Podcasts about Cannes

In this special Cannes edition of Future Proof, Nicole Jones is joined by Phillipa Leighton-Jones, SVP, Global Head of Studio & Creative and Chief Custom Anchor at The Wall Street Journal, to explore how AI is transforming the way people discover information, consume media and engage with brands.Drawing on new research from WSJ Intelligence, Phillipa shares insights into changing consumer behaviours, the growing role of AI-powered search, and why trust, credibility and quality journalism remain critical in a world increasingly shaped by machine-generated answers. Together, they discuss the evolving relationship between publishers, platforms and brands, and what marketers need to do to remain visible, relevant and trusted as the media landscape continues to change. Hosted on Acast. See acast.com/privacy for more information.

Sortie mercredi 30 septembre du film "Notre salut", réalisé par Emmanuel Marre, Prix du Scénario au dernier Festival de Cannes. C'est un portrait glaçant d'un petit fonctionnaire de la France des années 1940, persuadé d'avoir écrit LE livre qui peut redresser le pays...Ecoutez La tentation du soir avec Stéphane Boudsocq du 30 septembre 2026.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Avec son nouveau film "Notre salut", Prix du scénario au dernier Festival de Cannes, Emmanuel Marre plonge dans les abysses de Vichy en sʹinspirant de la correspondance intime entre son arrière-grand-père et son épouse, et raconte lʹascension dʹun homme médiocre dans une France occupée. "Septembre 1940, Henri Marre débarque à Vichy avec son manifeste intitulé "Notre salut", publié à compte dʹauteur, dans lequel il expose ses idées pour aider la révolution nationale voulue par le maréchal Pétain "à gagner en efficacité", pour citer ses propres mots." Dans les salles romandes dès le 30 septembre. Emmanuel Marre, au micro de Rafael Wolf.

Avec Swann Arlaud, Sandrine Blancke Septembre 1940. Alors que le régime de Pétain se met en place, Henri Marre arrive à Vichy ruiné, sans contact, loin de ses enfants et de sa femme, avec qui il communique de manière épistolaire. Il voit dans la nouvelle administration lʹopportunité de retrouver son statut social. Avec, comme principal argument, son traité politique édité à compte dʹauteur, "Notre Salut", où il défend ses convictions patriotiques et ses méthodes d'ingénieur. Son credo : "gagner en efficacité" pour relever la France de la débâcle. Inspiré de la vie de lʹarrière-grand-père du réalisateur Emmanuel Marre ("Rien à foutre"), "Notre salut" a remporté le prix du scénario au dernier festival de Cannes. Par Rafael Wolf et Stéphane Gobbo.

Guldpalmsbelönade ”Fjord” av Cristian Mungiu bygger på ett verkligt fall i Norge, där fem barn omhändertogs från en norsk-rumänsk familj när skolan misstänkte att de blev slagna. Är det en film om kulturkrockar eller ett vapen i kulturkriget? Lyssna på alla avsnitt i Sveriges Radios app. MÖTE MED ”FJORD”-REGISSÖREN CRISTIAN MUNGIUDen verkliga historien bakom ”Fjord” ledde till protester i Rumänien men också bland kristna runt om i världen. Och det är ett mönster som har upprepat sig, med demonstrationer och kampanjer, efter andra uppmärksammade fall i Danmark, Tyskland och Sverige. Och det var just kraften i de här berättelserna som gjorde att den prisade regissören Cristian Mungiu ville göra film om ett av fallen. P1 Kulturs Emma Engström träffade honom under ett besök i Stockholm tidigare i veckan.NEDSLAG I DEN NORSKA ”FJORD”-DEBATTENEfter ”Fjord”-premiären i Norge har debattens vågor gått höga: Är det här en film om kulturkrockar eller är filmen rentav ett vapen i kulturkriget mellan liberala och konservativa värderingar? P1 Kulturs Emma Engström ringde upp debattörer från båda sidorna i Norge.FÖRTJÄNAR ”FJORD” SIN GULDPALM?Den har redan fått världens finaste filmpris, Guldpalmen i Cannes, men hur bra är ”Fjord”? P1 Kultur bjöd in kulturredaktionens Nina Asarnoj och Erik Helmerson, tidigare filmkritiker som numera arbetar som ledarskribent på tidningen Dagen, för ett samtal om Cristian Mungius omdebatterade film.”TILL HAVET!” – FRISK LUFT ELLER RUTTNANDE TÅNG?Utställningen ”Till havet!” på Nationalmuseum handlar om den framväxande badturismen från 1870 till 1900-talets mitt – och hur livet vid strandkanten har gestaltats i konsten, utifrån mer än 200 målningar, fotografier, reklamaffischer och historiskt badmode av konstnärer som Claude Monet, Anders Zorn, Peder Severin Krøyer, Sigrid Hjertén, Georgia O'Keeffe och Robert Capa. Hör konstkritikern Sonia Hedstrand om utställningen.ESSÄ: SHORA ESMAILIAN OM KAFFEKRISEMNI Obs essäserie om kaffe är det dags att besöka kaffebönbältet, där klimatförändringarna gör framtiden allt osäkrare för kaffebönderna. Kommer kaffet snart att bli en sällsynt lyx? Det frågar sig författare och kulturjournalisten Shora Esmailian.Programledare: Emma EngströmProducent: Henrik Arvidsson

Novartis made the most likable pharma ad of the Super Bowl—Gronk, hammocks, "relax your tight end"—and won the Pharma Lions Grand Prix at Cannes for it. But when paid media is the only channel that legal can fully control, the ad quietly becomes your whole operating system, and everything it can't say gets handed to someone else.  In this month's PESO Model® Diagnostic, Gini Dietrich runs the full Novartis campaign through the PESO lens, names the regulated-industry trap, and lays out the fixes that survive a compliance review—at every size of organization. Take the PESO Model® Diagnostic: https://spinsucks.com/self-peso-diagnostic/PESO Model® Certification: https://spinsucks.com/peso-model-certification/Full article: https://spinsucks.com/communication/peso-model-diagnostic-novartis/

Raúl Cardós es la prueba de que un creativo puede dirigir una compañía sin dejar nunca de ser creativo.Estudió Mercadotecnia en el Tec de Monterrey y, casi por casualidad, en 1990 entró a Leo Burnett México, adentrándose en el mundo de la publicidad. En 1996 se unió a Ogilvy México y, un año después, ganó junto con su equipo el primer León de Cannes para México, por una campaña para las baterías Duracell.En 1998 se sumó a DDB México y, en 2003, asumió la presidencia y dirección general. Bajo su liderazgo, la agencia pasó de 15 a 240 personas y fue nombrada Agencia del Año durante seis años consecutivos.En julio de 2009, en el mejor momento de DDB, decidió emprender y fundar (anónimo), una agencia independiente que, hasta la fecha, ha trabajado con marcas como KFC, Lala, Jumex, Don Julio y Volkswagen.Con su trabajo en (anónimo), han logrado distintos reconocimientos, como International Agency of the Year por Advertising Age, convirtiéndose en la primera agencia latinoamericana en recibir este título; un León de Bronce en Cannes Lions 2025; así como el reconocimiento de Agencia Independiente del Año en el Círculo de Oro.Raúl ha sido conferencista en festivales de publicidad en México y el extranjero, presidente del Círculo Creativo de México y jurado en festivales como Cannes, San Sebastián y El Ojo de Iberoamérica, entre otros.Raúl es cofundador de la Academia Mexicana de Creatividad, esposo, papá, publicista y empresario. Ha construido una marca personal tan fuerte que hoy es, literalmente, (anónimo).

María Antonieta y el punk versallesco Hace 20 años Sofia Coppola sorprendía al mundo con su tercera película. Después de Vírgenes suicidas y Lost in Translation, llegaba al festival de Cannes con una apuesta bastante más ambiciosa: una visión más personal y completamente atípica de la figura, historia y leyenda de la última reina de Francia: María Antonieta de Austria. Nada menos. La crítica “tradicional” se dejó escuchar en abucheos a la película. La crítica menos rígida dudó. Era normal. La película, en más de un sentido, es una adelantada a su época. Y Coppola es una de las directoras menos clasificables del buen Hollywood, aunque su estilo se distingue siempre. Declaración feminista, abiertamente democrática, rebelde e incluso punk, María Antonieta y la gran actuación de Kirsten Dunst, regresan a la conversación debido a la conversión al 4K de esta, una de las mejores películas de inicios de siglo y que empata su cumpleaños 20 con los 50 del movimiento punk, del que roba muchas más cosas de las que creemos. Hablemos entonces, sin necesidad de quedar bien con nadie, de María Antonieta, de Sofia Coppola. Learn more about your ad choices. Visit megaphone.fm/adchoices

Notre Salut, l'un des films marquants du dernier festival de Cannes, sort en salles mercredi 30 septembre 2026. Récompensé du Prix du scénario, ce deuxième long métrage d'Emmanuel Marre retrace le parcours d'un fonctionnaire sous l'Occupation et explore le processus de collaboration dans un régime dictatorial. Ce fonctionnaire, inspiré d'Henri Marre, l'arrière-grand-père du réalisateur, est incarné par Swann Arlaud. À lire aussiFestival de San Sebastián: la Concha de oro pour «Tender Loving Care» de Mike Leigh, une lumière dans le tunnel

Notre Salut, l'un des films marquants du dernier festival de Cannes, sort en salles mercredi 30 septembre 2026. Récompensé du Prix du scénario, ce deuxième long métrage d'Emmanuel Marre retrace le parcours d'un fonctionnaire sous l'Occupation et explore le processus de collaboration dans un régime dictatorial. Ce fonctionnaire, inspiré d'Henri Marre, l'arrière-grand-père du réalisateur, est incarné par Swann Arlaud. À lire aussiFestival de San Sebastián: la Concha de oro pour «Tender Loving Care» de Mike Leigh, une lumière dans le tunnel

durée : 00:06:28 - Les Nuits de France Culture - par : Albane Penaranda - L'actrice Michèle Morgan est présente lors de la première édition du Festival de Cannes en 1946. Elle est venue pour la projection du film "La Symphonie pastorale" de Jean Delannoy, d'après Gide, pour lequel elle sera sacrée meilleure actrice. - équipe : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, Laurence Jennepin, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

The 10th and FINAL year of Wind Machine Podcast continues, and we are ending where Eurovision started – the 1950s! Welcome to our third last episode EVER! In this episode, we chat about host city of Cannes, the host of 1959, the controversies, the fashion at Eurovision 1959, European and Australian news, what was happening … Continue reading Episode 113 – “1959: A Triptych Stage, The Top Three, and A Little Bit Of Faith”

36 recensioni, decine di proiezioni, code infinite, vaporetti persi, film sorprendenti, film terrificanti e almeno un sedile del PalaBiennale capace di distruggere definitivamente una schiena. (00:00) Venezia 83: il nostro bilancio (02:40) Il parere di Federico (07:14) Il parere di Giacomo (11:32) Il parere di Fabrizio (16:20) Il parere di Sara (18:13) La classifica dei Festival internazionali per Fabrizio (21:28) La classifica dei Festival internazionali per Federico (22:29) Film migliori e peggiori secondo Giacomo (24:08) Film migliori e peggiori secondo Federico (26:55) Film migliori e peggiori secondo Sara (29:57) Film migliori e peggiori secondo Fabrizio (35:36) Migliori Spritz e ristoranti cinesi (36:49) Tecniche per prendere appunti al cinema (38:21) Saluti finali La 6x04 di Spin-Off è il nostro bilancio completo dell'83ª Mostra Internazionale d'Arte Cinematografica di Venezia. Federico, Fabrizio, Sara e Giacomo raccontano l'esperienza di Recenserie al Lido: come funzionano gli accrediti, il sistema di prenotazione, le rush line, le differenze rispetto a Cannes, Berlinale ed Edinburgh Film Festival e soprattutto quanto sia realmente semplice — o impossibile — seguire un festival cercando contemporaneamente di vedere e recensire più film possibile. E i giudizi sull'organizzazione non sono esattamente teneri. Poi finalmente parliamo di cinema. Quali sono stati i migliori film visti a Venezia? Quali quelli che avremmo preferito dimenticare? E quali titoli ci hanno sorpreso quando ormai non ci aspettavamo più nulla? Tra documentari, cinema d'autore, action, film sperimentali e qualche esperienza ai limiti della sopportazione, scegliamo il meglio e il peggio della nostra Venezia 83. Con una certezza: scrivere 36 recensioni durante un festival è molto meno romantico di quanto sembri. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hope or Nope? We're holding out for Na Hong Jin's newest film fresh from Cannes and are ready to cover our noses for one of the best poop monologues put to screen.If you're enjoying the show, consider buying us a coffee, sending us an email or hitting us up on Letterboxd, Twitter(X), BlueSky or Instagram!You can catch our episodes early and ad free over on Nebula! Sign up with the link below. It really helps out the pod so we thank you in advance!https://go.nebula.tv/theonlypodcastaboutmoviesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Filmekimi, Cannes ve Venedik'ten ödüllü yapımların da bulunduğu 43 filmlik programıyla 9 Ekim'de başlıyor. Adana Altın Koza, 10 filmin yarışacağı Ulusal Uzun Metraj Film Yarışması ve farklı seçkilerle 4 Ekim'e kadar sürecek. Bu bölüm Coffee Department hakkında reklam içermektedir. Coffee Department, yeni harman serisini kahveseverlerle buluşturuyor. Aposto okurlarına özel %20 indirimden faydalanmak için "Aposto" kodunu kullanabilirsiniz. Ayrıntılı bilgiye buradan ulaşabilirsiniz.

Le fil rouge des Mondiaux de cyclisme avec les ambitions de Paul Seixas, nouveau chouchou des Français. Avant Belgique France en Ligue des nations lundi à Bruxelles, Guy Lacombe, qui a connu Zidane comme joueur à Cannes en 1987, est l'invité de Jano Resseguie. Cassandre Beaugrand, désormais double championne d'Europe de Biathlon, se confie dans On refait le sport. Et Antoine Brizard, passeur de l'équipe de France de volley, racontre le beau parcours des Bleus new look et argentés à l'Euro. Ecoutez On refait le sport avec Éric Silvestro du 27 septembre 2026.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

La rentrée ciné, c'est souvent synonyme d'une période plus creuse au niveau des sorties en salles, après l'été où les blockbusters ont fait le plein. Mais pas mal de films de Cannes débarquent enfin chez nous, l'occasion de prendre le temps de parler de plusieurs belles découvertes françaises, de la palme d'or, sans oublier notre coup de coeur horrifique avec RESIDENT EVIL version Zach Cregger. Bonne écoute ! Une émission animée par Thibaud Ducret avec Florian Poupelin et Alexandre Caporal. TIMECODES : (01:45) RESIDENT EVIL (29:35) HISTOIRES DE LA NUIT (47:40) GARANCE (01:04:57) L'INCONNUE (01:18:50) FJORD --- (01:43:11) LES FILMS DU PASSE

À l'heure de la montée des périls de toutes sortes, et notamment la progression des idées et des partis d'extrême droite partout dans le monde, et notamment en France, un film qui sort en salles la semaine prochaine pose ces questions cruciales : comment devient-on un rouage d'une machine dictatoriale ? Comment s'incarne la « banalité du mal ». Notre salut dresse le portrait d'un petit fonctionnaire zélé du régime collaborationniste de Vichy, pendant la Seconde Guerre mondiale en France.  Auréolé du prix du scénario au Festival de Cannes 2026, Notre salut retrace le parcours de l'arrière-grand-père du réalisateur Emmanuel Marre, arrivé à Vichy en septembre 1940 avec des exemplaires d'un essai sur l'organisation du travail, édité à compte d'auteur. C'est surtout la découverte de la correspondance intime d'Henri Marre avec sa femme Paulette pendant la Seconde Guerre mondiale qui a poussé le réalisateur, dont c'est le deuxième long métrage, à concevoir ce film qui n'est pas un biopic de son aïeul, mais une plongée sensorielle dans la France de Vichy et dans le milieu des fonctionnaires chargés de mettre en œuvre la politique du maréchal Pétain. Musiques : « Agolo » d'Angélique Kidjo (playlist RFI), « Popcorn » de Gershon Kingsley

Xavier Vidal reseña "LA BOLA NEGRA", de Los Javis. Ya en cines. Premiada en Cannes, Toronto y San Sebastián. Representante española al Óscar. Reseña sin spoilers. ¡Gracias por darle al play! Redes sociales: @CinoscaRarities Blog: https://cachecine.blogspot.com.es/ Correo: cinoscararities@gmail.com Escúchanos en Spotify, Ivoox y Apple Podcast ¡Buscamos colaboradores! ¡Contacta con nosotros!

This week, Jeff and Derek — sans Amir for one episode — review the wildly divisive South Korean blockbuster, Hope. Coming out of its Cannes premiere with a distinct "love it or hate it" vibe, Na Hong Jin's first film in a decade puts pedal to the metal with non-stop alien action. The question is, does its powder-keg tension balance with its...less-than-robust extraterrestrial CGI? We investigate.

Earlier this month, world model company Runway introduced GWM Worlds 2, a research preview that “turns high-fidelity video and audio generation into real-time interactive simulation.” Runway calls this an “autoregressive diffusion” model; with autoregressive describing how it generates over time.One new feature in particular caught our eye: WorldPrompt, a proposed input format for specifying a generated world and the actions within it. It allows you to fix some aspects of a simulated environment — including the first frame — and then create a series of timestamped events. The events, or actions, can even be prompted in real-time.To understand the implications of WorldPrompt, we spoke to Kamil Sindi, Runway's CTO, and Robin Kahlow, its Principal Research Scientist for generative video and multimodal AI. We also have exclusive comments from Anastasis Germanidis, co-founder & co-CEO of Runway, courtesy of a podcast swyx and Vibhu did with him.Who's building real-time interactive world models?First, some context about world models that can generate interactive video and audio in real-time.Runway is reportedly valued at $5.3 billion, based on its most recent fund raise of $315 million in February. Its first release, GWM Worlds, was launched last December.Alongside Runway, there are several other notable projects in this domain: Google DeepMind's Genie 3 (which also generates at 720p and 24 fps), Odyssey-2 Pro, and World Labs' RTFM (Real-Time Frame Model). We've summarized their differences in the following table:Given the complexity and massive latency demands of real-time video and audio generation (which we'll get into below), all of the projects listed above have limitations. For instance, Google notes that Genie 3 “can currently support a few minutes of continuous interaction, rather than extended hours.”But as our interviews with Runway show, real progress is being made.The central idea of WorldPromptWorldPrompt, a new feature in GWM Worlds 2, helps differentiate Runway from its competition. You can think of it as a control layer for characters, cameras and the environment. As Kahlow put it, it's a way to “control all the different subjects in the world” — similar to a computer game.“Like, if there's an NPC [Non-Player Character] somewhere, the NPC might walk up to you and say something. So you could achieve the same thing with this kind of model, where you can have very detailed control over everything in the scene.”As the name suggests, WorldPrompt is a prompting mechanism — not a programming language. So, unlike virtual world games like Minecraft or Roblox, GWM Worlds 2 doesn't offer scripting capabilities or the ability to control state. But there's a power to that, as Sindi pointed out.“You can create promptable worlds on-demand with video and audio in sync, across all these different domains and environments. That's not a distant-future hypothetical thing,” he said.But there are also limitations to prompting a world model. We asked how reliably the model would follow an instruction to create, for example, a law of gravity or a certain ability in a character?“Yeah, so it's a research preview,” Kahlow replied. “So it's not perfect, of course, and there are still flaws. It really depends on how difficult the action is. I would say movement works quite reliably.”Sindi added that more training plus scaling the data and models is resulting in “better following.”How a video model becomes a real-time runtimeDespite the current limitations of GWM Worlds 2 — especially if you compare it to pre-designed and scriptable worlds like Minecraft or Roblox — the true promise of world models like Runway is that they'll eventually lead to fully self-generated, real-time games and experiences. Which is an extremely hard engineering problem, as Kahlow reminded us.“There are two challenges. One is making the model not generate a whole clip at once. So instead, you want it to generate frame by frame while you're looking at it. And the other challenge is actually making the generation fast, so you can play it in real time.”GWM Worlds 2 offers real-time interactive worlds streamed in continuous 720p video at 24 frames per second (fps) and audio at 48,000 Hz.Runway achieved this firstly by taking its foundational audio-video generation model and fine-tuning it to the new WorldPrompt format, so the model can follow that. It then post-trains the model to generate autoregressively.“And after that, we work on making it real-time through distillation methods,” Kahlow added.Co-CEO Anastasis Germanidis offered more technical details in our podcast with him. He told us that the process starts from “bidirectional diffusion that basically generates an entire video at once and [makes] it autoregressive.” This allows the model to “generate one frame or a few frames at a time.”Germanidis described two possible forms of distillation in order to make it real-time: distilling a larger model into a smaller one or reducing its diffusion steps. As a general example, he said a model might go from around 50 denoising steps to four, with some quality loss but potentially comparable results.The challenges of real-time generationGermanidis admitted that there were issues with how it generates real-time interactive video.“The biggest challenge with autoregressive models is error accumulation,” he said. “You're feeding generated frames back into the model to generate the next frames, and if there are any small errors, they accumulate over time.”Sindi told us there are also challenges dealing with “infinite generations” of content.“There's all these challenges around what context to keep, what to discard that's not important. And so there's all these optimizations we have to think about, so we're not blowing up our GPU memory.”Another current limitation is long-term memory. “The model does not have perfect memory,” Kahlow said. “That's still an open research problem.”Causality and correctnessWhile performance is the primary challenge for Runway at this time, its world model also has to produce plausible consequences when a user takes different actions.Germanidis used the example of simulating football; he pointed out that online video training data contains more successful goals than failed goal attempts, so a video model might render the first more convincingly.“If I take this action versus this action, you want it to generate equally realistic outcomes,” he told us. “That's, I think, the big gap between video models and world models: that idea of counterfactual generation.”Sindi told us that evaluation gets harder the more complex interactions get.“If you have this multi-prompt, multi-character, multi-scene [environment], how do you really understand what was causal and what was not?”To try and solve that, Runway has some automated verifiable tests. But since GWM Worlds 2 is a research preview, Kahlow noted that doing tests yourself is also advisable — “trying out your model to see what doesn't work is really important.”More than gaming — there are agent use cases tooGaming is the obvious use case for what Runway is building, but there are others. Kahlow mentioned robotics — for example using a simulated environment to test how a robot works.Another, more intriguing, use case is to use it to test agents at scale.“Having thousands of simulated environments is much less challenging if you have a suitable model like GWM Worlds,” Kahlow said.But how does an agent know what's changed in the world — is there a structured state that it can read, or is it just the generated video and audio that it's consuming and understanding?“So there's no structured state here,” Kahlow replied. “It's just observing the same thing you might observe in real life, just [in this case] from cameras.”Sindi noted that GWM Worlds can also be used for “synthetic data generation for agents.”Finally, Germanidis suggested there's potential to use these world models alongside reasoning models.“You're maybe using some reasoning [for] planning of the scene, and then you're passing it into the diffusion head that's actually generating the pixels.”Anastasis Germanidis* LinkedIn: https://www.linkedin.com/in/agermanidis/* X: https://x.com/agermanidisTimestamps00:00:00 Introduction00:05:17 Runway's Origins and the Bet on Generative Video00:12:23 The Stable Diffusion Story00:18:44 Gen-2, Controllability, and the Weekend Hack00:23:02 From Video Generation to World Models00:28:03 Learning From the World, Not Just Language00:35:04 Sora, Runway's Existential Crisis, and Gen-300:39:39 Why Real-Time Video Is Inevitable00:43:06 Interface World Models: Software Without Code00:50:25 The Fully Neural Operating System00:55:11 World Models for Robotics01:02:32 Robot Policies and World Action Models01:07:47 The Lucid Dream Test01:11:41 Video Agents and Omni Models01:23:12 Artists, AI, and Creative Workflows01:27:14 Physical AI and the Future of World ModelsTranscriptIntroduction: Runway, Creative AI, and the Early ThesisSwyx [00:00:00]: Okay, we're here with, Anastassios from Runway, with, me and Vibhu in the studio. Welcome.Anastasis [00:00:08]: Good to be here.Swyx [00:00:09]: Congrats on all your success and progress with Runway. You're opening offices all over the world. Did you envision this when you first started out?Anastasis [00:00:16]: Not quite. I think even when we started, we had this idea that, It was more a matter of when, not if, we were seeing the early generative models of 2016, 2017, and just extrapolating, assuming, we resolution, quality increases predictably over time. There's gonna be a point where most of content will be generated, and that was maybe the initial thesis of Runway was we will need, as a result of those generative models, rethink how creative tools are made. and as we built out the research behind, our generative models, it then became clear that they were useful far beyond that as well.Anastasis' Background: Art, Simulation, and Machine LearningSwyx [00:00:57]: And it is more obvious now with, like, the real-world stuff and the world models that we'll talk about later. I'm just kinda curious how you go from a background in, like, Zocdoc and, computer vision into Runway. Like, take us back to that early conversations with Chris and, whoever else is on your founding team.Anastasis [00:01:14]: I was always splitting through those two worlds. One was the I had my own art practice. I was making a lot of interactive art, I think for a long time. and then on the other side, I was working in startups, and I was working as a ML engineer, as a backend engineer at different companies. I've always been interested in, coding and computation, and especially interested in simulation and brought it back into my early artwork as well. And at the same time, I was interested inSwyx [00:01:43]: The personal site has a few, right?Anastasis [00:01:44]: Yeah.Swyx [00:01:45]: Is there one that we should pull up? Just in case there's something that's like. I just like to go down memory lane.Anastasis [00:01:50]: Yeah.Swyx [00:01:50]: Okay, what is this?Anastasis [00:01:51]: So this was, a project that I made, I think back in 2015, where I built this software that would give, voice instructions to people in a gallery space. So it would coordinate interactions between people. And so it will first give you an identity, like you're an, architect, you're 30 years old, and, you like sports. and then it would match you with another person, and you have this completely generated interaction. language models were not quite there at the time, and so it was it was a mix of some templates and some, like, some Markov chain-generated text, and it would just completely simulate these small talk conversations between, everyone in the gallery space. so was always very fascinated on the one hand with, generative models and, like, the early machine learning work that was being at that time. But at the same time, there was this separate thread of simulation and what it means. Like, what can we learn about humans by creating those very simple models of their interactions and their behavior?Early Generative Art: pix2pix, GANs, and Uncanny ValleyVibhu [00:02:56]: Did you generate the prompts or, the 30-year-old, whatever? Was it you generating them? How'd you, how'd youAnastasis [00:03:03]: Exactly. So the program would just generate- those, from. Yeah, a lot of it would be Mad Libs style of justVibhu [00:03:10]: YesAnastasis [00:03:10]: You have lists of different professions, lists of different,Vibhu [00:03:14]: HobbiesAnastasis [00:03:15]: Personality types, lists of different, ages, things like that. And then it would just combine those things together. And then maybe the next project we go is, Uncanny Valley, Uncanny Road, which wasSwyx [00:03:27]: GansAnastasis [00:03:27]: One of the first projects that, we built with, one of my two co-founders, Chris. This was taking, pix2pixHD, which was one of the early image-to-image models that NVIDIA released back in 2016 or 2017. and it was a model that would take a semantic map of a scene and then generate a photorealistic, let's call it, output. very early days, so it was not very high-fidelity outputs, but it w I think was the first image-generation model that could generate at 1K resolution. And it was all trained on self-driving datasets. So the semantic categories it would support were only, things you would encounter on the road. So it would be pedestrians, traffic signs,Vibhu [00:04:16]: StoplightsAnastasis [00:04:17]: Bikes, stoplights. And so that was one of our first indications that we built this and people were making all this, like, very surreal imagery of, yeah, a million plus a million pedestrians or a million traffic signs or, like, gigantic humans. And it was a indication that you could take a model that was trained on this very boring dataset, essentially, of, like, not that many interesting things happen when you're on the road, and then you can repurpose it and go very out of distribution and make something that was artistically compelling. And that was It's a summary of the thesis of Runway in some ways, that you can take the same generative models, and if you look at them from another direction, if you build interesting tools around them and you give them to artists, they're gonna do things that you don't expect.Vibhu [00:05:02]: Very cool. I like the, UX of it. You're just given an empty canvas, try whatever, do whatever. And then the other one, like, you see everyone with wired headphones? Like, that's, that's a sign that it's, it's veryAnastasis [00:05:16]: The AppleVibhu [00:05:17]: YeahAnastasis [00:05:17]: Apple, your version.Vibhu [00:05:17]: Original ads. Yeah. Take us to today. You've been doing this for seven years at Runway. How have we got to this? Like, how do we go from driving simulator data to all this? And you cover the whole stack of generative media?From Creative Tools to a Research LabAnastasis [00:05:33]: Interestingly, we're almost back in, we're, we're full circle. We're, we're now applying our models and beyond creative tools into real-world scenarios. But it was a, it was a long journey. It was very early on we realized the first version of Runway was a way to easily use the, all the open source model of the day, things like pix2pix to. and give them to artists. That was the initial idea, is those models are too difficult to use if you're not a machine learning engineer. Like, what happens when you give them to artists? Very quickly, we realized we needed to build a research org, inside of Runway, and that happened maybe on year one. And, a lot of the mandate there was. The image-generation models of the time, the video generation models of the time, or there were barely any video generations all the time, but they were not quite there where they could be productionized and brought into tools that would be part of creative workflows. so we need to push the frontier of the research. And so maybe the first four years of Runway, research was almost happening on the background until there was a moment in 2022, with latent diffusion, with, DALL-E 2, where, there was that step function change, and you guys maybe remember around the time.Swyx [00:06:49]: I started in this space because of latent diffusion and Stable Diffusion.Anastasis [00:06:54]: Yeah.Swyx [00:06:54]: Because I was like, “Wow, this is not only, like, feasible, it is doable on consumer hardware.”Anastasis [00:07:01]: Exactly, yeah.Vibhu [00:07:01]: I think the delta is also huge. Like, I learned pix2pix. Like, this was intro to ML, the TensorFlow, like, Jupyter, Google Colab notebooks were like this, and then you have a sudden step function change, with diffusion and whatnot. Any other ones since that. Like, there were clear examples of what early diffusion were to get to here. Any other changes in key technology research?Green Screen, Rotoscoping, and Early RunwayAnastasis [00:07:26]: Between, 2018 when we started and 2022?Vibhu [00:07:29]: Yeah.Anastasis [00:07:29]: So one of the early work that we did in Runway was solving segmentation, image and video segmentation. It was a very important problem because most VFX involves essentially separatingSwyx [00:07:42]: RotoscopeAnastasis [00:07:42]: Subjects. Yeah, rotoscoping. Extremely manual process. Nobody enjoys doing that. and so a lot of the early days of Runway was building this tool. It was called Green Screen, and it was for a long time the main thing that people were using Runway for. It ended up being used in, Everything Everywhere All at Once and a bunch of other high-visibility films and series. But that was essentially, Runway for a long time was a post-production tool until latent diffusion and generat- Gen-1, Gen-2, happened.Swyx [00:08:12]: Cool. let's, let's go past that moment. You've come a long way. Then you started releasing your own models. Maybe describe that journey as well.Scaling Video Models and the Bet on 1,000 A100sAnastasis [00:08:20]: Yeah, so we go to the other point, yeah, in mid-2022 when it became clear that we're doing research at a fairly small scale of compute, and it became clear that, like, scaling laws would apply to, image and video gen in the same way that we're applying to language generation. So we made a big bet, and I think at so at the time, we signed this deal to build a cluster of a thousand A100s, which at the time we were a Series B startup. That was a almost, slightly irrational decision maybe, but we really believed that if we trained a video model at a large scale, we would get, like, a great model at the end. And at the time, the goal or we set the goal around fall of 2022 of what is, what does the latent diffusion, Stable Diffusion moment look like for video? And at the time, the best model of the time was called CogVideo. it was one of the early video models. It was very 256 by 256 resolution, very not very high quality. and so we decided we're gonna build out this cluster, and we're gonna just invest in, like, in building out our own video model. it became clear as we're training Gen-1 that it was difficult to get to fully. we wanted to build text-to-video, but it became clear to us that an easier starting point would be to start from video to video. Because when you have a stronger conditioning, it's, it's an easier problem to restylize an existing video versus generate the video from scratch. And so we released Gen-1 first back in, it was January of, 2023. Yeah.Vibhu [00:10:04]: It's just a fun visual podcast, honestly. Like, if we can see February 2023, what was the state of stuff?Gen-1: Video-to-Video and Depth ConditioningAnastasis [00:10:10]: It's so interesting ‘cause at the time when you see those results, you think this is so incredible, and this is like, it's almost like image generation or video generation is solved. And then you look back a few years after, and it's like, it's It's just like you get used to the results very quickly, with those models. But at the time when we started seeing those results, it was, it felt quite incredible, and the level of, like, quality that you could get. And, so the Gen-1 was a depth-conditioned video model, so it would turn. it would take a input video, it would predict. it would it would first convert it into the depth map, and then we would generate, pixels with a latent diffusion model.Swyx [00:11:01]: Yeah, very effective.Vibhu [00:11:02]: Yeah. I didn't realize how distracting the blog post would be. Sorry.Anastasis [00:11:05]: Yeah, but, one of my favorite examples of on those, on Gen-1 was both, if you go up to mode three or mode two, there was this storyboard use case where people would makeVibhu [00:11:18]: OohAnastasis [00:11:18]: WouldVibhu [00:11:20]: You can mess around with theAnastasis [00:11:20]: Make a city out of books or out of boxes, and then they would shoot a video with their phone and then translate it into a photo-photorealistic output. There was all these ways in which those models were starting to be used for storyboarding and also for really. and then if you go to mode four, like, of taking untextured 3D scenes and then turning them into photorealistic output. So we saw a lot of use cases early on where people that were familiar, were power VFX editors would just take a blender, render, and then they would get translated in with Gen-1 or create a scene in Unity and then take a capture a video of it and then translate into, restylize it. So I still think video to video is powerful. I think we had a recent video-to-video model as well, and it's one of my favorite ways of using those models is essentially using them to use ground truth video as, like, the initial inspiration and then translate into different styles or different outputs.Stable Diffusion, Stability AI, and Open SourceSwyx [00:12:23]: But I think we're gonna go into, like, the rest of Runway and catch people up to speed today. I did wanna cover the, let's call it the Stable Diffusion controversy, or, what happened with Stability AI, whatever. I think there was a two sides of the story. I think there's part of that is a normal thing of, like, people, join and leave companies, but what is the, retrospective now that, there's been some years behind it?Anastasis [00:12:49]: Yeah, it's a very, it's a very long story to go into. I think it wouldSwyx [00:12:53]: Which I remember you wrote a really long post about.Anastasis [00:12:56]: We would probably cover the whole hour to go into it in more detail. But, essentially, there was the latent diffusion paper that came in, I think that was at the end of, 2021. And then Patrick Esser, who was one of the researchers behind, latent diffusion, and he worked at Runway at the time, he built latent diffusion in collaboration with Robin Rumbach and a few other folks back, in the in, CompVis, which was, a labSwyx [00:13:26]: Like a research group, yeah.Anastasis [00:13:27]: And, after releasing the early latent diffusion model, they, essentially they were. the goal was to keep working on versions of the model, scale it up, incorporate new data, incorporate new tasks. And Stable Diffusion was the same model, but trained on more compute, and then with a few more tricks, like a classifier-free guidance paper came at some point, I think in the early 2022. And thatSwyx [00:13:52]: Which, like, was a big prompting improvement.Anastasis [00:13:55]: Yeah.Swyx [00:13:55]:?Anastasis [00:13:56]: That improved results. it was trained on better data, so like, the esthetic subset of LAION, but it was effectively, the same underlying architecture. And there was that big training run, that, happened on Stability's cluster. Stability financed that run. And looking back at that story, I think it was the work to build and train that model was done. It was a, it was a research project. It was done as part of, like, continuation of the latent diffusion work. It then, I think it the model became very successful, and it, I think there were the. And I think as a result of its success, other companies tried to, figure out the commercialization path for it. But for us, it was very important that we try to, we make sure that we. It was meant to be an open source research project, and so the we decided that we should continue releasing versions of it, since that was the original goal of Stable Diffusion, and that led to releasing Stable Diffusion 1.5. There was maybe a day of, a bit of, miscommunication there, but ultimately that was resolved very quickly within hours. so yeah, there wasSwyx [00:15:12]: OkayAnastasis [00:15:12]: Not a niceSwyx [00:15:13]: I just wanted to. you have toAnastasis [00:15:15]: Yeah.Swyx [00:15:15]: You're one of the main players in that journey, and so it's nice to hear from the source of, like, what happened. Yeah.Anastasis [00:15:22]: Yeah. I think it's all, it's all in the past nowSwyx [00:15:26]: YeahAnastasis [00:15:26]: I would say. and, like, both companies, Stability took its own path, Runway took its own path.Swyx [00:15:32]: Yeah. There's still. James Cameron is backing the new Stability, whatever they're doing with the Hollywood studios.Anastasis [00:15:38]: Right.Swyx [00:15:38]: I don't know what they are doing. I think one thing that impresses me, and I'm happy to move on, is that back in the that time, let's say, like 2021, 2022, there was this community of people that you were involved in that was researching all this stuff, right? And, like, from everyone I talked to who was active then, it seemed like it was fairly obvious that somebody would do the hero training run that would produce Stable Diffusion. So, like, I guess the question is, like, you had the you were you had made investments. You were you had the foresight. Is it accurate to say, like, that is reflective of, like, what people were thinking at the time? Or was it still very much like, “Well, we'll use it as, like, a post-production tool or something. I don't know.”? Like, where in the sentiment were we that maybe you can think back to, like, what the community was like back then?The Early Creative AI CommunityAnastasis [00:16:28]: I reminisce and I think very fondly those early years, from like 2018 to 2022, because it was a very small community that, as you said, were very convinced that this was gonna be a big thing. And at the time, anyone who. Because it was such a small circle and, everyone who would, like, be part of that circle and, like, make projects with it would, immediately get, go viral. so likeSwyx [00:16:55]: And you didn't know who they are, right? They're just some name on a, GitHub or Hugging Face somewhere.Anastasis [00:16:59]: Exactly, yeah. So I remember one of the first big viral moments of creative AI was, there was the neural style transfer paperSwyx [00:17:09]: HuhAnastasis [00:17:09]: ThatSwyx [00:17:10]: Something dreaming?Anastasis [00:17:11]: I think it was called neural style transfer.Swyx [00:17:14]: Okay.Anastasis [00:17:14]: There was also Deep Dream, the puppy sliceSwyx [00:17:16]: YesAnastasis [00:17:16]: Which was, also really cool. but, yeah, there was this project that, Jim Kogan, who was an early advisor of Runway and one of those,Swyx [00:17:25]: Marketing guysAnastasis [00:17:26]: Big, creative AI, folks, he literally just, like, showed a video of himself taking the New York Subway and going over the Williamsburg Bridge and then stylized it with, I think in the style of Van Gogh or, like, one, painter. And that was. Like, at the time, that was, like, so cool and it went viral and it was completely revelation to people that you could do this with generative models. And that was only, it was less than. It was maybe 10 years ago. So just, like, as an indication of, like, how quickly things have gone.Vibhu [00:18:02]: It's pretty crazy. Like, even since then, you've got people at every level of the stack. You've got devs, creatives, artists, hobbyists. You've got everyone using it. And for people that tried stuff early, they'll remember how hard it was to use regular diffusion, right? Like, nowadays, you can use your favorite ChatGPT image gen or whatever, give a sentence, get a beautiful output. But diffusion was like, the whole ultra HD, 4K, high resolution. Like, prompting these things was very different. anything you learned on the tooling side, like from the offerings you guys have now, so like creatives, devs, you really took the. Research and brought it to everyone to use. anything interesting there to share?From Gen-2 to Controllable Video GenerationAnastasis [00:18:44]: We had to build the entire model serving infrastructure for video diffusion models. There was nothing else, already, like, because we had Gen-2 was the first text-to-video model, I think, out in the market. So many things that we learn over time. I think the I think the biggest one was, like, we. it was very clear early on that text-to-video was not gonna be the answer. Like, you. Like, people wanted a lot more control than that, and so we invested in, like, control building on top of those models very quickly. how do you use the camera trajectory as control? How do you use an initial input frame as control? So that was a very early learning for us. With text-to-video was, like Gen-2 was an amazing, step function improvement in the quality of video models, but it was used much more in an exploratory way because there was nothing to ground it to. There was no reference that you could bring into it. There was no. You couldn't really control the camera motion. You couldn't control the object motion. And so the first year, in 2023, was really all about what are all the interesting ways in which we can condition those models? And it was a lot of just post-training rounds on top of the base model to figure out, like, what, -- how do people wanna control them? And so there was, like, this quick succession of the we it was called Motion Brush, which was you could, like, you could draw arrows and dictate where things should move in the scene.Vibhu [00:20:09]: That's so cool.Anastasis [00:20:09]: There was camera control that was you could just describe, like, how you want the camera to move in the scene. And because we work with filmmakers from the most of the history of Runway, we immediately got this feedback and got this, decided that this was worth investing in. And so control ability became a big theme, I think, very early on as we were building, as we were building those models. Something fun that I haven't really talked about too much was just how Gen-2 came to be out of Gen-1. So it was a bit strange because we announced Gen-2 two months after Gen-1 andHow Gen-2 Came From a Weekend HackVibhu [00:20:43]: We're accelerating.Anastasis [00:20:44]: It was before Gen-1 was even generally available. But Gen-1 was a depth-to-video model, so it would take a depth map and it would convert it into RGB. and we couldn't get, text or image-to-video to work directly, and that's why we started from depth to video. but, and we had discussions of like, okay, we need to spend the next six months investing in text-to-video, maybe increasing the compute scale or the model scale, like train a larger model. And I had this weekend project idea, which was, what if I take a model that, starts from text input and converts to depth maps and then use Gen-1 to convert the depth maps Into RGB?Vibhu [00:21:29]: It would probably work.Anastasis [00:21:30]: And so Gen-2 was that.Vibhu [00:21:32]: Oh. The hackathon pipeline.Swyx [00:21:35]: The weekend hackathon pipeline.Anastasis [00:21:36]: Yeah.Vibhu [00:21:37]: But it looks good.Anastasis [00:21:38]: And it worked pretty well. there were if you, with the knowledge that it has this, like, two-stage pipeline, you can tell in some cases that the structure of the video looks a bit off because you had to generate the depth first before you go into the output video. But it worked and it allowed us to bring this to our, to users very quickly. But it's now it's interesting because, like, people are coming back to this almost two-stage approach. Like, if you look at the Reve text-to-image model that came a few months ago, it had this planner model that would generate bounding boxes before it fed that into the diffusion transformer.Swyx [00:22:19]: Yeah, Ideogram also the same day.Anastasis [00:22:22]: Yeah.Swyx [00:22:22]: I remember that was very strange that both of them came out the same day with the same exact innovation.Anastasis [00:22:26]: It's a small community, I think.Swyx [00:22:28]: I'm like, this is like, this is completely coincidental, right?Anastasis [00:22:32]: People talk. So yeah, there's, there's definitely something into this approach. And, now, like every single like, video generation model in production uses a complex prompt completion pipeline under the hood. I think that's no secret that there is. ThatSwyx [00:22:48]: Humans are terrible at prompting.Prompt Rewriting, Camera Control, and the Seed of World ModelsVibhu [00:22:51]: I think across the board.Anastasis [00:22:51]: Yes.Vibhu [00:22:52]: But yeah, I think like the original Sora one blog post even told you that what happens after your input is rewriting your prompt. It's much more descriptive about what you would want.Anastasis [00:23:02]: Exactly. I, And there was the DALL-E 3 paper beforehand that, was the first public, description of the fact that synthetic captions and really detailed captions work really well. And then Sora built on that. Yeah, so it was 2023. We were releasing all these updates to Gen-2, like the camera control, Motion Brush. And there was something very interesting about camera control because it was the first time that you felt that instead of, like, you were creating video, you were creating a short video, you were navigating inside the world. And I think camera control was maybe the seed of some of the ideas that we had around world models and really opening up that research direction. We realized, it was this era and this series of, Gen-1 and Gen-2 models really proved to ourselves, yeah, this is theSwyx [00:23:56]: Cool.Anastasis [00:23:57]: So this is not the original camera control. This was the updated camera control on top of Gen-3. But yeah, I think it made those models usable to filmmakers, I would say. The so camera control was very popular. And so we realized, there is one way of seeing those models, which is, you're just as content creation machines, and there is the other way, which is you're. As you're predicting video in order to predict video well, you need to simulate the world in an increasing and increasing capacity. And if scaling laws apply on video, just like they apply on language models, then as we scale the compute that we put into those models, then they're gonna be able to simulate physics, they're gonna be able to simulate human actions and dynamics increasingly well and predictably well. That was the thesis about around our efforts on world models, and we spin up this research group to just focus on the world models and how do we turn the video generation models that we're building into something broader and something that would be useful beyond, also content creation as well.Swyx [00:25:04]: And that was roughly when?Anastasis [00:25:06]: Yeah, so that was inSwyx [00:25:06]: OhAnastasis [00:25:07]: In late 2023.Vibhu [00:25:08]: Interesting. like, I think, a lot of people have been saying a lot of video gen model companies have all pivoted to world models these days, but like, 2023, you're posting it. oneWorld Models: From Video Generation to SimulationSwyx [00:25:21]: It's, it's debatable whether it's a pivot.Vibhu [00:25:23]: Yeah.Swyx [00:25:23]: Like, arguablyVibhu [00:25:24]: YeahSwyx [00:25:24]: That's what you always had to do anyway, right?Anastasis [00:25:26]: It's in a way an expansionVibhu [00:25:28]: YeahAnastasis [00:25:28]: Of the applicationsVibhu [00:25:29]: YeahAnastasis [00:25:29]: Of the models as they become more capable.Vibhu [00:25:31]: The early signs, it seems like the original models you guy had, guys had, people would say it's very not bitter lesson pilled, right? You're adding, rewriting prompts, you're having all these one-off things, but that's just the state of the tech as it was versus the future of as you said, you can scale it up as, we can scale up to world models.Anastasis [00:25:50]: Yeah. So it just became. And if you looked at the outputs of Gen-2Vibhu [00:25:56]: YeahAnastasis [00:25:56]: It was not. I think it was not obvious to people that this would scale to become a general simulator of the world. Like, you had very limited movement, you had, very low fidelity or low resolution, like obvious mistakes in human anatomy, like all kinds of limitations. But it was just, the idea was that's just GPT-two, and GPT-two, it can barely generate, like, coherent sentences. Similar, Gen-2 can barely create coherent video, but if you scale it up, you're gonna. There is no reason why it shouldn't work in a way. It's, And I think that was. That's, that's always the mindset of Runway is like this extrapolation of, like, if, like, even when we started in 2018 and you looked at the results of the day, you need to look more at the trend of, like, where we were in 2018 versus when we were at the, when the first GAN came out in twenty, four 2014 or twenty, fifteen. And, you started from, like, thirty-two by thirty-two images of faces, and then by the time in 2018, you could generate, street images at the 1K resolution. And it was the same with world models, very early signs of something much bigger.Swyx [00:27:08]: Yeah. I was gonna say, like, it's diffusing into focus. Like, if you look at our visible output from year to year, it looks like a diffusion process itself.Anastasis [00:27:17]: Yeah.Vibhu [00:27:17]: Especially watching the early, like, old blog posts, you can really see the choppiness, the details.Anastasis [00:27:24]: Yeah. Like human civilization starting from random noise and thenVibhu [00:27:27]: YeahAnastasis [00:27:27]: Denoising intoSwyx [00:27:28]: Yeah. Just run it a hundred years.Anastasis [00:27:30]: Civilization.Swyx [00:27:30]: Yeah.Vibhu [00:27:31]: That's how you're on track, you're still noising, right?Swyx [00:27:34]: Yeah. I like the way that you guys phrased it when you, announced it in June, which is, oh, that you had a video essay. “The human mind is no longer the center of AI. Our world is.” Right? Which is, let's, let's call it the past five years of LLM-based AI is very much like trying to emulate human preferences and human speech. But now that's, like, mostly solved. I think that's, like, some of the context of your essay, which you also wrote around the time. And now it's like the focus is on modeling the world accurately.Scaling Laws for Video and Why Predicting Pixels MattersAnastasis [00:28:03]: Exactly, yeah. So the way we see it is, there is that, initial mission statement of DeepMind, which is, solve intelligence and then use it to solve everything else. But I think it's starting from everything else, could be valuable of, like, starting from. there is just so much complexity, and detail in the world that in order to. That it's, it's hard to learn directly from just human descriptions of the world. Like, we're assuming that, like, language models learn from everything that humans have written about the world, like our own understanding as of, the twenty twenties. And there is just so much that we don't know and so much that's not captured by existing text, about both the low level dynamics of the world, like we're not describing in detail. if I tell you to describe, like, how do you tie your shoes, that's a very difficult thing to describe in words, but it's very obvious thing to demonstrate. And so I think there's been. And there's, more of X paradox, like we're constantly underestimating all the complexity that goes into very, like, things that we do subconsciously as humans, and we don't even necessarily always have the words to describe them. And so in my mind, the simulating the world and simulating, physics, simulating the dynamics of the world has always been underestimated, compared to, we place too much emphasis on the things that are easy to talk about. but there is just all this complexity and richness of the world that if we just try and train directly on that observational data instead of training on how people describe the world, we would learn something new that we wouldn't otherwise know.Swyx [00:29:54]: You think that the present architectural paradigm is fine? You don't need, like, another layer, like JEPA, like another famous, New York AI leader would say?Anastasis [00:30:05]: We're a very pragmatic research lab. If, we have evidence that an approach works better than the approach that we're taking, then we have no qualms to taking it. We just have seen no indication that video prediction itself doesn't scale. And even if you look now, not just our work, but the work of others, you're seeing in robotics some of the most promising work, starts from video prediction models, and then you adapt them to also the action models, for example. so there is very little evidence that you need something else and that your time is better spent on a novel architectural change compared to improving data and improving the, and scaling the current approach. And so, We don't have any indication that. the, there is that counterargument that I think there was a tweet by Yann LeCun a few days ago that, understanding the dynamics of the world is very different than, generating, cute videos.Swyx [00:31:05]: And your answer is no, they're the same thing.Anastasis [00:31:07]: Yeah, they're the same thing.Swyx [00:31:08]: My cat videos are the same as understanding physics.Anastasis [00:31:11]: Right, because if you wanna generate. video models can cheat and, like, they could you could give, like, successive dif shots of the scene in a way that doesn't require you to simulate difficult physics. There is like, all these different ways in which you can hide the deficiencies of the model, and it's important not to be too tricked by the performance of the current video models. It's easy to, cherry-pick examples and think that video models are further advanced than they are. So there is a lot more work that we need to do to improve those models. But in my mind, very similar to language, and, like, we've. you go from barely coherent sentences to something that, could hold a conversation with a human to something that could can operate autonomously for a day and, like, create entire code bases. And the main difference, there is some architecture improvements along the way, but the main thing is scale. And so it's the same bet for video, and we have no indications that this is saturating. Like, we have benchmarks that we use for measuring the physics of those models, and we see those predictably improve as we scale those models. So there is. If you want to Google up, Physics-IQ, is one of those benchmarks that measures how well does the model perform at solid mechanics or fluid dynamics or optics.Vibhu [00:32:32]: I'm curious if you've seen any emergence, any scaling law around this.Swyx [00:32:37]: Yeah, he's saying there is a scaling law, right?Anastasis [00:32:39]: Exactly.Vibhu [00:32:40]: Yeah,Anastasis [00:32:40]: So the way those models, those benchmarks work is you. the researchers have gone and, like, captured, a few videos that are representative of different physical phenomena, and then you can take the first frame and then pass it through an image-to-video model and then generate a rollout that shows what should happen next. So you have, a ball hanging from the ceiling, and then you use that as input, and then you the model predicts how the ball should fall on the ground. and this measures. we have an intuitive understanding of physics. I know, you can imagine what will happen next if I drop this bottle. So it's measuring that same intuitive physics understanding of those models, and we've measured that at different model scales, and we see, and compute scales, and we see that the score on physics IQ predictably improves. There's other, tricks and techniques that you can make to improve the score even further, but even scale alone helps, in the model learning better physics.Swyx [00:33:40]: My main sympathy with Yann LeCun is the, Plato's cave allegory, right? Like, you're, you're, like, learning on the output of a thing, not the internal process of a thing, and it's very noisy. And, if only you could observe the internals of a thing. It's hard to observe the internals of a human mind, but you can very much observe, or at least we have a whole branch of science and physics that we're ignoring on how to model Physics and movement and, gravity and, other interactions. and we're just, like, throwing away all of that and just saying just scale data, which is very much the lesson of unsupervised learning, but it feels wrong. that's the main idea.Anastasis [00:34:21]: I think the history of machine learning is, at large, it feels wrong.Swyx [00:34:25]: Yeah. It's a bitter lesson, right? Yeah. It's, it's, it's the simple answer to that.Vibhu [00:34:29]: I guess, how much can you scale? So, like, even on, let's say, the video generation side, like, there's one side of video understanding. Video generation, are we still gonna have tools where it's like, I wanna generate two hours, twenty hours? there's a infra way to do it in batches and stitch it together, but, like, do we just keep scaling? Do we just continue long generation consistency, all that at scale? And, like, tying it into where we're at now from we looked at Runway two to four point fiveGen-3, Sora, and Runway's Scaling InflectionAnastasis [00:34:58]: Yeah.Vibhu [00:34:58]: Like, technically, what advancements have we made to today, and then where do you see things still going?Anastasis [00:35:04]: So part of the answer is definitely scale. and that was. We learned that lesson in a big way for with Gen-3. So Gen-3 was the model we released the year after, like in 2024. That was a few months after Sora was released. so yeah, there's an interesting story of that came to be as well. Gen-3 for us was, the first time that we really needed to build. we had to learn all the lessons that the language model world learned in two in three years in the span of a few months. one of the biggest changes of Sora was using diffusion transformers instead of convnets. So a lot of the early, latent diffusion models were all, convnets for the diffusion model part. And the diffusion transformer paper came at some point in 2023, and it showed scaling laws for image, diffusion transformers. And we realized at that point that we needed to invest in infrastructure for model parallelism, for really scaling training to larger than, a few billion parameter models. And we spent maybe the, most of the fall of 2023 building out our infrastructure for distributed training. And we had a lot of false starts and a lot of failure in trying to scale, image and video diffusion transformers. And at that point, February 2024, Sora comes out, and the results areAnastasis [00:36:35]: Very much superior to what Gen-2 could produce. There were a lot of, a lot of chatter on Twitter about Runway. Runway's done. like, there is no way Runway will catch up. And if you remember, also OpenAI in the early twenty-It felt very, like it's aSwyx [00:36:56]: To the moonAnastasis [00:36:57]: It's a formidable opponent now, but at that point, it, they were on the top of their game. nobody could even get close to them. There was maybe Gemini was just the first version of Gemini had just released. So when OpenAI came with Sora and it was such a big jump of like quality, it gave me, there was like an existential crisis for a few hours. But that, I think the amazing thing about Runway and like I think the, we've been around eight years now, which is almost we're dinosaur in AI, and we had to like, we had there was a lot of those moments we had to learn, adapt very quickly and build out skill set in the team that we didn't have. And so, if you ask anyone what is their favorite time at Runway that was there during that time, it was that push in like three months to get to a model better than Sora. and it, we scaled 10x the model scale, the model size and the, compute that we were training on. we figured out model parallelism. We had zero expertise in that. And then we came out with Gen-3 during that summer. So that was a big turning point, I think, for the company where the research org grew very quickly, and we really started pursuing this vision of the general world model, in earnest, I think after Gen-3 was out.Swyx [00:38:12]: Yeah. that's the amazing thing about building when you're building. There's no stack to. You have to invent everything yourself. You have to be completely full stack. Now I think like there are inference specialists like Fal or whatever that can help with like, model serving, and I think you guys work with them as well. but yeah, like it's, it. But at the time, it was just. It's very interesting to think about what you do when Sora comes out and people are questioning whether your company should still exist.Distillation, Turbo Models, and Real-Time VideoAnastasis [00:38:41]: Yeah. And yeah, there was no, there was no VLM of diffusion models. Like, we had to build the whole model serving infrastructure and make things efficient. And a few months after we released Gen-3, we released the Turbo version, which I think was the first step-distilled model in production.Swyx [00:38:56]: That was a whole trend that we covered as well. Yeah.Anastasis [00:38:59]: So that allowed us, to serve those models at the larger scale, ‘cause I think the first version of Gen-3 was quite, expensive to serve.Swyx [00:39:09]: I think the whole like trend in like consistency models, Lightning and, Turbo and all these things somehow didn't really stick around. I don't know if you have any reflections on this. Because at the time, I was like, “Well, everything should start with a distilled model first, and then you can upscale,” right? It. your bigger models just turn into fancy upscalers, but like you should always draft with a smaller model and faster model, right? Because you can get it so quickly, like near real-time.Anastasis [00:39:39]: Yeah. I would not be so sure to say that didn't stick around. I think that, it's, it's likely to. that there is a lot of step-distilled models that are actively used in production. there is still a gap in quality compared to the, non-distilled model. but in my mind, we're still. there is a two to three year offset from language models. So the things that, So it's just a matter of time before there is better distillation techniques. we use. Right now we have a real-time model core character that I think is the largest deployment of real-time video models, that's a step-distilled model, and it's actively being used. It's a very specific use case compared to a general video model. So this is aSwyx [00:40:27]: Very cool, by the way.Anastasis [00:40:27]: This is avatars stuff, right?Swyx [00:40:28]: Consistency, character.Anastasis [00:40:30]: Yeah. So this is a talking avatar, model. we were able to. we optimized the hell out of it, and it generates at 24 FPS, and it's a, it's a step-distilled autoregressive video model. So if we look at our world model direction, a big component of it is starting from the bidirectional diffusion that generates entire video at once and making autoregressive shows. So you generate one frame or a few frames at a time. so there's a lot that goes into that pipeline of getting to a real-time model. It's first you need to make it into a causal autoregressive model, and then you just turn it into. You need to do some additional step distillation to get it to be real-time. and I think that part is just starting. I'll be very surprised if we're, two years from now, we don't primarily use real-time models. To me, real-time video generation is just inevitable that, it has much better user experience, it's much cheaper to serve, and, the quality gap between the base model and the real-time model is only gonna close as we figure out better, distillation techniques. And we made a lot of progress there internally on maintaining the quality of the base model when we distill them.Swyx [00:41:49]: How much of this is transferable? So is it the same base model? Like if you're doing diffusion across the whole sequence and you're converting it to step autoregressive distillation, is this like distillation where you still need to train both, you can use the same base and converter? What's that process like to go from regular model to something that's real-time on a technical level?Anastasis [00:42:11]: So the nice thing about diffusion models is you have, two axes of distillation. So there is the. You can distill to a smaller model, which resembles what you do in LLMs, or you can distill in terms of taking less steps, less diffusion steps. So you could take a model that generates in fifty steps and generate in four steps and get to, You have some performance, degradation, but very often you get comparable outputs. So you can even take the large frontier model and distill it with step distillation and get to a real-time performance, and that's what we've seen. So, depending on the use case, in some cases we might also serve with a smaller model, but in a lot of use cases, we just use theSwyx [00:42:56]: Step distillationAnastasis [00:42:56]: The frontier model, and we're able to make it work in real-time.Swyx [00:42:59]: I think this might be a good time to cut over to his laptop to show off some of the real-time stuff that you're doing.Interface World Models and Neural SoftwareAnastasis [00:43:06]: This is one of the research updates that we did recently. so we've been working and f in getting our general world models to, different applications. one of them that we think is very compelling is using general world models as essentially, an interface, a universal interface to software. This is a version of our world model that's called an interface world model. and the idea is that it essentially, replaces, the, front end of a software application. It renders the pixels directly of an interface and is trained to predict what happens next as a result of, a click or another interaction you have with the interface. So this is all pixels. it's there is no HTML, CSS, React that's powering this interface. This is directly at the output of our real-time, video generation model, and it takes clicks directly as input.Swyx [00:44:09]: And drags, click and drag.Anastasis [00:44:12]: Right. So it supportsSwyx [00:44:13]: Ooh.Anastasis [00:44:14]: Yeah, clicks. It supports drags. it also supports scrolling. and the amazing thing about this is that you can effectively describe in the prompt how you want different elements, like what do you want the behavior of different elements to be. So it's almost you're you can turn, an interface from, markup language description of, like, an HTML interface, and instead you can just describe the interface. if I press this button, I expect this to happen. If I press this button, this should happen. And it's useful, we believe, both for prototyping, for, like, just testing, like, what different interactions would feel like. you can also add audio to it. So it's a video audio generation model. So you get you essentially can describe both what the visual outcome should be of your click and also what the if there is a sound effect that comes out of it. So we believe that's gonna be a much more flexible way of building software. Just render. It just, in why generate the code that generates the pixels? Just generate the pixels directly.Anastasis [00:45:18]: It's the end-to-end philosophy applying applied to front ends.Anastasis [00:45:25]: So we think there is a few interesting use case. So you can build creative tools on top of it.Anastasis [00:45:32]: We think that, for any use case that involves a lot of exploration or, like, educational use case where you wanna learn about a new concept and you want some visualization and like, and open-ended exploration, we think those this is a very powerful, approach. you can imagine new forms of, design, industrial design software that could emerge as a result of those models. And this is all, generated in real-time as well. So, you can build a lot of interesting camera transitions and forms of interaction that are very difficult to build otherwise. And one way in which we evaluate this is what if you try to generate the same interface with Claude by just, prompting Claude, “Here's an image reference of my interface that I made in Figma or that I created somewhere else. create this particular interaction,” which in this case it's, drag that object, upwards. and beyond it being slower, it's also very difficult to capture some interactions by just fully, with just LLMs. So we think that this is likely to be the way that a lot of the future, like, software in the future will be created. and one of the additional benefits is personalization might be a lot easier done with those models. Like, you can essentially try out different prompts based on who is visiting the interface. You can, more easily, prompt engineer the interface to have larger size, text for more accessibility reasons, or you can make this or, like, if you have a particular aesthetic preferences. So we're very excited about this approach. It's early days, and I think we'll need to, make it more cost-effective as well to serve those models ‘cause, running a real-time video model versus just purely rendering HTML, there's -- the computational needs are much higher. but we do see a lot of potential in this approach to building front-end interfaces.Swyx [00:47:47]: So we covered this similar thing with Flipbook before with our, Ethan Hara episode with Groq, video. And yeah, I think it's very engaging visually. I think it's maybe very good for education, but it's it does sound expensive. I think there's an upper bound to how expensive it will be, though, right? Like, the inference cost will go down over time. You'll figure out ways to optimize it. Effectively, when it pauses, you don't you're not receiving human input. You don't have to generate anything, right? So.Anastasis [00:48:14]: Yeah, you could also. Like, in this case, you have ambient motion, so there is parts of the screen that might. if you're let's say you wanna, visit Paris and then you get this interface that allows you to explore.Swyx [00:48:29]: People walking. Yeah.Anastasis [00:48:29]: You have people walking or, like, things happening. But, it's, it's a no Yeah, it makes it more expensive because you need to run the model all the time. Maybe you have some looping mechanism so you don't need to do that. But all those things, I think, is stuff we'll need to figure out.Toward a Fully Neural Operating SystemSwyx [00:48:44]: Yeah.Anastasis [00:48:44]: I think our first consideration is let's make this clearly find some use cases where it's clearly a much more compelling interaction compared to traditional interfaces. And then it's a matter of time before it becomes more cost-effective to serve.Swyx [00:48:58]: Yeah. When it comes to the people walking, I think the approach that makes the most sense to me is Nick.Anastasis [00:49:04]: Nick.Swyx [00:49:04]: Oh, God. I keep messing up their name. With Chris Manning and Fanny Yan. I don't know if you've come across them, where they. Mapped to some game engine. I think it's Unity or something, or Godot. And they you can script some NPC behavior behind that and train on that. Whereas here, you can really imagine whatever you want. Like, that is a UI, right? Like, and it feels, like, more tractable, I guess, to, create a world model of software that is interactable because we have many of examples of that, and you can, do your fancy RL environment stuff on that than it is scaling up to embodied and real-world physical use cases. But this is a nice first step.Vibhu [00:49:43]: Or, there's the opposite of you have, like, one B models, three 50 million parameter language models. It just gets so small that they're just predicting, like, fishes moving.Swyx [00:49:53]: Small models are now 120 B, so.Vibhu [00:49:57]: Ultra mini on device.Vibhu [00:49:58]: But, no, I think it, like, it puts it into perspective, at least the car one for me, like, the applications, right? The amount of work to do that, sure, you only make one model year car per year, but applying this, it's also a cost-saving to have to manually make all this, right? So it opens up a lot of possibilities, too. I'm curious if you extend this out two, three years, so where do you see things going even further?Anastasis [00:50:25]: Effectively, the end game of something like interface world models is you have, a fully neural operating system. So I think, Andrej Karpathy has written about that quite a while back. But it's, You, I think to me it's, it's a bit, it's a bit odd that, we have, for example, with an interaction with an LLM of today, you have this LLM that can talk to you about anything. It can You can take the conversation in any direction. You can It's very general, so it can solve all those different tasks, but you interact with it through a very rigid interface. And so to me, it's just a matter of time before the interface itself becomes learnable and becomes, part of the whole loop of, like, you're not just delivering. You're delivering an application end-to-end, and that means you're delivering the language model, but you're also delivering the render and the pixels and that's also a learnable component. And the concept of applications might not necessarily. I think we'll need to figure out new abstractions for software. the concept of application comes from this idea that you need, separate code bases to describe, to, for, to power each individual, tool and each individual application. But you might think of something a lot more unified if you're. if you have, a video model that's generating the interface as you go. so it can take context from an LLM and allow you to combine different functionalities that traditionally would live in different applications. So it's a, it's a way to solve, software end-to-end, effectively. We also see this as a powerful way to train computer use agents as well. so this is, one way to see this as. And in general, with world models, there is those two directions. One is world models for humans and world models forSwyx [00:52:24]: AgentsAnastasis [00:52:24]: To train agents.Swyx [00:52:25]: Yeah.Anastasis [00:52:25]: And so for every new work of, world models that we do, we have this both uses become possible. So this is a powerful synthetic data generator for training computer use models. It could become, a live, RL environment that you could use to do online RL with a computer use agent, and you can get wide diversity of different interactions, kinds of interfaces, just generated on the fly that, to improve the how robust the, your agent, becomes. So that's the same also with the world models that we're working on for a robotics use case as well.Long Context, Error Accumulation, and Autoregressive VideoSwyx [00:53:02]: Is there a research breakthrough that you're Waiting for that would unlock the next set of use cases that you really wanna pursue?Anastasis [00:53:10]: Long context is a very important one, so being able to maintain consistency for long periods of time, and that depends on the use case. So for our characters model, for example, or for the interface world model, it's easier to maintain long sessions of interaction. If you go into more open-ended worlds that you navigate and you take arbitrary actions in, we, like, there is more the context at which you can and duration which you can generate becomes limited much more quickly.Swyx [00:53:40]: Yeah.Anastasis [00:53:40]: So we see more degradation and error accumulation happening. so the biggest challenge with autoregressive models is error accumulation, is you're feeding generative frames back into the model to generate the next The next frames. And if there is any small errors, they accumulate over time. That's not a new problem. It's a problem that LLMs also have, and we've seen the ability to generate now really long outputs. So it's a solved problem, but it's definitely still a challenge.Swyx [00:54:08]: Yeah. And what is the state of the art? so for Grok, it would be like 10 to 20 seconds of context going in there for video.Anastasis [00:54:16]: With our characters models, we're able to generate up to 30 minutes of video autoregressively.Swyx [00:54:21]: Yeah. But that's just for the avatars.Anastasis [00:54:24]: Yeah. So if we look at, GWM Worlds, which is more our open-ended world exploration model, it's, it's on the order of a few minutes, which is Yeah, soSwyx [00:54:35]: Probably enough for people because you have to cut to the next scene anyway, right?Anastasis [00:54:40]: Yeah, it's not, it's not the ideal game experience if you have to restart every few minutes. So I think. But, I think it's. Yeah, for certain kinds of game experiences, you can work around it.

durée : 00:19:04 - La grande matinale - par : Sonia Devillers - Le réalisateur Emmanuel Marre présente son film "Notre salut", primé à Cannes. Attendu en salles le 30 septembre, il retrace le parcours sous le régime de Vichy de son arrière-grand-père, fonctionnaire au ministère du Travail. - équipe : Alexandra Brouillet, Perrine Malinge, Mathilde Khlat, Amélie Stadelmann, Joachim Taieb - invités : Emmanuel Marre Réalisateur français Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

La fréquentation des TER en hausse dans le Grand Est. Le transport ferroviaire a su tirer son épingle du jeu de l'augmentation des prix du carburant. Du 7 au 13 septembre, près de 25 % de billets plein tarif supplémentaires ont été vendus que lors de la même semaine, l'année passée. Les nombres d'abonnements annuels et mensuels ont aussi augmenté, respectivement de 7 et 4 %.Un ensoleillement record en Alsace. On compte depuis le  1er mai, 65 jours de grand soleil, lors desquels l'astre a brillé pendant plus de 10h. Au contraire, seuls 6 jours de ciel gris ont été comptabilisés sur cette même période. A Strasbourg, pas moins de 1878 heures de soleil ont déjà été comptées. C'est bien plus que la moyenne, qui s'élève à 1747 heures sur une année complète.Les personnalités politiques s'invitent cette semaine en Centre-Alsace. Hier c'était le président du Sénat, Gérard Larcher, qui était de passage. Des réunions avec des grands électeurs ont été organisées à Sélestat mais aussi à Haguenau, pour soutenir la liste LR / UDI portée par Elsa Schalck dans le cadre des élections sénatoriales qui se tiendront ce dimanche. Autre soutien pour une autre liste : le candidat à l'élection présidentielle David Lisnard sera à Benfeld demain. Après avoir apporté son soutien à Laurence Muller-Bronn, candidate sous l'étiquette de son parti Nouvelle Énergie, le président de l'Association des maires de France et maire de Cannes tiendra un meeting au complexe sportif de Benfeld. Enfin, Gabriel Attal, lui aussi candidat à l'élection présidentielle, se rendra à Sélestat ce samedi. Dans le cadre de son opération “1 000 bistrots”, l'ancien Premier Ministre et actuel secrétaire général du parti présidentiel Renaissance sera présent lors d'une rencontre au bar Le Tigre.Faits divers. Un homme originaire d'Orbey vient d'être condamné à 16 ans de prison pour viols et agressions sexuelles sur sa fille. Les faits, qui ont commencé en 2016 alors que la victime était âgée de seulement six ans, ont été révélés par celle-ci en mars 2024. Une relation incestueuse mais consentie selon le père, qui avait déjà été condamné pour des faits de violences sur son enfant. Nouveauté au conseil municipal de Haguenau. Chaque quartier de la Ville dispose maintenant d'un élu référent. Au nombre de 13, leur objectif sera de faciliter le dialogue entre la municipalité et les citoyens ou encore de faire remonter d'éventuelles problématiques.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Es una de las grandes citas de la temporada cinematográfica, una película destinada a seguir cosechando premios tan importantes como el de mejor dirección en Cannes y el premio del público en el Festival de Toronto. Los Javis nos desvelan las claves de La bola negra, la historia de tres hombres unidos por la represión y el deseo homosexual, el trauma de la Guerra Civil y una obra inconclusa de Lorca.Escuchar audio

In this special Cannes edition of Future Proof, Duncan Southgate sits down with Rory Dolan, International CMO at Canva, to discuss how one of the world's most recognisable brands is navigating an AI-driven future. From democratising creativity to building a globally consistent yet locally relevant brand, Rory shares how Canva is embedding AI across its platform while keeping people at the centre of the creative process. Together, they explore what marketing effectiveness looks like in an era of algorithmic discovery, changing media consumption and increasing pressure for short-term results, and why strong creativity, meaningful measurement and a long-term brand-building mindset matter more than ever. Hosted on Acast. See acast.com/privacy for more information.

On episode 364 of the Awards Watch podcast, Executive Editor Ryan McQuade, Editor-In-Chief Erik Anderson and Associate Editor Sophia Ciminello break down the winners and losers of the Venice, Telluride and Toronto film festivals, which films rise and fall in the Oscar race, and offer a preview of some of the big titles headed to the New York Film Festival. With three of the main fall festivals wrapped, the gang look at how the world premieres of films like The Debut, Elsinore and You Can See Everything at Telluride, I Play Rocky and Being Huemann at Toronto, fared with Cannes flyovers and more. This opens the conversation about where the state of the Oscar race is now, determining if The Odyssey is still the default frontrunner or if a new fighter has emerged, like TIFF People's Choice winner La Bola Negra. Then we venture into the New York Film Festival, kicking off this week, with a huge slate of major premieres like Godzilla Minus Zero, Behemoth! and more. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. You can also listen on the AW YouTube page. This podcast runs 1h8m. We'll be back this week with the latest in the Director Watch series featuring Edward Yang, A Brighter Summer Day (1991). Till then, let's get into it. Music: "Modern Fashion" from AShamaleuvmusic (intro), "B-3" from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Victorian Women Weren't Allowed to Play Football. They Did It Anyway.In 1897, a woman calling herself Nettie Honeyball founded Britain's first ladies' football club — and doctors wrote to the newspapers warning it would make women infertile. Author Frances Quinn joins me to talk about The Scandalous Ladies' Football Club, her brilliant historical fiction novel inspired by that true story, and the real Victorian scandal of women simply choosing to play the game.We talk about inventing a fictional rival team to give the real history its missing plot, writing three women each trapped by Victorian society in different ways, and the friend who told her a 70,000-word draft was "a little bit rubbish" — and was right. Frances also tells me about her dream writing retreat with three fellow authors in a Norfolk cottage, why a sea view would ruin her concentration completely, and what powered the words this time round (a chocolate digestive, eaten strictly undunked).Before that, a spoiler-free look at three books I've been reading:Not Quite Myself, by Mike and Claire Gayle — a body-swap story about a couple who separate the morning after dropping their youngest at university, told in alternating chapters by a husband-and-wife writing teamThe Butler, by Clare Mackintosh — a shorter, glamorous whodunnit set at a French villa during Cannes, a real change of pace for the authorIn Deep Water, by Elle Blair — a cruise-ship murder mystery that didn't land for me, though the reviews suggest it may well land for youFeatured book:The Scandalous Ladies' Football Club, Frances QuinnThat's this episode — spoiler-free reviews of Not Quite Myself, The Butler, and In Deep Water, plus Frances Quinn on the real history behind The Scandalous Ladies' Football Club.Get in touchQuick Book Reviews Facebook Group | Instagram | quickbookreviews@outlook.comQuick Book Reviews: author interviews and book reviews with no spoilers. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:02:15 - Les chroniques de Daniel Morin - par : Daniel Morin - "Garance" ayant été présenté à Cannes mais reparti bredouille, Daniel est allé voir le M. Festival de France Inter Laurent Delmas… Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:02:15 - Daniel Morin en liberté - par : Daniel Morin - "Garance" ayant été présenté à Cannes mais reparti bredouille, Daniel est allé voir le M. Festival de France Inter Laurent Delmas… Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

This week on The Travel Diaries: Unpacked, I'm joined by Lauren Ho, one of the world's most well-travelled luxury hotel experts. Lauren is Travel Director of Wallpaper*, a contributing editor at Country & Town House and the Academy Chair for Western Europe for The World's 50 Best Hotels.Recorded just days after this year's list was revealed in Paris, Lauren shares her reaction to the results, why Asian hotels continue to dominate the top 10 and which new entries she was particularly pleased to see recognised.We also journey to AlUla in Saudi Arabia, where ancient Nabataean tombs, dramatic desert landscapes and extraordinary new hotels are putting the destination firmly on the travel map. Lauren shares her recent stay at Six Senses Amaala on the Red Sea and takes us inside her trip to Georgia, from the hidden corners of Tbilisi to Kakheti's vineyards and traditional amber wine.My Hotel of the Week is the newly restored Splendido, A Belmond Hotel, overlooking the impossibly beautiful harbour of Portofino.Plus, in our listener Q&A, Lauren recommends the perfect luxurious but not completely bank-breaking destination for a special family celebration.Destination RecapThe Peninsula Paris, Paris, FranceRosewood Hong Kong, Hong Kong, ChinaMandarin Oriental, Bangkok, Bangkok, ThailandChablé Yucatán, Chocholá, MexicoUpper House Hong Kong, Hong Kong, ChinaMandarin Oriental Qianmen, Beijing, ChinaRosewood São Paulo, São Paulo, BrazilPassalacqua, Lake Como, ItalyAtlantis The Royal, Dubai, UAEFour Seasons Hotel Bangkok at Chao Phraya River, Bangkok, ThailandCapella Bangkok, Bangkok, ThailandAmangiri, Canyon Point, Utah, USAMonument Valley, USAAlUla, Saudi ArabiaBanyan Tree AlUla, AlUla, Saudi ArabiaOur Habitas AlUla, AlUla, Saudi ArabiaThe Chedi Hegra, Hegra, Saudi ArabiaPetra, JordanThe Peninsula Hong Kong, Hong Kong, ChinaFORESTIS, Brixen, ItalyVilla Treville, Positano, ItalyCarlton Cannes, a Regent Hotel, Cannes, FranceSplendido, A Belmond Hotel, Portofino, ItalySix Senses Amaala, AMAALA, Saudi ArabiaRosewood Amaala, AMAALA, Saudi ArabiaTbilisi, GeorgiaThe Telegraph Hotel, Tbilisi, GeorgiaKakheti, GeorgiaEstelle Manor, The Cotswolds, England Hosted on Acast. See acast.com/privacy for more information.

Los directores, premiados en el Festival de Cannes, presentan una de las grandes películas del año, 'La bola negra'. Con ellos charlamos de la ambición de este proyecto, de honrar y celebrar la memoria de Lorca y su poesía, de las heridas de la Guerra Civil, del reparto y cómo trabajar con Penélope Cruz y Glenn Close, y de su salto a Hollywood con muchas posibilidades en los Oscars 

První filmový festival v Cannes se měl konat už v roce 1939, ale musel být odvolán, protože právě v den jeho zahájení vypukla druhá světová válka. Francouzi ho proto uspořádali až v září 1946, o to však byl noblesnější a radostnější. Promítaly se filmy z 19 zemí, konala se přehlídka květinových povozů, volila se Miss, festival navštívili ministři i předsedové vlád a především velké hvězdy tehdejšího filmového nebe.

Comenzamos hablando de la gran noticia, ya tenemos el título para la carrera de los Oscar: La bola Negra, Es la aclamada propuesta de Los Javis que Tras triunfar en Cannes y estrenarse en salas tiene un gran futuro en la meca del cine. Javier Calvo y Javier Ambrossi firman un homenaje visceral a la memoria queer y al universo de Federico García Lorca.En la cartelera y en De película conviven propuestas dramáticas muy marcadas: Sus hijos de Pablo Trapero, una historia dónde la complejidad de las relaciones de familia son las protagonistas y La zona gris, un thriller psicológico de atmósfera moralmente turbia e inquietante que firma Guy Ritchie.Los amantes del cine comercial tienen diferentes alternativas, por un lado, Resident Evil, del director Zach Cregger, una nueva entrega del videojuego completamente original y diferente a las anteriores entregas dónde rescata el terror de acción, por otro, Coyote vs. Acme en la que Dave Greeny, combina animación y acción real en una sátira legal sobre el mítico personaje de los Looney Tunes. La oferta de evasión llega con la comedia francesa Mis queridísimos padres, donde unos progenitores ganan la lotería e intentan recuperar el afecto de sus hijos, y la aventura infantil de animación, Mundo Jumbo se hace enorme una delicia de película que no tiene edad.Todo esto además del resto de la cartelera, las mejores series con Pedro Calvo, las secciones habituales y la antesala de la 74ª edición del Festival de San Sebastián.Escuchar audio

'Henri Salvador do Brasil', proyecto de Emmanuel de Ryckel con dirección musical de Marcos Valle, recuerda la relación del artista francés con Río de Janeiro y la música brasileña. Sus canciones grabadas por Bebel Gilberto ('Uma canção doce'), Quarteto do Rio & Silva ('Pauvre Jésus-Christ'), Eddy Mitchell y Zelia Duncan ('À Cannes cet été'), Seu Jorge ('Les voleurs d´eau'), Zé Ibarra ('Le wagon'), Dora Morelenbaum ('Et des mandolines'), Paula Morelenbaum ('Je parie' -con la voz de Salvador-), Joyce Moreno y Marcos Valle ('Rose'), Simone ('Jardim') y Moreno Veloso y Flore Benguigui ('Chambre avec vue'). Y el propio Henri Salvador con 'Dans mon île', 'Syracuse' y 'Une chanson douce'.Escuchar audio

Andrea Casanova was born in Venezuela, left after her brother was kidnapped, and moved through the Dominican Republic, Panama and Brazil before landing in the US for college. On a student visa she was legally capped at $150 a month, so she hustled: growing League of Legends accounts, walking dogs, shooting photos for bars. She now runs an agency, speaks on creator economy tech, and is building Ginger, a tool that helps creators handle their inbound brand deals.In this episode, Andrea is open in a way most people aren't about money and the discomfort that comes with it. She started her agency with one client, a psychiatrist who was also a witch, at $400 a month, and inside two years was billing $70,000 a month. We cover why she thinks 67% of brand emails go unanswered and what that costs a mid-tier creator, why she says the missing skill is business etiquette rather than engagement rate, and her split between brand building and cash building as a way to decide what to work on. Plus, what she had to say no to in order to ship Ginger, and what she'd tell a first-time creator walking into Cannes with nothing to offer.A candid conversation about money, judgement and focus from someone who has built from almost nothing more than once.Topics covered: money mindset and pricing guilt · building an agency from scratch · unanswered brand deal emails · business etiquette for creators · brand building vs cash building · decision making frameworks · becoming a non-technical tech founder · saying no

Bill Walton returns to Hearts of Oak to discuss the AI safety debate after Anthropic's leadership warned that advanced systems could pose a serious risk to humanity within a decade. He argues that heavy federal regulation would entrench the biggest players, squeeze open-source development, and slow innovation, while the U.S.–China race makes a simple pause unrealistic because AI is dual-use. Bill then turns to what he sees as the more immediate threat: rising long-term Treasury yields, global government debt, and the limits of taxing, borrowing, or inflating the problem away. The conversation closes on crypto, quantum computing, financial surveillance, Europe's safety-first regulation, and why risk-taking and free speech matter more than trying to make everything “safe.” Bill Walton is a former Chairman and CEO of a $10 billion NYSE-traded investment company, a successful investor, renaissance man and the host of The Bill Walton Show. After decades in finance, private equity and as an entrepreneur and CEO, he now writes and speaks about the intersection of finance, policy, and culture. Bill has served at senior levels across business, government, and the arts—ranging from Vice Chairman of CPAC and President of the Council for National Policy, to President of the National Symphony Orchestra; and National Trustee and Finance Advisor to the National Gallery of Art Trustees and Chairman of the Kelley (Indiana) School of Business. Other national board service includes Heritage, AEI, Wolf Trap, and the National Venture Capital Association. Earlier in his career, Walton served in the U.S. Army at the Pentagon, headed strategic planning for a major commercial bank, worked in mergers and acquisitions at Lehman Brothers Kuhn Loeb, and later advised CBS founder William S. Paley.  As a feature film producer, two of Bill's films screened at the Cannes and Tribeca Film Festivals. In 2016-2017 he led President Trump's 2016 Financial Agency Transition Teams.  He attended public schools in Indiana and is now a private investor.    Connect with Bill Walton  The Bill Walton Show | Money Culture Power The Bill Walton Show | Substack The Bill Walton Show Podcast Series – Apple Podcasts The Bill Walton Show - YouTube   Connect with Hearts of Oak...

Technology, Aaron Cline Hanbury suggests, is never a purely neutral tool. But the history of ethical thinking about technology shows that as long as there's been technology, there's been anxiety about it. Or perhaps more accurately, anxiety about what we might do with it. And increasingly, what it might do to us.A journalist, founding editor of Common Good magazine, and author of Wired for Wonder, Hanbury came of age as the internet entered the home and has spent his career reporting from the places where technology, faith, and everyday life collide. Rather than offering another list of screen-time tips, he asks a deeper question: How do we relate to the things we make?In this conversation with Evan Rosa, Hanbury wrestles with what it means to be human when the machines we've made can do more and more. He criticizes the seduction that we should embrace technology simply because it is inevitable. He explores how connection, efficiency, and unrestrained technological freedom quietly became unquestioned goods, why our powers of attention are eroding in real time, and wonders what it might take—personally, communally, and structurally—to reclaim our humanity through presence, and the rough ground of embodied life.About Aaron Cline HanburyAaron Cline Hanbury is a writer and editor whose essays and profiles have appeared in The Atlantic and elsewhere. He is the founding editor of the award-winning magazine Common Good and a past editor of RELEVANT. He writes about the places where technology, faith, and ordinary life meet. His book, Wired for Wonder: Dispatches on Technology, Culture, God, and Self, breaks open the tired binary between tech optimists and Luddites in the context of memoir, ethics, journalism, and theology.Helpful Links and ResourcesWired for Wonder: Dispatches on Technology, Culture, God, and Self, by Aaron Cline Hanbury: https://www.broadleafbooks.com/store/product/9798889833451/Wired-for-WonderAaron Cline Hanbury's website: https://aaronclinehanbury.com/Aaron Cline Hanbury's Substack: https://aaronclinehanbury.substack.comAaron Cline Hanbury on X: https://x.com/achanburyCommon Good magazine: https://commongoodmag.com/author/aaron-cline-hanbury/Technology and the Character of Contemporary Life, Albert Borgmann: https://press.uchicago.edu/ucp/books/book/chicago/T/bo23186480.htmlThe Anxious Generation, Jonathan Haidt: https://www.anxiousgeneration.com/bookHannah Coulter, Wendell Berry's novel: https://www.counterpointpress.com/books/hannah-coulter/Show NotesAnxiety and technologyPatient zero for life online—coming of age as the internet entered the homeLow-church tradition, quick to adopt and ask questions laterJournalism as a front-row seat to three decades of changeEarly adopter or Luddite? Rejecting the spectrum's false endsThe device paradigm—technology as pattern, not neutral toolA hammer's telos, and why misuse cuts against a tool's designMade things have a maker—intentions baked into what we buildThe inevitability argument—get on board or get run overResistance is futile? The Borg, Cannes, and defeatismProgress as reversion—tobacco bans, ocean dumping, processed-food rollbacksFamily Guy, satire, and pulling tech ethics out of the esotericThe class and income divide the internet promised to eraseOnline radicalization vs the promise of mass educationChildren as the guinea pigs of early adoptionChromebooks, daycares, and offloading discomfort onto kidsTesting tech on the vulnerable—Jonathan Haidt on teen mental healthSocial media vs attention media—commodifying human focusThe plug-in drug—parents, screens, and pacified kidsFocused attention and the feeling of being fully aliveConnection, efficiency, freedom—goods we stopped questioningDunbar's number and the real limits of friendshipOnline ties without public accountability, and bad formationEmbodiment, particularity, and getting back to the rough groundWendell Berry's Hannah Coulter and attention that lasts: https://www.counterpointpress.com/books/hannah-coulter/Skepticism of individual fixes—structure, policy, and churchElementary-school parenting and “the bevy of required apps”#WiredForWonder #AaronClineHanbury #ForTheLifeOfTheWorld #TechnologyAndFaith #AttentionMedia #DigitalMinimalism #ChristianEthics #AIandHumanity #DeviceParadigmProduction NotesThis podcast featured Aaron Cline HanburyEdited and Produced by Evan RosaProduction Assistance by Noah SenthilA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

This week we are covering Ari Aster's most recent panic attack film, "Eddington." We cover the writing of this film early in Aster's career, as well as the re-writing of the film in May of 2020. After covering the pre-production, we talk about the shoot in New Mexico and the release of the film at the Cannes film festival. We then dive into the intricate plot and describe everything we love about this film. After that, we each pair the film with another for a pair of double bills.Thank you so much for listening!Support us at Patreon at https://www.patreon.com/DoubleBillChillCreated by Spike Alkire & Jake KelleyTheme Song by Breck McGoughFollow us on Instagram: @DoubleBillChillLetterboxd: FartsDomino44

In this Cannes special episode of Future Proof, Jeff Herman, EVP of Tech & Telco at Kantar, is joined by Menaka Gopinath, Chief Marketing Officer at the Project Management Institute (PMI), to explore what success looks like in an era of constant transformation. Drawing on PMI's latest research, they discuss why delivering value matters more than simply being on time and on budget, how organisations can bridge the gap between strategy and execution, and why uniquely human skills such as curiosity, empathy and critical thinking are becoming even more important in an AI-driven world Hosted on Acast. See acast.com/privacy for more information.

As Derek takes a week off from the pod, Jeff and Amir return to the eerie world of Jane Schoenbrun with a review of their latest film: Teenage Sex and Death at Camp Miasma. A Cannes darling that won the Queer Palm at the 2026 festival, Schoenbrun's latest explores the slasher genre, our relationship with horror, and the foundations of human sexual desire. A clap back against the academic distance we put between ourselves and a base enjoyment of guilty pleasure cinema, Camp Miasma dares to say: "If it gets to real you can always turn It off,"

When people think sun destinations, Morocco is not likely a place that comes to mind. Unless it's deserts, camels and sunsets (which are well worth experiencing. A sunrise in Merzouga Desert is incomparable). But Morocco is in fact becoming a beach destination to rival the Cancuns and Cannes of the world. You'll see what we mean when you watch this episode!The best part about it? Solid infrastructure and luxury standards, but without the massive crowds. These are some of the best beaches in the world, with miles of open sand and warm water. The surf is impressive enough to attract international surfing competitions. But you won't be jostling for lounge chairs at 7 am, or fighting through crowds to stake out a small patch on the beach. What you will find are five star resorts with top notch service and stunning food, all in walking distance. These are some of the great pitches you can make to your clients, friends or family: anyone who you want to convince to go to Morocco. The time is now! Be one of the first to say, “I was there before it was discovered by the rest of the world!”Destinations Morocco helps you put together smart, intuitive itineraries that suit your clients needs and priorities. Visit us at http://destinationsmorocco.com/ to learn more, and book a free discovery call. Learn more about Azdean and Destination Morocco.

French prosecutors said their investigation into Jeffrey Epstein's network had identified additional people who may have acted as recruiters, expanding the inquiry beyond the figures already publicly associated with him. Paris prosecutor Laure Beccuau described the network as “labyrinthine” and said investigators were following dozens of different leads, including connections stretching from New York to Saint-Tropez and Cannes. The investigation was opened after the U.S. Justice Department released a new cache of Epstein files in January, and French authorities said they had now identified 26 potential victims, including 13 who had not previously appeared in any case. Eight of those women still had to be interviewed, in part because some were living outside France.The development came after French modeling scout Daniel Siad, who had been accused of helping Epstein traffic women, was found dead at his home in July before investigators could question him. France had already examined figures from the modeling industry tied to Epstein, including Jean-Luc Brunel, who was arrested in 2020 on allegations involving rape of minors and trafficking for sexual exploitation before dying in jail in 2022. Authorities had also previously investigated former Elite modeling executive Gerald Marie, though that case was dropped because the statute of limitations had expired; Marie denied wrongdoing and said he had met Epstein only once. The new probe suggested French prosecutors were no longer treating Epstein's French connections as a closed chapter, but were instead trying to identify the people who may have helped recruit women into his orbit and reconstruct how that network operated across borders.to contact me:bobbycapucci@protonmail.comsource:France's Epstein probe identifies 'potential recruiters' | Courthouse News Service

Is Na Hong-jin's HOPE the Creature Feature We've Been Waiting For? (Spoiler-Free Review)Watch Skip Plus has seen Na Hong-jin's HOPE....and it is an INSANE, BREATHLESSLY-PACED CREATURE FEATURE! Joined by returning guest Shawn (launching his own horror/grindhouse podcast later this month - The Rot & Reels podcast with veteran podcaster Mike Cadaver), the three introduce you to maverick Korean director Na Hong-Jin and his incredible films before giving you their spoiler-free thoughts on this sci-fi/action/comedy, THREE years in the making and nearly TEN years since his last film (The Wailing). HOPE debuted in competition at Cannes and drops audiences into a remote harbor town under siege by something never-before-seen in a nearly three hour genre-blend film that references film noir, Kaiju epics, Independence Day, Raiders of the Lost Ark, and even Mad Max. BUT the internet is awash with divisive CGI talk and an ending that FLAMED many viewers. Is this the defining sci-fi, rambunctiously wild thriller of the year? Come back for our SPOILER'D episode when we reveal ALL the film's secrets and that ending! - - - - - - - - - -WE ARE WATCH SKIP PLUS!***Original Theme music: Linus Fitness-Center (click the link in our bio for more information on LFC)FOLLOW/LIKE/SUBSCRIBE/REVIEW/LOVEEmail us: WatchSkipPlus@gmail.comBe kind. Be open. Be vulnerable. That's where the art is.───────────────────────────────SOCIAL MEDIA: FB: https://www.facebook.com/watchskippluspodIG: https://www.instagram.com/watchskipplus/X: https://twitter.com/watchskipplusCHECK OUT THESE PODCASTS! 

French prosecutors said their investigation into Jeffrey Epstein's network had identified additional people who may have acted as recruiters, expanding the inquiry beyond the figures already publicly associated with him. Paris prosecutor Laure Beccuau described the network as “labyrinthine” and said investigators were following dozens of different leads, including connections stretching from New York to Saint-Tropez and Cannes. The investigation was opened after the U.S. Justice Department released a new cache of Epstein files in January, and French authorities said they had now identified 26 potential victims, including 13 who had not previously appeared in any case. Eight of those women still had to be interviewed, in part because some were living outside France.The development came after French modeling scout Daniel Siad, who had been accused of helping Epstein traffic women, was found dead at his home in July before investigators could question him. France had already examined figures from the modeling industry tied to Epstein, including Jean-Luc Brunel, who was arrested in 2020 on allegations involving rape of minors and trafficking for sexual exploitation before dying in jail in 2022. Authorities had also previously investigated former Elite modeling executive Gerald Marie, though that case was dropped because the statute of limitations had expired; Marie denied wrongdoing and said he had met Epstein only once. The new probe suggested French prosecutors were no longer treating Epstein's French connections as a closed chapter, but were instead trying to identify the people who may have helped recruit women into his orbit and reconstruct how that network operated across borders.to contact me:bobbycapucci@protonmail.comsource:France's Epstein probe identifies 'potential recruiters' | Courthouse News ServiceBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-moscow-murders-and-more--5852883/support.

A few years ago I was lucky enough to cross paths with Wagner Moura. He was on the eve of releasing his film '​Sergio​' after a long run playing Pablo Escobar in the hit series '​Narcos​.' Since then I've watched as his acting career has channeled upwards and onwards into feature roles in '​Civil War​', '​Dope Thief​', and his star turn in '​The Secret Agent​' where he won 'Best Actor' at both the Golden Globes and Cannes and was nominated for 'Best Actor' at the Oscars. Over the years Wag ("Vag") has become a dear friend. He's a massive heart, a fellow "boy dad", and he and his wife San live life with such a deep passion for humanity, always fighting for causes, and endlessly following their dreams. I have been inspired watching him and learning from him and in this chat I think you'll get a taste for the massive beauty that lies inside. In this chat we discuss the hinterlands of Brazil, how we stand up for what we believe in, creating art in times of crisis, and, of course, the incredible Wagner Moura's 3 most formative books. Let's flip back to Chapter 52 now....

French prosecutors said their investigation into Jeffrey Epstein's network had identified additional people who may have acted as recruiters, expanding the inquiry beyond the figures already publicly associated with him. Paris prosecutor Laure Beccuau described the network as “labyrinthine” and said investigators were following dozens of different leads, including connections stretching from New York to Saint-Tropez and Cannes. The investigation was opened after the U.S. Justice Department released a new cache of Epstein files in January, and French authorities said they had now identified 26 potential victims, including 13 who had not previously appeared in any case. Eight of those women still had to be interviewed, in part because some were living outside France.The development came after French modeling scout Daniel Siad, who had been accused of helping Epstein traffic women, was found dead at his home in July before investigators could question him. France had already examined figures from the modeling industry tied to Epstein, including Jean-Luc Brunel, who was arrested in 2020 on allegations involving rape of minors and trafficking for sexual exploitation before dying in jail in 2022. Authorities had also previously investigated former Elite modeling executive Gerald Marie, though that case was dropped because the statute of limitations had expired; Marie denied wrongdoing and said he had met Epstein only once. The new probe suggested French prosecutors were no longer treating Epstein's French connections as a closed chapter, but were instead trying to identify the people who may have helped recruit women into his orbit and reconstruct how that network operated across borders.to contact me:bobbycapucci@protonmail.comsource:France's Epstein probe identifies 'potential recruiters' | Courthouse News ServiceBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

Send us Fan MailIn the seventh and final episode of our special series recorded live at Datacloud Global Congress 2026 in Cannes, Inside Data Centre brings you a special recording of a Data Centre Marketing Club panel. Hosted by Rory Flashman, Managing Director of Spa Communications and co-founder of the Data Centre Marketing Club, the discussion brings together marketing and communications leaders from across the data centre industry to explore how the sector can tell its story more clearly, engage communities more effectively and build stronger brands. Joining the conversation: Anne Katrine Vestergaard Jensen, VP of Marketing, Vern Andy Davis, Co-Founder, Data Centre Marketing Club Nicola Allen, Marketing Director, Techoraco Agnese Barazza, Senior Marketing and Communications Manager, GARBE Data Centers Together, the panel discusses why community engagement has become one of the most important topics in the data centre industry, and why operators, developers, suppliers and communications teams need to work together to improve public understanding of the sector. The conversation explores how the industry can move beyond talking to itself, listen more closely to local communities and explain the value of data centres in a clearer, more human way. The panel also looks at the importance of brand differentiation, employer branding, talent attraction and the role of events such as Datacloud in bringing the right people together to share best practice. From tackling misinformation and improving media engagement to moving away from defensive messaging and telling more honest, accessible stories, this episode highlights the important role marketers and communicators will play in shaping the future reputation of the data centre industry. Recorded live at Datacloud Global Congress 2026 in Cannes. Key Topics: Why community engagement has become a critical issue for data centre development How the industry can work together to tell a more joined-up story Why data centres need to stop talking only to themselves The role of listening in building trust with local communities How events can bring marketers, operators, investors, policymakers and suppliers together Why brand differentiation matters in a fast-growing and increasingly crowded market How Vern approached its rebrand around natural intelligence and renewable power How GARBE Data Centers is evolving its story for AI inference and urban data centre development Why employer branding needs to be treated as its own strategic priority How personal branding can help attract talent and build trust Why Datacloud's talent programme is helping bring new people into the industry How the sector can improve its reputation by being more open, honest and less defensive Why marketers should be curious, collaborate more and take the industry story outside the data centre community Tune in for a thoughtful final conversation from Cannes on how the data centre industry can improve its storytelling, build stronger trust with communities and help more people understand the critical role digital infrastructure plays in modern life. Support the showThe Inside Data Centre Podcast is recorded in partnership with DataX Connect, a specialist data centre recruitment company based in the UK. They operate on a global scale to place passionate individuals at the heart of leading data centre companies.To learn more about Andy Davis and the rest of the DataX team, click here: DataX Connect

In the latest episode of Scratch, Nick Tran, President and CMO of First Round, breaks down what culture actually looks like when people put their phones down, why brands are over-indexing on micro-cultures, and what it takes to create work that cuts through the sea of sameness.From building Cîroc Athletic Club into a media and events platform to rethinking the traditional conference format at Cannes, Tran shares how brands can respond to changing social behaviors by creating spaces people genuinely want to be part of.We get into:→ Why culture is really about the “campfire conversations” happening off-screen→ Why the next big opportunity might be moving from micro-culture back to macro-cultural moments→ How Cîroc Athletic Club turned changing drinking habits into a 20M+ monthly-view media ecosystem→ Why the best experiential marketing gives people space to play, connect, and surprise each other→ What the “30 moons” approach to AI means for creativity, taste, and human judgment→ Why brands should stop worrying about who did an idea first and focus on who does it best→ Why intimate, practitioner-led conversations are replacing the traditional marketing conferenceThe key takeaways:Culture happens around the campfire — Culture isn't just music, sport, fashion, or whatever is trending on your feed. It's the conversations people have when the screens go away. That's where brands should be looking for cultural insight.Micro-culture isn't the only answer — The industry has spent years fragmenting audiences into increasingly niche communities. When everyone is doing the same thing, going bigger can be the more distinctive move.AI needs a human with taste — The first AI output is rarely the best one. Tran's “30 moons” principle is about pushing through iteration after iteration until you find something genuinely distinctive. AI can generate. Humans still need to know what's great.Socializing is changing — Younger consumers aren't necessarily going out just to drink. Active leisure like pickleball, tennis, and golf is becoming the reason to gather, with alcohol playing a secondary role. Brands need to build around the behavior, not force the old one.Build platforms, not campaigns — Cîroc Athletic Club turned a cultural shift into an ongoing media and events ecosystem, taking organic social views from 100,000 to more than 20 million a month.Kill the grind — At Cannes, First Round deliberately removed the panels, packed schedules, and endless meetings. Leisure created the conditions for the conversations and connections everyone was actually there for.Execution beats originality — Consumers don't care who technically did something first. They care about who did it best. Fear of being derivative shouldn't stop brands from executing a good idea brilliantly.The conference needs a rethink — Senior marketers don't necessarily need another panel. They need access to people who have actually done the work, in environments where genuine conversation can happen.Watch the video version of this podcast on Youtube ▶️: https://youtu.be/najVJ8Fd9lg Scratch is a production of Rival, a marketing innovation consultancy. Scratch is hosted by Eric Fulwiler, and he's joined by Nick Tran of First Round in this episode.Find Rival: wearerival.com | LinkedInFind Eric: LinkedInFind Nick: LinkedInSay hi: media@wearerival.com Rival is a marketing consultancy for brands that want to challenge convention in their category. We're on a mission to understand what challenger brands do differently to grow in categories that are being disrupted, and use a challenger playbook to deliver outsized impact through an integrated, tech-enabled approach. Past guests include CMOs from Mastercard, GE, Shell, Hyperloop, Adobe, PepsiCo, and Papa Johns.

The 2026 Telluride Film Festival has concluded. Unfortunately, Will Mavity had to leave early, and J Don Birnam wasn't staying with us again this year, so it was just Daniel Howat and me as we take you through all of the movies we saw over the Labor Day weekend. From world premieres such as "The Debut," "Elsinore," "Tender Loving Care," and "The Liberation," to the secret screening of "You Can See Everything," to Sundance and Cannes favorites such as "Fjord," "La Bola Negra," "Club Kid," "Once Upon A Time In Harlem," to Venice crossovers such as "Wild Horse Nine," "Ink," and "Bucking Fastard" and more, we've got you covered. We hope you enjoy our recap. Thank you! https://youtu.be/JUnBFexwmz8 Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Pablo Guisa es fundador de Grupo Mórbido y creador del Fantastic Pavilion, el espacio dedicado al cine fantástico y de terror dentro del Marché du Film del Festival de Cannes. En este episodio hablamos de cómo Pablo ha aprendido a manejar su identidad como “el raro” dentro de espacios corporativos y de cómo convirtió una negociación complicada en Cannes en una oportunidad para hacer realidad el Fantastic Pavilion, el pabellón más grande de todo el festival. Hosted on Acast. See acast.com/privacy for more information.