your life and you’d prefer a different rung on the ladder, what’s the next step? The ‘Lifestyle’ Job The ‘Lifestyle’ job is a significant upgrade from the ‘Paycheck’ job. Your basic financial needs are met so it fulfills the main benefit of the ‘Paycheck’ job, but it also comes with a host of additional benefits: Your hours are good which allows you to spend more time with your family Your commute is awesome You love your co-workers Your work environment is virtually stress-free The pay is good and you have “fun money” to spare every month And the job itself? Well...it’s…”fine.” Therein lies the rub. While the ‘Lifestyle’ job has a host of fantastic benefits for your health and well-being, it also isn’t moving you forwards: You aren’t creatively pushed outside your comfort zone The work is pretty easy (and sometimes feels downright boring) You aren’t learning new skills You aren’t expanding your professional network You aren’t particularly proud of the work and perhaps hesitate to tell other people what you’re working on (or you hide it on your resume altogether) There are many people who would happily work a ‘Lifestyle’ job the remainder of their careers carefree. But if the words safe, reliable, and dependable bore you to death, what’s next? The ‘Career’ Job Unlike the two previous job types, the ‘Career’ job is propelling you forwards at light speed and has a host of benefits: You are pushed outside your creative comfort zone and growing every day You are learning new technical skills You are meeting new people and expanding your professional network You are building your resume and proud to share what you’re working on Your current project might even be a total “resume-changer” While the ‘Career’ job sounds like a dream in many ways, it’s far from being a ‘Dream’ job and has its own laundry list of drawbacks: You may have reduced your rate in exchange for experience (you might even be working for free) The hours are grueling and you barely have any time to manage life outside of work You are sacrificing time with your family and friends The commute totally sucks You are stressed out and constantly exhausted Your waning creativity often needs to be fueled by caffeine and energy drinks Despite being a fantastic opportunity, a ‘Career’ job can only sustain for so long before it too leads to chronic health problems, mental health issues, and eventually total burnout. There must be an alternative to choosing between either a healthy lifestyle or a successful career, right? RIGHT?????? The ‘Dream’ Job The ‘Dream’ job is the top rung of the ladder. It has all the benefits of both the ‘Lifestyle’ and ‘Career’ jobs but with none of the shortcomings: You love your work You are creatively learning and growing every day You are always meeting new people and building your network The job and the work environment are both stress-free You love your co-workers The commute is amazing The pay is well beyond your basic needs The hours are awesome and you have plenty of time off during the year for vacations You are proud of the work you do every day and love sharing it with others You can’t imagine doing anything else It’s extremely rare to find your ‘Dream’ job. Most people assume it will always be just that...a dream...and no amount of hard work can guarantee success. What if instead of relying on “more hustle,” “putting your nose to the grindstone,” or “wearing your sleep deprivation badge of honor” there was a completely different factor that ultimately determined whether or not you landed your ‘Dream’ job and enjoyed the journey along the way? The (Not-so-Secret) Secret to Success Notice I don’t categorize specific job titles into the four different types listed above. That isn’t by accident...that is by design. For example, I don’t classify “Janitor, intern, assistant, accountant, or PA” as ‘Paycheck’ jobs. Conversely I also don’t classify “Director, editor, writer, or studio executive” as either ‘Career’ jobs or ‘Dream’ jobs. Most people would assume an assistant who fetches coffee and dry cleaning must be working a ‘Paycheck’ job because the hours are long, the duties are downright miserable, and the quality of life sucks. But if that assistant works in an environment that fosters growth and there are networking opportunities, simply by recognizing the benefits that come along with that position, it has instantly upgraded to a ‘Career’ job. On the flip side, it’s also conceivable that despite directing $200 million studio feature films for a living, you aren’t working your ‘Dream’ job, instead you simply have a ‘Paycheck’ job (see: Michael Bay). Ultimately the only factor that determines which job type you have is the mindset you bring to it every single day.   Several years back I reached a shocking point in my career I never anticipated. After editing four seasons of Burn Notice, nobody wanted to hire me. I couldn’t find another editing job anywhere. I assumed after working on a hit show I’d never have to look for work again, but I couldn’t have been more wrong. After several months of unemployment a referral from a colleague ended up landing me a job on a new show called Black Box, a medical procedural for ABC (with no recognizable stars). Never heard of ‘Black Box’? Don’t worry, neither has anyone else. If there’s one thing I have no interest in editing (ever), it’s a medical procedural. But here I was needing a steady income with zero other opportunities available. I knew at that moment if I was going to spend the next six months of my life doing creative work I had no interest in whatsoever, I had to shift my perspective for the sake of my mental health. There was no question that Black Box was not my ‘Dream’ job. Given the hours were long, it was a stressful first season show, and the commute sucked, it most certainly wasn’t a ‘Lifestyle’ job. And at first glance for me personally it definitely wasn’t a ‘Career’ job because I wasn’t interested in working on a medical show. So I guess I had to suck it up and accept that Black Box was just a ‘Paycheck’ job, right? Punch in...do the bare minimum...punch out. Easy enough. If I could narrow down the turning point of my entire career to one single moment, this was the moment.   As I sat in the parking lot my first morning at Black Box I closed my eyes, took a deep breath, and I told myself the number one goal of this job opportunity was to expand my professional network. That became my “One Thing.” I consistently delivered great work every single day because I was confident that doing great work would lead to the opportunity to do more great work in the future. Expanding my professional network required me to do excellent work every single day so the directors, producers, and show runners would want to work with me on future projects. Even though I wasn’t creatively interested in a medical procedural, I consistently delivered great work every single day because I was confident that doing great work would lead to the opportunity to do more great work in the future. This single shift in perspective on day one of what could have been a dead-end ‘Paycheck’ job led me to editing two seasons of Empire (Ilene Chaiken was the showrunner of Black Box who then became the showrunner of Empire). This single shift in perspective also led to editing three seasons of Shooter because the post-production producer loved working with me and wanted me on all of her future teams. And this single shift in perspective has led to three different offers to edit tv pilots and a Netflix series because the creator of Black Box and one of the directors loved my work as well. It wasn’t my ability to use Avid, my skills as a film editor, or resting on the laurels of my resume that landed me five seasons of editing work. I landed five seasons of editing work because of my attitude. Better opportunities will not lead to a better attitude. Having a better attitude will lead to better opportunities.   Learn more about the importance of attitude in my interview with with Oscar-winning editor Billy Goldenberg, ACE. Now It’s Your Turn Working in a creative field can be incredibly frustrating because there’s no guarantee the effort you put in every single day will pay off...ever. It’s conceivable that after 4 years of undergrad, 3 years earning a master’s degree, post-graduate internships and entry-level jobs, and yet another several years of mid-level jobs that you still end up becoming a real estate agent or insurance salesman. While there’s no guarantee that you’ll become a feature film director after ten years of hard work like the guarantee doctors have, the one thing you can control is your attitude. Perspective is everything. If you’re working an entry-level job and hating every minute of it, instead of focusing on the things you’re not doing, try focusing instead on what you can learn from the things you are doing. If you’re doing the type of job you want but working on projects you absolutely hate, think about how bringing the best version of your craft to the table every single day can lead to lasting relationships and future projects you will absolutely love. If you’re bored at your current job because it doesn’t challenge you, focus on all of the lifestyle benefits you get from working close to home with co-workers you love with a steady paycheck and some ‘fun money’ to spare. And if after examining every facet of your current job you can find absolutely no benefits whatsoever outside of the fact that it allows you to pay the bills every month... ...maybe it’s time to pull the plug.   Interested in getting the most out of every opportunity and having 100% confidence that your actions are leading you closer to your ‘Dream’ job? Enrollment for my brand new ‘Design Yourself’ program opens soon. Click here to join the waitlist.  

Billy Goldenberg is the Oscar-winning film editor of such films as Detroit, Argo, Zero Dark Thirty, The Imitation Game, several of the Transformers films, the National Treasure franchise, and many more. He's done numerous collaborations with Michael Mann, Ben Affleck, Michael Bay, and he even won his Oscar the same year that his mentor Michael Kahn was nominated (if you're not familiar with Michael Kahn, he's Steven Spielberg's longtime editor and collaborator). Needless to say, Billy Goldenberg knows a thing or two about what it takes to be successful in Hollywood. Sure, it’s easy to look at someone’s career like Billy's from the outside and think, “Yeah it’s amazing what he's done with his career, but c’mon, the guy was Michael Kahn’s assistant editor...there’s no way I’m going to be able to be as successful as he was!” there are actually fundamental steps you can extract from anyone’s career journey and apply to your own, and Billy is no different. In this episode rather than chatting about the ins-and-outs of film editing, Billy and I walk through his path from the beginning to where he is now and break down some of the lesser known skills necessary to be successful in any creative field where you collaborate with others on a regular basis. We discuss how important it is to respect the job you currently have and do great work at it while also being honest about what you want to do next, how honest you really should when giving your thoughts and feedback to producers and directors, the editor as the psychologist of filmmaking, and what it takes to move forwards given how demanding your current job probably already is, just to name a few examples. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: Working hard at the job you're given Learning to assess your place along your career ladder How to to give honest criticism without creating bad work relationships When to trust the process and when to carve your own path Learning how to take criticism and not take your creative work personally How to move up given the demands of working long hours as an assistant How to approach your editor to cut your own scenes What it's like to work with Michael Mann and Michael Bay Strategies to stay active and endure the long hours When to draw the line on poor working conditions The importance of attitude!!! Useful Resources Mentioned: William's IMDb Page Our Generous Sponsors: This episode is made possible by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone interested in moving more at their height-adjustable workstation. Listen, standing desks are only great if you’re standing well, otherwise you’re constantly fighting fatigue and chronic pain. Not like any other anti-fatigue mat, the Topo is scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. And they’re really fun and a great conversation starter. This episode is made possible by the HumanCharger,  a revolutionary new light therapy device made specifically for people who spend long days in the dark and don’t get enough sunlight…i.e. You and me. Simply put in the earbuds for 12 minutes a day to receive your daily recommended dosage of UV-free white light. Doing so can drastically increase your energy, improve your mood, and increase mental alertness and focus.This device has literally changed my life and I use it every morning without fail. Use the code ‘OPTIMIZE’ to get 20% off your order. Guest Bio: William Goldenberg (born November 2, 1959) is an American film editor. He has more than twenty film and television credits since 1992. He won the Academy Award for Film Editing for the film Argo (2012), and has been nominated for The Insider (1999), Seabiscuit (2003), Zero Dark Thirty (2012) and The Imitation Game (2014). He has also received nominations for nine other editing-related awards Goldenberg has had an extended, notable collaboration with the director Michael Mann. Goldenberg has been elected to membership in the American Cinema Editors Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared and published by Jakin Rintelman. Special thanks to Krystle Penhall and Sarah Furie for helping to spread the love! The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet). Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

Sarah and Shoe stink, third base and tell, china town, Superbowl, Beyonce, genuine slutty, the super interpreter. Shoe's long time friend and Oscar nominated editor, Billy Goldenberg calls in to the show, Argo, Zero Dark Thirty, surprise explosions, shutter takes. Rich Aronovitch joins us to talk about selling knives at Costco, Rosa Parks, Heroes, "breath-a-tuse", the Dungeon, Eddie Ifft, South Africa, refusing the towel, whale watching, sharks and bombing, Jim Mcmahon, Bold and The Beautiful, Sarah keeps Shoe honest, daddy to big brother, therapist looses it, and Rich finds God.