Podcasts about Cinematic

In this week's Interview Classic episode from five years ago (7-16-2020), PWTorch editor Wade Keller interviewed former WWE Creative Team member Matt McCarthy, a former member of the WWE Creative Team (and professional stand-up comedian who has appeared on “Conan” and many commercials) to discuss the WWE Swamp Match and in general the trend to do pre-taped heavily-produced “Cinematic” style wrestling matches. Then he provided his insights into WWE's booking approach for each of the scheduled matches on Sunday including Drew McIntyre vs. Dolph Ziggler, the Eye for an Eye match with Rey Mysterio and Seth Rollins, Apollo Crews vs. MVP, Asuka vs. Sasha Banks for the Raw Title, and Bayley vs. Nikki Cross for the Smackdown Title.Become a supporter of this podcast: https://www.spreaker.com/podcast/wade-keller-pro-wrestling-podcast--3076978/support.

Dennis berättar om hur det var uppe i Stockholm på High Fice Summer Party och Broken Summer Fest med en riktig svensk emokvartet! Chemical Vocation, Adept, Normadie och Intohimo!Vi går igenom hela Craig Owens liv som musiker med alla medgångar, motgångar och bandbyten. Hela hans diskografi med samtliga band som Chiodos, DRUGS, Cinematic Sunrise, Isle & Glaciers mfl. Du hittar länkar till instagram, patreon, merch, discord och våra andra poddar i vårt länkträd: ⁠⁠https://linktr.ee/emopodden.⁠⁠⁠⁠Spotify-lista med låtarna från avsnittet⁠⁠Vill du sen ha ännu mer musik så kan du spana in den ⁠⁠ultimata listan⁠⁠ med alla låtar från alla våra avsnitt![We do not own any music played in this podcast. All short snippets of music we play are for promotion and/or reviewing purposes only, and all credit goes to the original creators.]

In this milestone episode of Tales From Hollywoodland, the crew sits down with legendary screenwriter Carl Gottlieb to celebrate the 50th anniversary of Jaws—the groundbreaking film that redefined the modern blockbuster. Gottlieb shares behind-the-scenes stories, insights into writing the Jaws screenplay, and what it was like working with Steven Spielberg during the making of the […] The post Carl Gottlieb on Writing Jaws — 50 Years of a Cinematic Classic | Tales From Hollywoodland appeared first on The ESO Network.

In this milestone episode of Tales From Hollywoodland, the crew sits down with legendary screenwriter Carl Gottlieb to celebrate the 50th anniversary of Jaws—the groundbreaking film that redefined the modern blockbuster. Gottlieb shares behind-the-scenes stories, insights into writing the Jaws screenplay, and what it was like working with Steven Spielberg during the making of the iconic 1975 thriller. Dive deep into the legacy, impact, and continued relevance of Jaws—a film that forever changed Hollywood filmmaking and summer cinema. We want to hear from you! Feedback is always welcome. Please write to us at  talesfromhollywoodland@gmail.com and why not subscribe and rate the show on Apple Podcasts, Spotify, iHeartRadio, PlayerFM, Pandora, Amazon Music, Audible, and wherever fine podcasts are found.  #CarlGottlieb #Jaws50 #JawsMovie #JawsAnniversary #StevenSpielberg #HollywoodHistory #Screenwriting #ClassicCinema #BehindTheScenes #MoviePodcast #TalesFromHollywoodland #BlockbusterMovies #1975Cinema #MakingOfJaws

In an all AEW pod, Dangerous Duke and Stevie Jobber talk about fallout from AEW All In Texas! From Start to finish, the downs of Adam Cole to the ups of Adam Page, with a few chair shots in between!Follow us on TiktTok, Instagram, Youtube and even check out our website using the link below.⁠⁠https://linktr.ee/dangerousjobberspodcast

❤️ In the Seventy-ninth Chapter of the D&D Actual Play Adventure Dice Company: Small Embers... A decision is made on Shale's Air Fleet and the future of the Rebellion...

In this episode Ceri is joined by the incomparable John Smith—artist-filmmaker, mischievous narrator, cinematic magician. Over the past five decades, John has created more than 60 award-winning films, videos and installations that have screened in cinemas and museums around the world, from MoMA in New York to Tate Modern, and earned him honours including the Jarman Award and a Paul Hamlyn Foundation Award for Artists. Often funny, always astute, his work reshapes how we see and hear the world. In this conversation, John shares how growing up in East London in the 50s and 60s fuelled his anti-authoritarian streak, how he stumbled into art school via psychedelic paintings and audacity, and how humour became his Trojan horse for smuggling serious ideas into unsuspecting minds. KEY TAKEAWAYS Being rebellious is fuel for creativity. Humour is a great way to break down barriers, including artistic ones. When you connect with your audience your confidence and creativity grows. Art is about communication. Your old work can resonate with new audiences, so use it. Working through illness, if you can physically do it, is hard but rewarding. Be true to yourself in your work. Integrity beats commercialism. At times you will work within limitations, embrace those situations. You will learn a lot. BEST MOMENTS “The power of language and storytelling is so strong that when we are told something we can't help but half believe it.” “That film was made in the context of people making work, which was anti illusionistic, was which had its intention to undermine the illusion of cinema and make us realise that that that cinema is manipulating us.” “Humour absolutely is a survival mechanism.” “The market is a fickle beast…so, you have to make work you love, regardless.” EPISODE RESOURCES https://johnsmithfilms.com https://www.instagram.com/theotherjohnsmith PODCAST HOST BIO With over 30 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** The Artist Mastermind Circle: Ready to stop second-guessing and start building momentum in your art career? Applications are now open for the next Artist Mastermind Circle—a six-month coaching programme for mid-career artists who are serious about growing their confidence, income, and opportunities. Apply by 21 July at https://cerihand.com/artist-mastermind-circle/ and take the next bold step. Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Build Relationships The Easy Way Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

FECK. DEADMAU5 powers down mid set. Aw, fuck. Oh, man. Did you forget to plug in the Deadmau5. I forgot to plug in the Deadmau5. Quick, create a diversion. Make it look like part of the show! STAFFERSON opens the charging port on JOEL's neck and plugs him in. He's not going to make it through the full set on charge mode, bro. I know. So what are we supposed to do. We're just going to have to play with him… MAU5 glitches uncontrollably at extremely reduced capacity throughout the remainder of the set. The 32B commences. LATER. DEADMAU5 charges in SLEEP MODE in THE DUNGEON. Do you think anyone noticed? Probably not. SAUFERSON! Did you forget to charge the Deadmau5 again?! THE BOSS enters THE DUNGEON lividly. No… You DID! Sorry. It's not entirely {Enter The Multiverse} Young Joel Zimmerman is eight years old. He will one day become one of the world's most renowned dance music producers. This is somewhat evident in his personality even at such a young age. JOEL grimaces uncomfortably. He seems somewhat different from his classmates— maybe even years beyond his age. About… 250 years beyond his age, to be precise. The adults watch in the distance with peaking curiosity. Oh. I need you to help me with something. What. This should do it. Hmm. Wait here. Why. Because. L E G E N D S Book One: Secrets Chapter One “The Wonder” Cinematic visions had been sweeping through my mind in vivid and dynamic glitches, something like a rolling wave of intercepted streams and shattered scenes— sleeping through the vile and sharp pains was not an option, but the visions were fluid as they always were, and the spirit stayed remarkably warm and close. I couldn't understand the constant knowing of it all, and so I weathered the storm, to which only somewhat delightfully, seemed to brew inside of Genie's eyes as he looked into mine. All I could know from beforehand was that he was praying, head bowed and very adamantly, his hands tied together as if the religiousness of the entire world rests in between his two clenching palms, the flat fingers of a whispered saint, but none at all— unholy man and righteous and indignant he, there was nothing so little as time that could put between us the doing and undoings. The things I pretended not to know. On this grueling occasion, there was this, the honorable and beloved Genie, sitting heavily on my consious. It hadn't been long enough since we'd last met that I ever thought to welcome his arrival, and yet for days, he had been encroaching his authority over me, something like a loon approaches moonlight. Somewhat dignified in a slight comparison to his last appearance, visionary or otherwise, he meant well. Gene DeLaney was a subtle old fool when he wanted to be— and a clever young one at most other and all times. A man of stature and status, however, he was poorly groomed in the nature of procuring revelations as such from an especially distant medium such as I— and even with his ties to the mark and surface of the full embodiment of the source, his alignments were of no use; I was sworn to secrecy. Destitute, though I had heeded his warnings about dear Louis, our fellow brother, with the markings of such wounds to see it that I had been betrayed, he appealed with a simple aching plea with the protective fury and exhalation of an older brother, which— to that he was—but also with the weathered and fearful of the unknown which made me keep my ways in the old world and not with the new. Despite what Gene could know, which could be everything or nothing, with the expectation that much like the little girl I nearly was in considerate comparison, I would appeal to this protectiveness, and truthworthiness, and it might as well have been a test of such myself; would I lie to him, even if he knew the truth? And furthermore, would I continue to conspire to protect Louis even if the whole of the truth was known in the wake of such a betrayal, and still— why? The why was really two parts of a greater whole, the first being that it was a matter of simple trust and loyalty on the one side in that were I Louis, I'd expect my keeping's to remain, and in the same stone's throw were I Genie, I'd expect his wants to be that I should do the same for him in all and any of his many hours of need. Still so, they were men, and they were brothers— and one to have the upper hand over another was a considerable part of the dynamic, however, and in many more ways than one, Genie outranked Louis in every matter of the sort, but besides this factor, the second part of the greater whole of my withholding, was this— Louis Greenworth was a very, very powerful man— beyond by some comprehension to most of us, if not and especially our kind, and I had already been hurt. Severely wounded, even, and with the knowing that this latest event might as well have been fatal— and probably was, with any recollection of the matter or the reorientation in the aftermath of such, I might have been approached as myself by Gene entirely new. As to say, to no avail such ties to death is the immortal, death being, most misunderstood by many, almost any kind of thing taking the concious mind or the spirit into any other world, or space, or time. With this love and care considerably so, Genie might have had his own personal motivations for prying into the light; his kind eyes and his handsome face, however, were trained in the art of my undoing, and having already been undone, and done over, I remained entirely in the safety of withholding, also knowing that Genie more likely than not what Louis had carried out. In all my thousands of years, perhaps even in the billions of such before time and world, and words, and glory, though I should have nothing to fear—I feared and admired the both of them deeply, one moreso than the other in matters of fear. I withheld feverously, coping with the loss of the satisfaction it might give Genie to have told. Instead, neither satisfied nor dissatisfied, he simply dissappeared, his kind eyes gone and turned away into the fog of the murky night haze. The relief was, however, that this was in understanding, and neither anger or the severity of severance. I loved them all too deeply for the bond to ever have been truly broken, and in return I had been loved throughout all time with all the colors of the world. Victoria Shriver-DuPont Gene DeLaney Louis Greenworth Faye Reginald Harper Chapter Two “Slip” Faye had warned me early on no matter what I did or what I knew of Louis and his keepings, to always let him win—at anything. To Louis, everything was a game, or rather, a competition, and it was important not to challenge his self riteousness and dutiful outlook. “Alright.” I almost always certainly trusted Faye, and certainly always at the very least understood her procurements. She was a worthy keeper and just as well unearthed truths, even well beyond just the earthly plane. I took it as such that we had become beyond surface matters, very distinctly and immidiately. The times were changing, but the ties no less the same— there were vows taken and oaths, mantras and fields of trust— the inner ties and the outer forests of what we could reproach as unknown— the truth was, it was almost as if there were doses of those kinds of tonics I could take, and others I could not. The lengths at which Faye Reginald Harper Downings went on behalf of her mark were a cunning sting on my inner knowings, still, I yielded to her bargains. She knew Louis better than I did, and either way, the more you knew about a man like Louis Greenpoint, the less you actually wanted. In such a case, we were all astounded to have become each other's jobs— hence the title, Keeper. My mark had no true title, as I just, rather was. A true immortal, I had been prone to dying for quite some time, and with each passing mark the outer world became more haunting and bizzare. Was I the ghost, or not? In this time and now, it was the others. Genie had warned me to run in the opposite direction of Louis, and by then it had already gone to far— and besides that, Ms. Downings had arrived sheer months ahead of time, seeming to have moved mountains to have come upon the dawn to report— the dawn, being, my awakening. I had lived and lived again and to this alone I was a ghost, but had been tied to my dear keepers and brethren as an admirer— and also, perhaps, to be admired, which was just enough reflected in my dear heart's eyes as it was the cold truth of the seers and the keepers— and the darker the under becomes, the more glistening the surface, and truly, in the caverns of the harsh light of the dawning, I could only amask that it had been not days and night since my last parting, as sometimes, generations— another marker for what was all to come, the knowing that I would be sheathed in truth. What Louis had taken Faye might have very well taken with it, but I was undauntingly and hideously unchanged from my oath. These things, even betrayal, were to remain, as I undone, as secrets. In truth, the Seeker's oath is not yet in the unkept truth, but in the disguise of the awakening it brings. Genie was belonged to by a power couple—Louis in this sense was also belonged to, but in a wary way to that these ties had been severed, and crossed, and cut, and broken; In my arrival, entire times had been shattered and worlds set to move in a backwards fashion, the sun as shining as to rise in the west, and set east, or to raise to the north with no southward bound to travel. There, in the time of my arrival, things had been ruined, and though coming as any does with the bearing of a name, Victoria Shriver-DuPont, to be called— I was nonesuch to any title at all. In this lies the betrayal, and in the dawn of my awakening there beconed the call of this man, dear brother Louis as not either his name or his title any, but of his calling. There, the truth had also been shattered and met with the time to call all of our brothers, as keepers and wishers, seers and seekers, knowers and keepers, to guide the light which calls. Chapter Three: “Gene Hope” As Televamgelests go, Gene DeLaney was not your average showman, either religiously nor by any given standards. His chosen stage name, or rather, bestowed harrowed the scene's Prince of Megatropolis, a gesture that all things reachable could be heard and felt by his voice and might. But more to know about Gene Hope—actually by law, Gene DeLaney were his highly publicized personal effects and efforts—appearances, connections, and politics. Well groomed in the art of culture and confirm, Gene had hoped to portray an otherwise arbitrary anyman, and yet was still in his way, a remarkable celebrity. There were wordless forms of nonconformity and rebellious ambition in his sheer collusion and pace. His walk, the elegance of a loyal court man, and the actual reverence of a madman, made him the go-to guy for all things knowing. The cruelty of it, being, that not particularly tied to that of the believes and mantras of a religious man, and in that the duty of nature being the times that we cross paths. The knowing but not all that is known, and thus, the keeping. I want to fold myself over in half I'm so in music with you I want to say words that make you laugh I'm so in music with you I don't know I don't know I don't know I don't know I don't know wholesome no more I don't know I don't know I don't know I don't know If I should open the door I'm lost to your world; But I don't want to go. I'm stuck in your notebook So wrong for you code But this is no (Recommended) friendship This is no means to an end I want the beginning of never ending But this? I just want it to end I'm as scared and as sorry As bad as I was I'm up in my bedroom, which hasn't a door I'm up in my head, and I haven't a code I wanted to get on the boat But the ocean was gorgeous And all the world kept me afloat You know I got no reason to act out It's tragic how magic just happened to pan out We're still drifting as Pangea, I wanted you to leave Just so that I could be there. You wanted potion for control You got it? I'm stuck in your notebook, So open the door You're right, She's adorable, all for you So goes the snow one and so As you throw the door, or the bone I called it a home for the force that was locking it all away I don't want nothing but wanting and wanting And I don't ant love I just wanted a sub direction This is just glimpses of perfect And glimpses of persons And glimpses of lessons This is just getting in heads, and more headaches And bed frames And glitches Santa Barbara, Ann Arbor— All the days and all the days and all thof ways Were still drifting away like Pangea (Only to do whatever you say) I was your heachache This wasn't monotony If it's all autonomy wel then someday, Maybe you'll make me For now I'm just an artificial Figment of this existence Joel wants a girl But Ive never been loved like a girl (I don't know how to be) And if whoever wants a woman When a man gives me the whole of it And only whatsoever then shall I amount to anything And anything at all, if love Is in the eyes and hands In either daughter or a son I've ‘M nothing at all If not a mother And I'm no mother at all, so Everything becomes impossible as one [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved

FECK. DEADMAU5 powers down mid set. Aw, fuck. Oh, man. Did you forget to plug in the Deadmau5. I forgot to plug in the Deadmau5. Quick, create a diversion. Make it look like part of the show! STAFFERSON opens the charging port on JOEL's neck and plugs him in. He's not going to make it through the full set on charge mode, bro. I know. So what are we supposed to do. We're just going to have to play with him… MAU5 glitches uncontrollably at extremely reduced capacity throughout the remainder of the set. The 32B commences. LATER. DEADMAU5 charges in SLEEP MODE in THE DUNGEON. Do you think anyone noticed? Probably not. SAUFERSON! Did you forget to charge the Deadmau5 again?! THE BOSS enters THE DUNGEON lividly. No… You DID! Sorry. It's not entirely {Enter The Multiverse} Young Joel Zimmerman is eight years old. He will one day become one of the world's most renowned dance music producers. This is somewhat evident in his personality even at such a young age. JOEL grimaces uncomfortably. He seems somewhat different from his classmates— maybe even years beyond his age. About… 250 years beyond his age, to be precise. The adults watch in the distance with peaking curiosity. Oh. I need you to help me with something. What. This should do it. Hmm. Wait here. Why. Because. L E G E N D S Book One: Secrets Chapter One “The Wonder” Cinematic visions had been sweeping through my mind in vivid and dynamic glitches, something like a rolling wave of intercepted streams and shattered scenes— sleeping through the vile and sharp pains was not an option, but the visions were fluid as they always were, and the spirit stayed remarkably warm and close. I couldn't understand the constant knowing of it all, and so I weathered the storm, to which only somewhat delightfully, seemed to brew inside of Genie's eyes as he looked into mine. All I could know from beforehand was that he was praying, head bowed and very adamantly, his hands tied together as if the religiousness of the entire world rests in between his two clenching palms, the flat fingers of a whispered saint, but none at all— unholy man and righteous and indignant he, there was nothing so little as time that could put between us the doing and undoings. The things I pretended not to know. On this grueling occasion, there was this, the honorable and beloved Genie, sitting heavily on my consious. It hadn't been long enough since we'd last met that I ever thought to welcome his arrival, and yet for days, he had been encroaching his authority over me, something like a loon approaches moonlight. Somewhat dignified in a slight comparison to his last appearance, visionary or otherwise, he meant well. Gene DeLaney was a subtle old fool when he wanted to be— and a clever young one at most other and all times. A man of stature and status, however, he was poorly groomed in the nature of procuring revelations as such from an especially distant medium such as I— and even with his ties to the mark and surface of the full embodiment of the source, his alignments were of no use; I was sworn to secrecy. Destitute, though I had heeded his warnings about dear Louis, our fellow brother, with the markings of such wounds to see it that I had been betrayed, he appealed with a simple aching plea with the protective fury and exhalation of an older brother, which— to that he was—but also with the weathered and fearful of the unknown which made me keep my ways in the old world and not with the new. Despite what Gene could know, which could be everything or nothing, with the expectation that much like the little girl I nearly was in considerate comparison, I would appeal to this protectiveness, and truthworthiness, and it might as well have been a test of such myself; would I lie to him, even if he knew the truth? And furthermore, would I continue to conspire to protect Louis even if the whole of the truth was known in the wake of such a betrayal, and still— why? The why was really two parts of a greater whole, the first being that it was a matter of simple trust and loyalty on the one side in that were I Louis, I'd expect my keeping's to remain, and in the same stone's throw were I Genie, I'd expect his wants to be that I should do the same for him in all and any of his many hours of need. Still so, they were men, and they were brothers— and one to have the upper hand over another was a considerable part of the dynamic, however, and in many more ways than one, Genie outranked Louis in every matter of the sort, but besides this factor, the second part of the greater whole of my withholding, was this— Louis Greenworth was a very, very powerful man— beyond by some comprehension to most of us, if not and especially our kind, and I had already been hurt. Severely wounded, even, and with the knowing that this latest event might as well have been fatal— and probably was, with any recollection of the matter or the reorientation in the aftermath of such, I might have been approached as myself by Gene entirely new. As to say, to no avail such ties to death is the immortal, death being, most misunderstood by many, almost any kind of thing taking the concious mind or the spirit into any other world, or space, or time. With this love and care considerably so, Genie might have had his own personal motivations for prying into the light; his kind eyes and his handsome face, however, were trained in the art of my undoing, and having already been undone, and done over, I remained entirely in the safety of withholding, also knowing that Genie more likely than not what Louis had carried out. In all my thousands of years, perhaps even in the billions of such before time and world, and words, and glory, though I should have nothing to fear—I feared and admired the both of them deeply, one moreso than the other in matters of fear. I withheld feverously, coping with the loss of the satisfaction it might give Genie to have told. Instead, neither satisfied nor dissatisfied, he simply dissappeared, his kind eyes gone and turned away into the fog of the murky night haze. The relief was, however, that this was in understanding, and neither anger or the severity of severance. I loved them all too deeply for the bond to ever have been truly broken, and in return I had been loved throughout all time with all the colors of the world. Victoria Shriver-DuPont Gene DeLaney Louis Greenworth Faye Reginald Harper Chapter Two “Slip” Faye had warned me early on no matter what I did or what I knew of Louis and his keepings, to always let him win—at anything. To Louis, everything was a game, or rather, a competition, and it was important not to challenge his self riteousness and dutiful outlook. “Alright.” I almost always certainly trusted Faye, and certainly always at the very least understood her procurements. She was a worthy keeper and just as well unearthed truths, even well beyond just the earthly plane. I took it as such that we had become beyond surface matters, very distinctly and immidiately. The times were changing, but the ties no less the same— there were vows taken and oaths, mantras and fields of trust— the inner ties and the outer forests of what we could reproach as unknown— the truth was, it was almost as if there were doses of those kinds of tonics I could take, and others I could not. The lengths at which Faye Reginald Harper Downings went on behalf of her mark were a cunning sting on my inner knowings, still, I yielded to her bargains. She knew Louis better than I did, and either way, the more you knew about a man like Louis Greenpoint, the less you actually wanted. In such a case, we were all astounded to have become each other's jobs— hence the title, Keeper. My mark had no true title, as I just, rather was. A true immortal, I had been prone to dying for quite some time, and with each passing mark the outer world became more haunting and bizzare. Was I the ghost, or not? In this time and now, it was the others. Genie had warned me to run in the opposite direction of Louis, and by then it had already gone to far— and besides that, Ms. Downings had arrived sheer months ahead of time, seeming to have moved mountains to have come upon the dawn to report— the dawn, being, my awakening. I had lived and lived again and to this alone I was a ghost, but had been tied to my dear keepers and brethren as an admirer— and also, perhaps, to be admired, which was just enough reflected in my dear heart's eyes as it was the cold truth of the seers and the keepers— and the darker the under becomes, the more glistening the surface, and truly, in the caverns of the harsh light of the dawning, I could only amask that it had been not days and night since my last parting, as sometimes, generations— another marker for what was all to come, the knowing that I would be sheathed in truth. What Louis had taken Faye might have very well taken with it, but I was undauntingly and hideously unchanged from my oath. These things, even betrayal, were to remain, as I undone, as secrets. In truth, the Seeker's oath is not yet in the unkept truth, but in the disguise of the awakening it brings. Genie was belonged to by a power couple—Louis in this sense was also belonged to, but in a wary way to that these ties had been severed, and crossed, and cut, and broken; In my arrival, entire times had been shattered and worlds set to move in a backwards fashion, the sun as shining as to rise in the west, and set east, or to raise to the north with no southward bound to travel. There, in the time of my arrival, things had been ruined, and though coming as any does with the bearing of a name, Victoria Shriver-DuPont, to be called— I was nonesuch to any title at all. In this lies the betrayal, and in the dawn of my awakening there beconed the call of this man, dear brother Louis as not either his name or his title any, but of his calling. There, the truth had also been shattered and met with the time to call all of our brothers, as keepers and wishers, seers and seekers, knowers and keepers, to guide the light which calls. Chapter Three: “Gene Hope” As Televamgelests go, Gene DeLaney was not your average showman, either religiously nor by any given standards. His chosen stage name, or rather, bestowed harrowed the scene's Prince of Megatropolis, a gesture that all things reachable could be heard and felt by his voice and might. But more to know about Gene Hope—actually by law, Gene DeLaney were his highly publicized personal effects and efforts—appearances, connections, and politics. Well groomed in the art of culture and confirm, Gene had hoped to portray an otherwise arbitrary anyman, and yet was still in his way, a remarkable celebrity. There were wordless forms of nonconformity and rebellious ambition in his sheer collusion and pace. His walk, the elegance of a loyal court man, and the actual reverence of a madman, made him the go-to guy for all things knowing. The cruelty of it, being, that not particularly tied to that of the believes and mantras of a religious man, and in that the duty of nature being the times that we cross paths. The knowing but not all that is known, and thus, the keeping. I want to fold myself over in half I'm so in music with you I want to say words that make you laugh I'm so in music with you I don't know I don't know I don't know I don't know I don't know wholesome no more I don't know I don't know I don't know I don't know If I should open the door I'm lost to your world; But I don't want to go. I'm stuck in your notebook So wrong for you code But this is no (Recommended) friendship This is no means to an end I want the beginning of never ending But this? I just want it to end I'm as scared and as sorry As bad as I was I'm up in my bedroom, which hasn't a door I'm up in my head, and I haven't a code I wanted to get on the boat But the ocean was gorgeous And all the world kept me afloat You know I got no reason to act out It's tragic how magic just happened to pan out We're still drifting as Pangea, I wanted you to leave Just so that I could be there. You wanted potion for control You got it? I'm stuck in your notebook, So open the door You're right, She's adorable, all for you So goes the snow one and so As you throw the door, or the bone I called it a home for the force that was locking it all away I don't want nothing but wanting and wanting And I don't ant love I just wanted a sub direction This is just glimpses of perfect And glimpses of persons And glimpses of lessons This is just getting in heads, and more headaches And bed frames And glitches Santa Barbara, Ann Arbor— All the days and all the days and all thof ways Were still drifting away like Pangea (Only to do whatever you say) I was your heachache This wasn't monotony If it's all autonomy wel then someday, Maybe you'll make me For now I'm just an artificial Figment of this existence Joel wants a girl But Ive never been loved like a girl (I don't know how to be) And if whoever wants a woman When a man gives me the whole of it And only whatsoever then shall I amount to anything And anything at all, if love Is in the eyes and hands In either daughter or a son I've ‘M nothing at all If not a mother And I'm no mother at all, so Everything becomes impossible as one [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved

FECK. DEADMAU5 powers down mid set. Aw, fuck. Oh, man. Did you forget to plug in the Deadmau5. I forgot to plug in the Deadmau5. Quick, create a diversion. Make it look like part of the show! STAFFERSON opens the charging port on JOEL's neck and plugs him in. He's not going to make it through the full set on charge mode, bro. I know. So what are we supposed to do. We're just going to have to play with him… MAU5 glitches uncontrollably at extremely reduced capacity throughout the remainder of the set. The 32B commences. LATER. DEADMAU5 charges in SLEEP MODE in THE DUNGEON. Do you think anyone noticed? Probably not. SAUFERSON! Did you forget to charge the Deadmau5 again?! THE BOSS enters THE DUNGEON lividly. No… You DID! Sorry. It's not entirely {Enter The Multiverse} Young Joel Zimmerman is eight years old. He will one day become one of the world's most renowned dance music producers. This is somewhat evident in his personality even at such a young age. JOEL grimaces uncomfortably. He seems somewhat different from his classmates— maybe even years beyond his age. About… 250 years beyond his age, to be precise. The adults watch in the distance with peaking curiosity. Oh. I need you to help me with something. What. This should do it. Hmm. Wait here. Why. Because. L E G E N D S Book One: Secrets Chapter One “The Wonder” Cinematic visions had been sweeping through my mind in vivid and dynamic glitches, something like a rolling wave of intercepted streams and shattered scenes— sleeping through the vile and sharp pains was not an option, but the visions were fluid as they always were, and the spirit stayed remarkably warm and close. I couldn't understand the constant knowing of it all, and so I weathered the storm, to which only somewhat delightfully, seemed to brew inside of Genie's eyes as he looked into mine. All I could know from beforehand was that he was praying, head bowed and very adamantly, his hands tied together as if the religiousness of the entire world rests in between his two clenching palms, the flat fingers of a whispered saint, but none at all— unholy man and righteous and indignant he, there was nothing so little as time that could put between us the doing and undoings. The things I pretended not to know. On this grueling occasion, there was this, the honorable and beloved Genie, sitting heavily on my consious. It hadn't been long enough since we'd last met that I ever thought to welcome his arrival, and yet for days, he had been encroaching his authority over me, something like a loon approaches moonlight. Somewhat dignified in a slight comparison to his last appearance, visionary or otherwise, he meant well. Gene DeLaney was a subtle old fool when he wanted to be— and a clever young one at most other and all times. A man of stature and status, however, he was poorly groomed in the nature of procuring revelations as such from an especially distant medium such as I— and even with his ties to the mark and surface of the full embodiment of the source, his alignments were of no use; I was sworn to secrecy. Destitute, though I had heeded his warnings about dear Louis, our fellow brother, with the markings of such wounds to see it that I had been betrayed, he appealed with a simple aching plea with the protective fury and exhalation of an older brother, which— to that he was—but also with the weathered and fearful of the unknown which made me keep my ways in the old world and not with the new. Despite what Gene could know, which could be everything or nothing, with the expectation that much like the little girl I nearly was in considerate comparison, I would appeal to this protectiveness, and truthworthiness, and it might as well have been a test of such myself; would I lie to him, even if he knew the truth? And furthermore, would I continue to conspire to protect Louis even if the whole of the truth was known in the wake of such a betrayal, and still— why? The why was really two parts of a greater whole, the first being that it was a matter of simple trust and loyalty on the one side in that were I Louis, I'd expect my keeping's to remain, and in the same stone's throw were I Genie, I'd expect his wants to be that I should do the same for him in all and any of his many hours of need. Still so, they were men, and they were brothers— and one to have the upper hand over another was a considerable part of the dynamic, however, and in many more ways than one, Genie outranked Louis in every matter of the sort, but besides this factor, the second part of the greater whole of my withholding, was this— Louis Greenworth was a very, very powerful man— beyond by some comprehension to most of us, if not and especially our kind, and I had already been hurt. Severely wounded, even, and with the knowing that this latest event might as well have been fatal— and probably was, with any recollection of the matter or the reorientation in the aftermath of such, I might have been approached as myself by Gene entirely new. As to say, to no avail such ties to death is the immortal, death being, most misunderstood by many, almost any kind of thing taking the concious mind or the spirit into any other world, or space, or time. With this love and care considerably so, Genie might have had his own personal motivations for prying into the light; his kind eyes and his handsome face, however, were trained in the art of my undoing, and having already been undone, and done over, I remained entirely in the safety of withholding, also knowing that Genie more likely than not what Louis had carried out. In all my thousands of years, perhaps even in the billions of such before time and world, and words, and glory, though I should have nothing to fear—I feared and admired the both of them deeply, one moreso than the other in matters of fear. I withheld feverously, coping with the loss of the satisfaction it might give Genie to have told. Instead, neither satisfied nor dissatisfied, he simply dissappeared, his kind eyes gone and turned away into the fog of the murky night haze. The relief was, however, that this was in understanding, and neither anger or the severity of severance. I loved them all too deeply for the bond to ever have been truly broken, and in return I had been loved throughout all time with all the colors of the world. Victoria Shriver-DuPont Gene DeLaney Louis Greenworth Faye Reginald Harper Chapter Two “Slip” Faye had warned me early on no matter what I did or what I knew of Louis and his keepings, to always let him win—at anything. To Louis, everything was a game, or rather, a competition, and it was important not to challenge his self riteousness and dutiful outlook. “Alright.” I almost always certainly trusted Faye, and certainly always at the very least understood her procurements. She was a worthy keeper and just as well unearthed truths, even well beyond just the earthly plane. I took it as such that we had become beyond surface matters, very distinctly and immidiately. The times were changing, but the ties no less the same— there were vows taken and oaths, mantras and fields of trust— the inner ties and the outer forests of what we could reproach as unknown— the truth was, it was almost as if there were doses of those kinds of tonics I could take, and others I could not. The lengths at which Faye Reginald Harper Downings went on behalf of her mark were a cunning sting on my inner knowings, still, I yielded to her bargains. She knew Louis better than I did, and either way, the more you knew about a man like Louis Greenpoint, the less you actually wanted. In such a case, we were all astounded to have become each other's jobs— hence the title, Keeper. My mark had no true title, as I just, rather was. A true immortal, I had been prone to dying for quite some time, and with each passing mark the outer world became more haunting and bizzare. Was I the ghost, or not? In this time and now, it was the others. Genie had warned me to run in the opposite direction of Louis, and by then it had already gone to far— and besides that, Ms. Downings had arrived sheer months ahead of time, seeming to have moved mountains to have come upon the dawn to report— the dawn, being, my awakening. I had lived and lived again and to this alone I was a ghost, but had been tied to my dear keepers and brethren as an admirer— and also, perhaps, to be admired, which was just enough reflected in my dear heart's eyes as it was the cold truth of the seers and the keepers— and the darker the under becomes, the more glistening the surface, and truly, in the caverns of the harsh light of the dawning, I could only amask that it had been not days and night since my last parting, as sometimes, generations— another marker for what was all to come, the knowing that I would be sheathed in truth. What Louis had taken Faye might have very well taken with it, but I was undauntingly and hideously unchanged from my oath. These things, even betrayal, were to remain, as I undone, as secrets. In truth, the Seeker's oath is not yet in the unkept truth, but in the disguise of the awakening it brings. Genie was belonged to by a power couple—Louis in this sense was also belonged to, but in a wary way to that these ties had been severed, and crossed, and cut, and broken; In my arrival, entire times had been shattered and worlds set to move in a backwards fashion, the sun as shining as to rise in the west, and set east, or to raise to the north with no southward bound to travel. There, in the time of my arrival, things had been ruined, and though coming as any does with the bearing of a name, Victoria Shriver-DuPont, to be called— I was nonesuch to any title at all. In this lies the betrayal, and in the dawn of my awakening there beconed the call of this man, dear brother Louis as not either his name or his title any, but of his calling. There, the truth had also been shattered and met with the time to call all of our brothers, as keepers and wishers, seers and seekers, knowers and keepers, to guide the light which calls. Chapter Three: “Gene Hope” As Televamgelests go, Gene DeLaney was not your average showman, either religiously nor by any given standards. His chosen stage name, or rather, bestowed harrowed the scene's Prince of Megatropolis, a gesture that all things reachable could be heard and felt by his voice and might. But more to know about Gene Hope—actually by law, Gene DeLaney were his highly publicized personal effects and efforts—appearances, connections, and politics. Well groomed in the art of culture and confirm, Gene had hoped to portray an otherwise arbitrary anyman, and yet was still in his way, a remarkable celebrity. There were wordless forms of nonconformity and rebellious ambition in his sheer collusion and pace. His walk, the elegance of a loyal court man, and the actual reverence of a madman, made him the go-to guy for all things knowing. The cruelty of it, being, that not particularly tied to that of the believes and mantras of a religious man, and in that the duty of nature being the times that we cross paths. The knowing but not all that is known, and thus, the keeping. I want to fold myself over in half I'm so in music with you I want to say words that make you laugh I'm so in music with you I don't know I don't know I don't know I don't know I don't know wholesome no more I don't know I don't know I don't know I don't know If I should open the door I'm lost to your world; But I don't want to go. I'm stuck in your notebook So wrong for you code But this is no (Recommended) friendship This is no means to an end I want the beginning of never ending But this? I just want it to end I'm as scared and as sorry As bad as I was I'm up in my bedroom, which hasn't a door I'm up in my head, and I haven't a code I wanted to get on the boat But the ocean was gorgeous And all the world kept me afloat You know I got no reason to act out It's tragic how magic just happened to pan out We're still drifting as Pangea, I wanted you to leave Just so that I could be there. You wanted potion for control You got it? I'm stuck in your notebook, So open the door You're right, She's adorable, all for you So goes the snow one and so As you throw the door, or the bone I called it a home for the force that was locking it all away I don't want nothing but wanting and wanting And I don't ant love I just wanted a sub direction This is just glimpses of perfect And glimpses of persons And glimpses of lessons This is just getting in heads, and more headaches And bed frames And glitches Santa Barbara, Ann Arbor— All the days and all the days and all thof ways Were still drifting away like Pangea (Only to do whatever you say) I was your heachache This wasn't monotony If it's all autonomy wel then someday, Maybe you'll make me For now I'm just an artificial Figment of this existence Joel wants a girl But Ive never been loved like a girl (I don't know how to be) And if whoever wants a woman When a man gives me the whole of it And only whatsoever then shall I amount to anything And anything at all, if love Is in the eyes and hands In either daughter or a son I've ‘M nothing at all If not a mother And I'm no mother at all, so Everything becomes impossible as one [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved

In this week's Interview Classic episode from five years ago (7-7-2020), PWTorch editor Wade Keller is part of two distinct segments.First is a new discussion that week with former pro wrestling radio show host and convention promoter John Arezzi who talks about his new tell-all books, his new website wrestling history project, his return to pro wrestling with new podcasts, and reflections on his history of podcasting. Then Arezzi and Keller talk about the Pandemic Era of pro wrestling, Cinematic Wrestling in the context of wrestling history, the Undertaker documentary series, whether Major League Baseball can learn from pro wrestling in terms of operating safely or are the two situations just too different, and more.Then in the second half of the show, we present a September 19, 1992 episode of Arezzi's radio show with Wade Keller and Dave Meltzer as guest analysts discussing controversies including Bill Watts butting heads with top stars in WCW.Become a supporter of this podcast: https://www.spreaker.com/podcast/wade-keller-pro-wrestling-podcast--3076978/support.

What does cinematic mean to you? Carlyn Hudson https://www.carlynhudson.com/ joins Matt and Oren fresh off completing her latest short, "Waffle".Is cinematic just a slick look? Is it about lighting? Or is it whatever Midjourney gives you when you ask for a cinematic style? It's always a party when these three are together, with lively discussion, interesting perspectives, and free thrown punches. And our partners in banter spar over all the different layers that make cinematic more than any one thing. And how it's different, arguably different, for different people!It all opens into a side discussion about this summer's movies: Jurassic Park, F1, and of course Danny Boyle's "28 Years Later". What do you think about its "Trainspotting" look, jaw-dropping $75 million (no kidding) budget, and how Instagram is shaping believability. You won't want to miss this fun and thoughtful episode!---Matt's Endorsement: Pocket Dispo Lens https://pocketdispo.com/ for your DSLR or mirrorless camera.Oren's Endorsement: The Nintendo Switch 2, because it's fun without the addiction. Especially "Mario Odyssey". Toiletry bags with 2 zippers that double as your shower caddy. Carlyn's Endorsement: Support the Kerr County (Texas) Flood Relief Fund https://cftexashillcountry.fcsuite.com/erp/donate/create/fund?funit_id=4201 Hosted on Acast. See acast.com/privacy for more information.

Send us a text In this episode, we dive headfirst into the lush, cinematic dreamscape of Eldorado, Electric Light Orchestra's breakthrough concept album from 1974. Jeff Lynne leads us on a fantastical journey through escapism, orchestral rock, and storytelling at its finest. From the haunting elegance of “Boy Blue” to the sweeping grandeur of “Eldorado Finale,” this episode dissects why Eldorado marked a turning point for the band—and for symphonic rock as a whole. Buckle up for a ride through a dream world powered by strings, synthesizers, and unfiltered ambition. Support the showBrowse the 33/24 Archives: Check out the backroom! Follow us: Instagram Facebook Watch us on YouTube!

Ever dreamed of marketing your Multifamily communities with the flair of a Hollywood trailer?You're not alone.In this episode of the Multifamily Collective, I unpack a powerful vision that's no longer just a dream. Artificial Intelligence is now capable of producing cinematic-quality videos—on the fly—of your apartments, common areas, and neighborhoods. And it gets better...Imagine this: the moment a resident submits their notice to vacate, your system springs into action. AI identifies a prospective renter, creates a stunning, emotionally compelling video of the available unit, and delivers it directly to that prospect—all without human hands touching a thing.This isn't science fiction. It's happening now.And if your marketing or IT department has the muscle, you don't need to outsource it. You can build it in-house. Fully choreographed. Fully automated. Fully cinematic.Emotion sells. AI delivers. Let's put the two together.

Listen Now to 120 Future Now Podcast Being the editor of the podcast, this week’s show is quite timely and  humorous, if I don’t say so myself..I do! Ido!  On the top of the news - Another interstellar object from who knows where, made of and containing who knows what? All we know is that it was forged in another star system, alien to ours. And then there is the massively intense flooding in Texas and the Midwest.  We present you with the findings of the comprehensive generalist and scientist Stefan Burns, and all the factors to consider in creating such disasterous weather..We, of course, share a few personal stories of relevance.. And then there is the Honda rocketship, a test by the company to see if they could do it. (looking good!). Dr. Future has some fun explaining how the cinematic language is key to communicating with the AI’s, and we end with a report on a strain of tomatoes that can revert thousands of generations with the twist of a gene! Why, why?? Enjoy!! Forbidden Fruit?

What it means to be a Democratic Socialist. Ko-Thi Dance Company's efforts to raise money after losing federal funding. A new series called Cinematic Sisterhood expands the influence of women in film.

This week, Andrew and Scotty are joined by their friend Meka G. from the Cinematic Nightmares podcast to discuss the movie of the moment, "Sinners". And since it's Meka's first time on the show, she gets to answer some horror questions before they get into a deep discussion on what makes "Sinners" such a talked-about movie! And of course, stay tuned until the end of the episode to hear what Scotty has chosen for their next movie!"Sinners" was directed by Ryan Coogler and stars Michael B. Jordan as Smoke and Stack, twin brothers who buy an old mill to open up a juke joint in 1930s Mississippi. But there are also some vampires in this town who decide to pay the juke joint a visit...Feel free to send us a message! What did you think of this movie? Of this episode? Support us on Patreon! - https://www.patreon.com/FunWithHorrorPodcastFollow us on social media:Facebook - https://www.facebook.com/groups/396586601815924Twitter - https://twitter.com/funwhorrorInstagram - https://www.instagram.com/fun_with_horror_podcast/FWH + Fangoria collab:For 20% off at the Fango Shop, just enter FUN_WITH_HORROR_PODCAST at checkout!

❤️ In the Seventy-eighth Chapter of the D&D Actual Play Adventure Dice Company: Small Embers... Tock receives a message from an old friend and Vander prepares for his meeting with Morticia...

Hey friends! We are back with a month of new to our feed episodes and are kicking off with a feed drop from our pals over at Cinematic Doctrine.Earlier this year, Philip was invited on to discuss what might be the quintessential American horror film The Texas Chain Saw Massacre and it was a wonderful time. Discussion topics include:How community and traditions shape usThe cost of industrializationCare for the disabledMan's brutality to one anotherand more!If you're watching along with us and logging films on Letterboxd be sure to tag your reviews "substantive cinema" so that we can read them on future shows!Tune in next week for a new episode with poet David Gate as we discuss his soon to be released book A Rebellion of Care!Follow Us:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Philip's Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BlueSky⁠Share Your Questions/Suggestions/Feedback With Us:Email: thesubstancepod@gmail.comDM on InstagramSupport Us: Support the show with an individual donation on CashApp to $TheSubstancePod or become a monthly Patreon supporter at patreon.com/TheSubstancePod

Interview by Angela CroudaceAuri's third album, Candles and Beginnings, invites listeners into a dreamlike, genre-defying realm where emotion, memory, and nature entwine. The trio—Johanna Kurkela, Troy Donockley, and Tuomas Holopainen—embrace an intuitive and organic approach to music-making, shaped by their lifelong influences and an unwavering trust in each other."We don't plan anything," Tuomas explains. "It all comes naturally. Nothing is pre-calculated." The result is an album that resists classification, weaving together airy melodies, earthy rhythms, and moments of heavier intensity.The band doesn't aim to dictate meaning, instead offering their music as an open canvas: "We provide a stage for feelings," says Johanna, "and the interpretations are for the listener." Though some songs echo Celtic elements, the band insists these tones emerge organically. "We don't identify with any genre," says Troy. "We use whatever tools we need to express the emotion."Despite physical distance (Troy often writing at sea, of all places, and Johanna in Kitee), their creative process thrives in isolation. They only come together when it's time to mix. "It's like getting a Christmas present," Johanna smiles, describing the excitement of hearing each other's ideas evolve remotely.A particularly personal track, The Apparition Speaks, stands out for its heavier edge. But for the trio, choosing favourites feels impossible. "They'd get jealous," Tuomas jokes. "We love them all." Visual art also plays a vital role in shaping Auri's universe. The watercolour album artwork was hand-painted, no AI involved, and Johanna's calligraphy adds an intimate touch.As for touring Australia? "We'd love to," says Troy, "but right now, we're not sure we have many fans there." Still, Troy and Tuomas's previous Nightwish tours proved Aussie crowds are "fabulously mental," and they hope to return soon.Auri's music is hard to define but easy to feel, leaving listeners soaring on Johanna's stunning vocals, whilst Troy and Tuomas add melodic and at times heavier elements. Candles and Beginnings is a cinematic listen and an amalgamation of this seriously talented trio. This album doesn't just play, but unfolds like a dream you never want to wake from.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Bear McCreary explores the magical role that movie scores have played in his life.

Is there a civics lesson in the 1996 film Independence Day? We think so. Join the Civics 101 team for a conversation about the film, its politics, and what it says about the United States and its place in the world. There's even a fire-jumping dog! WIN A NEW CAR OR 25K IN CASH DURING NHPR'S SUMMER RAFFLE! GET YOUR TICKETS HERE.CLICK HERE: Visit our website to see all of our episodes, donate to the podcast, sign up for our newsletter, get free educational materials, and more!To see Civics 101 in book form, check out A User's Guide to Democracy: How America Works by Hannah McCarthy and Nick Capodice, featuring illustrations by Tom Toro.Check out our other weekly NHPR podcast, Outside/In - we think you'll love it!

Nintendo warns Canada about a price increase, Xbox is probably bracing for layoffs, Buck Bumble is in the news, reading world chat in horny games, the point of VR, the nightmare we've found ourselves in as systems stack on top of systems which stack on top of pity systems, and more. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It costs $130, but it might be worth it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Filmmaking Insights, Academy Screenings, and Creative Struggles | Get Reelisms Podcast Episode 158 In Episode 158 of the Get Reelisms Podcast, hosts Adam Chase Rani and Christine Chen, both filmmakers, share advice, stories, and behind-the-scenes insights into their creative processes. Christine discusses her recent excursions to Academy screenings and encounters with industry legends like Jim Plannette, gaffer for 'ET', and Jonathan Goldstein, director of 'Dungeons and Dragons'. The duo also talks about the challenges of screenwriting, the importance of avoiding distractions, and the inspirations they draw from mundane activities like walking or driving. Additionally, Christine reflects on the impact of biased reviews on independent films, emphasizing the value of forming personal opinions about movies. The episode concludes with a reminder to support the podcast and its mission to democratize filmmaking knowledge.  Hosts: Adam Rani (@adamthechase)   & Christine Chen (@cchenmtf)  For more information about Christine Chen: christinewchen.comFor more information go to getreelisms.com For more information on ERZULIE go to: erzuliefilm.com  WEBISODE version of the Podcastgetreelisms.com 00:00 Introduction and Podcast Overview 01:12 Christine's Writing Retreat 02:16 The Creative Process and Overcoming Writer's Block 05:30 Engaging with the Audience 08:52 Christine's New Projects and Challenges 12:27 Networking and Industry Insights 18:25 Connecting with a Filmmaker 19:10 Mel Brooks' Influence on Comedy 19:50 Catching Up on Classic Films 20:40 Reviewing Recent Film Screenings 21:16 Challenges in Filmmaking 22:39 Meeting Industry Professionals 24:44 The Subjectivity of Film Criticism 26:58 The Impact of Negative Reviews 31:26 Attending Academy Screenings 36:15 Podcast Sign-Off and Encouragement Official Get Reelisms PageGet Reelisms Amazon StoreInstagram

❤️ In the Seventy-seventh Chapter of the D&D Actual Play Adventure Dice Company: Small Embers... Vander comes face-to-face with his old love Morticia Wessen...

In this episode of NeedleXChange I interview Hattie McGill.Hattie is an embroidery artist and costume specialist whose goldwork has graced screens from Doctor Strange to Bridgerton.In this second part, Hattie talks about pivoting her practice during the pandemic by launching a series of goldwork embroidery kits, balancing studio life with film commissions, and the joys — and realities — of working in the embroidery industry today. She also shares what fuels her creativity, from gothic novels to Manchester's indie music scene.If you're interested in hearing more about embroidery's adaptability and innovation, be sure to check out episodes 81 + 82 with CARO, a multidisplinary artist working with thread and with metal.Timestamps:00:00:00 - Introduction00:01:30 – Balancing Work and Personal Life00:08:50 – Celebrating Creative Talents00:09:41 – Hattie's Stitching Soundtrack00:15:42 – Hattie's Audiobook Picks00:21:42 – Favourite Films, Forgotten Costumes, and On-Screen Surprises00:25:46 – Personal Anecdotes and Fun FactsLinks:Website: hattiemcgillembroidery.comInstagram: hattiemcgillembroideryIntro music is Emmanuel by Joyspring via Epidemic Sound.About NeedleXChange:NeedleXChange is a conversation podcast with embroidery and textile artists, exploring their process and practice. Hosted by Jamie "Mr X Stitch" Chalmers, it is an in-depth showcase of the best needlework artists on the planet.Visit the NeedleXChange website: https://www.needl.exchangeSign up for the NeedleXChange Newsletter here: https://bit.ly/NeedleXChangeNewsIf you want embroidery inspiration and regular doses of textile art, visit the Mr X Stitch site here: https://www.mrxstitch.comFollow Mr X Stitch on all the usual social media channels!Facebook: https://www.facebook.com/MrXStitchInstagram: https://www.instagram.com/MrXStitchPinterest: https://www.pinterest.com/mrxstitchLinkedIn: https://www.linkedin.com/in/mrjamiechalmers

Episode 15: Luck By ChanceRelease Date: 2009 This is the first episode of our dual episodic series where we explore films based on Bollywood. Luck By Chance is a 2009 Indian Hindi-language film directed by Zoya Akhtar. It is her directorial debut. She also co-wrote the movie with her father, Javed Akhtar. The film stars her brother, Farhan Akhtar, in the lead role along with Konkana Sen Sharma. When it was released, Luck By Chance flopped at the box office and received mixed critical reviews. Over the years, however, the movie has become a cult film, extremely popular with hardcore Bollywood fans. Zoya and Ayan Mukherjee (Wake Up Sid) won the debutant director award. The movie is the most meta movie one can get in Bollywood—it blends humour, satire, and parody on the workings of the Bollywood industry. It has a plethora of cameos from the who's who of Bollywood, including 17 A-listers, with Hrithik Roshan having an extended cameo. Plot Summary: The film's plot revolves around the struggle of 2 outsiders trying to enter Bollywood as hero/heroine. Farhan Akhtar plays Vikram, who comes from Delhi to try his luck in Bollywood, and Konkana Sen Sharma plays Sona, a young girl who has escaped her small town life and marriage to try her luck as an actress in Bollywood. Rishi Kapoor plays the producer Romi Rolly, Juhi Chawla plays his wife, Dimple Kapadia plays the yesteryear actress Neena Walia, trying to get her daughter Nikki played by Isha Shravani her debut film with the hugely popular Zafar Khan by Hrithik Roshan. As Vikram and Sona try to find their way in Bollywood, the audience goes along with their journey and learns about the inner workings of Bollywood. Where to watch: Prime VideoFavourite Scenes/Iconic Dialogues: Best opening credits in a Bollywood movie.Romi Rolly / Anurag Kashyap Scene - Oye Institute - Mein film festival ke liye nahi bana raha hoonAll the cameos - Akshaye Khanna nails itOutTakes:Irony of the Casting: The film is about struggling outsiders trying to get an entry into mainstream Bollywood. It's a movie made by nepotism kids starring nepotism kids—Zoya, Farhan, and Konkana.Soundtrack: One of the best soundtracks by SELBollywood Nostalgia: This film has so much Bollywood nostalgia - every frame has movie posters and meta references.Trivia: All the trivia from this film is here.Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/hey-pluto/the-paradeLicense code:...

Bobby, Rich, & Tom discuss their recent gaming experiences, including Indiana Jones: The Great Circle, Hogwarts Legacy, & Oblivion Remastered. They also offer more initial impressions of the Nintendo Switch 2, praising its upgraded features but criticizing the new "game key cards." The guys get into recent film and TV viewings like Resident Alien, & a look at Gerry Anderson's retro-futuristic puppet shows. The episode wraps up with a discussion of 90s action movies & a preview of a future episode on B horror films.#podcast #IndianaJones #Oblivion #Switch2 #retro #BringTheNoise #JoinTheBrigade

In this episode, I chat with Fil and John of World's First Cinema to talk about their unique sound, how it came to be, and of course what cinematic scores would their songs be perfect for?

The 27th Shanghai International Film Festival coincides with a major milestone—Chinese cinema's 120th anniversary. From its birth in 1905 to today's global hits, how is SIFF celebrating this legacy? With restored classics, special retrospectives, and a journey through film history. On the show: Steve Hatherly, Niu Honglin & Yushan

Our guests in The Sustainable Hour no. 553 are Jan Cossar, president of the Port Phillip EcoCentre, and Deborah Sykes, co-founder of Electrify Southside.

In this episode of NeedleXChange I interview Hattie McGill.Hattie is an embroidery artist and costume specialist whose goldwork has graced screens from Doctor Strange to Bridgerton.In this first part, we explore Hattie's training at the Royal School of Needlework, her unexpected leap from furniture restoration into embroidery, and the behind-the-scenes craftsmanship that goes into cinematic costume design.For another artist whose embroidery skills are Royal School of Needlework approved, check out episodes 17 and 18 with the wonderful Chrissie Juno Mann.Timestamps: 00:00:00 - Introduction00:01:30 – Embroidery Beginnings: A Family Legacy00:04:32 – The Journey to the Royal School of Needlework00:07:24 – From Furniture Restoration to Embroidery00:10:30 – The Allure of Gold Work00:13:28 – Understanding Gold Work: Techniques and Tips00:16:34 – Teaching and Learning Embroidery00:19:23 – The Challenges of Stitching and Project Management00:22:26 – Film and TV Contributions: A Stitch in Time00:26:05 – The World of Costume Design00:29:23 – Embroidery in Film: A Niche Craft00:33:40 – The Art of Detail: Handcrafted Costumes00:38:02 – Navigating the Film IndustryLinks:Website: hattiemcgillembroidery.comInstagram: hattiemcgillembroideryIntro music is Emmanuel by Joyspring via Epidemic Sound.About NeedleXChange:NeedleXChange is a conversation podcast with embroidery and textile artists, exploring their process and practice.Hosted by Jamie "Mr X Stitch" Chalmers, it is an in-depth showcase of the best needlework artists on the planet.Visit the NeedleXChange website: https://www.needl.exchange/Sign up for the NeedleXChange Newsletter here: https://bit.ly/NeedleXChangeNewsIf you want embroidery inspiration and regular doses of textile art, visit the Mr X Stitch site here: https://www.mrxstitch.comFollow Mr X Stitch on all the usual social media channels!Facebook: https://www.facebook.com/MrXStitchInstagram: https://www.instagram.com/MrXStitchPinterest: https://www.pinterest.com/mrxstitch/LinkedIn: https://www.linkedin.com/in/mrjamiechalmers

Emilia Wickstead is a New Zealand–born, London-based fashion designer known for her refined yet playful approach to feminine dressing. Since launching in 2008, she's evolved her namesake brand from a made-to-measure model to producing seasonal ready-to-wear collections, shown at London Fashion Week for the past 13 years, and expanded into bridalwear. In this episode, Wickstead joins Senior Fashion Editor Anna LaPlaca to discuss her early design influences, the trademarks of an Emilia Wickstead piece, and how she selects artistic muses for her cinematic collections. Wickstead also shares which pieces to shop from her pre-fall collection and details on her upcoming collaborations with the Palm Heights Hotel and Paperless Post.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Emilia Wickstead is a New Zealand–born, London-based fashion designer known for her refined yet playful approach to feminine dressing. Since launching in 2008, she's evolved her namesake brand from a made-to-measure model to producing seasonal ready-to-wear collections, shown at London Fashion Week for the past 13 years, and expanded into bridalwear. In this episode, Wickstead joins Senior Fashion Editor Anna LaPlaca to discuss her early design influences, the trademarks of an Emilia Wickstead piece, and how she selects artistic muses for her cinematic collections. Wickstead also shares which pieces to shop from her pre-fall collection and details on her upcoming collaborations with the Palm Heights Hotel and Paperless Post.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This episode we talk about the short cinematic "A Dark Gambit" from the next League of Legend's Netflix Series. | All CoR Links | www.podcastcor.com | Music By Slayur | www.linktr.ee/slayur 00:00 Intro 03:00 Cinematic Reaction 09:00 General Discussion

Tom challenges Dan to come up with five game mechanics that lend themselves to exciting storytelling at the table. Remember to like, comment, share and subscribe.Connect with us: teachersinthedungeon on Instagram and Facebook, @dungeonteachers on X, and teachersinthedungeon@gmail.com

In this episode, I sat down with Layni Becker—one of the most visually distinct photographers I know. Her work is moody, nostalgic, and wildly cinematic in the best way. We talked about how her love of movies shaped her eye for storytelling, how music drives her creative vision, and why doing free work helped her find her signature style. Laney also shared all the details on Camp Cinematic, the retreat she is co-hosting this fall in Mendocino, CA.   Meet Layni: Layni is a Colorado based photographer, but always traveling. She's been obsessed with taking photos since she was five years old. She started her business in 2019 and has been capturing life through her lens ever since. Inspired by movies, bold colors, and everyday life, Layni's style is vibrant, emotional, and full of story. She loves Jesus, color, her community, and living life like a movie.   Apply for Camp Cinematic HERE   Subscribe to Summer School to get access to exclusive podcast episodes, classes, an amazing community of photographers + educators, and tons more amazing content.  Subscribe here   Connect with Layni: Instagram: @karalaynebeckerphotography   Connect with Me: Subscribe to our emails for updates on all things Summer School! SUBSCRIBE HERE Show Notes: the-summerschool.com Instagram: @summergrace.photo  @the_summerschool   Shop My Products: Become a Member of Summer School My Summer Grace x G-Presets (discount code: SUMMERSCHOOL) My Pricing Guide

BALLERINA (from the world of John Wick) trips out of the gate to $25 mil. Did this prove that Ana De Armas is not a movie star? Or that Americans are smarter than we think? We break down what went wrong for Lionsgate! Plus Wes Anderson's THE PHOENICIAN SCHEME goes wide. Huge ep. Remember to Rate (5 Stars), Review (Great show, blah, blah, blah) and Follow us on Apple Podcasts: https://podcasts.apple.com/us/podcast/b-o-boys-movie-box-office/id1489892648   Our AWESOME artwork was provided by the talented Ellie Skrzat. Check out her work at https://ellieskrzat.com/   Thanks to WannaBO Senior Intern Christopher for running our social media and WannaBO Intern Jack for the numbers.   E-mail us: theboboyspodcast@gmail.com   Subscribe on Youtube:   https://www.youtube.com/@theboboyspodcast   Follow us on Twitter: @TheBOBoysPod   Follow us on TikTok: @TheBOBoysPod   Subscribe to us on Substack and read our new articles: https://substack.com/@theboboys   -----

Ryan Hunter on Sync, Cinematic Production & His Evolution from Envy on the Coast to 1st VowsIn this episode of Producer Points, Justin sits down with artist, songwriter, and producer Ryan Hunter — best known for fronting the iconic band Envy on the Coast and for his deeply atmospheric solo project, 1st Vows. From the alternative rock scene to film scoring, Ryan's genre-defying career is a testament to reinvention and honesty in artistry.

In this episode of the Free Outside Podcast, I'm joined by Allison Powell, who turned her Cocodona 250 into a full-blown cinematic universe—with costumes, movie soundtracks, and a race plan inspired by Galaxy Quest, Dune, Game of Thrones, Mad Max, Star Wars, and Doctor Who. But when hail, hypothermia, and mud rivers entered the plot, the script changed fast.We dive into Allison's brilliant and brutal journey through sleep-deprivation, pacer therapy sessions, medical alerts, and the art of holding hands on trail. This is one of the most insightful, entertaining, and emotionally raw Cocodona 250 recaps out there. Whether you're chasing 250 miles or just curious how a Dune mindset breaks down in a thunderstorm, this one's a wild ride.We talk about:-How movie themes shaped her race mindset-The sleep deprivation spiral and when it became dangerous-Her learning curve with layering, eating, and letting go of rigid plans-The power of responsive crew support-Why she's going back for more—and doing it for public landsFollow Alison's writing: AllisonHardingPowell.substack.comSupport her Runners for Public Lands fundraiser for 2026 Cocodona!Follow Allison on Instagram: https://www.instagram.com/allisonhpowellSubscribe to Substack: http://freeoutside.substack.comSupport this content on patreon: HTTP://patreon.com/freeoutsideBuy my book "Free Outside" on Amazon: https://amzn.to/39LpoSFEmail me to buy a signed copy of my book, "Free Outside" at jeff@freeoutside.comWatch the movie about setting the record on the Colorado Trail: https://tubitv.com/movies/100019916/free-outsideWebsite: www.Freeoutside.comInstagram: thefreeoutsidefacebook: www.facebook.com/freeoutsideChapters00:00 Race Planning and Themes01:05 The Race Begins: Galaxy Quest and Dune03:47 Crown King and the Importance of Mindset06:28 Game of Thrones: Nighttime Challenges09:38 Mingus Mountain: The Struggles of Sleep Deprivation12:19 Jerome and the Quest for Rest15:00 Sedona: The Turning Point18:03 The Final Stretch: Overcoming Obstacles27:05 The Struggles of the Hangover Trail30:15 Facing Exhaustion and Frustration33:27 Medical Concerns and Hypothermia36:35 The Importance of Sleep in Ultra Running41:33 Lessons Learned from the Race44:33 The Final Push to the Finish Line48:06 Reflections and Future Plans

The Portland Art Museum Center for an Untold Tomorrow (PAM CUT) has acquired the Tomorrow Theater in South East Portland, and is curating 25 unique events a month and over 250 unique events a year. Most of the experiences are grounded within the cinematic tradition, but there are usually ways that they are adding more levels of participation, community-building, and immersion. Portland Art Museum will be expanding in November to add even more immersive art and immersive storytelling programming as a part of their Plus Plus month-long festival, and the Tomorrow Theater is serving to onboard Portland audiences into the beginning steps of more immersive, experiential, participatory, and social types of entertainment. I had a chance to speak with director Amy Dotson to get a lot more context of how PAM CUT came about, and their vision for where they want to take it in the future. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

On this episode, we're leaving the 1960's behind and jumping to South Korea in 1980. In Jang Hoon's A Taxi Driver (2017) we get a wild sampling of genres in a remarkably well balanced film. It's an action film. A single father supporting his daughter story. It's dramatic and also quite goofy. It's based on a actual events, but it's also highly fictionalized. It documents political history while being oddly apolitical at times. And it's a journalism film too.  International treasure Song Kang-ho stars as a Seoul cabbie who's transporting a German journalist to cover what is rumored to be a student protest. They both become unlikely witnesses and participants in the 1980 Gwangju Uprising and the massacre at the hands of governemnt forces.  If you're up for a marathon of South Korean films, here is the five film lineup Aaron mentions that covers the politics and events from 1979-1981: The Man Standing Next (2020) The President's Last Bang (2005) 12.12: The Day (2023) A Taxi Driver (2017) The Attorney (2013) Follow us at: Patreon / Instagram / Letterboxd / Facebook 

Screenwriter Stuart Wright talks with TV producer Scott Stenholm about his love of cinematic television and "3 Films That Have Impacted Everything In Your Adult Life"    Follow Scott on Instagram https://www.instagram.com/scottstenholm/   "3 Films That Have Impacted Everything In Your Adult Life" BACKDRAFT (1991) TERMS OF ENDEARMENT (1983)  APOLLO 13 (1995)   "3 FILMS THAT HAVE IMPACTED EVERYTHING IN YOUR ADULT LIFE" is a podcast by screenwriter Stuart Wright that explores the transformative power of cinema. From emotional masterpieces to thought-provoking classics, each episode delves into the films that have had a profound impact on our personal growth and perspective. Through engaging storytelling, critical analysis, and cultural commentary, Stuart aims to uncover the lasting influence that movies have had on his guests. Please join him on an emotional journey through the world of film and discover how just three movies can change the direction of a life, cement memories you will never forget or sometimes change how you see the world."   Credits Intro/Outro music is Rocking The Stew by Tokyo Dragons (www.instagram.com/slomaxster/) Podcast for www.britflicks.com https://www.britflicks.com/britflicks-podcast/ Written, produced and hosted by Stuart Wright Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Sex Talk with My Mom, we welcome the eccentric and entertaining William Wallace, a movie aficionado who brings his unique flair to the show. With a martini glass taped to his hand and a face covered in tape, William shares his love for films, from Osmosis Jones to Pulp Fiction, and even takes on the role of Dr. Evil in a hilarious improv scene. Join us as we explore the intersection of cinema and sexuality, discuss crushes on animated characters, and dive into the world of unconventional movie experiences. William's passion for film shines through, making this episode a delightful mix of laughter and insight. If you want to dive deeper into William's wild world of movies and mayhem, slide into her Instagram at @reshma.meister — guaranteed more tape, martinis, and movie magic than you ever bargained for! Don't say we didn't warn you! Get close with us! Follow Sex Talk With My Mom ( @partyatmomshouse⁠), Cam Poter (@camoncam69), and Karen Lee Poter (@karenleepoter) on Instagram, YouTube, and TikTok! #SexTalkWithMyMom #WilliamWallace #MoviePodcast #ComedyPodcast #Improv #PulpFiction #OsmosisJones #CamPoter #KarenLeePoter #FunnyPodcast #Crushes Chapters  0:00 - Intro 01:30 - Meet William Wallace: The Movie Buff 05:15 - Improv Scene: Dr. Evil 20:12 - Movie Crush Confessions 31:10 - The Intersection of Sex and Cinema 26:30 - Wrap-up Please support our show and get discounts on our favorite brands by using our sponsors' links at sneakypod.com! FLESHLIGHT – Our sponsor, FLESHLIGHT, can help you reach new heights with your self-pleasure. FLESHLIGHT is the #1 selling male sex toy in the world. Looking for your next pocket pal? Save 10% on your next fleshlight with Promo Code: SNEAKY at fleshlight.com. ❣️You can view many of our full episodes in video form by going to our YouTube channel. Join our sparkling new Sneaky Freak chatroom on Discord! Just visit: https://discord.gg/jJZqkUw3dV. To gain exclusive access to all our Discord channels, join us at Patreon.com/sextalkwithmymom. If you've enjoyed the show, please consider leaving us a review at RateThisPodcast.com/Mom. Also, it would mean the world if you'd support us through Patreon.com/sextalkwithmymom – a platform where you can get exclusive STWMM bonus episodes and Zoom chats with us! Grab some Sex Talk w/ My Mom swag at sextalkwithmymom.com. Get close with us on socials at: Text us - 310-356-3920 Facebook/Instagram - @SexTalkWithMyMom Twitter - @SexTalkWMyMom Website - www.SexTalkWithMyMom.com Our podcast's music was crafted by the wildly talented Freddy Avis! Check out his work at http://www.freddyavismusic.com/ Sex Talk With My Mom is a proud member of Pleasure Podcasts, a podcast collective revolutionizing the conversation around sex. Learn more about your ad choices. Visit megaphone.fm/adchoices

No Agenda Episode 1766 - "Cinematic Ambush" "Cinematic Ambush" Executive Producers: Sandeep Chohan andrew gibbon Paul Eicken Sir Jan J-Low Associate Executive Producers: Daryce Morris Sir Pliny the Hodler Eli the Coffee Guy Sir Cumcision Linda Lu, Duchess of jobs & writer of resumes Joseph Doerfel Become a member of the 1767 Club, support the show here Boost us with with Podcasting 2.0 Certified apps: Podverse - Podfriend - Breez - Sphinx - Podstation - Curiocaster - Fountain Knights & Dames ryan nadeau > Sir Pliny the Hodler Art By: Darren ONeill End of Show Mixes: Hugh Allisson - James Bosworth - David Keckta Engineering, Stream Management & Wizardry Mark van Dijk - Systems Master Ryan Bemrose - Program Director Back Office Jae Dvorak Chapters: Dreb Scott Clip Custodian: Neal Jones Clip Collectors: Steve Jones & Dave Ackerman NEW: and soon on Netflix: Animated No Agenda Sign Up for the newsletter No Agenda Peerage ShowNotes Archive of links and Assets (clips etc) 1766.noagendanotes.com Directory Archive of Shownotes (includes all audio and video assets used) archive.noagendanotes.com RSS Podcast Feed Full Summaries in PDF No Agenda Lite in opus format Last Modified 05/22/2025 16:45:58This page created with the FreedomController Last Modified 05/22/2025 16:45:58 by Freedom Controller

Today we jump back five years to the May 23, 2020 episode of "Wresting Night in America" with PWTorch columnist Greg Parks who went live right after the AEW Double or Nothing PPV. He discussed the show with callers and emailers including the Stadium Stampede match and what made it different than and similar to WWE's cinematic matches, AEW's women's division, elevating the mid-card, Jon Moxley's big win, and more.Become a supporter of this podcast: https://www.spreaker.com/podcast/pwtorch-dailycast--3276210/support.