Podcasts about Cannes

Paul Jelinek, chief business officer at EX.CO ( https://EX.CO ), joined me in Cannes for TRB Conversations, powered by EX.CO ( https://EX.CO ), to lay out why CTV programmatic advertising is still in its early days — and why that's about to change fast...

Jane Schoenbrun's latest film is an innovative Horror Comedy, an incisive commentary on the slasher genre and a showcase for Hanna Einbinder and Gillian Anderson. It's already one of our favorite films of the year, and this is our film study episode. NON-SPOILER REVIEW OF CAMP MIASMA: Production Profile, Cannes & Early Reception Scores - 3:46 Our issues with modern day platform releases - 4:32 The Premise & Non-Spoiler Script Thoughts - 12:45 Performance Reviews - 17:10 Production Values featuring some of our favorite music in film this year - 20:53 Our Oscar Lens, including Gothams & Spirits talk - 28:31 Spoiler Warning - 32:59 SPOILER REVIEW OF TEENAGE SEX & DEATH AT CAMP MIASMA: A joyous film about sex - 34:02 Meta, requel, and allegory takes - 39:52 The Russian Doll of it all - 41:53 Analyzing the title - 47:40 Profound casting - 48:34 That Oner - 49:26 More Best Scenes re: Slasher Genre & The Candy - 52:53 A few nitpicks - 57:25 Final Thoughts & Grades - 58:47 OUTRO: We've just launched our YouTube channel. So please subscribe and like our videos. There's already a first video posted, plus you can listen to a selection of our podcasts, and we will be posting many more exclusive videos in the near future as well as live webcasts and video versions of our podcast. https://www.youtube.com/@MikeMikeandOscar And here's our linktree: https://linktr.ee/mikemikeandoscar

Katey and Chris Rosen are joined by Tyler Coates to look at what's ahead for A24 and Neon this Oscar season, including a slew of Cannes hits and a practically guaranteed best actress frontrunner. Then Katey talks to Noah Wyle, who is nominated for three Emmys for his work on The Pitt and says he relishes having what might feel like way too many jobs for anyone else. 00:00 Intro 01:16 Neon Vs. A24: Fall Preview 03:00 Who's Having The Better Year? 05:09 The Drama And Zendaya's Shot 08:17 The Invite: Olivia Wilde's Play 11:45 Banderas And 'Tony' 13:12 A24's Fall Slate: The Debut 16:01 A24's Misty Green 19:59 Primetime And The Venice Factor 22:38 Can Pattinson Win Best Actor? 28:26 Club Kid's Crowd-Pleaser Ceiling 31:34 Neon's Cannes Pile-Up 32:47 Paper Tiger And James Gray 36:08 Fjord: The Palme Winner 41:16 Artificial: The Movie Nobody Wanted 44:33 Heading To Tiff! 45:12 Next: Noah Wyle 46:45 The Pitt Cast Family Reunion 48:13 A Young Ensemble 50:03 Wearing Many Hats 51:29 Acting As A Vacation 54:30 How He Fell Into Directing 56:33 Directing While Playing The Lead 59:21 What Changed In Season Two 01:01:19 Hunters Vs. Gatherers 01:03:34 The Hardest Show To Write 01:05:27 Why 48 Minutes Is The Rule 01:09:01 The Helmet Decision 01:10:52 Emmy Snubs And Unsung Heroes ⁠⁠⁠⁠Subscribe today⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to Prestige Junkie After Party bonus episodes. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to the Prestige Junkie newsletter.  Follow Katey on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow The Ankler. 

What happens when a life of travel begins with a modelling trip to Acapulco at 16 and goes on to include touring the world with The Rolling Stones, climbing to 17,000ft in Tibet and even spotting a UFO in Brazil? This week, Tanya is joined by Jo Wood, model, entrepreneur, writer and founder of Jo Wood Organics, whose extraordinary life has taken her all over the world. Jo started travelling as a teenage model, but when she met Ronnie Wood at 22, she began joining him on tour and, as she tells Tanya, thinks she has now been to “most places in the world.”  In this episode, Jo shares: Why Japan is the one country Jo thinks everyone should visit Touring Japan with The Rolling Stones and seeing how dramatically the country changed between visits Why Buenos Aires completely surprised her, and arriving there with The Rolling Stones to scenes she describes as “Beatlemania” Spending a month travelling through Tibet with Sadhguru and climbing to 17,000ft at Mount Kailash The night Jo and Ronnie saw what she describes as a “proper UFO” while on holiday in Brazil and her other unexplained sightings while travelling in South America and Zanzibar Taking her own home-grown organic potatoes to Paris while on tour The restaurant hidden in the Spanish mountains that she recommends Her travels through India, from Kerala and Goa to Mumbai and Rajasthan Why she loves Zanzibar and keeps going back The Seychelles trip and photograph that sums up travel for her Her favourite restaurants and what she always takes with her when she travels From rock 'n' roll tours to remote pilgrimages, this is a life very well travelled. Subscribe to Travel Secrets for a new episode every week, as Tanya asks her guests to reveal their six travel secrets and the holidays and adventures that surround them. And remember: this podcast might not change your life, but it might just change your plans. Chapters: 01:20 How has travel impacted the person you've become? 05:44 What's the one destination everyone should visit once in their lifetime? 08:38 What's your most unexpected travel experience? 10:52 What's your most overrated or underrated destination? 20:36 What and where do you love to eat and drink when you travel? 24:39 What's your top travel tip? 27:58 What's your most poignant travel memory? 31:51 What photograph sums up travel for you? 34:33 Where are you going next? Places mentioned Japan and Mount Fuji Buenos Aires, Argentina Tibet, Lake Manasarovar and Mount Kailash Nepal Brazil, including Recife and São Paulo Zanzibar, Tanzania The Seychelles Egypt India, including Coimbatore, Kerala, Goa, Mumbai and Rajasthan Acapulco, Mexico Paris and Cannes, France Tenerife and mainland Spain Los Angeles and Miami, USA London

The Learning Leader Show with Ryan Hawk www.LearningLeader.com The Price of Becoming is a USA Today, LA Times, and Publishers Weekly Best-Seller! www.LearningLeader.com/Becoming This is brought to you by Insight Global. If you need to hire one person, hire a team of people, or transform your business through Talent or Technical Services, Insight Global's team of 30,000 people around the world has the hustle and grit to deliver. Blake Mycoskie founded TOMS Shoes in 2006 after a trip to Argentina, where he saw children without shoes and built a company around giving away a pair for every pair sold. TOMS went on to donate more than 100 million pairs of shoes and became one of the most copied business models in the world. What most people don't know is what happened after he sold it, and I'm grateful that he was open to talking about that on this episode of The Learning Leader Show. Key Learnings Make your gratitude specific. Not "I'm grateful for my family." Name the exact thing. Blake's example from that morning: the photos the camp posted of his daughter laughing in the lake, and knowing his stoic kid does not smile like that unless she is genuinely happy. He kept the practice going for five years when he couldn't feel any of it. Blake could not name five things he was grateful for, and he had all the same things in his life he has now. He did it anyway. He credits it as one of the things that kept him going. Surfing is a great thinking practice. Surfing is mostly just sitting on the board. Three hours in the water, ten waves, maybe five minutes standing. The rest is paddling and sitting. That's why it works as a thinking practice. Capture the idea in the moment or lose it. Blake programmed the side button on his Apple Watch to open a voice memo. Every idea he has sitting on the board, he records. They're all waiting when he gets out. He hit every marker and still felt worthless. "I did everything, and I still, deep down in my soul, had this feeling like I'm not worthy, I'm not enough, and I never will be." The external validation was the drug. Selling TOMS cut off the supply. The thing that had been holding up his sense of self was suddenly gone. If you get there and it's empty, don't panic. Panicking is what Blake did, and having money meant he could make expensive mistakes fast. Build the dream house. Get divorced. One thing after another. The emptiness may be the point. Blake's read on it: if achievement delivered what society promises, you'd never go inward. Feeling hollow at the summit is what forces the inner work. He re-patterned the sentence he'd been telling himself since childhood. The old one was "you're not enough." He replaced it with "I am enough. I've always been enough." Twenty minutes every morning and every evening. Forty straight days. It worked, and he no longer needs to do it daily. Sometimes you just need a physical cue to catch the loop. That's the whole idea behind the bracelet he wears. Not magic. A reminder on your wrist that interrupts the thought. Give the second one away. Blake found the bracelet's real power was handing one to a friend. Now you're both wearing it, you're both in on it, and there's an unspoken agreement that neither of you has to have a bad day alone. Men are worse at building that than women are. Tell your kids they're enough, and keep telling them. They're going to get the opposite message from everywhere else, which is exactly why it has to come from you repeatedly. Blake says the relaxation you'll see in them is immediate. Be brutally honest about how hard the job is. Try to talk them out of it. Blake is the last interview in the process now. If he can lay out every negative and they still desperately want it, the commitment is real. "How many people did you convince not to take the role before you got the right person?" Most leaders slip into sales mode, talk the candidate into it, and end up talking themselves into the candidate. What he screens for during the interview process: Integrity first. If it isn't there, it surfaces fast now. Attitude second. The person who never says "that's not my job." Whether they're building a resume or joining a movement. Find the people who cover what you're bad at. Blake is a storyteller, a vision-sharer, and high energy. He is not a supply chain guy, not a finance guy, and he has trouble saying no. So he hired around it. That's what let him actually be the chief shoe giver instead of pretending to be a CEO. Don't wait for permission. Most people stand in line at the front door. Blake looks for side doors. In Argentina he had no investors and no plan, just an idea and the words One For One. Ryan's version for his kids: everyone can apply online. Drive to the restaurant and go talk to the manager instead. Having no experience was the advantage. He'd never made a shoe, so he didn't know which rules he was breaking. Same with outdoor advertising. Same with driver's ed. He learned it from Richard Branson: ask forgiveness, not permission. Nashville wouldn't allow advertising, so he sold art instead. Blake spent two years with the city council and got there by removing the ad from the ad. No price, no call to action. Just album covers on the sides of buildings, called country music art. Once one artist had one, they all wanted one. He sold the company to Clear Channel. You don't attract what you want. You attract what you are. Want honest friends, be honest. Want peace at home, bring peace. Want trust, practice it when nobody's watching. Blake applies it to customers too: sloppy companies attract sloppy customers, and that's usually the real reason the business fails. Charlie Munger got asked how to get a great wife. He said: deserve one. Be known for doing what you said you'd do. Early on Blake didn't have the skills, so he built the reputation on execution instead. Move fast, keep it simple, do it with integrity. Momentum is a form of trust. The other half of that is not overpromising. Blake's own failure mode is getting excited, feeling falsely confident, promising something big, and missing. When it happens, own it fast and be honest, and the relationship usually survives. Be careful using a general-purpose chatbot as a therapist. Blake's warning, and the reason the founders of Sonia built a purpose-built tool instead: the big consumer models are designed to make you feel good about yourself. If you need to hear something hard, that's the last thing you want. He went from skeptic to advisor in six months. Blake met the Sonia founders at a mental health conference, tried the app to be polite, and by the third session was getting insights he hadn't gotten elsewhere. He now spends five to ten hours a week helping them. His reason for loving the work: "Now I get to be the coach instead of the athlete." Stop chasing balance. Design for harmony. Blake picked this up from an executive at Cannes who said she'd given up on balance. He goes hard in phases. Full dad mode with the office waiting on emails. Then all in on a launch and missing things at home. The measure isn't evenly split day to day. It's whether, over a year, everyone in his life feels like they got what they needed to thrive. Including him. Reflection Questions What did you actually feel grateful for today? Not the category. The specific moment. What is the sentence you've been repeating to yourself since childhood, and is it true? In your last hire, how hard did you try to talk them out of it? Or did you spend the interview selling them, and then sell yourself? More Learning #598: Sam Parr - Bold. Fast. Fun. Living by a Mantra & Building a Media Company #547: Dr. Michael Gervais - Stop Worrying About What Other People Think of You #676: Jesse Cole - Built for The Fans (The Owner of the Savannah Bananas)  Episode Chapters 00:00 Meet Blake Mycoskie 01:38 Surfing is Great for Deep Thinking 03:41 Make Your Gratitude Specific 05:39 Blake Sold TOMS and Fell Apart 11:20 Advice for Those to "Make It" and Feel Nothing 13:23 "I Am Enough" and the Bracelet on His Wrist 17:35 The No Magic Pill 19:41 The Risk of Chatbot Therapy 22:42 A Surgeon Dad, a Bestselling Mom, and the Pressure Nobody Said Out Loud 25:13 Telling Your Kids They're Enough 31:31 How He Got Country Music Art on the Side of Buildings 35:15 Learning to Be Proud of TOMS Again 38:49 Hiring Around Your Weaknesses 41:25 Try to Talk Them Out of the Job 45:07 You Don't Attract What You Want. You Attract What You Are. 46:54 Don't Wait for Permission 48:34 Be Known for Doing What You Said You'd Do 50:02 The Champagne Question: Harmony, Not Balance 52:28 EOPC

Première diffusion de cet épisode le 16 mai 2026Il y a quatre mois, plus de cent auteurs en France ont massivement décidé de se révolter contre leur maison d'édition, Grasset, en annonçant leur départ en bloc, au nom de la défense de la liberté d'expression. Ils sont désormais près de 250. Un tel mouvement ne s'était jamais produit, ni en France ni à l'étranger. Il intervient après l'annonce du remplacement du PDG de Grasset, Olivier Nora par Jean-Christophe Thiery membre de la direction d'Hachette Livre – un groupe dont l'entrepreneur très conservateur Vincent Bolloré est le premier actionnaire. Ce mouvement n'est pas anodin à un an de la présidentielle en France d'autant que Vincent Bolloré est accusé par ses détracteurs d'avoir bâti un empire médiatique au service d'idées d'extrême droite. Et ce séisme s'accompagne de répliques. Depuis, des auteurs étrangers ont également décidé de quitter Grasset, et à la veille de l'ouverture du festival de Cannes, 600 professionnels du cinéma ont signé une tribune évoquant leur crainte après l'arrivée de Canal+, autre groupe dans le giron de Vincent Bolloré, au capital d'UGC, le réseau de salles de cinéma. Pour en comprendre les ressorts, nous vous proposons de nous suivre à la rencontre notamment des auteurs Jean-Yves Mollier et Colombe Schneck, deux protagonistes de cette histoire.Réalisation : Michaëla Cancela-KiefferUn sujet préparé avec les journalistes du service numérique et culture de l'AFP Jerôme Rivet et Jérémy TordjmanMusique : Michaël LiotArchives sonores : AFPTV, AFP AudioIntervenants :Jean-Yves Mollier, historien et publié pendant plus de 30 ans chez FayardColombe Schneck: romancière et réalisatrice, publiée chez Fayard et StockIsabelle Wekstein-Steg, avocateLa Semaine sur le fil est le podcast hebdomadaire de l'AFP. Vous avez des commentaires ? Ecrivez-nous à podcast@afp.com. Si vous aimez, abonnez-vous, parlez de nous autour de vous et laissez-nous plein d'étoiles sur votre plateforme de podcasts préférée pour mieux faire connaître notre programme. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Cannes-winning actor/filmmaker Riley Keough (THE GIRLFRIEND EXPERIENCE) is no stranger to the worlds of wealth or fashion, and in the bloody, bawdy new satire ROSEBUSH PRUNING, she inhabits a larger-than-life character who is way too into both. Keough tells Rico what drew her to director Karim Aïnouz's weird-wave black comedy, and about finding love on the infamously intense set of MAD MAX: FURY ROAD. ROSEBUSH PRUNING is streaming exclusively on MUBI from August 21 almost globally. To stream some of the films we've covered on the podcast, check out the collection Featured on the MUBI Podcast. Availability of films varies depending on your country.MUBI is a global streaming service, production company and film distributor dedicated to elevating great cinema. MUBI makes, acquires, curates, and champions extraordinary films, connecting them to audiences all over the world. A place to discover ambitious new films and singular voices, from iconic directors to emerging auteurs. Each carefully chosen by MUBI's curators.

Welcome to episode 346 of the Löw Tide Böyz - A Swimrun Podcast! This week we welcome Jen Schnell, a Bay Area swimrunner and designer who came into the sport from eight years of competitive triathlon. Jen first heard about swimrun on the Rich Roll Podcast, carved out space to try it, and got hooked right away with a solo race at Folsom. From there she raced Whistler solo, found her first partner in Kayla Kobelin at Austin, and this year has raced her way into the Ötillö Elite Program through the wild card process, competing at Orcas Island, Engadin, and Casco Bay with a different partner at every start. We talk through how her coach restructured her training to add paddle strength and swim volume while pulling work out of her bike sessions, the mechanics of tethering and the swim slingshot move, and what she has learned about compatibility and shared goals from racing with a new partner each time out. Jen also shares what surprised her about the vibe at Engadin compared to racing in the States, including the staggered women's start and just how established the sport feels in Europe. Jen is sitting out Ötillö this year to focus on the Elite Series final in Cannes, with her sights already set on Worlds in 2027. We also catch up on our own final prep before Sweden, our fika meetup plans, and the limited edition stickers we will have on hand. Enjoy! That's it for this week's show. If you are enjoying the Löw Tide Böyz, be sure to subscribe to the show on your favorite podcast player and leave us a five-star rating and review since that's the best way for people to discover the show and the sport of Swimrun. You can find us on Apple Podcasts, Spotify, and on YouTube. Check out our website for Swimrun resources including gear guides, tips, how-to videos and so much more. Also make sure to check out our meme page @thelowtideboyz on Instagram. If you have any suggestions for the show or questions for us, send us a dm or an email at lowtideboyz@gmail.com. Finally, you can support our efforts on Patreon...if you feel so inclined. Thanks for listening and see you out there! Chip and Chris

Per Sendall, co-head of ads at Spotify, joins Brian Morrissey in Cannes for TRB Conversations, powered by EX.CO ( https://EX.CO ), to break down how AI agents are already changing the way Spotify builds and sells advertising.Sendall explains why "the v...

Writer-director Tim Riedel joins Mike for Ancestral Beasts (2026), a Red River Métis horror feature in which Elyse (Morgan Holmstrom) retreats to a remote family cabin after her mother's death and finds something in the woods that feeds on everything she won't face.Riedel traces the film back to his mother's Sixties Scoop childhood and her later borderline personality disorder diagnosis — the creature he grew up sensing in the shadows — then through a documentary career, a shoestring proof of concept that landed at Frontières during Cannes, and a 20-day Manitoba shoot with a largely Indigenous cast and crew that a blizzard couldn't stop. He also talks about making horror in the woods as a kid with DP Joey Forte, telling 70% of a story so the audience can author the rest, and bracing for Fantasia's meowing crowd. Is the monster ancestral, or inherited?Find out more at https://www.michifkoonteur.com/ Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth--5513239/support.Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth 

On today's episode of The Therapy Crouch, Abbey and Peter are joined by one of Abbey's oldest and closest friends, Liberty, for an episode packed with stories from their years of friendship, celebrity encounters and more than a few questionable decisions.Liberty reveals how she first met Abbey during her modelling days and recalls being caught in the middle of one of Abbey and Pete's biggest arguments just before the birth of Jack – including the moment Abbey decided Pete was no longer invited to the hospital!We also hear the incredible story of how Liberty and her husband discovered a young Ed Sheeran, who promptly moved onto their sofa and seemingly refused to leave, as well as Liberty's years styling some of his biggest music videos. And if that wasn't enough name-dropping, Liberty reveals the extraordinary encounter at a Cannes party that left her being told she was “too ugly” to be in the presence of Leonardo DiCaprio – and how she got her revenge years later.Abbey and Liberty also look back at their wildest nights together, including a missing Range Rover, a £4,000 bottle of wine and plenty of stories Pete probably wishes he'd never heard.Elsewhere, Liberty reveals the fitness change that completely transformed her body, shares her cooking and wine knowledge, talks about meeting Chris Hemsworth and introduces us to her seven rescue dogs – including the Belgian Malinois who decided to eat part of her Aston Martin.And in the Agony Abs, the gang tackle a listener worried that she looks nothing like her husband's “type”, debate their ultimate celebrity hall passes and hear from a woman whose newly single mum appears to be getting a little too comfortable with her husband.If you want to submit an Agony Ab to the podcast - hit the link below https://docs.google.com/forms/d/1rAKDST4HU_8al_aWpOlys3TRJrWvDV-84piVdlOOjU4/edit00:00 Introduction 01:24 How Abbey & Liberty Became Best Friends 02:25 Abbey Bans Pete From Jack's Birth 04:58 Liberty Takes On A Barrister 06:03 Owning A Restaurant With Ed Sheeran 06:46 Pete's Hot Air Balloon Disaster 08:47 How Liberty Discovered Ed Sheeran 11:10 Styling Ed & Celebrity Stories 13:05 Liberty's Leonardo DiCaprio Story 14:48 Getting Older & Feeling Invisible 16:33 Wine, Sommeliers & A £4,000 Mistake 19:33 Abbey's Missing Range Rover 21:36 Liberty's Fitness Transformation 23:31 Liberty's Cooking Secrets 26:53 Meeting Chris Hemsworth 29:47 Liberty's Seven Rescue Dogs 35:36 Agony Abs: My Husband Has A Type 38:40 Abbey & Liberty Talk Hall Passes 39:03 Agony Abs: My Mum Wants My Husband?! 41:24 Nashville Plans & Part TwoTo contact us: Email: thetherapycrouch@gmail.com Instagram: https://www.instagram.com/thetherapycrouchpodcast/ TikTok: https://www.tiktok.com/@thetherapycrouch Website: https://thetherapycrouch.com/For more from Peter https://twitter.com/petercrouchFor more from Abbey https://www.instagram.com/abbeyclancyOur clips channel https://www.youtube.com/channel/UCZntcv96YhN8IvMAKsz4Dbg Hosted on Acast. See acast.com/privacy for more information.

Kyle Buchanan joins Katey and Chris Rosen to look at what the major streamers have in store for this year's Oscar race, how Amazon MGM is equipped to push a major contender like Project Hail Mary, and why Kyle has been so high on Netfilx's La Bola Negra ever since its Cannes premiere. Then Katey talks to David Harbour about the years he spent trying to get DTF: St. Louis into production, what he learned about the business in the process, and how it felt to dance in his underwear in front of the same Atlanta crew that had seen him fight creatures as the heroic Hopper on Stranger Things. 00:00 Intro 00:19 Coming Up... 02:07 Can Streamers Compete This Year? 03:49 Apple's Thin Two-Film Slate 06:56 Why Best Actress Is Wide Open 09:45 The Ingenue Pendulum Swings Back 12:58 Tenzing And Genden Phuntsok 14:26 Digger Skips Venice 16:10 Project Hail Mary Vs. Dune 3 19:19 Is Anything Stopping The Odyssey? 24:55 Lord And Miller's Director Shot 25:29 Sandra HÜLler's Shot 26:28 Anne Hathaway: Lead Or Supporting? 27:15 Amazon's 'Dudes Rock' Slate 30:13 What A Tiff Premiere Really Means 32:11 Verity And Anne Hathaway's Year 34:19 Netflix And La Bola Negra 36:47 Was Roma Really Divisive? 39:20 Penelope Cruz's Second Oscar? 42:10 Netflix's Number Two Priority 44:20 The Cliff Booth Question Mark 47:10 Possible Love And A Thin Venice 50:45 Next: David Harbour 51:53 The Origin Of Dtf St. Louis 53:30 Making Tv He Actually Wants To Watch 56:24 The Sweetness Beneath The Sadness 58:47 Avoiding The Flyover State Trap 01:02:07 Lessons From First-Time Producing 01:04:47 The Argument He Lost With Steve Conrad 01:07:48 Walking The Tonal Tightrope 01:11:26 Is Dtf Actually Heartwarming? 01:12:40 The Male Loneliness Epidemic 01:13:57 What Harbour Is Building Next ⁠⁠⁠⁠Subscribe today⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to Prestige Junkie After Party bonus episodes. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to the Prestige Junkie newsletter.  Follow Katey on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow The Ankler. 

This week, Jason is joined by The Real Housewives of Miami standout and Shoma Group president Stephanie Shojaee for a conversation about building massive wealth, growing a multi-billion-dollar real estate business, and why relentless ambition has been at the center of everything she has accomplished. The first-generation Colombian American opens up about growing up determined to become “filthy rich,” eventually helping lead a development company that has completed more than $6 billion in real estate transactions—and using reality TV as a platform to expand the Shoma brand globally. Stephanie breaks down how her approach to money changed after meeting her husband, Masoud, from focusing solely on earning and saving to investing, using debt strategically, and continuously putting capital back to work. She shares how her modern approach to branding and marketing helped increase Shoma's business by roughly 30%, while expanding its recognition beyond South Florida and into markets including Dubai. She also reveals the unforgettable $240,000 payday she earned after refusing to give up on a deal that fell apart three separate times. Jason and Stephanie also dive into her unconventional leadership style, including building Shoma's nine-person, all-women Latina marketing team largely with young hires straight out of school. Stephanie explains why she believes in discipline, tough love, and throwing employees “in the pool” to see whether they sink or swim—and why she has no problem moving on quickly when someone isn't the right fit. Plus, Stephanie gets candid about life on The Real Housewives of Miami, why she originally turned the show down for years, and why representing an ambitious, successful Latina businesswoman ultimately helped change her mind. She also shares the wild story of having more than $200,000 worth of belongings stolen from her villa in Cannes, her thoughts on prenups and combining love and money, and the luxury purchase that recently made her say, “Damn, that was expensive”—an Hermès bracelet costing upwards of $250,000. Stephanie reveals why putting on the blinders, eliminating distractions, investing rather than simply earning, and staying relentlessly focused on your goals have been key to her success. She also leaves Jason with a different kind of trading secret: after 15 years with her husband, never go to bed angry and never allow disrespect to become normalized in a relationship. She reveals all this and so much more in another episode you can't afford to miss! Host: Jason Tartick Audio: John Gurney Video: Marc Colcer Guest: Stephanie Shojaee Learn more about your ad choices. Visit podcastchoices.com/adchoices

durée : 00:21:17 - Le 6/9 de l'été - par : Alexis Morel - Cristian Mungiu, réalisateur de la Palme d'or du festival de Cannes, "Fjord", était l'invité d'Alexis Morel sur France Inter, alors que le film sort en salle mercredi en France. - invités : Cristian Mungiu Réalisateur roumain Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:21:17 - Les interviews d'Inter - par : Alexis Morel - Cristian Mungiu, réalisateur de la Palme d'or du festival de Cannes, "Fjord", était l'invité d'Alexis Morel sur France Inter, alors que le film sort en salle mercredi en France. - invités : Cristian Mungiu Réalisateur roumain Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

The CPG Guys are joined in this episode by Phil Camarota, Chief Creative Officer at Flywheel, the commerce acceleration division of Omnicom.Follow Phil on LinkedIn at: https://www.linkedin.com/in/phil-camarotaFollow Flywheel online at: http://www.flywheeldigital.comPhil answers these questions:1. Walk us through what it actually means to be Jury President — how much of it is scoring work versus managing a room of strong personalities with different creative instincts?2. Before you even got to Cannes, what did the prep work look like — building a "shared language" or judging framework with your jurors before deliberations began?3. Creative Commerce is a relatively young category compared to Film or Print — did that shape how you approached defining what "great" looks like this year?4. You've talked about expecting "AI tension" going into this year's judging — where did that show up in the room, and how did the jury navigate it?5. With jurors from Singapore to South America to Europe, how do you reconcile genuinely different regional definitions of great commerce creativity into one Grand Prix?6. Were there moments where you, personally, had a strong point of view on a piece of work but had to hold back because — as you put it — you're "not the arbiter of taste"?7. Commerce creativity spans everything from in-store experience to retail media to end-to-end digital journeys — how do you judge fairly across such different formats and channels?8. You're Global CCO at Flywheel, one of the biggest players in commerce creativity — how did you handle the optics and reality of judging a category so close to your day job?9. Were there conflict-of-interest guardrails Cannes puts in place for Jury Presidents whose own agencies or clients might have submitted work?10. Did anything from your Flywheel vantage point — pattern-spotting across retailers and brands — sharpen or distort your lens as a judge?11. What did last year's Grand Prix winner, VML's "Preserved Promos" for Ziploc, teach you about what separates good commerce work from truly great work — and did that shape your criteria this year?12. Now that it's behind you, what's one thing about the jury process that surprised you, and what would you tell next year's Creative Commerce Jury President to expect?CPG Guys Website: http://CPGguys.comFMCG Guys Website: http://FMCGguys.comSheCOMMERCE Website: https://shecommercepodcast.com/Rhea Raj's Website: http://rhearaj.comLara Raj in Katseye: https://www.katseye.world/DISCLAIMER: The content in this podcast episode is provided for general informational purposes only. By listening to our episode, you understand that no information contained in this episode should be construed as advice from CPGGUYS, LLC or the individual author, hosts, or guests, nor is it intended to be a substitute for research on any subject matter. Reference to any specific product or entity does not constitute an endorsement or recommendation by CPGGUYS, LLC. The views expressed by guests are their own and their appearance on the program does not imply an endorsement of them or any entity they represent.CPGGUYS LLC expressly disclaims any and all liability or responsibility for any direct, indirect, incidental, special, consequential or other damages arising out of any individual's use of, reference to, or inability to use this podcast or the information we presented in this podcast.

Director Jane Schoenbrun's latest film has had a certain kind of movie fan salivating for months now, and it's finally in theaters. So, are we still...salivating? Is this getting gross? Editor of RUE MORGUE Magazine, Andrea Subissati, joins us to discuss. Then, we get our tongues tied up with a movie quiz about film titles even longer than TEENAGE SEX AND DEATH AT CAMP MIASMA. What's Good Alonso: Jeni's Dark Chocolate Bombe Drea: Full-body skin care Andrea: Double cone, the American way Kevin: finally solving the Vitamin C face care situation (Paula's Choice C5 Superboost Moisturizer) ITIDICEllison Says Paramount Will Exit CA if Suit Isn't Settled By OctoberWB Promotes The End of Oak Street on AI Dog PodcastOne Night Only Director Removed Says Audiences Don't Like Sex Scenes All titles from our  Long Titles Movie Quiz as a Letterboxd list Staff Picks Alonso: Trick (1999) Drea: Wet Hot American Summer Andrea: Milk & Serial Kevin: Undertone   Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinmaxfilm Follow us on BlueSky, Facebook, Instagram, or LetterboxdWithKevin AveryDrea ClarkAlonso DuraldeProduced by Marissa FlaxbartSr. Producer Laura Swisher

Kylee Ingram: Decision Science, Cognitive Diversity, and the Ingredients for Better Leadership Decisions Guest: Kylee Ingram, Co Founder of Wizer Host: Julie Riga In This Episode: Kylee's journey from television producer to co founder of Wizer, a company built on decision science and organizational intelligence How an interactive kids app, a Cannes nomination, and time in a Boulder, Colorado tech accelerator led Kylee into the world of crowd science The research behind Wizer, drawn from Doctor Juliet Bourke's work at Deloitte and mathematician Scott Page at the University of Michigan The six ways people approach a decision, and why every person has a primary and secondary decision making style Why outward diversity matters, drawn from jury studies showing homogenized groups make weaker, less self aware decisions The Boeing and NASA examples, and what happens when experienced voices are sidelined for cost or convenience The three biases every decision room must account for, social bias, information bias, and capacity bias How to design a decision room with intention instead of relying on a leader's instinct or a captain's call Why buy in increases when people see their own perspective represented in the room, even indirectly The idea of defensible decisions, and how the right process helps leaders stand behind a choice with confidence The free decision profile tool at wiser.business, and how Wizer's built in communication tool guides team members on how best to reach one another Wize Snaps, a separate outreach tool originally built for the charity sector to profile a third party before reaching out Wizer's current work in the Indigenous sector in Australia, helping communities reframe their business and generate income through consultation How decision science applies well beyond the boardroom, including family conversations and small team settings Key Takeaways: Know your own bias before you walk into any decision Build decision rooms with intention, not instinct Protect experienced voices, especially when pressure pushes teams toward shortcuts Representation in the room builds real, lasting buy in Purpose driven leadership starts with genuine curiosity about how people think Small teams and families can apply decision science just as effectively as large organizations Memorable Quotes: "There's science behind how to make a good decision." "We stand here on the shoulders of some great research to build out this company." "Know that you're biased." This episode is ideal for leaders, founders, and teams who want a more self aware, purpose driven approach to leadership and decision making. Connect with Kylee Ingram on LinkedIn and at wizer.business Connect with Julie Riga: https://stacklist.app/julieriga Subscribe to Stay On Course wherever you listen to podcasts, and share this episode with a leader who needs it. #stayoncourse #decisionscience #leadership #cognitivediversity #purposedriven Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Watch This Episode On YouTubeFrom the looks of it, LEFT-HANDED GIRL (2025) has everything going for it. Fantastic film. Taiwan's 2025 Oscar submission (and widely expected to be a nominee.) Edited and co-written by Sean Baker. A Netflix rollout. But the reality is much more complicated.This was a 20 year labor of love by my guest, director Shih-Ching Tsou, and we talk about everything related to her career, how her perspective of the film changed after its release, the drawbacks of filming this on an iPhone 13, the pros and cons of going with Netflix, and more.Shih-Ching Tsou's story is one of the best in independent film, and I'm so excited for you to hear her perspective about filmmaking and her personal, wholly original, gorgeous film, LEFT-HANDED GIRL.We talk about:Taiwan's role in her filmmaking;how she feels about LEFT-HANDED GIRL now versus when it was released;the challenges making the film, even with a top EP; streaming on Netflix; Taiwan's Oscar entry, etc.;how she got involved in filmmaking;why LEFT-HANDED GIRL trusts the viewer instead of going for quick hits during the film;what it was like directing a six year old;the challenges of filming with an iPhone 13;how she takes lessons from Sean Baker's support as EP and editor and passes it on to other filmmakers;her recommendations on how directors can give back to others;the pros and cons of going with Netflix;opening in Cannes;the differences between audiences in the United States and globally when watching the film;why you should make films in Taiwan;what's next for her.Shih-Ching Tsou's Indie Film Highlight: JAIL TIME RECORDS (2026) dir. by Dione Roach and Steve HappiMemorable Quotes:" When I first made the film, I, I didn't know how people would react to it."" A lot of people told me about their own left-handed stories, about their own mother and daughter stories.""I didn't study film. I met Sean when when he was editing his first feature, Four Letter Words.""The only challenge [with the iPhone 13] is the focus."" With Netflix, I feel like LEFT-HANDED GIRL really reached to every corner of the world."Links:Follow Shih-Ching Tsou On Instagram

Rob Wilk, CRO of Yahoo, joined me in Cannes for TRB Conversations, powered by EX.CO ( https://EX.CO ), to make the case that 30-year-old Yahoo is in the middle of a genuine business turnaround, not a nostalgia play. Rob breaks down Yahoo's first-party ...

Ce sont des films de princesse ou dʹimpératrice. Sissi, un film autrichien réalisé par Ernst Marischka en 1955. Cʹest le premier dʹune trilogie qui retrace la vie dʹElizabeth dʹAutriche et son amour pour lʹempereur François-Joseph. Sissi, cʹest Romy Schneider, toute jeune, face à Karlheinz Böhm dans un film qui va faire date. Car Sissi, cʹest un mythe en dentelle, fastes, et belles robes à la cour autrichienne. Cʹest une histoire qui fait souffler un vent de fraîcheur sur les blessures de lʹAutriche, de lʹAllemagne de lʹaprès-guerre et qui exporte une autre image de ces nations, une image qui fait rêver. Sissi en 1955 fait mouche. Le caractère mutin de Romy Schneider, les paysages bavarois, la magnificence de Vienne, et lʹamour plus fort que tout. Le film est suivi par Sissi impératrice en 1956, Sissi die Junge Kaiserin, et par Sissi face à son destin en 1957, Schicksalsjahre einer Kaiserin. Aujourdʹhui, dans Travelling, nous allons évoquer ces trois films. Mais pas uniquement. Nous allons également faire un point sur lʹHistoire de la vraie Sissi, la vraie impératrice, une femme au destin particulier, qui mourra à Genève, assassinée. Et puis nous parlerons surtout de Romy Schneider, sa vie, sa carrière, et la force quʹelle a mise à laisser derrière elle ce passé germanique, cette figure de Sissi qui va la hanter tout comme la figure de sa mère, la comédienne Magda Schneider, qui joue sa mère dans le film. Une comédienne au passé trouble quand lʹAllemagne était en guerre. Nous aurons la version des faits de Romy Schneider. Dès lors, partons pour la Bavière, puis pour lʹAutriche afin dʹentrer dans lʹhistoire dʹune impératrice qui va marquer le 19e siècle et laisser planer son ombre sur le cinéma du 20e siècle. REFERENCES Hermary-Vieille, Catherine, Romy, Editions Plon, 2011 A l'occasion du Festival de Cannes, François CHALAIS s'entretient avec Romy SCHNEIDER. Elle parle de l'évolution de sa carrière d'actrice après "Sissi", des personnes avec qui elle a eu envie de travailler et de la place d'Alain DELON dans sa vie. 11.05.1962 https://www.ina.fr/ina-eclaire-actu/video/i00001137/romy-schneider-a-propos-de-son-evolution-et-de-sissi Romy Schneider sur la fragilité de la carrière d'acteur - 1978 - 02:03 https://www.ina.fr/ina-eclaire-actu/1978-romy-schneider-et-l-importance-du-film-la-piscine-dans-sa-carriere la mort de Romy Schneider https://www.youtube.com/watch?v=shcggplJGdY

Vi var precis hemma från en fantastisk tjejresa i Cannes när allt gick åt helvete. En fågel åkte in i motorerna, flyget blev inställt, och vi satt fast på flygplatsen i typ tio timmar. Det blev en helt otrolig historia om att försöka hitta hotellrum mitt i natten, att dra hem barfota från klubbar, och att nästan sätta sig på standby-listan för ett plan där vi bara ville hoppa på oavsett. Produceras av More Than Words Hosted on Acast. See acast.com/privacy for more information.

Google quietly shipped four new ad formats inside AI Mode, and almost nobody covered it. We did. Plus: a $13 CPC on ChatGPT ads, and Memrise's growth agent that lives entirely in Slack.CHAPTERS00:00 Cold open03:06 Welcome — Victoria joins, Polina returns04:24 What's on the show today05:30 WATERCOOLER: Sonnet 5's price hike and Fable 5's return07:38 Token-maxing culture and the hidden cost of the price hike10:16 Ford rehires the people it fired — to train the AI12:47 Why the most elementary AI framing gets the most buzz14:27 Benchmarking models on price, speed and quality before you buy15:12 Product Hunt's June: the top tools were integrations, not standalone AI17:30 The core stack nobody has replaced (and why Slack survived)22:14 The vibe-coded app problem: broken back ends, ToS exposure, $20 lessons26:01 Cannes Lions: the agency billing model everyone admits is dead28:02 Creator activations go niche — eyeballs over follower counts28:45 Why Victoria skipped Cannes, and the CEO as the next creator31:04 Celebrity clout vs. an actual event strategy33:40 AI's image rehab in marketing, and the founders paying for their own message36:06 SheaMoisture flipped the creator brief39:21 Why YouTube mid-roll ad reads stopped working40:42 Google's AI Mode ads — the story nobody covered43:03 Four new ad types, and what a business owner is actually signing up for44:43 A $13 CPC on ChatGPT ads46:10 Could ChatGPT just run an affiliate network instead?49:44 MARKDOWN: Lizzie Lawley, Head of Applied AI at Memrise50:20 From pilot, to AI companion platform, to Wombat, to Memrise53:39 The system map: every input feeding the growth machine56:00 Core principles: context first, cheapest capable model, disagreement as a feature56:36 "Months of work in hours" — what it actually saved58:36 The loops: synthesis, experiment shaping, prototyping, build ticket, human gate1:00:41 Live demo: "It's just Slack, baby"1:03:10 How the agent gets fresh context every single night1:06:04 OpenClaw V1, then real engineers rebuilt it1:07:06 The failures: how expensive it got, real quick1:08:32 The model pricing tier system, tier by tier1:11:19 Where the user interviews actually live (it's Google Docs)1:13:59 The bot that spammed banana emojis, and what it taught her1:15:54 Claude Design as a starting point for growth people who can't design1:17:35 Why we skipped Hot Button this week1:18:27 ADAHOLIC: the rules1:20:22 Round 1: Ed Sheeran, a posh restaurant, and way too many forks1:23:33 Round 2: red key, blue key, and a luxury pitch1:26:23 Round 3: "Yo... where's Dukey?"1:29:03 Round 4: the Mother's Day one1:32:26 Round 5: the car ad Arnav paused a second too late1:35:14 Round 6: puffballs, chrome nails and woodworking1:39:07 Round 7: "a better everyday life for the many people"1:40:41 Victoria takes the crown on her first appearance1:41:54 CloseTHIS WEEK'S GUESTLizzie Lawley — Head of Applied AI at Memrise, co-founder of Wombat. She built a platform handling millions of simultaneous AI interactions with cost-efficient model routing, and now runs agent orchestration for Memrise's growth team. Her system pulls from transcripts, app reviews, Zendesk tickets, past experiment synthesis, Athena and BigQuery, and runs a nightly cron job so the agents never work off stale context. Methodology follows Bob Moesta's jobs to be done. The team calls it BYOB — bring your own Bobby.Ads featured in Adaholic this week: Heinz, Kia, Budweiser, Honda, Pinterest, IKEA.

In this Cannes special episode of Future Proof, Dr Nicki Morley sits down with Michael Swaisland, Vice President of Consumer Intelligence and Marketing Transformation at Arla Foods, to discuss how curiosity, consumer understanding and AI can work together to drive innovation. They explore turning insights into action, identifying the right growth opportunities, and why human judgement remains essential in a world increasingly shaped by AI. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:43:01 - Les émissions culturelles de France Culture - par : Aliette Hovine - Dans "Soudain", le réalisateur japonais saisit la relation puissante qui se noue entre Virginie Efira et Tao Okamoto, toutes deux récompensées par un prix d'interprétation au Festival de Cannes. Un film ample et sensuel, qui place l'humain au cœur du soin et fait de l'amitié une force vitale. - équipe : Françoise Le Floch, Alban Peltier, Anne-Toscane Viudes, Théa Corler, Alice Puydebois, Louan Chailleux - invités : Ryûsuke Hamaguchi Réalisateur et scénariste, Virginie Efira Actrice belge Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Lola Offenback, MM+M's editorial fellow, is finishing her second summer working with us.  To quote Herman's Hermits: “Second verse, same as the first.” Lola has once again exceeded our expectations with her versatility and resourcefulness as a reporter. She returned to MM+M just before Cannes and helped us manage the wave of news coming out of the French Riviera. From there, she took on deeper reporting assignments exploring women's health trends, medical marketing internship programs and allergy-focused ad campaigns.  She also got to cover some in-person activations around New York and hosted a two-part episode of the podcast about health brands advertising during the FIFA World Cup ahead of the final match. We're thrilled to have one more sit-down conversation with Lola to discuss how the eight-week internship went, what she made of her second year covering the medical marketing industry and what comes next for her career. For our Trends segment, we're talking about the proposed changes to the vaccine schedule and the policy messaging from Trump administration health officials that is untethered from the medical establishment.  Check us out at: mmm-online.com Follow us: YouTube: @MMM-onlineTikTok: @MMMnewsInstagram: @MMMnewsonlineTwitter/X: @MMMnewsLinkedIn: MM+M To read more of the most timely, balanced and original reporting in medical marketing, subscribe here.Music: “Deep Reflection” by DP and Triple Scoop Music. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Picture this: you're standing in Monaco in 90-degree heat, sweat dripping, suitcase in hand, and the taxis your AI-built itinerary promised would be waiting simply aren't there. That's the moment Jackie Tapia realized even the smartest tools can plan a trip, but they can't read a room, feel the heat, or know how many humans are actually around to help you.In this episode of Amiga Handle Your Shit, Jackie takes us into her France trip recap, this time from the south: Monaco, Cannes, and Saint-Tropez, where the joy and the chaos both showed up in equal measure. She gets real about using Claude to build her itinerary and everything it got right, alongside the very human gaps it couldn't fill: no taxis waiting, no sunbed reservations, no one to walk her tired kid to the right platform.This one is for every amiga building a business, a brand, or a life with AI in her toolkit. Jackie's lesson is simple but important: let technology organize, draft, and structure, but never hand it the parts of life that only a human being can hold.Tune in to episode 291 of Amiga Handle Your Shit for a candid, funny, and honest reminder that when in doubt, humans come first, and technology comes second.Episode Takeaways:Why Jackie's AI-built itinerary promised taxis in Monaco that never actually showed up, and the sweaty, frustrating lesson that came with it (01:13)The real difference between what AI can plan versus what only a human being can execute in the moment (03:00)Why sun bed reservations in Saint-Tropez were impossible to lock down through AI, and what Jackie did instead (06:30)How having an actual human handle reservations in Cannes made that leg of the trip the smoothest of them all (11:00)Jackie's grounding reminder for every amiga leaning on AI in her business: humans first, technology second (13:00)Let's Connect!WebsiteFacebookInstagramLinkedInJackie Tapia Arbonne websiteBook: The AMIGA Way: Release Cultural Limiting Beliefs to Transform Your Life Hosted on Acast. See acast.com/privacy for more information.

What happens when AI makes marketing more efficient, but every dollar saved gets taken out of the marketing budget?Welcome back to the Barber's Brief, where we unpack the marketing stories, ideas and creative work that caught our attention.This week, we start with what might be one of the unintended consequences of the AI revolution: the efficiency spiral. As marketers use AI to accomplish more with less, are they inadvertently proving that their organizations need less marketing investment?We also explore why marketing may have the "loneliest seat at the table," despite having one of the broadest views of the business, and why marketers need to reconnect what they do to financial outcomes if they want greater influence inside organizations.Then we turn to Google. A German court ruling could fundamentally change the relationship between platforms, publishers and AI-generated answers by treating Google's AI Overviews as Google's own content. If an answer belongs to Google, does the responsibility for that answer belong to Google too?Finally, Marc's Ad of the Week takes us back to Cannes with Columbia Sportswear's Expedition Impossible, a brilliantly committed challenge to flat-earthers that demonstrates why great creative showmanship is about much more than spectacle.In this episode:The AI efficiency spiralWhy AI should be treated as a growth tool, not simply a cost-saving toolMarketing's "panoramic view" of the businessWhy marketing needs to get beyond communicationsConnecting marketing activity to financial outcomesGoogle's emerging responsibility for AI-generated answersThe changing economics of AI searchColumbia Sportswear's Expedition ImpossibleWhy showmanship makes great advertising memorableChapters:00:00 Welcome to the Barber's Brief00:34 The AI Efficiency Spiral01:01 How CMOs Are Funding AI02:15 Why Smaller Companies May Be Winning With AI03:22 AI as a Growth Tool, Not a Cost-Cutting Tool05:49 Marketing Has the Loneliest Seat at the Table06:12 Marketing's Panoramic View of the Business08:43 Does the Rest of the Business See Marketing Differently?10:42 Why Marketing Feels Unpredictable12:31 Should Everything Marketing Does Link to Financial Outcomes?13:39 Marketing's Retreat Into Communications15:16 Getting Marketing Back Into the Business16:36 Google's AI Search Liability Problem18:45 When Google Becomes the Answer, Who Is Responsible?20:18 How AI Overviews Are Changing Search Behaviour23:18 Ad of the Week: Columbia's Expedition Impossible24:02 Challenging Flat-Earthers to Find the Edge of the Earth25:35 Why Columbia's Commitment Made the Idea Work27:11 Showing a Different Side of Columbia28:08 Why Showmanship Makes Advertising Great28:57 Closing Thoughts

En 1993, el saxofonista barítono Gerry Mulligan grabó con la cantante Jane Duboc un disco titulado 'Paraíso' del que escuchamos la cancion que le da título, 'No Rio, 'Sob a estrela', 'Tarde em Itapoã' de Toquinho y Vinicius de Moraes, 'Wave' de Antonio Carlos Jobim, 'Tema para Jobim' y 'North Atlantic run'. Del disco 'Henri Salvador do Brasil', que recuerda la larga y profunda relación del artista francés con la música brasileña, y cuenta con la dirección musical de Marcos Valle, las grabaciones de Bebel Gilberto ('Uma canção doce'), Quarteto do Rio y Silva ('Pauve Jesus-Christ'), Eddy Mitchell y Zelia Duncan ('À Cannes cet été'), Seu Jorge ('Les voleurs d´eau') y Zé Ibarra ('Le wagon'). Escuchar audio

durée : 00:24:47 - Le 6/9 de l'été - par : Alexis Morel - Virginie Efira est l'invitée de la matinale pour la sortie du film "Soudain", du réalisateur japonais Ryūsuke Hamaguchi, qui lui a valu le prix d'interprétation féminine au Festival de Cannes, décerné conjointement à l'actrice belge et à sa partenaire dans le film, Tao Okamoto. - invités : Virginie Efira Actrice belge Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Cent mille dollars au soleil cʹest un western à la française dans un décor de désert marocain. En 1964, Henri Verneuil, cinéaste adoré du public pour ses précédents films comme la Vache et le Prisonnier ou Mélodie en sous-sol, revient sur les écrans avec ce duel entre deux stars du cinéma français du moment : Jean-Paul Belmondo et Lino Ventura, respectivement 31 et 45 ans. Pour les accompagner, Henri Verneuil ajoute une palette de personnages croquignolets incarnés par Bernard Blier et Andréa Parisy. Cent mille dollars au soleil, cʹest de la chaleur, du charisme, ahhhh Bebel, de lʹaction, de lʹaventure, de lʹhumour et des dialogues ciselés aux petits oignons par un Michel Audiard au mieux de sa forme. Il nʹen faut pas plus pour faire un succès au cinéma. Le film conquiert le public. La critique, par contre, est un peu plus mitigée. A lʹheure où un nouveau cinéma prend ses aises, le cinéma populaire sent des pieds. Lʹintelligentzia du Festival de Cannes sʹagace de la venue de cette production popu en son sein. Tout ça fait un joli scandale qui finalement rend service au film. Allez, on met une casquette de la crème solaire et on fonce dans le Sahara sur la piste du tournage de 100 000 dollars au soleil.

durée : 00:24:47 - Les interviews d'Inter - par : Alexis Morel - Virginie Efira est l'invitée de la matinale pour la sortie du film "Soudain", du réalisateur japonais Ryūsuke Hamaguchi, qui lui a valu le prix d'interprétation féminine au Festival de Cannes, décerné conjointement à l'actrice belge et à sa partenaire dans le film, Tao Okamoto. - invités : Virginie Efira Actrice belge Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Rösten har varit borta i fyra veckor, ringarna går inte på och Cannes-resan bokades av i sista sekund, kroppen sa helt enkelt nej till mer rosévin på lunchen. Vi pratar om konsten att dra sig tillbaka till grottan när man inte känner sig snygg, om lystret man vill ha i en relation (och om det ens är en rimlig förväntan), och varför det är så himla gulligt att sova i hans t-shirt.Produceras av More Than Words Hosted on Acast. See acast.com/privacy for more information.

Forrest, Conan Neutron, and Renee Ruin discuss Andrzej Żuławski's On The Silver Globe Based on "The Lunar Trilogy" a science fiction series written by Żuławski's Great Uncle. Żuławski worked from 1975-1977, On the Silver Globe would have been one of the biggest European Films ever made, as it would have come out right before Star Wars. However, the Polish Authorities shut down the filming because the Deputy Minister of Culture wanted to make a statement. In 1988, Żuławski finished a cut of On the Silver Globe with the footage hidden by the crew, and put it out at Cannes. #posession #onthesilverglobe #lunartrilogy #polish #polishcinema #andrzejzulawski #scifi #sciencefiction #moonlanding #sovietunion #starwars #lunar #moon #moonman #astronaut #space #live #livestream #moviepodcast #filmpodcast #cannes #cannesfilmfestival #1989 #1988

"Soudain", présenté à Cannes en mai, sort mercredi 12 août en salles. Le film du réalisateur japonais Ryusuke Hamagushi a valu le prix d'interprétation féminine à Virginie Efira, une récompense méritée tant elle illumine cette histoire, disons-le, pas évident au départ. Soyez prêts à embarquer pour 3h15 de grâce, de douceur et de sérénité... Ecoutez Laissez-vous tenter avec Sophie Aurenche du 09 août 2026.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Nesta edição do podcast Em Foco, nós analisamos "Ela Quer Tudo" (She's Gotta Have It, 1986), primeiro longa-metragem de Spike Lee ("Faça a Coisa Certa", "Infiltrado na Klan"). Este episódio especial celebra os 40 anos de lançamento do filme e traz uma entrevista exclusiva com o próprio Spike Lee. Selecionado para a Quinzena dos Realizadores no Festival de Cannes e premiado no Independent Spirit Awards, "Ela Quer Tudo" tem como protagonista Nola Darling, uma artista independente do Brooklyn, em Nova York, que se mantém fiel a si mesma e recusa as regras tradicionais da sociedade ao se relacionar com três homens ao mesmo tempo. Ela é interpretada por Tracy Camilla Johns e seus namorados são vividos por Tommy Redmond Hicks, John Canada Terrell e Spike Lee. Uma das estreias mais impressionantes de diretores de todos os tempos, "Ela Quer Tudo" chama a atenção pela discussão feminista sobre liberdade sexual e pela representação de personagens negros fora de estereótipos de violência e miséria. Ao mesmo tempo, é um filme bem-humorado e um deleite para os olhos e ouvidos, com Spike Lee esbanjando estilo na construção de sequências inventivas e de uma narrativa envolvente e moderna (com referências que vão de "Rashomon" a "O Mágico de Oz"), embalada pela trilha sonora de jazz composta pelo lendário músico Bill Lee, pai do cineasta. Confira abaixo a minutagem dos quadros e capítulos do podcast: 00:00:00 - Introdução 00:04:19 - Grande Angular: conheça a equipe por trás de “Ela Quer Tudo” 00:12:23 - Close-Up: saiba detalhes e curiosidades sobre a realização  do filme 00:19:22 - Entrevista exclusiva com Spike Lee 00:23:45 - Ponto de Vista: nossa análise do filme 00:57:12 - Zoom: nossas cenas favoritas comentadas 01:02:49 - Fora de Quadro: a série "Ela Quer Tudo" que Spike Lee dirigiu para a Netflix - Visite a página do podcast no site e confira material extra sobre o tema do episódio - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema Tradução da entrevista com Spike Lee: Cinematório: “Luta de Classes” começa em um tom mais dramático até chegarmos a Denzel e Jeffrey indo atrás do sequestrador. Há tensão naquela primeira metade é claro, mas eu tive a impressão de que você quis tentar algo diferente ali, indo mais fundo no drama. Essa era a sua intenção? Spike Lee: Bem, eu não sei se posso dizer realmente que... Quero dizer, a minha intenção é sempre contar a melhor história que eu posso. E mesmo na fonte original, o filme de Akira Kurosawa, “Céu e Inferno”, as coisas realmente não começam a ficar movimentadas até o dinheiro ser pago. Digo, o dinheiro do resgate. E neste filme são $17,5 milhões de francos suíços. Então, você tem que reservar um tempo para estabelecer isso. E uma vez que está estabelecido, é quando Denzel, o personagem que ele interpreta, deixa sua cobertura e vai para o metrô. Então, eles descem lá e é aí que o filme realmente decola. Então, nós sabíamos que para chegar ali teríamos que estabelecer as bases primeiro. Cinematório: Com certeza. E já que a primeira adaptação do livro de Evan Hunter foi feita por Kurosawa, eu gostaria de saber como Kurosawa inspirou você como cineasta? Spike Lee: Minha inspiração como cineasta veio de, grande parte, do meu primeiro ano estudando na Escola de Cinema de Nova York, onde Ernest Dickerson, meu diretor de fotografia de longa data, e Ang Lee éramos colegas de sala. Foi lá que eu realmente fui apresentado ao cinema mundial. E a premissa de “Rashomon” eu usei no meu primeiro longa-metragem, “Ela Quer Tudo”. E como você pode ver, esta foto [aponta para a parede] foi autografada pelo mestre. Então, na sala de edição, imagino que ele está sempre olhando por cima do meu ombro! [risos] E eu perguntaria pra ele: “Como estamos indo, senhor? Como estamos? Está ficando bom?” E ele me daria o polegar para cima! [risos] Cinematório: Maravilhoso! E você poderia falar sobre a música? Tanto a música escrita e cantada por Ayanna, que é linda, e a música composta por Howard Drossin, que me pareceu tão épica para um drama tão pessoal. Spike Lee: Bem, a música é uma das ferramentas mais importantes que tenho na minha caixa. Para melhor ou pior, dependendo de quem são as pessoas, para mim a música é tão importante quanto a fotografia, a montagem, a direção de arte, o figurino. É uma ótima ferramenta se você usá-la corretamente. E para mim nunca foi apenas sobre fazer uso da música como se fosse uma jukebox onde você pega um monte de músicas de sucesso e põe para tocar, a menos que seja talvez em um filme de época. Um filme que se passe em uma determinada época. Mas eu amo música. E eu conheço o poder da música. Porque eu sei, veja bem, o público no cinema não sabe como uma cena fica sem a música e depois com a música... E eu sei o que estou fazendo sem a música. É uma ferramenta, da mesma forma que as outras que eu mencionei, fotografia, montagem... É uma ferramenta para contar a sua história. -- O podcast Em Foco é produzido e apresentado por Renato Silveira e Kel Gomes, editores do cinematório. Aqui você ouve debates e análises de filmes, sejam eles clássicos, grandes sucessos de bilheteria e de crítica, produções que marcaram época ou que foram redescobertas com o passar dos anos, não importa o país de origem. Além disso, você revisita conosco a filmografia de cineastas que deixaram sua assinatura na história do cinema. Quer mandar um e-mail? Escreva para contato@cinematorio.com.br Este episódio contém trechos meramente ilustrativos da trilha sonora de "Ela Quer Tudo", composição de Bill Lee. Todos os direitos reservados aos artistas.

Send us Fan MailIn the fourth episode of our series recorded live at Datacloud Global Congress 2026 in Cannes, Andy Davis is once again joined by co-host Rory Flashman from Spa Communications to explore the rapid growth of the Gulf region as a major data centre market. Joining the conversation: Simon Young, Google Stephen Beard, Knight Frank Together, they discuss why the Middle East has become one of the most talked-about regions in digital infrastructure, and how government ambition, sovereign wealth, power availability and AI demand are helping to accelerate growth across the market. The conversation explores the role of the UAE, Saudi Arabia, Israel, Qatar, Kuwait and Oman in the region's data centre development, as well as the opportunities and challenges that come with building at scale in a fast-moving market. Simon and Stephen also discuss the importance of leadership and long-term vision across the GCC, the impact of major AI initiatives, and why the region could become an increasingly important bridge between Europe, Asia and Africa. The episode also looks at how international operators and Middle Eastern developers are approaching expansion, the role of sovereign wealth funds, and what other markets, including the UK, could learn from the region's ability to move quickly and reduce barriers to development. Recorded live at Datacloud Global Congress 2026 in Cannes. Key Topics: Why the Gulf region has become a major data centre growth market How government leadership and national AI strategies are driving investment The role of the UAE, Saudi Arabia and Israel as leading regional hubs Why power cost and availability are central to the region's opportunity The potential for AI infrastructure growth in Kuwait, Oman and other emerging Gulf markets Why fibre connectivity and international transit remain important challenges How data centre design in the Middle East compares with Europe The impact of geopolitical uncertainty on investment decisions Why international operators are looking more closely at the region How Middle Eastern developers and sovereign wealth funds are expanding globally What the UK and other mature markets could learn from the Gulf's speed of execution Why talent development and local workforce initiatives will be critical to long-term growth How AI adoption is changing the wider data centre and digital infrastructure conversation Tune in for an insightful conversation on how the Gulf region is positioning itself at the centre of the next wave of data centre and AI infrastructure growth, and why speed, capital, power and policy will all play a major role in shaping its future. 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

Ryan McConville, chief product officer at NBCUniversal, joins me in Cannes for TRB Conversations, powered by EX.CO ( https://EX.CO ), to make the case that premium video has been underappreciated as the origin point of culture. That ends up leaving it ...

For our latest episode, our Founder and President, Jennifer Risi, sat down with Fortune's Head of Programming, Charlotte Burney, at The Sway Effect Office. For their chat, Jen and Charlotte talked about what stood out at Cannes, how Fortune identifies the business conversations that matter most, what she's seeing across leadership, AI and live events, and how programming teams are helping shape the future of business journalism.

Most companies treat effectiveness like a scoreboard. Traci Alford, Global CEO of Effies Worldwide, sees the entries from 130 countries, and she says that is exactly where it goes wrong.Measuring the crop does not grow it.In this conversation recorded in Cannes, Traci lays out the 4 things behind every winning case:understand the business problemfind a real insight rather than a statement of factexecute the creative brilliantly, andmeasure what happened so you can learn from it.Plenty of companies are strong at 1 or 2. Almost nobody is strong at all 4, and fewer still can tell the story that ties them together.Traci also draws a line most of the industry blurs. Brave is not the same as risky. Risk means you have not thought about your headwinds. Brave means you made a calculated choice and you can defend it in the room. And her data says you cannot do it halfway. Stick to your knitting and execute well, or take the real swing. Hovering in the middle is where work dies.Marc and V push on the parts that hurt. Why the short term always wins the budget fight. Why agency relationships go sour when a campaign is the only unit of measurement. Why marketing jargon loses the room. And where technology spend quietly eats the money that could have gone into media.Traci keeps coming back to the same place. This is a people business, and the habit has to live at the executive table, not just in the marketing team.Timestamps00:00 Cold open and welcome02:37 The 4 pillars behind every winning case05:39 Brave is not the same as risky09:18 Why this is a people business13:24 The short term trap and shared accountability18:28 Talking to the C-suite without the jargon24:07 Insight is the one most people fail29:34 Risk retreat, tech debt, and opportunity cost36:16 What to take home from CannesShow Notes LinksEffie Worldwide: https://effie.org/Tubi "Rabbit Holes" Super Bowl spot https://www.youtube.com/watch?v=mROTZBUM1YkPrevious SBP episode with Karen Pearce, RethinkEhrenberg-Bass Institute 95:5 rule https://marketingscience.info/news-and-insights/the-955-rule-is-the-new-6040-rule

ON TODAY'S PROGRAM... THE MAX RUMOR MILL KEEPS ON TURNING AND MAX KEEPS ON BURNING! MCLAREN COULD BE BACK ON THE CHAMPIONSHIP BAND WAGON GEORGE NEEDS TO FIND HIS MILIEU! AND... FERNANDO AND ASTON MARTIN COULD BE ONTO SOMETHING BIG! THIS WEEK'S NASIR HAMEED CORNER WE HAVE PATRICK TAMBAY AND TROY CASTANEDA! Patrick Tambay and Gilles Villeneuve began their Formula 1 careers together at Silverstone in 1977. Five years later, Tambay claimed his first race victory, filling the seat at Ferrari left vacant by Villeneuve after his tragic accident at Zolder. Tambay had initially tried to qualify a Surtees at Dijon but was unsuccessful, subsequently joining Ensign for the remainder of 1977. Teddy Mayer later recruited him to drive for McLaren, where he spent two challenging years in less competitive cars. Following a tough 1981 season with Theodore and Ligier, it seemed Tambay's time in Formula 1 was nearing an end until Ferrari offered him a spot. He brought some positivity back to the team by winning at the Hockenheimring following another severe accident involving his teammate Didier Pironi. Despite joining the championship late, Tambay had the potential to be a title contender in the fast Ferrari but had to step back due to a back injury caused by the intense ground effect cars of that era. In the following season, with ground effects banned, Tambay showed competitive form again. He secured a poignant victory at Imola, the very place that had witnessed the intense feud between Villeneuve and Pironi a year prior. Despite his successes, Tambay was unexpectedly replaced by Michele Alboreto at the end of the season. He moved to Renault in 1984, but the team struggled with development and exited the sport in 1985. Tambay then raced for Team Haas before it, too, withdrew from Formula 1 at the end of 1986. After retiring from full-time racing, Patrick Tambay transitioned to a role as a commentator for French television and served as the deputy mayor of Le Cannet, a suburb of Cannes. He was also the godfather to Jacques Villeneuve, the 1997 Formula 1 World Champion, and played a significant role in guiding Villeneuve's early racing career, which included victories at the 1995 IndyCar title and Indianapolis 500, and subsequently the F1 World Championship with Williams in 1997. Tambay was married twice and became a father in 1991 when his son Adrien was born. Following in his father's footsteps, Adrien became a professional racing driver, competing for Audi in the DTM championship from 2012 to 2016 and later winning the 2021 ETCR Championship. Patrick Tambay's family announced his passing on December 4th, 2022, following a long battle with Parkinson's disease. Rossi Completes First Validation Test of New IR-28 Saturday at Indianapolis Motor Speedway INDIANAPOLIS (Saturday, Aug. 1, 2026) – Alexander Rossi took another step into the future of the NTT INDYCAR SERIES on Saturday, completing the first on-track test of the new Dallara IR-28 chassis at Indianapolis Motor Speedway. The 2016 Indianapolis 500 presented by Gainbridge winner put the all-new car through its initial paces during a productive development session on the 2.439-mile, 14-turn road course, helping begin the testing process for the chassis that will debut for the 2028 NTT INDYCAR SERIES season. Rossi praised the preparation that led to the successful debut. “I've been a part of some new car launches before, and I can't say that any have gone as smooth as this one has,” Rossi said. “That's down to everyone involved. We've all been waiting for this for a long time. Drivers, fans, teams, sponsors and all of you have been looking forward to it, and now it's finally here. “It's like Christmas morning.” Rossi said the session accomplished everything the development team aimed to achieve, despite intermittent damp conditions that limited running. “It's hard to do a full comparison because of the conditions we were dealing with, but everything you could hope for from a day like today was accomplished,” he said. “The fact that the car is completely new and the only real issue we had was replacing one sensor is phenomenal. That's a huge testament to Dallara, INDYCAR and everyone involved. “The car has a lot of incredible qualities that we haven't even scratched the surface of yet. It was an incredible start and just a joy to drive.” Rossi also offered high praise for the IR-28's appearance and initial handling characteristics. “Aesthetically, it ticks every box you could hope for,” he said. “I was blown away the first time I saw it. The pictures don't do it justice. The presence it has in person is pretty amazing. It looks aggressive, and even with a completely new chassis, new aerodynamics, new electronics and a spec damper package, the baseline was very comfortable from the get-go. There's obviously a lot more to unlock, but it was a great starting point.” Testing the next-generation INDYCAR SERIES machinery at Indianapolis Motor Speedway made the experience even more meaningful for Rossi. “To be able to be a part of this next evolution of INDYCAR and do it at IMS, a place that means so much to me and all of us here, is super cool,” Rossi said. “I get to play a small part in the history and the future of this championship, and that's a big privilege. I enjoyed every minute of it.” Four-time NTT INDYCAR SERIES champion and 2025 Indianapolis 500 presented by Gainbridge winner Alex Palou is scheduled to test the car Sunday.

Agentic advertising was the buzzword of the year at Cannes this year. It stands to reason this hype is ahead of reality. Jon Roberts, chief innovation officer at People Inc, gives a reality check of where the hurdles to agentic advertising, which holds...

Collective CIO Natalie Silverstein joins Next In Media to explore how creators are evolving into full-fledged media networks and what it takes for brands to scale authentic partnerships in a hyper-fragmented landscape. Natalie, also breaks down real-time crisis agility, strategies for training AI language models on video content, and how to combat the algorithmic reach recession with targeted paid media. Key Highlights

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

The CPG Guys are joined in this episode by Rich Lehrfeld, SVP and General Manager of Walmart Connect International and Sam's Club Connect, the retail media business units of Walmart.This episode was recorded in France at the 2026 Cannes Lions International Festival of Creativity.Follow Rich on LinkedIn at: https://www.linkedin.com/in/rich-lehrfeld-776b7786/Follow Walmart Connect online at: https://www.walmartconnect.com/Follow Sam's Club Connect online at: https://www.samsclubconnect.com/Rich answers these questions:1. Now that you're leading Walmart Connect alongside International advertising and Sam's Club Connect, what does “one connected global advertising ecosystem” actually look like operationally — and how soon will advertisers feel the difference?2. What capabilities or playbooks from Walmart Connect US are you most excited to bring into international markets, and conversely, what can Connect and international teach the core US business?3. This is Sam's Club Connect's first time at Cannes Lions — what's the headline message you want advertisers and agencies to walk away with?4. How does a presence at Cannes fit into COnnect's broader growth strategy, especially as it scales offerings like in-club, Omni Experiences, and audio/fuel screen ads?5. The industry conversation is shifting from impressions and ROAS toward broader business outcomes — what does that shift look like in practice for how Walmart structures its advertiser partnerships?6. What's the biggest misconception brands still have about what “success” should look like in retail media today?7. How does Walmart's first-party data — and Sam's Club's membership model specifically — change the kinds of insights and long-term value you can offer advertisers compared to transaction-only data?8. Where do you see the lines blurring most between media, commerce, and in-store/in-club experience — and which of those convergence points is Walmart investing in most aggressively right now?9. With Walmart's scale, data, and tech now spanning Walmart Connect, International, and Sam's Club Connect, what's your vision for the next big unlock for advertisers — and how do you think about translating that scale into measurable growth for both Walmart and your partners?CPG Guys Website: http://CPGguys.comFMCG Guys Website: http://FMCGguys.comSheCOMMERCE Website: https://shecommercepodcast.com/Rhea Raj's Website: http://rhearaj.comLara Raj in Katseye: https://www.katseye.world/DISCLAIMER: The content in this podcast episode is provided for general informational purposes only. By listening to our episode, you understand that no information contained in this episode should be construed as advice from CPGGUYS, LLC or the individual author, hosts, or guests, nor is it intended to be a substitute for research on any subject matter. Reference to any specific product or entity does not constitute an endorsement or recommendation by CPGGUYS, LLC. The views expressed by guests are their own and their appearance on the program does not imply an endorsement of them or any entity they represent.CPGGUYS LLC expressly disclaims any and all liability or responsibility for any direct, indirect, incidental, special, consequential or other damages arising out of any individual's use of, reference to, or inability to use this podcast or the information we presented in this podcast.

Recorded live at Cannes, Wpromote CEO Andrea Bendzick exposes why agile independent agencies are eating traditional holding companies' lunch while everyone else scrambles to build overpriced tech platforms. She maps out how mixing performance marketing, smart M&A, and hard revenue-backed brand metrics gives modern agencies an unbeatable edge. Key Highlights ⚖️ Independent agencies sit in a sweet spot where they're big enough to handle massive brands but agile enough to pivot while legacy holding companies stay stuck.

This week, Katherine's Telling Everybody Everything about a harrowing brush with death as the hex on her home continues and she smashes into a glass door. Also, she was a disappointing plus one in Cannes about a month ago and completely forgot to say anything about it until now. Plus, comedian Andrew Johnston joins us from Hollywood with tales of an allegedly famous man who wants to have one daughter via surrogate and raise her to be 'his best friend', a Swedish wrestler paid his own wife $60K per year in 1990s money so that he could cheat on the road, and the infamous Tate brothers are arrested in America to face many spicy charges in the UK. Excellent! x @mandrewbrawnston Hosted on Acast. See acast.com/privacy for more information.

In this episode of Best in Fest, host Leslie LaPage brings together an extraordinary panel of award-winning directors, producers, cinematographers, and film professionals from around the world to reveal how they built successful careers in filmmaking—and what aspiring filmmakers need to know to do the same.From self-taught directors to internationally acclaimed producers, these guests share honest stories about rejection, persistence, networking, film school, mentorship, funding, and finding your place in one of the world's most competitive industries.In this episode, you'll learn:• How successful filmmakers got their first break• Is film school worth it—or can you succeed without it?• The importance of networking and building creative relationships• How producers, directors, and cinematographers build lasting careers• What award-winning filmmakers wish they knew when they started• How to overcome rejection and keep creating• Why storytelling matters more than expensive equipment• Advice for women working in the film industry• How international co-productions and film festivals open career opportunities• The mindset required to survive—and thrive—in independent filmmakingFeaturing insights from acclaimed filmmakers whose work has premiered at Cannes, Berlinale, Venice, and major international film festivals, this conversation offers practical advice for filmmakers, film students, writers, producers, actors, cinematographers, and anyone dreaming of a career in movies.Whether you're making your first short film, pitching your first feature, or looking to grow your filmmaking career, this episode is packed with real-world lessons from professionals who've done it.Subscribe to Best in Fest for more conversations with award-winning filmmakers, festival directors, screenwriters, actors, producers, and industry leaders from around the globe.

Chalene has a Travis Kelce wedding update, a personal Travis Kelce story she's mildly embarrassed about, and a correction from Wednesday's episode before getting into a lot. The Siders case in Ohio just got a lot more complicated. Gary Sr. collapsed on his way to court, got released on a recognizance bond, and his attorneys filed two major legal motions on the same day. Chalene walks through what that could mean and why people are raising eyebrows at the timing. Then there's the Turpin family, another case of children isolated for years inside what looked, from the outside, like a completely normal home. Chalene talks about why that one is actually the scarier story, and what it says about how these things stay hidden for so long. Two singers are in the news this week. Adele is stepping away from performing, and she has a reason that is hard to argue with. And Ariana Grande has postponed tour dates, and Chalene does not think it is for the reason everyone assumes. Then there is a harder conversation about the platforms giving massive audiences to people who are clearly in crisis, what responsibility looks like there, and what Chalene knows from her own experience about how long it can take to even recognize there is a problem. She is recording from Cannes, France, and yes, you will hear the mopeds. Go Beyond The Podcast Join Chalene on her private podcast

In this short episode of The GaryVee Audio Experience, I answer a few impromptu questions at Cannes about how to grow multiple brands at the same time, why the experts telling you to niche down are wrong, and which platform is most underrated right now. I share why being multidimensional beats being one-dimensional over the long term, why you have to have the humility to take fewer views on individual pieces, and how AI-assisted editing makes 1,000 pieces of content a day possible.You'll learn about:• Why Multidimensional Beats One-Dimensional• The Humility to Get Fewer Views per Piece• How 1,000 Pieces a Day Actually Works• AI Tools for Content Editing• Snapchat Spotlight as the Next Underrated Platform