Podcast appearances and mentions of bradford young

Hello New Hollywood hippies and malaise monkeys and all the ships at sea and welcome to A Very Good Year. If you've been listening you know we're retiring A Very Good Year and coming back with a whole new show for 2025.In the meantime we're looking back at the past 100 episodes by revisiting some of our favorite guests and our favorite movies by decade. This episode is massive, but it's the 1970s, arguably the greatest decade for film in the entire short life of the medium. The 70s years were always the first to go when we were booking guests for the show and they do not disappoint.In this episode we've got podcasting superhero Blake Howard, author Charles Bramesco, author Alexandra Heller-Nichols, production designer Judy Becker who is currently getting rave reviews for The Brutalist, filmmaker Zach Clark, writer Jason Diamond, podcaster Brian Saur, writer/director Isabel Sandoval, historian Kevin Kruse, critic Sean Burns, writer/director and actor Noah Seegan, writer Alexandra West, critic Jordan Hoffman, media superstar Soraya Nadia McDonald, critic Katie Rife, author Scott Drebit, and director of photography Bradford Young with what might be the movie that has impacted me the most across the entire series. Enjoy! For show notes - including where to stream this week's movies, links to referenced media, and more - subscribe on Buttondown at https://buttondown.email/AVeryGoodYear. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.

On this last episode of 2023, step into the captivating world of Yves François Wilson, a multidisciplinary visual artist whose work transcends the boundaries of traditional art forms. Hailing from Strasbourg, France, Yves is a master of lens-based works on paper and sculptural pieces created from found objects. His artistic journey is a testament to the power of storytelling, lineage, and the creation of new visual histories.  At the heart of Yves' artistic vision lies a profound commitment to exploring the visual narratives of forgotten histories. His creations serve as a bridge between past and present, weaving together elements of traditional photography, printmaking, and repurposed found objects. Through his art, Yves opens a dialogue between the subjects within his works and the audience, inviting viewers to engage with shared experiences and rediscover the past.  Yves' artistic evolution has been enriched by a diverse range of experiences. He worked as a camera assistant alongside renowned studio cinematographers such as Gordon Parks, Rodrigo Prieto, and Bradford Young, honing his technical skills and visual storytelling prowess. Fine art assistantships at esteemed institutions like Deitch Projects (NYC), The Aldrich Museum of Contemporary Art, and Parsons School of Design's Gallery further refined his artistic eye, enabling him to distill his ideas into works of profound expression.  The cultural depth and breadth of Yves' work are palpable, reflecting a deep reservoir of knowledge and a rich vocabulary. His art serves as a brief exchange of shared experiences, an invitation to engage, and a representation of a new history. It's a visual journey that transcends borders and time, resonating with audiences far and wide.  Join us in this podcast as we explore the intricate layers of Yves' artistry. From his formative years at Parsons School of Design and the Royal Melbourne Institute of Design to his accolades as a Sundance Director's Lab participant and Mayor's Neighborhood Arts & Heritage Award recipient, Yves' story is one of creative evolution and cultural resonance. Tune in to unravel the tapestry of an artist who unearths the lost, celebrates the forgotten, and crafts new legacies through the language of art. Yves François Wilson's Website: https://www.yveswilson.com/Yves François Wilson's Instagram: https://www.instagram.com/yvesisaliveYves François Wilson's IMDB: https://www.imdb.com/name/nm2838479Yves François Wilson's Twitter: https://twitter.com/wilsonrepsVisual 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 wrap up our first season — a full year of shows — in true season finale fashion: with a super-sized clip show, featuring some of our favorite segments from the past year, including our own Top 5 (of the best movies we watched for the first time for the show). Plus, a very good origin story, background on some of our most cherished episodes, and more!The headlines segment is from Episode 11: 1975 with Sean Burns, which you can listen to here. Tracks is from Episode 6: 1976 with Noah Segan, which you can listen to here. Martha Marcy May Marlene is from Episode 27: 2011 with Kristen Meinzer, which you can listen to here. MMMM is available for digital rental or purchase.Babo 73 is from Episode 15: 1964 with Frank Conniff, which you can listen to here. Babo 73 is currently streaming on the Criterion Channel. Stalker is from Episode 14: 1979 with Bradford Young, which you can listen to here. Stalker is currently streaming on HBO Max and the Criterion Channel. And Sunrise is from Episode 3: 1927 with Dana Stevens, which you can listen to here. Sunrise is currently streaming on Tubi, Hoopla, the Roku Channel, and Classix. The awards and box office segment is from Episode 30: 1972 with Judy Becker, which you can listen to here; the lightning round is from Episode 23: 1993 with Karina Longworth, which you can listen to here. Thank you so much for supporting us over the course of this first season! Become a member for Bonus Episodes, personal stories of working in the industry, and yes - EVEN MORE MOVIES. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.

 Saudade Toxosi is a true artistic polymath, weaving her creative magic across a diverse range of mediums, from painting and charcoal drawings to photography, mixed media, sound design, and assemblage. With a career spanning over two decades, Toxosi has undertaken a meditative curatorial process, meticulously selecting and arranging found images that serve as a profound exploration of the "New Indigenous African" experience in the United States and the shared experiences of people of color around the world.  One of her most compelling and influential projects is Equinox 1600, where Toxosi pairs and organizes these images, creating thought-provoking visual narratives that have captured the attention of artists, filmmakers, and cinematographers alike. Her work has played a pivotal role in shaping some of the most important visual and narrative statements of our time, including collaborations with visionaries like Bradford Young and Kahlil Joseph.  In 2018, Toxosi unveiled her own film, "Oyeku," a powerful work that was featured alongside the creations of luminaries such as Henry Davis, Faith Childs-Davis, Michelle Blade, and Karon Davis in Kahlil Joseph's solo exhibition "New Suns" at the Bonnefantenmuseum in Maastricht, Netherlands.  Her impact extends beyond filmmaking, as Toxosi's contributions to visual research have been sought after for projects like Eliot Rausch's "The Moment After," Jake and Royko's "Desert," Jasmine Green's "Bad Habits," and Matilda Finn's "Today”.  She has also lent her artistic touch to installations, including the permanent collection for the McKinsey Firm and Lillian Blades' visual installation for the Beltline in Atlanta, GA.  Toxosi's artistic prowess has made its mark in the world of literature and photography, and her work has been featured on platforms like TNE's Global Podcast, Black Contemporary Art on Tumblr, and Neptune Magazine, to name a few. She has exhibited her creations at prestigious venues such as The Factory in St. Pete, Arts Xchange in St. Pete, and the "Internationalist Spirit" exhibition in Havana, Cuba.  Saudade Toxosi's journey as an artist is not just marked by her creative output but also by her dedication to supporting the arts community through collaborations, installations, and lectures. Her influence extends beyond the canvas, making her a true visionary in the world of contemporary art.   To learn more about Saudade Toxosi and her work, visit www.stoxosi.com | @stoxosi | https://equinox1600-saudadetoxosi.tumblr.comVisual 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

Film Roundtable is welcoming for the first time, Cinematographer James Friend. James is the 2023 recipient of the Academy Award + the BAFTA for Best Cinematography on Edward Berger's All Quiet on the Western Front. He is hosted and interviewed by Visual Artist + Cinematographer Bradford Young. James shares the story of his path to success, marked by relentless hard work, a passion for learning everything about lighting, and a determination to shoot every opportunity that came his way. He also emphasizes the crucial role of perseverance and the unwavering support of his family throughout his career.Tune in to hear James Friend's insights on the art of lighting and the intricate deconstruction of removing it. This episode offers a glimpse into the world of a talented cinematographer and the dedication it takes to excel in the film industry.Enjoy!!

Join us on an inspiring journey as we delve into the remarkable career of Christian Epps, founder, masterful lighting designer, and cinematographer whose expertise has illuminated the worlds of film, television, theater, music, and events for over four decades. From captivating major motion pictures to creating evocative lighting for live performances, Christian's work has left an indelible mark on the entertainment industry.In this podcast, we explore the diverse realms that Christian Epps has graced with his creative vision. Starting from his early contributions to TV with unforgettable moments like "President Clinton: Live at the White House" and the "Centennial Olympic Games - Badminton Competition," to his hand in shaping cultural events like the "Black Movie Awards," Christian's touch has enlivened screens and stages alike.We delve into the highlights of Christian's career, including his collaboration with celebrated artists like Spike Lee, Ava DuVernay, Bradford Young, Malik Sayeed, and Hype Williams, where his dramatic lighting enhanced the storytelling in iconic films and music videos. From Michael Jackson to P. Diddy, Biggie Smalls to Whitney Houston, Christian's ability to craft visually compelling narratives has made him a sought-after name in the music industry.He worked as the gaffer on 'Belly,' directed by Hype Williams, a seminal music video director. Nike, Facebook, Cadillac, Sprite, McDonald's, Buena Vista Television, GE Capitol, Paramount Studios, Home Depot, ESPN, Buick, Kaiser Permanente, Amtrak, and Panasonic are examples of corporate clients. Not limited to a single medium, Christian's expertise also extends to corporate projects, where he has lent his skills to household names such as Nike, McDonald's, and Disney. His participation in Disney Imagineering's exclusive 'Blue Sky' concept program showcases his innovative thinking and adaptability.As we journey through Christian's career, we uncover his impactful work in international settings, including his pivotal role in shaping Nigeria's entertainment landscape. The "This Day Music Festival" series featuring A-list artists like Beyoncé, Jay-Z, and Rihanna, became a testament to Christian's ability to create dazzling live experiences.We also touch on his numerous accolades, from the prestigious LA Drama Critics' Circle Career Achievement Award to the NAACP Theatre Award, reflecting the depth of his influence and the admiration of his peers.Christian Epps' artistic journey is one of dedication, innovation, and the unwavering pursuit of excellence. Join us as we celebrate the brilliance of a true luminary whose creative brilliance has shone across stages, screens, and continents.Tune in to Visual Intonation as we uncover the stories, insights, and inspirations behind his illustrious career.Mr. Christian Epps Websites & Socials: https://www.lightscameradiaspora.org/https://www.instagram.com/christianepps/https://www.linkedin.com/in/christianeppshttps://twitter.com/christianeppshttps://www.facebook.com/christianepps/https://medium.com/@in2lightVisual 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

Oscar-nominated cinematographer Bradford Young ("Arrival, "Selma," "Solo: A Star Wars Story") was only two years old in 1979, so he discovered that year's movies while in film school - and was amazed by how the films of this era spoke to not only his artistic but political self. In this week's exhilarating episode, Bradford breaks down the technical aspects of '70s cinema, sells us on his favorite film of all time, and has some choice words for mainstream movie-making circa 2023. It's a must-listen.  Become a member for Bonus Episodes, personal stories of working in the industry, and yes - EVEN MORE MOVIES. https://plus.acast.com/s/a-very-good-year. Hosted on Acast. See acast.com/privacy for more information.

Film Roundtable is welcoming back this week two of our dear friends and two of our most favorite guests to have on the show; Filmmaker + Cinematographer Shawn Peters and Visual Artist + Cinematographer Bradford Young.  This conversation is moderated by the inimitable Maori Karmael Holmes, Founder of BlackStar Projects.  In this episode these close friends talk about life and where they find their joy and inspiration. They discuss how to uplift and support the next generation of image makers. Those coming in their wake and whom are carving out their own paths of storytelling that look very different from the antiquated ways. They spend time uplifting one another in this conversation which is a beautiful example of their friendship, collaboration and the deep teachings they each receive from one another and their respective gifts. It is an exchange that leaves you understanding the importance of supporting one another in community in a creative sense and also how great it is to have just really good people in your life. Enjoy!!

Today, we discuss how to secure the bag and know your worth before you accept that job offer. Erica Sewell shares the things Black Women should do before applying to that role through her lens as an HR Leader. Erica Sewell is a Talent Leader and Founder of creative consultancy, Escape Artist. Her experience started in the global fashion industry, from working as Head Designer of Isaac Mizrahi's Target line, to leading programs at The Cape Town Fashion Council, including Mercedes Benz Fashion Week in South Africa. Her design work also included labels such as Armani Exchange, Calvin Klein, and Ralph Lauren, and she's been in the administration of higher education institutions such as Parsons The New School for Design, The Art Institute, and FIT, where she coached students and career changers on attaining creative opportunities and negotiating. Sewell currently leads inclusion talent acquisition efforts for Netflix's Outreach & Engagement team, where she focuses on engaging underrepresented creatives across writing, art, and story for film, series, and animation. Prior to Netflix, she recruited and developed creative talent for CBS Interactive's portfolio of 30+ digital brands across multiple lifestyle categories, and did the same for Williams-Sonoma Inc., Ann Taylor/ LOFT, and Adecco Creative. Other notable projects include founding the book deal-turned-career-development program, CreativeTypes, as well as creative consulting for artists/filmmakers, Bradford Young and Leslie Hewitt on Untitled Structures. Sewell holds an MA from The New School for Social Research, a BFA from Virginia Commonwealth University, and research credits from the Democracy and Diversity Institute for Graduate Studies at the University of Cape Town. Her work and collaborations have been featured in Elle South Africa, Vogue Magazine, The New York Times, and ArtForum. --- Send in a voice message: https://anchor.fm/invisiblewomen/message

Dee Rees's first feature, 2011's PARIAH, is a groundbreaking work of queer cinema and an inspiration for director Olivia Peace's own debut film, TAHARA (which premiered at Slamdance in 2020). They first watched it back in high school; so how does it hit different 11 years later? Then, we answer the HOTLINE and consider movie premises that didn't live up to the their promise...s.What's Good MentionsAlonso - The Gilded AgeDrea - LoxIfy - SnowboardingOlivia - Valentine's Day trip to Long BeachITIDICThe Academy has plans to make the 2022 Oscars a little differentAn actor was sentenced to 20 years in prison for a Ponzi scheme where he pretended to be making movie dealsThe director of the upcoming Netflix biopic about Marilyn Monroe has announced that his movie will be rated NC-17Staff Picks:Ify - ShortbusDrea - KimiAlonso - Middle of NowhereOlivia - The Watermelon WomanBuy Alonso's book - I'll Be Home for Christmas MoviesSupport our sponsors!WealthfrontTo get your first $5,000 managed for FREE, for life, go to wealthfront.com/MAXFILMLumi LabsGet free shipping and 30% off your first order at MicrodoseGummies.com with code: MAXFILMWith:Ify NwadiweDrea ClarkAlonso DuraldeOlivia Peace

The nominations for this year's Academy Awards are here! As you can imagine, there are some pretty big misses with snubs ranging from Lady Gaga in The House of Gucci to Denis Villeneuve for Dune to Ruth Negga in Passing. Join us as we break down the major categories, walking through the good and bad on this year's Oscar slate. Stick around as we honor the incredible work from cinematographer Bradford Young. Next week, we'll be celebrating Danny Glover so write in with your favorite Danny Glover performance. ReelBlend PremiumSign up for an extra episode a week, a bi-weekly newsletter from Sean, and ad-free episodes at RedCircle .ReelBlend on YouTubeBe sure to subscribe to ReelBlend on YouTube (YouTube.com/ReelBlendPodcast) for full episodes of the show in video form. Follow The ShowReelBlend - @ReelBlendSean - @Sean_OConnell Jake - @JakesTakesKevin - @KevinMcCarthyTVGabe - @gabeKovacsTimestamps (approx. only)00:04:30 - Oscar Nominations Reactions01:16:30 - This Week In Movies01:18:55 - Our Favorite Bradford Young Movies01:25:43 - OutroSupport this podcast at — https://redcircle.com/reelblend/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Joe Gawler is the senior colorist and partner at The Harbor Picture Company in New York City. Joe and Lee go back a very long time. When Lee first started mastering movies in New York City, there weren't a lot of colorists who could work on feature films outside Hollywood. Most colorists in the city were only doing commercials or music videos and the emphasis was on the 30 second spot or the 3 minute MTV special. Joe could do these of course, but Lee quickly learned that Joe could handle the long form movie re-master very well. With the advent of high definition and the needed content to supply broadcasters with HD versions of classic films, Lee and Joe spent a lot of time together moving through dozens of films including Bergman, Fellini, Tarkovsky and countless others. Cut to 2022 and Joe is one of the leading feature film Digital Intermediate colorists in the world. In this episode, Ryan and Lee go back to Joe's humble beginnings, share some great stories, and talk about the evolution of the telecine transfer up to the digital camera and the changes in technology. It's a fun and fast paced conversation. ———————————— Over the years, Joe has built long- standing collaborations with respected cinematographers including Ellen Kuras, Harris Savides, Ed Lachman, Bradford Young, and Florian Ballhaus. Gawler's recent work includes Disney's "Hamilton," Kelly Reichardt's "First Cow," Ron Howard's "Solo: A Star Wars Story," Greta Gerwig's "Little Women," Robert Eggers' "The Lighthouse," and FX's "Fosse/Verdon." In 2020, "The Lighthouse and" "Little Women" earned nominations at the 92nd Academy Awards for ‘Best Cinematography' and ‘Best Picture', respectively. “Finding the bespoke look for a project drives my process,” says Gawler. He finds that the art of color grading is “a balancing act to push the most compelling images while staying true to the creative intent for all filmmakers involved.” His subtle art of ensuring that every filmmaker in the room is happy with the final image, and delivering a signature look, is what has given him the reputation of a trusted collaborator.

While in film school at NYU, Dee Rees directed a short film called Pariah that was essentially the first act of a feature script she was developing. Spike Lee, her professor and mentor, helped her get the feature version financed and in 2011, she released it to much acclaim. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Rees' feature version of her short film Pariah. There's a lot to discuss about Pariah, from the performances to the filmmaking style. We love all of the performances in this film, but Adepero Oduye as Alike, our protagonist, is the heart of this film. Her journey of coming out as a lesbian is a powerful one, and we're right along the ride with her from the start of the film. But all the performances in Pariah are great. Pernell Walker as Alike's best friend Laura. Aasha Davis as her first love Bina. Charles Parnell and Kim Wayans as her parents. Everyone gets story time and they sell this journey. Pariah is a strong story because Rees doesn't make the parents typical antagonists who aren't happy with her as a lesbian. We get a sense of their world and can understand their perspective, even if we don't agree with them. We also get a strong sense of the family world and connections to church, not to mention Dad's affair. All of this helps us feel like we understand the family dynamics. Rees and her cinematographer Bradford Young crafted a personal, intimate film. The film is beautiful to look at with many gorgeous closeups. It also has raw energy in the scenes that require it. All told, it's clear right out of the gate that Rees is a filmmaker pushing honesty and truth with her first film in a visually exciting way. Pariah is a powerful film that delivers and rightfully holds up as one of the great LGBTQ films. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Script Theatrical trailer Poster artwork Flickchart Letterboxd Pariah NYU Short • 2007 Pariah on Criterion

While in film school at NYU, Dee Rees directed a short film called Pariah that was essentially the first act of a feature script she was developing. Spike Lee, her professor and mentor, helped her get the feature version financed and in 2011, she released it to much acclaim. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Rees' feature version of her short film Pariah. There's a lot to discuss about Pariah, from the performances to the filmmaking style. We love all of the performances in this film, but Adepero Oduye as Alike, our protagonist, is the heart of this film. Her journey of coming out as a lesbian is a powerful one, and we're right along the ride with her from the start of the film. But all the performances in Pariah are great. Pernell Walker as Alike's best friend Laura. Aasha Davis as her first love Bina. Charles Parnell and Kim Wayans as her parents. Everyone gets story time and they sell this journey. Pariah is a strong story because Rees doesn't make the parents typical antagonists who aren't happy with her as a lesbian. We get a sense of their world and can understand their perspective, even if we don't agree with them. We also get a strong sense of the family world and connections to church, not to mention Dad's affair. All of this helps us feel like we understand the family dynamics. Rees and her cinematographer Bradford Young crafted a personal, intimate film. The film is beautiful to look at with many gorgeous closeups. It also has raw energy in the scenes that require it. All told, it's clear right out of the gate that Rees is a filmmaker pushing honesty and truth with her first film in a visually exciting way. Pariah is a powerful film that delivers and rightfully holds up as one of the great LGBTQ films. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Script Theatrical trailer Poster artwork Flickchart Letterboxd Pariah NYU Short • 2007 Pariah on Criterion

In this Film Roundtable, we welcome back two friends, Director/DP Reed Morano and Director/DP Bradford Young for a therapeutic conversation in the wake of the potential IATSE strike. The two go straight into the quality of life concerns that exist in our business, as well as the general culture of self-care practice being neglected or treated as an afterthought. The two discuss how the stress to deliver in an unattainable time frame puts our mental health at risk and delve into the deep inequities between above the line and below the line crew members. In addition, Reed speaks about where her allegiance lies on set, taking care of her crew, while knowing that is not always the case for everyone in her position.  Listen and share this segment of an essential conversation that we must continue to amplify in a wider scope, so that we may begin the work of systemic change across the board.

Nuevo episodio del podcast de “La Fragua de Beskar” en donde hablamos del segundo spin-off en cines del universo Star Wars como lo es ´Solo: a Star Wars Story´. Podcast integral sobre la película analizando casting, personajes, ubicación temporal en la saga, también hablamos de los famosos reshoots y de la autoría (o no) de Phil Lord y Cristopher Miller contra la final de Ron Howard, de la bso de Powell y la fotografía de Bradford Young. Hablamos de la batalla de Corelia, de la amistad de Han con Chewie, del papelazo de Donald Glover como Lando Calrissian (y es que evidentemente, no todos los Calrissian son malos), por supuesto que hablamos sobre el Crimson Dawn, Qi'ra junto las dosis de fan service y la ¿mitica? escena final con la aparición de Darth Maul. - La Fragua de Beskar es un podcast colombo-español especializado en todo el universo de Star Wars, para más información y actualidad seguidnos en redes sociales. - Twitter: https://twitter.com/LBeskar?t=oQ9crBpcNKYcnEeEj16ueg&s=09 - YouTube: https://www.youtube.com/channel/UCozJkvORqB4gNP4iLtFyURQ Edición de Cristian Torres

Film Roundtable Community, Our team is taking a short break while we brew up some exciting new roundtables and implement site modifications. In the meantime, we wanted to ensure you’ve heard some of our all time favorite episodes... Almost a year ago, Darius Khondji & Bradford Young came on our show and had a conversation expressing their views on light, inspiration, and letting yourself follow the river of those two interwoven mediums of expression. Please enjoy this candid talk including two of our favorites guests, led beautifully by Film Roundtable co-founder Doug Torres, and re-charge on the energy they emit through their work and words. See you soon.

5 de mayo | Nueva YorkHola, maricoper. Un año más violento.IMPORTANTE. Tenemos programa de referrals. A partir de ahora, puedes ganar recompensas maricopers compartiendo La Wikly. Entre las posibilidades: acceso a nuestra comunidad de Discord, tazas, gorras o sudaderas. A más suscriptores consigas, más premios.Añade tu email aquí y comparte tu código único con amigos y familiares.El podcast de La Wikly también está disponible en iTunes, Spotify y iVoox.Añade el podcast a tu plataforma favorita haciendo click en el botón “Listen in podcast app” que aparece justo debajo del reproductor.Si te haces suscriptor premium, recibirás dos newsletters extra. Los viernes, el maricóctel, seis titulares rápidos, tres lecturas recomendadas y un tema para analizar en profundidad a lo largo del fin de semana. Y los lunes, el maricoffee, un repaso de cuatro noticias para empezar la semana bien informado (y un test de actualidad para ponerte a prueba). Ambas entregas incluyen podcast narrado. ¡Y tendrás acceso a nuestra comunidad de Discord!Leer esta newsletter te llevará 11 minutos y 4 segundos.El talento se maúlla. Bienvenido a La Wikly.Lo importante: Conforme Estados Unidos sale del túnel pandémico, una escalada en el número de crímenes violentos enturbia la esperanzadora campaña de vacunación nacional.¿Pero cómo de grave es la situación y qué pueden hacer los gobiernos a nivel federal, estatal y local para aplacarla?Las tasas de homicidio están aumentando en ciudades grandes y pequeñas, presagiando lo que probablemente será un verano más violento después de un 2020 ya de por sí difícil.Y complicando también la recuperación de las urbes más afectadas tras más de un año de pandemia.Una muestra de 37 ciudades con datos disponibles para los primeros tres meses de 2021 recopilados por el analista de delitos Jeff Asher indica que los asesinatos aumentaron un 18 por ciento con respecto al mismo período en 2020.Sí, los tres meses previos al confinamiento. Porque todo lo que vino después fue horrible:Algunos ejemplos clave de las grandes urbes estadounidenses:NUEVA YORK. Según registros del Departamento de Policía, el índice general de delitos aumentó un 2,4% en comparación con marzo de 2020, impulsado por un aumento del 36% en los asesinatos y un 76,8% en incidentes que incluyen disparos.La lucha contra la violencia armada en la ciudad de Nueva York sigue siendo un enfoque central para el NYPD, que también ha percibido un aumento en la cantidad de arrestos por armas de fuego.WASHINGTON D.C. Los datos de la policía de D.C. informan que el 2021 está teniendo un aumento del 43 por ciento en la tasa de homicidios con respecto al mismo periodo en 2020.Lo cual se agrava si consideramos que ya los datos de 2020 representaban el máximo registrado en los últimos 16 años."Con demasiada frecuencia hay hombres jóvenes [muertos], mujeres jóvenes que son secuestradas demasiado pronto. Y nos volvemos complacientes, nos volvemos insensibles... y estamos normalizando que la gente sea asesinada a tiros", declaró Darrell Gaston, ex-Comisionado Asesor de Vecindarios en D.C. y cuyo ahijado de 15 años fue asesinado a tiros en 2018.ATLANTA, GEORGIA. La policía de la ciudad ha investigado en lo que va del año al menos 32 homicidios, un aumento del 60 por ciento con respecto a este mismo periodo el año pasado.La alcaldesa Keisha Lance Bottoms dio un discurso el mes pasado priorizando la necesidad de aplacar esta coyuntura cuando anunció un plan para contratar a 250 nuevos agentes de policía.Sin embargo, el aumento de violencia armada no ocurre solamente en los condados metropolitanos; se trata de una tendencia que también se ha propagado más allá de los suburbios.No olvidemos que fue en Atlanta donde se produjo el pasado marzo un tiroteo masivo en tres salones de spa que dejó un saldo de ocho víctimas mortales (seis de ellas, de ascendencia asiática).OAKLAND, CALIFORNIA. El recuento de homicidios hasta el 10 de abril —el día mayor mortalidad en la ciudad con un total de cuatro muertes— ascendió a 44 víctimas; eso es un asesinato cada tres días.La policía y los activistas culpan del aumento a dos secuelas de la pandemia: un aumento de las armas de fuego en las calles y una reducción de los programas de prevención de la violencia que dependen del contacto personal.También ha sido difícil para el Departamento de Prevención de la Violencia de Oakland reunirse con las familias de las víctimas para brindar apoyo en casos de trauma e intervenir a tiempo antes de que los amigos de las víctimas busquen venganza.La mayoría de las víctimas son hombres negros o latinos de entre 20 y 30 años muertos en tiroteos.Residentes de la zona aseguran que muchas de las víctimas fueron alcanzadas por una bala perdida o quedaron atrapadas en fuego cruzado.LOUISVILLE, KENTUCKY. Durante los tres primeros meses del año, Louisville reportó 47 homicidios y eso sin contar los más de 100 tiroteos sin víctimas mortales.Si la tendencia continúa, este año podría estar en camino de batir el récord de 173 homicidios y más de 580 tiroteos no-mortales de 2020."Si no hay intervención en el nivel preescolar, y al menos hasta el nivel de la escuela secundaria, entonces nos estamos engañando. No vamos a cambiar esto en los años de la escuela secundaria" dijo Christopher 2X, activista  de la comunidad.KANSAS CITY, MISSOURI. La policía ya investiga el homicidio número 50 en lo que va de año. Ya en 2020 rompieron récord con un total de 182 asesinatos a lo largo del año. Si la tendencia se mantiene, esa cifra va camino de superarse en este 2021.Más del 60 por ciento de las víctimas de este año tienen entre 17 y 34 años. Y según el Departamento de Policía de Kansas City, la principal causa conocida de estos homicidios se relaciona con discusiones/peleas.Por qué tanta muerteLa tendencia era buena. Los delitos violentos llevaban años cayendo de forma drástica desde los años 90, aunque no parece que esté clara la explicación de por qué.Aún menos se puede encontrar ninguna explicación evidente sobre por qué han aumentado tan dramáticamente en los últimos 16 meses.Todavía no se han alcanzado las fatídicas cifras de los 90.Sin embargo, en Axios y Vox extraen algunas conjeturas basándose en publicaciones recientes y opiniones de expertos que han atajado el tema:COVID-19. El papel de la pandemia y sus efectos en la ansiedad de la sociedad. Colapso económico, aumento del desempleo, cierre de escuelas presenciales y retirada de muchos programas de prevención de la violencia, entre otros.No obstante, los delitos contra la propiedad como los robos han continuado en descenso. Y tampoco existe una conexión clara, en términos históricos, entre periodos de inestabilidad económica y las tasas de homicidio.Medidas pandémicas. La presencia del COVID-19 también ha implicado un retroceso generalizado de la acción policial y el cierre de algunos tribunales.Algo que sí ha podido contribuir a que se produjeran más homicidios —y a que se resolvieran menos.Venta de armas. En 2020, se registró un aumento histórico en la compra de armas de fuego, particularmente entre aquellos que compraban su primera arma, sumándose a un arsenal nacional ya desbordado.La creciente polarización política. Tampoco cabe restar importancia a los Estados Unidos que dejó Donald Trump —y que tuvo su punto culminante con el asalto al Capitolio del 6 de enero de 2021.Menos policía. Desde 2014, la oleada de protestas de Black Lives Matter provocó que departamentos de policía de todo el país redujeran su presencia y actuación en numerosas comunidades conflictivas.Y la falta de confianza derivada de muertes como las de Michael Brown en 2014 o George Floyd en 2020 pudo provocar también que los ciudadanos prefirieran tomarse la justicia por su cuenta.Ambos factores pudieron tener como consecuencia un aumento de la violencia.El verano más violentoLas previsiones apuntan a un verano violento en las calles de EEUU a la vista de que los homicidios ya parecen estar superando el pico del pasado año.Por si fuera poco, las tasas de homicidios suelen repuntar en verano, cuando el buen tiempo saca a más gente a la calle.¿Y qué hacer? Es difícil atajar un problema tan grande, extendido y creciente si el diagnóstico no es bueno (o definitivo). Y menos en un contexto en el que la policía carece de la confianza de una parte importante de la población.Especialmente, en comunidades afroamericanas donde el salto de violencia es muy destacado.En Vox, repasan medidas concretas como un aumento de la presencia policial en zonas de alto conflicto, recursos y prioridad para civiles miembros de comunidades afectadas o programas de apoyo y sanciones que ponen el foco en grupos violentos concretos.¿El problema? Que gran parte de las ideas que plantean los expertos requieren una vuelta a la normalidad prepandémica en la que el contacto personal pueda retomar protagonismo.La solución que menos gusta escuchar entre la izquierda es la de aumentar los recursos y la presencia de la policía si no hay reformas de por medio, pero las reformas requieren de tiempo, de sistemas de prueba-error y de resultados probados.Y la escalada de violencia quizá no se pueda permitir planteamientos tan ambiciosos, especialmente si requieren probar alternativas a la policía.¿Desea saber más? En CNN tienen un reportaje que explora en profundidad algunas de las teorías sobre el aumento del crimen que hemos tocado en esta newsletter. Y en Vox tratan la reforma policial a través de un libro que propone una nueva visión del problema de la violencia urbana en EEUU.🎬 Una recomendaciónCon la colaboración de FilminEl año más violento es una película de J.C. Chandor protagonizada por Jessica Chastain y Oscar Isaac. Ambientada en el invierno de 1981, uno de los más violentos en toda la historia de la ciudad de Nueva York, sigue la pista de un hombre inmigrante que aprovecha la coyuntura de violencia, corrupción y decadencia neoyorquinas para expandir su negocio.El filme de Chandor responde casi a la perfección a ese cliché del thriller a fuego lento, lo cual puede llegar a desesperar en algún tramo. Pero las recompensas son también destacadas: los coletazos de violencia, la exploración de la ambición y el sueño americano en un contexto histórico muy determinado o la angosta atmósfera que construye el cineasta en ese Nueva York amarillento y tétrico (tremenda la fotografía de Bradford Young).Pero son las interpretaciones las que hacen que El año más violento de verdad pegue un salto de calidad extra. Chastain está tremenda con un personaje femenino que en este género estamos menos acostumbrados a ver, pero es Isaac el que controla el ritmo de la película. Sin arriesgarme demasiado, es la mejor interpretación de su carrera hasta ahora. ¡Y he visto el baile de Ex Machina!El año más violento está disponible en Filmin.🎤 Un vídeo para aplaudir al MadrileñoLos Tiny Desk Concert llevan desde 2008 siendo uno de los programas musicales emblemáticos de NPR, la cadena de radio estadounidense (en gran parte) pública.El concepto nació después de que el presentador Bob Boilen y el productor Stephen Thompson, ambos de NPR, fueran a un concierto de la cantante de folk Laura Gibson en Austin, Texas, y abandonaran el bar en el que se estaba celebrando porque no podían escuchar la voz de la artista entre el barullo de los presentes.Lo que le propusieron a Gibson fue cantar en el despacho de Boilen mientras la grababan. El resultado tuvo éxito y ahí comenzó una franquicia que ya cuenta con cientos de ejemplos.Por Tiny Desk Concert han pasado Alicia Keys, BTS y, más recientemente, el español C. Tangana acompañado de su familia y de estrellas como Kiko Veneno, La Húngara o Antonio Carmona, de Ketama.Con motivo de la pandemia, NPR está haciendo versiones desde casa en vez de en los estudios de la emisora, lo que ha posibilitado que C. Tangana se haya montado un inspirado concierto durante la sobremesa.Su madre y su tía están en la esquina bailando y cantando como las que más.Es un concierto puto increíble, la verdad, y la versión que interpretan de ‘Los tontos’ es instantáneamente icónica.😆 Quitándole la graciaJosh Swain es un estudiante de ingeniería civil de 22 años que en abril de 2020, aburrido por estar confinado en casa con motivo de la pandemia, decidió crear un chat grupal en Facebook repleto de gente llamada como él: “Probablemente os estéis preguntando por qué os he juntado a todos aquí hoy”.“¿Porque todos compartimos el mismo nombre”, preguntó otro Josh Swain.El Josh Swain original contestó una vez más: “Exactamente. El 24 de abril de 2021 a las 12 del mediodía, quedemos en estas coordenadas, luchemos y quien gane se quedará con el nombre. Todos los demás deberán cambiarse el nombre. Tenéis un año para prepararos. Buena suerte”.Swain compartió capturas de la conversación en Twitter y el tuit se hizo viral.A lo largo del siguiente año, un poco a lo meme del Asalto al Área 51, usuarios en Twitter y Reddit hicieron multitud de memes al respecto. Por ejemplo:Conforme más se acercaba la cita, la expectación se disparó hasta tal punto que el Josh Swain original publicó un comunicado oficial con los detalles del evento. Todos los Josh participantes tenían que asistir con churros de piscina para pegarse de leches.Y la cosa tuvo… bastante éxito:¿Y quién ganó? Primero, dos organizaciones benéficas promocionadas por el Josh Swain original aprovechando la popularidad de la pelea.Y después, un niño de 5 años ahora llamado Little Josh que fue coronado en este absoluto momentazo por el que debemos dar las gracias a la existencia de internet:Y para terminar, no lo busques que nos conocemos:Hasta la semana que viene, This is a public episode. Get access to private episodes at www.lawikly.com/subscribe

On this episode of Black Genius, we're visited by Christian Epps, Founder & CEO of Lights, Camera, Diaspora (LCD!), a Los Angeles social based enterprise bridging the gap between Africa and African-Diaspora entertainment Industries. LCD! has secured African talent for projects such as Beyonce's Black is King and Netflix's Queen Sono on both of which Christian was the Chief Lightening Designer. He's also worked on Lovecraft Country(HBO), Slyvie's Love(Amazon) and the award-winning Selma, featuring David Oyelewo and Oprah Winfrey (lenses by director of photography Bradford Young) and many others. Black Genius is hosted by Lolade Siyonbola, Founder of NOIR Labs, noirpress and NOIR FEST. Lolade is a Gates Scholar and Harambean pursuing a PhD in Sociology at Cambridge University *** Black Geniuses are changing the world, from policy to culture to tech to art. Are you a Black Genius? Send us your story at editor@noirpress.org Join the noirpress movement on Youtube, IG, Twitter and Facebook to see how we are normalizing the Glory of Blackness. For our newsletter curating the best in Black news and films, join our mailing list at noirpress.org.

The only way Shaka King was going to get a film made about the Chicago leader of the Black Panthers, Chairman Fred Hampton (Daniel Kaluuya), was to mask it as ‘Donnie Brasco’ genre film, and on this podcast we break down the incredible structure and ingenuity of this remarkable script. Shaka also talks about collaborating with DP Sean Bobbitt (after Bradford Young had to step away form the project), how the 'Judas' team turned modern day Cleveland into the westside of Chicago of the late 60s, the music track the director played at every pitch meeting (much to Exec Prod Ryan Coogler's dismay), and actress Dominique Fishback's vital role in shaping the film's third act and the role of Deborah Johnson (now known as Akua Njeri). 'Judas and the Black Messiah' is streaming now on HBO Max.

EPISODE 90 - BRADFORD YOUNG - Cinematographer Team Deakins sits down with cinematographer Bradford Young for a great conversation. We talk about many things - among the topics are his belief that the cinematography must always serve the story, how he chooses his projects, what his process is on starting a film, his lens choices, and his desire to shoot it the way you want rather than fixing it in post. He shares his experiences on Arrival and that it was his first experience working with storyboards and also speaks about his work on Star Wars. We learn his unique way of lighting where he blacks everything and then adds light, “subtracting is adding”. And much, much more. You won’t want to miss this conversation with a true artist.  

In our first-ever Best Of compilation episode, we have a dozen clips of listener favorites from 2020 and some of our selects as well. Cinematographer Bradford Young goes deep into his filmmaking philosophy and influences, such as on Selma; Kira Kelly talks about making the documentary 13th with director Ava DuVernay; Greig Fraser on Lion, Star Wars and The Mandalorian; Anthony Dod Mantle describes exploring New York City for The Undoing; Wally Pfister on his early career working on Roger Corman movies; Brendan Davis on leaving China as the pandemic hit; director Don Coscarelli remembers working with cinematographer John Alcott on The Beastmaster; legendary documentarian Frederick Wiseman talks about his process of assembling his films; cinematographer Iris Ng on making documentaries that are personal narratives; commercial director Bruce Van Dusen tells an anecdote from an Ex-Lax commercial; director Julie Taymor on the visual language of The Glorias; and finally director Ron Howard on directing the documentary Rebuilding Paradise versus his approach to narrative films. Be sure to check out the full episodes, and let us know what you think! IT'S A GIVEAWAY! Enter to win Bruce Van Dusen's book, 60 Stories about 30 Seconds: How I Got Away with Becoming a Pretty Big Commercial Director Without Losing My Soul (or Maybe Just Part of It). Like and comment on our Bruce Van Dusen post on Facebook and we'll choose a winner from the comments. https://www.facebook.com/cinepod Find out even more about this episode, with extensive show notes and links: http://camnoir.com/bestof2020/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

If you thought Pixar's resume couldn't get any more impressive, “Soul”—the studio's upcoming release about passion, music, and a soul-in-training—will prove you wrong. That's no small task. After all, Pixar already boasts a repertoire of celebrated works. “Toy Story”, “Monster's Inc.”, “Finding Nemo”, “The Incredibles”, “Cars”, and the list goes on. The team at Pixar has shown beyond doubt their ability to tell great stories and to do so year in and year out. Pixar's diverse blend of creative minds produces an authenticity that rings true to real life. Kemp Powers, the co-director of "Soul" and a New York City native, emphasized this authenticity in the context of the animated cityscape. To ensure a life-like portrayal of the city—which would have to pass the scrutiny of a long-time New York City commuter in Kemp Powers—the Pixar team brought in cinematographer Bradford Young as a lighting consultant. Beyond authenticity, it is these deeper statements that make "Soul" the movie Pixar has been building toward. By inspecting a struggling musician's life-purpose and connection to his true self—his soul—Pixar's latest aspires to a depth not often seen in animation. It takes chances in the same way "Inside Out" did in dealing with taboo emotion. It's daring in the same way "Coco" was in confronting death. So sure, in watching "Soul" when it's released on Christmas Day, you'll be engrossed in a story worthy of Pixar's record. But you'll also be challenged. You'll be made to think and feel, and you'll leave the film with a new perspective and, maybe, a new purpose. Think that's a tall order for Pixar? My conversation with Pete Docter, Kemp Powers and Dana Murray might convince you otherwise. "Soul" hits Disney+ December 25. --- Send in a voice message: https://anchor.fm/theplaylist/message

In 2017, Tribeca premiered the extended music video for Common’s “Letter to the Free,” directed by Bradford Young. After the screening, Academy Award®, Golden Globe®, and three time GRAMMY® winner Common sat down with author and filmmaker Nelson George to discuss “Letter to the Free,” Common’s work on Selma and 13th, and the power of music. Common is an artist, actor, activist and, most recently, a New York Times best-selling author with the release of his latest memoir Let Love Have The Last Word. With a storied career spanning three decades, his work has been recognized with numerous GRAMMY Awards®, as well as an Emmy® and an Academy Award® for the song "Glory" which he co-wrote and performed with John Legend. In Summer 2019, he released his new album Let Love, inspired by his work and experiences that came from writing his second memoir of the same name. Nelson George is an author and filmmaker who celebrates black culture in America. He was a producer and writer on the Netflix series The Get Down and directed the Lifetime movie The Real MVP. George's other directing credits include the theatrical documentary A Ballerina's Tale about Misty Copeland as well as docs for ESPN and VH1. He is serving as executive producer on Outlaws, a documentary series on Afeni and Tupac Shakur for the FX Network. He has written many non-fiction books on African-American life including Hip Hop America, The Death of Rhythm & Blues, and the current The Nelson George Mixtape on Pacific Books. He has a blog on Substack also titled The Nelson George Mixtape. His next novel, The Darkest Hearts, will be published by Akashic Books in August. George was born in Brooklyn, New York.

These two cinematographers discuss their creative changes over time.

These three industry veterans discuss the collaborative partnership between director, cinematographer and production designer.  They explore their careers and their life path since working together on the Sundance darling “Ain’t Them Bodies Saints.”

In an almost 2 hour "therapy" session, Bradford and Reed talk about their personal paths, what brought them to where they are now, how they manifest their individual artistic expression and most importantly what they want to see change moving forward personally and in this new landscape of filmmaking. 

This episode is filled with wonderful imagery of how man works in nature but never tries to alter it. Bradford makes a good point for the young filmmakers who joined into the Webinar to never be afraid of the challenge of working with limited resources to tell your story.

Welcome to Screen Tea Podcast! *Disclaimer/Trigger Warning: The word ‘queer’ is used frequently in this episode and is used as a term of identification and orientation, both in the context of discussing the film and because both of your podcasters identify as big ole queers. The term ‘dyke’ is used multiple times in this episode in context of the film. The term is used in the film both as a slur and as a term of identification and orientation. You're also in a space where Black Lives Matter, so if you don't share that sentiment, you're gonna have a bad time (what the fuck are you doing here anyway?). This episode in particular celebrates Black queer artists and the Black queer experience in general.Join Lisha and Juliet as they review the baby budget/huge impact indie film, 2011’s Pariah! Put on the kettle or pop a piece of Big Red gum and join the gals as they worship the ground that Adepero Oduye walks on, listen to Juliet as she sings praises to Bradford Young and his wicked light sorcery, and get ready for yet another psychological character study thesis from Lisha (c'mon, you know you love it). It's Pride month, y'all, so get ready also for a Reel Question and discussion about meaningful LGBTQ films and television (of which Lisha and Jules have MANY to discuss...shocker, right?). SO. Strap in (on? Alike, girl, no, Laura, what did you do), grab your drink of choice, and get sippin'! Sources for information gathered for this episode were: www.imdb.com, www.wikipedia.org, www.rottentomatoes.com, www.metacritic.com and also the DVD extras of the film itself. The TED talk that Lisha couldn't for the life of her remember (even though it's amazing) is by Ash Beckham and can be found here: https://www.youtube.com/watch?v=kSR4xuU07sc Find us on Facebook at www.facebook.com/screenteapodcast, hit us up on Twitter @screenteapod, shoot us an e-mail at thescreenteapodcast@gmail.com, and check out our website at www.screenteapodcast.com! Happy listening! Please go check out https://www.watershedvoice.com/, an independent nonprofit news organization based in Three Rivers, Michigan. Watershed Voice, on top of being a new and much needed strong journalistic presence, has also decided to feature Screen Tea Podcast on their digital news site! Support them with a subscription, by sharing their page on social media, and with good old fashioned word of mouth. (Excellent podcast logo commissioned from the talented Mel. Find Mel on Instagram @javadoodler, website www.javadoodleart.com, or on Facebook at www.facebook.com/Javadoodle.Art. Our incredible intro music was composed by Detroit musician Sasha Kashperko!)

The Cinematography Podcast Episode 78: Bradford Young, PART 2 Bradford Young continues our conversation from his busy household. One lesson he's learned is that the cinematographer's job is to make the director happy. Bradford was drawn to the science fiction film Arrival because it had an intimacy and a perspective about who we are that many sci-fi movies lack. Arrival takes us on a journey of discovery while keeping the human experience at the center of the film, with the camera following Louise, played by Amy Adams, the entire time. At first, Bradford found it difficult to find the visual language of the story, since it was so much about decoding the aliens' language. But his collaboration with Denis Villeneuve and the rest of the team makes Arrival feel cohesive and engaging. When Bradford was approached to shoot Solo: A Star Wars Story, he knew it would be a power move for his career, although it was uniquely challenging to work with four cameras plus huge action sequences and special effects. He also had to adjust to the turmoil of Lucasfilm's decision to fire directors Phil Lord and Chris Miller, who were replaced by director Ron Howard in the middle of the Solo shoot. But Bradford felt fortunate to be able to continue shooting Solo and to work with a seasoned and respected director like Ron Howard. Bradford was happy to work with director Ava DuVernay again on When They See Us, which was his first episodic series. He and DuVernay wanted to bring weight and care with their approach to the story of the Central Park Five, using minimal lighting, composed photographic shots and anamorphic lenses. For Bradford, When They See Us was a hard story to tell and they told it the best way they could. He feels that while films are powerful, they are also fleeting- sometimes it takes longer to tell and inform a story, and the injustices done to Korey Wise, Kevin Richardson, Raymond Santana, Antron McCray and Yusef Salaam was better served as a series. Find Bradford Young https://luxartists.net/bradford-young/ You can stream When They See Us right now on Netflix. https://www.youtube.com/watch?v=VHbOt2M8md0 You can find Selma streaming on Amazon, Vudu, or iTunes. https://www.youtube.com/watch?v=x6t7vVTxaic Bradford Young was featured in the May 2020 issue of American Cinematographer. https://ascmag.com/magazine-issues/may-2020 Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep78/ Sponsored by Hot Rod Cameras www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

The Cinematography Podcast Episode 77: Bradford Young, PART 1 Oscar-nominated cinematographer Bradford Young feels every story has a personal connection to tell and translate through the language of images. As an African American, telling the story of Selma was very important and close to him. He'd heard the story of Dr. Martin Luther King's march from Selma and the fight for civil rights from his aunt and grandparents as a kid. He sees the essence of his existence coming from those struggles. Growing up, at first Bradford thought he'd go into the family mortuary business. But he always felt drawn to the arts and his father encouraged him to pursue it as a career. He went to Howard University to study journalism and soon switched to film. Bradford attended graduate school with director Dee Rees who hired him to shoot her film Pariah, which went to Sundance and won multiple awards at film festivals. But small independent films with black voices don't get a lot of mainstream attention, and he was told his reel didn't have enough “scope” to get bigger jobs. When seeking an agent, Bradford was told his talent for cinematography was seen as a “fluke.” He found he had to be resilient and continue to tell his own story through his work with diverse filmmakers. Ava DuVernay was familiar with his work and hired him to shoot her film Middle of Nowhere and then Selma, about the march from Selma to Montgomery to secure equal voting rights for African Americans in 1965. For Bradford, the cultural resonance of Selma was not the Oscar nomination, but that Ava DuVernay, a black woman director, was seen with respect and shown to be an important and powerful voice in Hollywood. Listen for Bradford Young Part 2- coming next week! He talks about Arrival, When They See Us, Solo: A Star Wars Story and much more. Find Bradford Young https://luxartists.net/bradford-young/ You can stream When They See Us right now on Netflix. https://www.youtube.com/watch?v=VHbOt2M8md0 You can find Selma streaming on Amazon, Vudu, or iTunes. https://www.youtube.com/watch?v=x6t7vVTxaic Bradford Young was featured in the May 2020 issue of American Cinematographer. https://ascmag.com/magazine-issues/may-2020 Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep77/ Sponsored by Hot Rod Cameras www.hotrodcameras.com Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Bradford Young é diretor de fotografia de filmes como White Lies, Black Sheep (2007), Pariah (2011), Restless City (2011), Middle of Nowhere (2012), Ain't Them Bodies Saints (2013), Mother of George (2013), Selma: Uma Luta Pela Igualdade (2014), O Ano Mais Violento, A Chegada (2016), Han Solo: Uma História Star Wars (2018), Olhos que Condenam (2019). Em 2017, Young se tornou o primeiro diretor de fotografia afro-americano a ser indicado ao Oscar por seu trabalho em A Chegada. Young será entrevistado por Alex Vecchi, diretor de fotografia desde 2015, que trabalha com publicidades, curta-metragens e videoclipes.

We're back! Starting with a re-release of one of our most popular interviews, Bradford Young. This interview was recorded while Bradford was in London working on the set of Solo.

On the the first deep dive we highlight the cinematographer Bradford Young (When They See Us, Arrival, Pariah). His talent and work ethic on and off set has impacted our approach to filmmaking and film culture. In this episode we discuss how he builds community, curates his projects and folds his cultural perspective into his work. Be sure to check out this episode's watchlist on letterboxd!Continue this conversation with us on our socials!IG @niggas_eatingTW @eatin_niggasRoryIG @rembluesTW @Rem_bluesTemiIG @itzebra11TW @itzebraJarrellIG @nonamejames_TW @jarrelljames_

The movies have not always been kind to Black people - even down to our very appearance as captured on film. In this episode, the SSN Crew discusses the racial biases literally built into earlier color photography and the history of the Shirley cards. We also discuss how filmmakers such as Ava DuVernay and cinematographer Bradford Young are pushing for improvements in how Black people appear in cinema. Plus - reviews of the new fall TV shows "mixed-ish," "All Rise," and "Stumptown," Todd Phillips wilding on the "Joker" press tour, Eddie Murphy apologizing for his past homophobic jokes, Sony and Marvel getting back together for their kid - Spider-Man - and more! SHOW NOTES: 0:00:00: Say Something Real: Reviews ◦ mixed-ish (TV, ABC) ◦ Mandingo (Film, 1975) ◦ Drum (Film, 1976) ◦ Whoopi Goldberg: Fontaine...Why Am I Straight? (TV, HBO, 1988) ◦ Menace II Society (Film, 1993) ◦ Spider-Man (Film, 2002) ◦ black-ish (TV, ABC) ◦ The Good Place (TV, NBC) ◦ Superstore (TV, NBC) ◦ Modern Family (TV, ABC) ◦ The Neighborhood (TV, CBS) ◦ Four Weddings and a Funeral (Film, Hulu) ◦ Crank Yankers (TV, Comedy Central) ◦ Bob Loves Abishoma (TV, CBS) ◦ Carol's Second Act (TV, CBS) ◦ All Rise (TV, CBS) ◦ Big Mouth (TV, Netflix) ◦ Disenchantment (TV, Netflix) ◦ Dr. Stone (TV, Funimation) ◦ Married at First Sight (TV, Lifetime) ◦ Evil (TV, CBS) 1:09:43: Say Something New: Entertainment News ◦ Disney/Fox is remaking "Clue" ◦ Kandi Burress is on "The Chi" ◦ "Joker" movie press tour hits snags: ◦ Spider-Man is Saved? Sony and Marvel strike new deal for one more SM film and one more Avengers film: ◦ Disney also makes an agreement with Sony for PlayStation Vue deal 1:54:30: Main Discussions: Exposing the Bias of Early Color Film 2:23:11: Say Something Nice Challenge ◦ Eddie Murphy apologizes for past homophobic jokes WHERE TO FIND OUR SHOW: Come join our Facebook group: http://ssnpodcast.com/fbgroup Want to help support the show? Visit http://ssnpodcast.com/donate/ to leave us a PayPal donation! Check us out on social media: Twitter: http://twitter.com/ssnpodcast Facebook: http://facebook.com/ssnpodcast Instagram: http://instagram.com/ssnpodcast Find CoffeeLiteSweet online at: Twitter: http://twitter.com/CoffeeLiteSweet Audio Oasis Storytelling: https://anchor.fm/audio-oasis Instagram: https://instagram.com/audio_oasis_story On Apple Podcasts: https://is.gd/7teVlT

The movies have not always been kind to Black people - even down to our very appearance as captured on film. In this episode, the SSN Crew discusses the racial biases literally built into earlier color photography and the history of the Shirley cards. We also discuss how filmmakers such as Ava DuVernay and cinematographer Bradford Young are pushing for improvements in how Black people appear in cinema. Plus - reviews of the new fall TV shows "mixed-ish," "All Rise," and "Stumptown," Todd Phillips wilding on the "Joker" press tour, Eddie Murphy apologizing for his past homophobic jokes, Sony and Marvel getting back together for their kid - Spider-Man - and more! SHOW NOTES: 0:00:00: Say Something Real: Reviews ◦ mixed-ish (TV, ABC) ◦ Mandingo (Film, 1975) ◦ Drum (Film, 1976) ◦ Whoopi Goldberg: Fontaine...Why Am I Straight? (TV, HBO, 1988) ◦ Menace II Society (Film, 1993) ◦ Spider-Man (Film, 2002) ◦ black-ish (TV, ABC) ◦ The Good Place (TV, NBC) ◦ Superstore (TV, NBC) ◦ Modern Family (TV, ABC) ◦ The Neighborhood (TV, CBS) ◦ Four Weddings and a Funeral (Film, Hulu) ◦ Crank Yankers (TV, Comedy Central) ◦ Bob Loves Abishoma (TV, CBS) ◦ Carol's Second Act (TV, CBS) ◦ All Rise (TV, CBS) ◦ Big Mouth (TV, Netflix) ◦ Disenchantment (TV, Netflix) ◦ Dr. Stone (TV, Funimation) ◦ Married at First Sight (TV, Lifetime) ◦ Evil (TV, CBS) 1:09:43: Say Something New: Entertainment News ◦ Disney/Fox is remaking "Clue" ◦ Kandi Burress is on "The Chi" ◦ "Joker" movie press tour hits snags: ◦ Spider-Man is Saved? Sony and Marvel strike new deal for one more SM film and one more Avengers film: ◦ Disney also makes an agreement with Sony for PlayStation Vue deal 1:54:30: Main Discussions: Exposing the Bias of Early Color Film 2:23:11: Say Something Nice Challenge ◦ Eddie Murphy apologizes for past homophobic jokes WHERE TO FIND OUR SHOW: Come join our Facebook group: http://ssnpodcast.com/fbgroup Want to help support the show? Visit http://ssnpodcast.com/donate/ to leave us a PayPal donation! Check us out on social media: Twitter: http://twitter.com/ssnpodcast Facebook: http://facebook.com/ssnpodcast Instagram: http://instagram.com/ssnpodcast Find CoffeeLiteSweet online at: Twitter: http://twitter.com/CoffeeLiteSweet Audio Oasis Storytelling: https://anchor.fm/audio-oasis Instagram: https://instagram.com/audio_oasis_story On Apple Podcasts: https://is.gd/7teVlT

We interview Hans Charles. Hans is an acclaimed cinematographer who worked on the documentaries '13th' and 'Mr. Soul'. Prior to his cinematography work, Charles worked as an Assistant Camera for Bradford Young on 'Mother of George', 'Middle of Nowhere', and 'Pariah'. We talk to Hans about what makes a good assistant camera, a good cinematographer, and the differences between shooting a documentary and a narrative. Follow Black Film Space: blackfilmspace.com Instagram.com/blackfilmspace Facebook.com/blackfilmspace Twitter.com/blackfilmspace

We interview Hans Charles. Hans is an acclaimed cinematographer who worked on the documentaries '13th' and 'Mr. Soul'. Prior to his cinematography work, Charles worked as an Assistant Camera for Bradford Young on 'Mother of George', 'Middle of Nowhere', and 'Pariah'. We talk to Hans about what makes a good assistant camera, a good cinematographer, and the differences between shooting a documentary and a narrative. Follow Black Film Space: blackfilmspace.com Instagram.com/blackfilmspace Facebook.com/blackfilmspace Twitter.com/blackfilmspace

We recently sat down with fitness coach and owner of The Lab Paso Robles Bradford Young for a candid conversation about workplace wellness. Working in the trades is physically demanding and having a wellness routine is crucial for career longevity.

COO Dr. Bradford Young of Pressure BioSciences, Inc. (OTCQB: PBIO), joins host Everett Jolly to discuss using their UST platform for dissolving oil in water, including CBD based products, and forming strategic partnerships to create superior products. # biological systems # High Pressure Barocyclers and Barozyme # HUB High Pressure Generators # life sciences # new sales staff # nutraceuticals # PCT Technology # RF1700 Mini Ultra-High Pressure Pump # science instruments & tools # Ultra Shear Technology patents # water soluble CBD # high quality products # strategic partners

Les soucis de Solo en projection, la VF dans l’animation ou encore les inquiétudes du monde du cinéma face à la mauvaise santé financière de Canal+, retour en podcast sur l’actualité des films et des réalisateurs.Outre son scénario faiblard et sa production catastrophique, Solo, le dernier né de l’univers Star Wars, est aussi difficile à voir. La photo, volontairement sombre, a du mal à passer dans les salles. Alors qui sont les fautifs ? Bradford Young, le directeur de la photographie qui n’a pas été suffisamment vigilant, ou les exploitants qui font des économies sur le matériel et les projectionnistes ? 14 ans après son premier chef d’oeuvre, Brad Bird revient avec un nouvel épisode des “Indestructibles”. Au doublage, un sacré casting : Amanda Lear, Gérard Lanvin, Louane... Si la VF est sûrement moins dérangeante dans l’animation que sur les autres films, ne perd t-on pas toujours quelque chose à la traduction ? Et en même temps, l’obsession de la VO n’est-elle pas juste un snobisme pour des films qui s’adressent surtout aux enfants ? Si les cinéphiles n’ont jamais été connus pour leur intérêt pour le football, bon nombre d’entre eux on réagit à la perte des droits de Canal+ sur la Ligue 1. Le manque à gagner pour la chaîne - qui est aussi un des acteur majeur du cinéma français - pourrait avoir un impact considérable sur l’industrie audiovisuelle française. Alors faut-il s’inquiéter ?Podcast animé par Thomas Rozec avec Anaïs Bordage, Rafik Djoumi, Julien Dupuy, David Honnorat et Perrine Quennesson.CRÉDITSEnregistré le 4 juin 2018 à l’Antenne (Paris 11eme). Production : Binge Audio. Direction de production : Joël Ronez. Rédacteur en chef : David Carzon. Direction générale : Gabrielle Boeri-Charles. Moyens techniques : Binge Audio. Réalisation : Quentin Bresson. Chargée de production et d’édition : Camille Regache. Editrice : Albane Fily. Générique : "Soupir Articulé", Abstrackt Keal Agram (Tanguy Destable et Lionel Pierres). NoCiné est une production du réseau Binge Audio www.binge.audio. See acast.com/privacy for privacy and opt-out information.

And now a Monday edition of Midday at the Movies, our monthly look at what’s new and notable in Hollywood and throughout the film industry. Tom's joined in Studio A by our movie maven regulars: Ann Hornaday is the film critic for the Washington Post, and Jed Dietz is the founding director of the Maryland Film Festival. Today, they consider the sexual assault and rape allegations that have been leveled against legendary Hollywood producer Harvey Weinstein by dozens of women over the past several months: Has public awareness of Mr. Weinstein's behavior altered the power dynamic for other major Hollywood producers and directors, and has it changed the work climate for the actors who depend on their favor? Then, Ann and Jed spotlight some of the interesting new films on the circuit this fall, including the recent collaboration by Selma director Bradford Young and Grammy Award-winning rap artist Common: two short films: Letter to the Free and Black America Again -- which have been finding audiences around the country and which showcased this past weekend at the Washington West Film Festival.

Eric Peterson author of Tooth and Mail guests on this week's show! Check out our video series From Ireland to Ahch-To An accurate depiction of Luke Skywalker in Episode VIII An important cloak in Star Wars: Episode VIII Rogue One pages from a great upcoming book Han Solo cinematographer Bradford Young speaks to Collider Pod People

Daisy Ridley says wait for Episode VIII for answers about Rey's parents. Bradford Young says the Han Solo movie won't be what you expect. Updates here... Punch it! ***We’re listener supported! Go to http://Patreon.com/sw7x7 to donate to the Star Wars 7x7 podcast, and you’ll get some fabulous rewards for your pledge.***  Check out SW7x7.com for full Star Wars 7x7 show notes and links, and to comment on any of the content of this episode! If you like what you've heard, please leave us a rating or review on iTunes or Stitcher, which will also help more people discover this Star Wars podcast. Don't forget to join the Star Wars 7x7 fun on Facebook at Facebook.com/SW7x7, and follow the breaking news Twitter feed at Twitter.com/SW7x7Podcast. We're also on Pinterest and Instagram as "SW7x7" too, and we'd love to connect with you there!

On this episode, Chris, Ben, and Dominic discuss this week's Star Wars news and rumors! They discuss the latest Rogue One updates including what's going on with the music, Diego Luna being injured on set, and what's the deal with the TIE Striker?  Plus, they take another look at the "Hanthology" movie based on new comments from cinematographer Bradford Young, a Star Wars Rebels update, and should Mace Windu be alive?  All this and much more! Website:  www.starwarsunderworld.com Support The SWU on Patreon Facebook: www.facebook.com/swunderworld Twitter: @TheSWU Subscribe and Review on iTunes Email: swunderworld@gmail.com Voicemail: 1-410-989-1138 Listen live Thursdays at 9pm EST on Channel 1138

Bradford's feature films as director of photography include: White Lies, Black Sheep, Pariah, Restless City, Middle of Nowhere, Ain't Them Bodies Saints, and Mother of George.Bradford had earlier been cited as one of Filmmaker Magazine’s “25 New Faces of Independent Film”, reflecting his work onflims like Mississippi Damned and Entre Nos.Bradford has won Cinematography Awards at the Sundance Film Festival twice. In 2011, he won for his work on Pariah. Two years later, he won for his work on both the unconventional western Ain't Them Bodies Saints and Mother of George. Mother of George is about, Adenike and Ayodele, a Nigerian couple living in Brooklyn, are having trouble conceiving a child, a problem that defies cultural expectations and leads Adenike to make a shocking decision that could either save or destroy her family.

NOTE: THIS INTERVIEW WITH MATT PARKER WAS ORIGINALLY SCHEDULED EARLIER IN THE WEEK BUT DUE TO SCHEDULING PROBLEMS IT TO BE RE-DONE. THANK YOU TO EVERYONE WHO DOWNLOADED THAT EPISODE. PLEASE LISTEN TO THIS NEW UPDATED SHOW, WHICH NOW FEATURES MATT: Producer Matt Parker's had an amazing last 12 months. He was co-producer of the Oscar nominated indie film Beasts of the Southern Wild and is also co-producer of the indie film Mother of George. The latter film is receiving critical acclaim from top film critics from around the globe. MOTHER OF GEORGE recently won the cinematography award in dramatic category at Sundance (director of photography was Bradford Young). Matt will be joining to share more insight about the making of this highly praised film.