Podcasts about Composing

This holiday week, we're bringing you two joyful stories from 2025.  Reena Esmail's childhood in Los Angeles had two soundtracks: the Western classical music her parents loved, and the old, scratchy Bollywood tapes her paternal grandparents would play over and over. Those multicultural influences shaped what would become the driving question of her work: how do you invite people from different cultures onto the same stage to build a relationship and create music together? Composing is how Esmail has made her mark — by putting Western classical musicians in conversation with Indian artists, building bridges between violinists and sitar players, tabla drummers and western singers. She has also composed with unhoused singers from Skid Row, and her music has been performed by major orchestras and choirs all over the world. In May, as part of our series on California composers, host Sasha Khokha brought us this profile of Esmail. Artists are often the people in our communities who bring people together in ways that are creative, spontaneous, and surprising. That's true in the East Bay neighborhood of Point Richmond, where a local artist has created dozens of miniature fairy houses brimming with the personality of their imaginary inhabitants. In this story from April, Pauline Bartolone set out to explore these hidden treasures, and meet the person who created them. Learn more about your ad choices. Visit megaphone.fm/adchoices

Antonio Sanchez has become one of the most sought-after drummers in the international jazz scene. Following 18 years and 9 albums as one of the most revered collaborators with guitarist/composer Pat Metheny, he also has recorded and performed with many other most prominent artists like Chick Corea, Gary Burton, Michael Brecker, Charlie Haden and Toots Thielemans. In 2014 Sanchez popularity soared when he scored Alejandro González Iñárritu's Birdman which ended up winning 4 Academy awards (including best picture) and for which Antonio won a Grammy award. He currently has many recordings as a leader and solo artist. Some recent recordings include Beatrio w/ Bela Fleck, Edmar Castaneda as well as his own group Migration. You can hear Anotino's masterful compositions and drumming on the award winning show The Studio on Apple TV In this episode, Antonio talks about  Why he calls Barcelona, Spain his home Creating a strong reputation The realities a seasoned pro has to contend with Antonio's journey into jazz and notoriety  Staying artistically and creatively curious  Using your own voice when making music Composing for the movie Birdman & the TV series The Studio Creating a counter culture to social media ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage

RU371: KLARA NASZKOWSKA ON SABINA SPIELREIN & EARLY WOMEN PSYCHOANALYSTS https://renderingunconscious.substack.com/p/ru371-klara-naszkowska-on-sabina Rendering Unconscious episode 371. Rendering Unconscious welcomes Klara Naszkowska back to the podcast! EARLY WOMEN PSYCHOANALYSTS 14-week doctoral-level course with Dr. Klara Naszkowska & Dr. Mark Beitel begins Wednesday, January 21. https://www.spielreinassociation.org/about-1 Feel free to contact Klara Naszkowska directly at spielrein @ spielreinassociation.org Be sure to pick up her book Early Women Psychoanalysts. History, Biography, and Contemporary Relevance (Routledge, 2024). https://amzn.to/3MyAUZY FREE Online Talk - Klara Naszkowska joined by Ana Tomcic to discuss her latest book ‘Early Women Psychoanalysts,' Freud Museum London on Wednesday, December 10th. https://www.freud.org.uk/event/early-women-psychoanalysts-history-biography-and-contemporary-relevance/ Register for Composing with Spielrein: Contemporary Applications of Sabina Spielrein's Work, International Interdisciplinary Conference, September 5-6, 2026, online. ​ https://www.spielreinassociation.org/register Special issue of “American Imago” devoted to Sabina Spielrein. Guest Editor: Klara Naszkowska. https://muse.jhu.edu/issue/53646?fbclid=IwY2xjawOjr2tleHRuA2FlbQIxMABicmlkETBVSE95ZXZ4d0NuaTY5SkFLc3J0YwZhcHBfaWQQMjIyMDM5MTc4ODIwMDg5MgABHvZKq98gFGt5ItKnoPvfiwgl6ydntxWogq7jhUvY1DGf8mEZckQww2huLl7i_aem_2K6FEA2Ua1Gxzk6S4U177A Check out previous episodes: RU288: KLARA NASZKOWSKA ON HER BOOK, EARLY WOMEN PSYCHOANALYSTS https://renderingunconscious.substack.com/p/ru288-klara-naszkowska-on-her-book RU107: KLARA NASZKOWSKA, CULTURAL HISTORIAN & DIRECTOR OF THE INTERNATIONAL ASSOCIATION FOR SPIELREIN STUDIES https://renderingunconscious.substack.com/p/ru107-klara-naszkowska-cultural-historian News & updates: Saturday, December 13th, join me for the third installment of An Introduction to Psychoanalysis. Register by becoming a paid subscriber at RU Center for Psychoanalysis: https://rucenterforpsychoanalysis.substack.com You may watch the recordings of the first two classes HERE: https://rucenterforpsychoanalysis.substack.com/t/classes Tuesday, January 20th join Mary Wild as she presents her work on Lynchian Women on David Lynch's birthday: https://www.eventbrite.co.uk/e/lynchian-women-tickets-1968254153156 Proceeds raised go directly towards paying our presenter(s). This event will be recorded and made available for all those who register. The song at the end of this episode is "Reconstruction Of History" from the album Nile Recordings by Vanessa Sinclair and Pete Murphy: https://petemurphy.bandcamp.com/album/nile-recordings-e-p Enjoy! Thank you for being a paid subscriber to Rendering Unconscious Podcast. It makes my work possible. If you are so far a free subscriber, thanks to you too. Please consider becoming a paid subscriber to gain access to all the material on the site, including new, future, and archival podcast episodes. It's so important to maintain independent spaces free from censorship and corporate influence. Thank You.

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

From the Battlefield to the Recording Studio: The Donnie Reis Story.What does a classical violin, a military uniform, and a Nashville songwriting session have in common? They are all instruments in the symphony of Donnie Reis's life.In this raw and riveting episode of Talking Tipsy, host Dallas Jackson sits down with the War Hippies co-founder to trace his path from disciplined violinist to celebrated producer and composer.This is a masterclass in reinvention, exploring how to harmonize every part of your life—even the most dissonant experiences—into a career that resonates with truth.Themes We Explore:⌁ The Art of the Pivot: Trading the classical canon for the storytelling heart of Country music.⌁ Composing from Conflict: How combat in Iraq forged a deeper, more resonant songwriting voice.⌁ Inside the Producer's Booth: The shift from performer to the architect of a record's sound.⌁ Stories from the Road: Behind-the-mic moments from the Grand Ole Opry and touring with legends.⌁ Building a Band: The genesis and mission of the War Hippies.If Donnie's journey resonates with you, what was your biggest takeaway?What part of your own story is waiting to be written?

Today for Song of the Soul, we are straying far from my safe and well-known musical turf to the the wonderful works of Ivar Lunde, Jr, a prolific and accomplished composer, pedagogue, performer, and conductor. Born in Norway, educated in Norway & Austria, he has performed & taught in many corners of Europe & the USA, including 35 years teaching at the University of Wisconsin, Eau Claire. His works have been performed by at least 7 different symphony & chamber orchestras in the US & Norway.

Bryan Carter is a Grammy and Tony Award-winning drummer, vocalist, composer, arranger, orchestrator, and bandleader. After completing his training at The Juilliard School, Carter played with legendary artists including McCoy Tyner, Wynton Marsalis, Kenny Barron, and Kurt Elling. In addition to working in the worlds of film, television, and Broadway, Bryan founded "Jazz at Pride," a non-profit organization dedicated to curating performances and educational engagements featuring world-class artists from the LGBTQIA+ community. Bryan most recently served as co-orchestrator for Broadway's “Some Like It Hot,” for which he and his co-orchestrator Charlie Rosen made history as the first orchestrators to sweep all three major awards in a single season: the 76th Annual Tony Awards for Best Orchestrations, the Outer Critics Circle Awards, and the Drama Desk Awards for Outstanding Orchestrations. Rosen and Carter continued their streak of success at the 66th Annual GRAMMY Awards, winning the title of Best Musical Theater Album as producers on the recording. In the fall of 2024, Bryan premiered “Rustin in Renaissance,” a seven-movement oratorio on the life of civil-rights pioneer Bayard Rustin. The premiere was held at Jazz at Lincoln Center's Appel Room and coincided with the 20th anniversary of “The House of Swing.” In this episode, Bryan talks about: Playing multiple instruments and musical roles since early childhood  His orchestration role on “Some Like It Hot” that garnered him a Tony and a Grammy His experience at Julliard, and feeling like the curriculum put him in too small a box Looking around for “who was hiring” in New York and what that looks like on that scene The New York tradition of older established artists seeking out younger musicians and giving them a platform Writing and playing for George Clooney's Broadway production of “Good Night and Good Luck” How using piano for composition has made him think of drumming from an arrangement standpoint  Welcoming how different performers offer different interpretations of what he writes ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage

This week, the boys sit down and talk to composer Edo Van Breemen about his work on Keeper! Going from the big Looney Tunes stings of The Monkey to Keeper's creaking house anti-sting and everything in between. But first, the boys burn off their Thanksgiving dinners by reviewing Wicked: For Good, Death By Lightning, Bugonia, Sisu: Road to Revenge, The Carpenter's Son, and Correia gets really into The Substitute movies (#4 is the best!). This and more on an ALL NEW EYE ON HORROR!Movies mentioned on the show: https://letterboxd.com/correianbbq/list/eye-on-horror-podcast-sn-8-ep-15/Follow us on the socials: @EyeOnHorror or check out https://linktr.ee/EyeOnHorrorGet more horror movie news at: https://ihorror.com

A Welsh man has won the waiata category in the Compose Aotearoa! national choral composition competition - for works with substantial Te Reo Maori content.

Episode SummaryIn this warm and reflective holiday episode, we explore what it means to truly celebrate yourself—especially during a season often dominated by giving to others. As we move through Thanksgiving and into a brand-new year, this episode guides you through honoring your personal journey, building confidence through daily rituals of self-love, and practicing conscious giving without depletion.Through a heartfelt story, grounding mindfulness practice, and soulful reflection, you'll be reminded that self-celebration is not selfish—it's sacred.3 Things You'll Learn:1. Why reflection helps you reclaim your worth and how acknowledging your growth shifts your self-perception.2. Why rituals of self-love transform confidence and how the Hakini mudra and affirmations ground your energy and quiet self-doubt.3. How to give without draining yourself and why generosity is most powerful when rooted in intention.Key Story SharedYou'll hear about a woman—much like many of us—who spent years pouring into others while overlooking her own evolution. Through a simple candlelit ritual, she rediscovered her courage and began honoring her own journey. Her story becomes a powerful reminder that celebrating oneself can ripple healing into the lives of others.Join the CircleIf you're ready to explore deeper self-reflection and feminine empowerment, join our Patreon community: Composing a New Narrative.Let's write bold, healing stories together.Call to Action

“Going into high school, I did everything possible to avoid the performing arts. My vice principal called me into the office and said, ‘you can't have an open period. I'm gonig to put you in choir.' Within weeks, it became a life-changing experience for me – I discovered a community, a way to express myself. I knew by the end of my junior year in high school that this is what I wanted to do.” - Brandon Elliott“If you are coming as a conductor to composing, you already have a resource that a lot of composers lack. You know what your singers need. You have already identified a lack in the repertoire that you're looking for, something that you might fill as a composer. If you can get into that mindset with your own ensemble, you'll be so ready, so prepared to take that on for other groups.” - Dale TrumboreDale Trumbore is a Los Angeles-based composer and writer whose music has been called “devastatingly beautiful” (The Washington Post) and praised for its “soaring melodies and beguiling harmonies deployed with finesse” (The New York Times). Trumbore's compositions have been performed widely in the U.S. and internationally by Atlanta Master Chorale, the Chicago Symphony's MusicNOW ensemble, Conspirare and the Miró Quartet, Los Angeles Children's Chorus, Los Angeles Master Chorale, National Youth Choir of Scotland, Pasadena Symphony, Phoenix Chorale, and Seraphic Fire.Trumbore is the recipient of ACDA's inaugural Raymond W. Brock Competition for Professional Composers, an ASCAP Morton Gould Award, and a Chamber Music America Classical Commissioning Grant. She has written extensively about working through creative blocks and establishing a career in music in essays and in two books, Composing a Living (cowritten with Brandon Elliott) and Staying Composed. Learn more about Trumbore's music and writing at daletrumbore.com.Dr. Brandon Elliott is a conductor, educator, and consultant specializing in creative and strategic leadership in the arts and entertainment industry. He is a Professor of Music at Saddleback College and Founder & Artistic Director of Choral Arts Initiative, an award-winning ensemble dedicated to contemporary choral music. A sought-after consultant and Fulbright Specialist, he advises on artist management, organizational change, career development, and the evolving music industry.To get in touch with Dale, you can visit her website, daletrumbore.com, where you can also sign up for her newsletter. To get in touch with Brandon, visit his website, brandon-elliott.com, which also provides links to his social media accounts.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Episode Theme: Redefining your legacy through self-worth, empowered choice, and rewriting inherited narratives.In this heartfelt conversation at the Round Table, we explore how the stories we inherit—those passed down by family, culture, and societal expectations—shape how we see ourselves and what we believe we're allowed to dream.This episode is a gentle but powerful invitation to examine the stories that have held you back and to awaken to the truth that your legacy begins the moment you choose a new narrative.Through reflection, wisdom, and a grounding meditation, you'll learn how to step into your worth, break generational patterns, and create an impact that ripples far beyond you.3 Things you'll Learn:Recognizing inherited patterns: Learn how to identify stories and beliefs that were handed to you, not chosen by you—and how they've influenced your self-worth.Self-worth as the foundation of legacy: Your legacy is not about accomplishment alone. It's about how deeply you value your voice, your dreams, and your humanity.How to begin writing a new story: Practical, doable steps to build a life grounded in self-love—one choice, boundary, or act of courage at a time.Wisdom of the Week: You are not bound by the past. Every empowered choice becomes a thread in the legacy you are creating right now. When you hold your worth, you inspire others—your peers, your children, and even generations yet to come—to rise with you.Closing Ritual:Together, we practice Hakini Mudra, a gesture of unity and inner wisdom, repeating the mantra:“I am a woman of power and grace.”(Seven times, forming a field of resonance and intention.)Join Our CommunityIf this message resonates, join us in the Composing a New Narrative community—where women worldwide gather to rewrite their stories with courage, compassion, and joy. [Link Below]Let us know where you're listening from and share this episode with someone who needs encouragement today.Dr. Mensimah ShabazzJoin us in empowering one million women to embrace their strength and grace. Together, let's declare our identities as women of power and inspire one another to shine! ♥️For One on One Consultations: Want to go deeper? I offer 1:1 transformational coaching, sacred space-holding, and intuitive mentorship for women ready to embody their highest path.Schedule a 30-minute consultation: https://www.mensimah.com/harmony-consult or send Email to: agapect@mensimah.com.Subscribe:Join our Reflective/Inner Work Platform "Compose A New Narrative" at: https://www.patreon.com/mensimahshabazzphdContact Links:Website: https://mensimah.comInstagram: @mensimahshabazzphdYouTube: @mensimahsroundtableShop: https://shop.mensimah.comRegister as a Guest - For Round Table Conversations:https://mensimahs-round-table-conversations.onpodium.com/guest-formDonations: https://mensimahs-round-table.captivate.fm/supporthttps://www.paypal.com/paypalme/MRTPodcast

In this special Deep Dive interview, Nightdive's Locke Vincent is joined by legendary composer Clint Bajakian to learn more about his work composing the original soundtrack to Outlaws, including his early days at LucasArts, his approach to creating a Spaghetti Western record, advice for new composers, and more!

Scott and Wes dive into Remix 3, exploring how it embraces native web standards like Events, Signals, and Streams to become a truly full-stack framework. They unpack what “LLM-ready,” thin APIs, and a standards-based approach mean for the future of web development. Show Notes 00:00 Welcome to Syntax! 03:21 Uses the platform - native Events, Signals, Streams, Fetch 04:16 Remix 3, Fully Fullstack. 04:57 LLM‑ready + thin APIs 05:53 Brought to you by Sentry.io. 06:18 My previous predictions. 07:44 The value of ‘Standards Based'. 09:13 Component model - JSX/TSX; state = variables; call this.render() 11:56 Adding reactivity to Remix. 15:15 Event‑based architecture - custom events, EventTarget, interactions 20:52 Context & type‑safe access. 22:46 Composing interaction logic within events. 24:25 Signals - AbortSignal to cancel async ops 25:21 Benefits of standards - bring your own tools/libraries Michael Asnong X Post. 26:42 CSS - built‑in CSS prop; Svelte‑like scoping 28:34 Server - Web Request/Response, Web Streams across runtimes 31:23 Frames - async URL‑addressable components with fallbacks 33:07 Tooling - ESM; use Vite or esbuild 34:47 Routing - code‑based named routes 35:57 Questions/Concerns - manual rendering vs reactivity 38:47 URL Pattern API - modern, fast routing foundations 41:33 Sick Picks + Shameless Plugs. Sick Picks Scott: MoCA 2.5 Network Adapter Wes: Bosch Dishwasher Shameless Plugs Scott: Syntax on YouTube. Hit us up on Socials! Syntax: X Instagram Tiktok LinkedIn Threads Wes: X Instagram Tiktok LinkedIn Threads Scott: X Instagram Tiktok LinkedIn Threads Randy: X Instagram YouTube Threads

Sushma is a self-taught watercolour artist and author based in Luxembourg. After beginning her career in engineering, Sushma shifted to pursuing art full time, giving her the opportunity to be fully immersed in creativity and nature while sharing this passion with others.Listen to hear more about:Growing up spending time in the Western Ghats in India.How Sushma started watercolour painting. The landscape and natural spaces in Luxembourg.Landscape painting and how it makes Sushma connect with her environment.Composing a landscape painting in the field.The joy of painting flowers from life.Reaching a state of flow while painting.Exploring the full potential of your watercolour brushes.How Sushma tackles a new or complex floral subject. Sushma's favourite watercolour paper and sketchbooks.Wildflower Watercolor: The Beginner's Guide to Painting Beautiful Florals.Sushma's online course Watercolor Floral Sanctuary. Find out more about Sushma and her art at https://www.sushmahegde.com/. You can find Sushma's book here: Wildflower Watercolor: The Beginner's Guide to Painting Beautiful Florals.If you would like to join the waitlist for Sushma's 8-week class, click this link: Watercolor Floral Sanctuary. To access all the recorded classes, get yourself a video pass for the Wild Wonder Nature Journaling Conference 2025.-----------------Sign-up for Journaling With Nature's Newsletter to receive news and updates each month.You can support Journaling With Nature Podcast on Patreon. Your contribution is deeply appreciated.Thanks for listening!

Film composer and singer-songwriter Tom Schraeder joins this episode of the Movies In Focus podcast for an in-depth conversation. Known for his emotionally charged music, Schraeder has built a career that bridges the worlds of songwriting and film scoring with ease. Composing music for films like The Dark And The Wicked, We're Not Safe Here and Vicious, Schraeder is a musician who can add multiple layers to a film with the subtlest of scores.In this discussion, Tom reflects on his creative process, the transition from performing artist to composer, and how storytelling shapes his approach to music. From crafting intimate character pieces to scoring cinematic moments, he shares insights into balancing emotion, melody, and narrative.This is a fascinating episode for anyone interested in the craft of film music and the artistry that drives a composer's work.

Terry Riley's "In C" is one of the most influential pieces of music of the last century...but you'll never hear it the same way twice. Guest: Evan Ziporyn, composer, clarinetist, and producer of "In C" For show transcripts, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unxtranscripts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unexplainable⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠And please email us! ⁠⁠⁠unexplainable@vox.com⁠⁠⁠We read every email.Support Unexplainable (and get ad-free episodes) by becoming a Vox Member today: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/members⁠⁠⁠⁠⁠⁠⁠⁠Thank you! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gavin visits composer/educator Brett Ensley in his South Carolina studio live room (designed remotely by Haverstick Designs). You'll hear Brett explain how he moved from baseball to music, the mentorship that pulled him into film scoring, and why he built a hands-on music academy that now serves about 100 students. Brett walks through their teaching approach (bands, songwriting, recording, and mixing fundamentals), how community and accountability shape progress, and how they stage live events for students at local venues. He also breaks down a commissioned score he wrote for the silent film Go West, 81 minutes of continuous music, and how he's introducing local orchestra students to studio recording.Guest links:Brett Ensley Studios: https://www.brettensleystudios.com/Instagram: @brettensleystudiosVideo By: More Than Media - https://www.morethan.media/Instagram: https://www.instagram.com/morethan.media/TikTok: https://www.tiktok.com/@morethan.mediaYouTube: https://www.youtube.com/@morethanmedia_The S.O.U.N.D. Project Podcast:Apple Podcasts: https://podcasts.apple.com/us/podcast/the-sound-project/id1680525959Spotify: https://open.spotify.com/show/6dkk1s642VFjZGsdYGyxBPGoogle: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9kZTBiZGNlOC9wb2RjYXN0L3JzcwFull episodes playlist: https://www.youtube.com/playlist?list=PLghfvh2wd7A9MnVKr44jtPEg0qcZ1esTFKeep up with us on our Socials:- YouTube: https://www.youtube.com/@haverstickdesigns- Instagram: https://www.instagram.com/haverstickdesigns/- Facebook: https://www.facebook.com/HaverstickDesigns- TikTok: https://www.tiktok.com/@haverstickdesigns- LinkedIn: https://www.linkedin.com/company/haverstick-designs/- Linktree: https://linktr.ee/haverstickdesigns- Website: https://www.haverstickdesigns.com/#TheSOUNDProject #HaverstickDesigns #BrettAinslie #MusicEducation #FilmScoring #RecordingStudio #MusicCommunity #MusicAcademy #CreativeCommunity #SouthCarolinaMusic #StudioDesign #MusicTeaching #MusicStudents #MusicProductionTimestamps:00:00 – Intro with Gavin & Brett01:00 – Brett's journey from baseball to music02:10 – Discovering film scoring and early mentorship03:20 – Teaching, track production & first studio build04:45 – Building a music academy during COVID06:15 – Teaching philosophy & student growth07:35 – Building community through collaboration09:00 – Student performances & live events10:00 – Growth to 100 students & expanding facilities11:10 – Composing for film & orchestral projects12:40 – Teaching recording & mixing fundamentals14:00 – Future vision: blending bands & orchestras15:20 – Growth from 10 to 100+ students16:40 – Why community makes creativity thrive17:45 – Reflections & closing

Composer and audio producer Pat McCusker joins me to talk about his work creating music for The Ezra Klein Show, his role at The New York Times, and what it's like touring the world as a musician with actor David Duchovny. Pat's music also appears on The Daily, Modern Love, and many more.

We would LOVE to hear what you think. Please drop a line.The Sync Soundtrack with Marcus MandersonMarcus Manderson (@dafingaz) is a composer and producer who specializes in sync licensing, trailers, and custom music for global brands. His dynamic work has graced STARZ's BMF and shined across MTV, BET, Bravo, the NBA, NFL, NHL, MLB, and more. Recent highlights include a Netflix trailer placement and the musical opening for the Lil Jon x Pitbull world tour.Beyond creation, Marcus is a leading voice in the sync and production music community. He hosts panels at SXSW, NAMM, AES, and other major events, runs global writing camps with Level Up Music Productions, and leads workshops that bring music production education to students around the world.At the core, Marcus believes music is more than sound. It is strategy, storytelling, and connection—and his mission is to help creators and brands unlock that power.Join the conversation as he breaks down the art and science of music for media, reveals behind-the-scenes insights from high-profile placements, and shares practical guidance for navigating licensing, composition, and collaboration in a fast-paced industry.Support the show

Georgie sits down with composer Ruth Barrett ('The Terminal List: Dark Wolf', 'Bodyguard') to chat about how her job works, her time on Prime Video's 'The Girlfriend' and what she's watching!

Champion trainer of Britain and Ireland Aidan O'Brien joins Emmet Kennedy for a blockbuster preview of the St Leger Festival at Doncaster and Irish Champions Weekend at Leopardstown and the Curragh.

Composing music is something that you can practice and improve in the same way you can with your instrument.  In this episode, Dr. Tony Steve and I chat about music composition as a craft, the idea of compositional templates, the importance of limitations, mastering idioms, counterpoint, and how you can use exercises to improve. Follow Tony at https://www.facebook.com/tonystevepercussionist Musicianship Mastery is formerly known as The Musician Toolkit. Let me know your thoughts on this episode as a voice message to possibly share on a future episode at https://www.speakpipe.com/MusicianToolkit If you enjoyed this, please give it a rating and review on the podcast app of your choice.  You can find all episodes of this podcast at https://www.davidlanemusic.com/toolkit You can follow David Lane AND the Musician Toolkit podcast on Facebook @DavidMLaneMusic, on Instagram and TikTok @DavidLaneMusic, and on YouTube @davidlanemusic1

Send us a textIn this audio-focused episode of Sidecar Sync, Mallory Mejias and Amith Nagarajan explore three groundbreaking advancements in AI audio technology—starting with Google's real-time voice translation for seamless cross-language communication. They then unpack Microsoft's open-source Vibe Voice, capable of generating full-length, multi-speaker podcasts, before diving into ElevenLabs Music, an AI tool creating fully-licensed, studio-quality tracks from simple prompts. Tune in for laughs, live demos, and serious implications for associations, from global content reach to AI-driven personalization. Plus, hear the hilarious tale of Amith's early-morning car debacle and Mallory's AI-generated bounce anthem for associations. This one hits all the right notes!

Ep 490 - Composer Austin Wintory joins us to talk about his work on Sword of the Sea and the distinct language of writing music for games. Plus, we share our thoughts on Herdling, Shinobi, The Rogue Prince of Persia, and the July sales report. Become a patron to get the extended cut: https://www.patreon.com/posts/extended-sword-w-137615492 00:00 - Intro 02:59 - Austin Wintory, Sword of the Sea, and Music in Games 52:32 - Herdling Impressions 01:04:15 - Shinobi: Art of Vengeance Impressions 01:26:53 - RetroSpace Preview 01:33:39 - The Rogue Prince of Persia Impressions 01:49:44 - July Sales Report 02:06:27 - Also This Week 02:16:50 - L&R: Is Age Really to Blame? 02:30:50 - L&R: Differences in Interactive Music 02:35:51 - L&R: Favorite Soundtracks of 2025 02:45:00 - Bets 02:52:21 - Closing Learn more about your ad choices. Visit podcastchoices.com/adchoices

Looking for the best horse racing betting tips this weekend? Emmet Kennedy is joined by Adam Mills, Peter Michael & Andy Newton for a blockbuster weekend of international racing — York Ebor Festival, the Curragh, Saratoga & Deauville - with big-priced value bets, strong opinions, and Group 1 analysis.

'Art is labour'. This is a statement from composer Jung Jae-il, the man behind the iconic scores to Bong Joon-ho's Parasite, Okja, and Mickey 17, the Netflix smash hit Squid Game, and Hirokazu Kore-eda's Broker, amongst other works. For Jung Jae-il, the art of composing a score is work.For Jung Jae-il, artists like Roxette, Metallica and Björk are notable influences on his work, with Pina Bausch's dancing leaving a lingering mark on his mind. It's these kinds of artists who influenced Jung Jae-il on his solo album, Listen, released in 2023.For Jung Jae-il, there is a clear delineation between art for the self and art for a job, and it's with his work on Parasite that the distinction is felt, while his passion for his album Listen shows an artist in harmony with his craft.These are just some of the things discussed in the above interview with Jung Jae-il, recorded ahead of his performance of the live score for Parasite at the 2025 Melbourne International Film Festival.Jung Jae-il participates in a conversation with Caitlin Yeo on 23 August at MIFF, with the composer performing a live score for Parasite on 23 August over two sessions at MIFF. Tickets are available here.Follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your podcast loving friends.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories to a wider audience. New interviews drop every Thursday, with bonus chats appearing on Tuesdays. Hosted on Acast. See acast.com/privacy for more information.

'Art is labour'. This is a statement from composer Jung Jae-il, the man behind the iconic scores to Bong Joon-ho's Parasite, Okja, and Mickey 17, the Netflix smash hit Squid Game, and Hirokazu Kore-eda's Broker, amongst other works. For Jung Jae-il, the art of composing a score is work.For Jung Jae-il, artists like Roxette, Metallica and Björk are notable influences on his work, with Pina Bausch's dancing leaving a lingering mark on his mind. It's these kinds of artists who influenced Jung Jae-il on his solo album, Listen, released in 2023.For Jung Jae-il, there is a clear delineation between art for the self and art for a job, and it's with his work on Parasite that the distinction is felt, while his passion for his album Listen shows an artist in harmony with his craft.These are just some of the things discussed in the above interview with Jung Jae-il, recorded ahead of his performance of the live score for Parasite at the 2025 Melbourne International Film Festival.Jung Jae-il participates in a conversation with Caitlin Yeo on 23 August at MIFF, with the composer performing a live score for Parasite on 23 August over two sessions at MIFF. Tickets are available here.Follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your podcast loving friends.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories to a wider audience. New interviews drop every Thursday, with bonus chats appearing on Tuesdays. Hosted on Acast. See acast.com/privacy for more information.

This episode was recorded while sitting in the Yamuna River - where Guru Gobind Singh used to compose Gurbani. In this episode you'll hear how Guru Gobind Singh sat on these very banks of the Yamuna River in the early morning, to compose Gurbani, before hunting in the later part of the day. The episode also discusses the Guru's plan to send Dayaram and Nandchand to deliver gifts to Fatehshah for his daughter's wedding. This relates to Chapter 10 of Season (rut) 2.

In this episode, I am joined by Dr. Julie Gurner, Executive Performance Coach.Dr. Julie Gurner is a doctor of psychology and executive performance coach compared to Wendy Rhoades from 'Billions' by The Wall Street Journal. She provides high level coaching services and is the founder of the Ultra Successful Newsletter on Substack.We discuss:(00:00:00) - Intro(00:03:09) - Mindset advantages over technical/soft skills(00:05:43) - Cultivating a mindset of belief in yourself(00:07:52) - Dealing with Failure(00:15:57) - Sponsor: MX Summit(00:17:21) - The importance of your environment on your mindset(00:23:21) - Discipline in routine(00:27:12) - The moral component behind delegating work(00:29:41) - Balancing ambition with satisfaction(00:33:05) - Sponsor: Fyxed.com(00:35:29) - Composing a vision of your future self(00:38:59) - Celebrating your wins(00:42:57) - The process of working with Dr. Gurner(00:52:14) - The fallacy of Stoicism(00:58:10) - How high-performers wind down their dayLearn more & connect with me here:⁠Crane⁠, the private community for property management business owners.⁠My Free PM Newsletter⁠⁠RL Property Management⁠Learn more and connect with Dr. Gurner here: Dr. Gurner on XDr. Gurner's Newsletter - Ultra Successful: https://drgurner.substack.com/DrGurner.comThe content of this podcast is for informational purposes only and does not constitute professional advice. I may have consulting agreements with, or financial interests in, companies mentioned in this podcast. Additionally, some of the links included may be affiliate links, meaning I may earn a commission if you purchase through these links. Always perform your own due diligence before making any financial or business decisions.

#mitchhampton #seasonseven #piano #creativity #history #artisticprocess #podcast #podcasting On this launch of our seventh season I discuss the nature of commitment, creativity, and the so-called "writer's block" in the context of composing a piece of music live and in time.Thank you all for being with us these past seasons and we look forward to our journey into Season 7 with you all!#jazz #poetry #history #podcast

In today's episode, we are extremely honored to be joined by Ray Harman, who is an award-winning film and television composer from Ireland. Throughout this episode, he shares some behind-the-scenes details about his original music for the video game Indiana Jones and the Staff of Kings. He talks about the challenges of creating new music for an existing franchise and how that influenced his decision to experiment with ethnic instruments and create an ambient and atmospheric score. To conclude this compelling conversation, he listens to his music from Staff of Kings for the first time in nearly fifteen years and shares lots of interesting details about each individual track.

Let's start episode 735 of Secrets of Organ Playing Podcast. This question was sent by Dawn and she asks:Ausra, ​is your technique for composing the same as Vidas?Hope you will enjoy this conversation!Find out more at https://organduo.lt

In this episode, I welcome back designer Jewel Marlowe, whose work is bold, layered, and always intentional. We dig into how she builds palettes using color, pattern, and materials—and why contrast matters just as much as cohesion. Jewel breaks down how she mixes unexpected elements (like leopard print and florals) and why visual weight and scale play such a big role in how a room feels. She shares examples from her own evolving home and current client projects, all while staying rooted in meaning and play. If you're drawn to the idea of decorating over time with confidence and creativity, this one's for you. Want to finally define your style? Grab your free worksheet and uncover your personal aesthetic!

The big new original series hitting Disney+ this month is Marvel's "Ironheart", which is set after the events of “Black Panther: Wakanda Forever,” Marvel Television's “Ironheart” pits technology against magic when Riri Williams, determined to make her mark on the world, returns to her hometown of Chicago. Her unique take on building iron suits is brilliant, but in pursuit of her ambitions, she finds herself wrapped up with the mysterious yet charming Parker Robbins, aka “The Hood”. Recently, I got to speak with the show's composer, Dara Taylor about how she went about creating the score for "Ironheart", which follows teen genius Riri Williams as she builds her own advanced armor and navigates grief, identity, and legacy, themes that Dara's music explores with striking depth and texture. Her score fuses distorted synths, trap percussion, and orchestral layers into a genre-bending sound that mirrors Riri's internal and external battles. One of the most moving elements: a real voicemail from Dara's late father as inspiration for the score, underscoring the show's emotional weight and Riri's connection to her own sense of loss. Dara is known for music that centres character and emotion, no matter the genre. She recently scored Universal's R-rated comedy "Strays", as well as the hit horror-thriller "The Invitation" and George Clooney's coming-of-age film "The Tender Bar". From irreverent comedy to supernatural horror to grounded drama, Dara brings a nuanced and contemporary voice to every project, and "Ironheart" is her most ambitious and personal work to date. The first three episodes of "Ironheart" are available to stream on Disney+ now, and the final three episodes of the show will be released on Disney+ on July 1st 2025. The soundtrack is also available to stream on digital platforms now.   #DisneyPlus  VISIT ONLINE -  http://www.WhatsOnDisneyPlus.com If you enjoy our content, please consider supporting it via our Patreon or as a YouTube Channel Membership from as little as $2 a month and get access to exclusive content and much more.

The big new original series hitting Disney+ this month is Marvel's "Ironheart", which is set after the events of “Black Panther: Wakanda Forever,” Marvel Television's “Ironheart” pits technology against magic when Riri Williams, determined to make her mark on the world, returns to her hometown of Chicago. Her unique take on building iron suits is brilliant, but in pursuit of her ambitions, she finds herself wrapped up with the mysterious yet charming Parker Robbins, aka “The Hood”. Recently, I got to speak with the show's composer, Dara Taylor about how she went about creating the score for "Ironheart", which follows teen genius Riri Williams as she builds her own advanced armor and navigates grief, identity, and legacy, themes that Dara's music explores with striking depth and texture. Her score fuses distorted synths, trap percussion, and orchestral layers into a genre-bending sound that mirrors Riri's internal and external battles. One of the most moving elements: a real voicemail from Dara's late father as inspiration for the score, underscoring the show's emotional weight and Riri's connection to her own sense of loss. Dara is known for music that centres character and emotion, no matter the genre. She recently scored Universal's R-rated comedy "Strays", as well as the hit horror-thriller "The Invitation" and George Clooney's coming-of-age film "The Tender Bar". From irreverent comedy to supernatural horror to grounded drama, Dara brings a nuanced and contemporary voice to every project, and "Ironheart" is her most ambitious and personal work to date. The first three episodes of "Ironheart" are available to stream on Disney+ now, and the final three episodes of the show will be released on Disney+ on July 1st 2025. The soundtrack is also available to stream on digital platforms now.   #DisneyPlus  VISIT ONLINE -  http://www.WhatsOnDisneyPlus.com If you enjoy our content, please consider supporting it via our Patreon or as a YouTube Channel Membership from as little as $2 a month and get access to exclusive content and much more.

The big new original series hitting Disney+ this month is Marvel's "Ironheart", which is set after the events of “Black Panther: Wakanda Forever,” Marvel Television's “Ironheart” pits technology against magic when Riri Williams, determined to make her mark on the world, returns to her hometown of Chicago. Her unique take on building iron suits is brilliant, but in pursuit of her ambitions, she finds herself wrapped up with the mysterious yet charming Parker Robbins, aka “The Hood”. Recently, I got to speak with the show's composer, Dara Taylor about how she went about creating the score for "Ironheart", which follows teen genius Riri Williams as she builds her own advanced armor and navigates grief, identity, and legacy, themes that Dara's music explores with striking depth and texture. Her score fuses distorted synths, trap percussion, and orchestral layers into a genre-bending sound that mirrors Riri's internal and external battles. One of the most moving elements: a real voicemail from Dara's late father as inspiration for the score, underscoring the show's emotional weight and Riri's connection to her own sense of loss. Dara is known for music that centres character and emotion, no matter the genre. She recently scored Universal's R-rated comedy "Strays", as well as the hit horror-thriller "The Invitation" and George Clooney's coming-of-age film "The Tender Bar". From irreverent comedy to supernatural horror to grounded drama, Dara brings a nuanced and contemporary voice to every project, and "Ironheart" is her most ambitious and personal work to date. The first three episodes of "Ironheart" are available to stream on Disney+ now, and the final three episodes of the show will be released on Disney+ on July 1st 2025. The soundtrack is also available to stream on digital platforms now.   #DisneyPlus  VISIT ONLINE -  http://www.WhatsOnDisneyPlus.com If you enjoy our content, please consider supporting it via our Patreon or as a YouTube Channel Membership from as little as $2 a month and get access to exclusive content and much more.

#88: My guest today is Venus Theory, who is a music producer and Youtuber based out of Nashville, Tennessee. Venus Theory is known not only for his lush electronic music, but also his massive YouTube channel. He also recently finished writing the soundtrack for the hit game Avowed by Obsidian Entertainment.   In this episode, we dive into Venus Theory's rise as a musician due to YouTube, how he landed the Avowed project, how he bounces his many creative outlets, and so much more.   Find Venus Theory here: YouTube: https://www.youtube.com/venustheory Website: https://venustheory.com/home Instagram: https://www.instagram.com/venustheory/?hl=en   Get info on The Game Industry Professional, my flagship course that teaches you how to make a great living in game audio here: bit.ly/gameindustrypro

IllustrationsLead SheetsPlay AlongsJazz Piano Skills CommunitySummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence guides listeners through the process of improving their improvisation skills using the jazz standard 'MISTY'. The conversation covers essential foundational skills for new jazz pianists, the importance of membership resources, and a structured approach to learning a new tune. Dr. Lawrence emphasizes the significance of rhythm and time in music, and provides practical exercises for developing improvisational skills. The episode concludes with a demonstration of applying these skills to play 'MISTY' improvisationally.KeywordsJazz Piano, Improvisation, MISTY, Music Theory, Jazz Skills, Piano Techniques, Music Education, Jazz Chords, Melodic Lines, RhythmTakeawaysImprovisation skills are developed through structured practice.Understanding harmony and melody is crucial for jazz pianists.Membership in Jazz Piano Skills provides valuable resources and support.Foundational skills include mastering chords, arpeggios, and scales.Time is a rigid element in music that must be mastered.Transitioning from amateur to professional requires intentional practice.Listening to various renditions of a tune enhances understanding.Composing melodic lines is essential for improvisation.Rhythmically altering composed lines helps in improvisation.Practicing with lead sheets aids in developing improvisational skills.TitlesMastering Jazz Piano: The Art of ImprovisationUnlocking Your Jazz Potential with MISTYEssential Skills for Aspiring Jazz PianistsThe Journey of Jazz Piano: From Basics to ImprovisationExploring MISTY: A Deep Dive into Jazz ImprovisationSound Bites"It's time to discover, learn, and play jazz piano.""We work on developing our improvisation skills.""Music is the production of sound and silence.""You should be a subscriber to the Jazz Piano Skills YouTube channel.""The most important skill for me to focus on developing?""You will struggle unsuccessfully with learning how to play music.""Music is held together by time.""You transition from amateur to professional musician.""You have some work to do to have some fun this week.""Enjoy MISTY, an improvisation approach."Support the show

I'm very excited for today's episode! Joining me is composer Dan Forrest to talk about everything that goes into composing and marketing a major or multi-movement work a.k.a. one that's much longer than a typical composition or arrangement.We tend to focus on those shorter pieces of music on this show, because that's normally the place for aspiring composers to start. But, as you'll soon hear, those larger works have their place and there's a lot to be gained from writing them.We of course got into publishing as well. Dan has a fantastic perspective as someone who's both a composer and an editor and also as someone who's chosen both traditional and self publishing for his works, making him the perfect type of guest for this show!

Get ready to rock the world of immersive audio with award-winning producer and mixing engineer Justin Gray! In this episode, we explore his journey from bassist to pioneer in Dolby Atmos and Sony 360, uncovering spatial sound's creative and technical magic. Justin shares his innovative recording techniques, the importance of capturing music in 3D space, and the evolving role of musicians in the process. We also discuss the challenges of funding music in Canada, how to get started with Atmos in a home studio, and the power of remote collaboration. Plus, Justin drops some golden advice for aspiring producers on embracing their creative identity. Don't miss this one, Rockstars! Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Justin Gray, an award-winning producer, mixing, and mastering engineer based in Toronto, Canada. Justin is a leader in immersive audio music production, working with artists, producers, and labels worldwide to bring their music to life in Dolby Atmos and Sony 360 Reality Audio. He has worked across a wide range of musical styles with artists like Snoop Dogg, Olivia Rodrigo, Brandy, Carlos Santana, Arkells, The Sheepdogs, Valley, Mother Mother, Jann Arden, Blackbear, Christina Perri, Orville Peck, and many more. Justin runs his own studio, Justin Gray Sound & Immersive Mastering, one of the first Dolby Atmos and Sony 360RA-certified music studios in Canada. He's also a faculty member at Humber College, where he teaches audio production, composition, and music performance. Thank you to Matt Boudreau for the introduction! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://www.phantomfocus.com/category-s/149.htm https://www.makebelievestudio.com/mbsi Get your MBSI plugin here! https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to the podcast theme song “Skadoosh!” https://solo.to/lijshawmusic Listen to this guest's discography on Apple Podcasts: https://music.apple.com/ca/playlist/justin-gray-dolby-atmos-mixes/pl.u-kv9lRk5TW6eJev If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/509

Creativity, Collaboration, and Perseverance: A Life in Music with Kim Sherman   Episode #158   Welcome to another insightful episode of The Creative Soulpreneur, where artistry meets entrepreneurship. Today, we're thrilled to introduce Kim Sherman, whose paths have intertwined through friendship, collaboration, and a shared passion for music. Nick and Kim reminisce about their initial meeting, a serendipitous artistic 'blind date' that blossomed into a fruitful partnership. They take us on a journey from Kim's theatrical childhood, inspired by her musician mother, to her perseverance in a male-dominated industry and her expansive musical career that spans genres and mediums. Kim shares her unique approach to creativity, detailing her daily routine that balances intense solo composition with meaningful collaboration. Listen in as they discuss the pivotal moments in Kim's life that steered her towards a thriving career in music, despite societal expectations. Through Kim's story, we learn the importance of being a perpetual student, embracing new challenges, and the enduring power of mentorship. Join us for a conversation filled with inspiration, insight, and a celebration of artistic growth and resilience.   Key Takeaways:   The Power of Collaboration: Kim emphasizes the importance of trust in collaborative relationships. Whether composing music in the same room with a collaborator or working independently and sharing progress, trust and mutual respect are essential for success. Adaptability Across Creative Fields: Kim has mastered the art of versatility by working across multiple genres, including opera, musical theater, film scores, and orchestral music. Her expansive definition of music allows her to adapt and thrive in various creative spaces, ensuring longevity in her career.   Embracing Lifelong Learning: A true student of both music and life, Kim's dedication to learning keeps her creative spirit vibrant and alive. From experimenting with new genres to acting as her own mentor in writing librettos, she demonstrates the value of continual growth and exploration.   Find Kim at her website: https://www.kdsherman.com   Story Telling Guide!!!   KIM D.SHERMAN is a composer who embraces lyricism and dissonance to embody musical landscapes. After graduating from Lawrence University, she worked in Minneapolis with many theater companies, including Tony Award-winning Theatre de la Jeune Lune. In 2024, BRIDGE TO PEACE: INVOCATION was recorded by the Lviv Philharmonic, with soloists Will Liverman and Allison Charney. UNFATHOMABLE THINGS (solo piano,) was published in 2021. Other works have been performed and recorded by The Ark Trio, Musica Sacra, and San José Chamber Orchestra. She has written scores for theatrical productions throughout the US, including music for the Broadway hit “I Hate Hamlet.”   Nick Demos is a Tony and Olivier Award winning Broadway producer, documentary filmmaker, conscious business coach and manifestation expert. With over 15 years of teaching pranayama (breath work), yoga and creativity as well as thirty years in the entertainment industry, he has travelled from the Tony Awards to ashrams and run a multi-million dollar business in between. Nick helps you clear blocks and tap into your creative intuition so you can tell your stories and manifest the business and life of your dreams creating wealth and impact.  

“Seventeen was that age when we were realizing… we have to do something about this.” That poignant reflection echoes the emotional heart of SEVENTEEN, a powerful narrative work for orchestra created in response to the tragic 2018 high school shooting in Parkland, Florida—an event that claimed the lives of seventeen students. Composer Ron Ramin was moved to begin work on this piece soon after, eventually collaborating with librettist Portia Kamons, and later joined by Jamie Bernstein. Together, they crafted a deeply human and artistically compelling response to an American tragedy.In this two-part conversation, I sit down with Portia and Ron to talk about the creation of SEVENTEEN and the many layers involved in bringing it to life.In Part 1, we begin with an overview of the piece itself, followed by a deeper dive into each of its four movements. Portia shares how the libretto was built from the actual words of young people, giving voice to a generation affected by gun violence. We also discuss how Ron and Portia came together to write the piece, the collaborative process behind their work, and how their shared vision took shape. We wrap up the first half of our conversation with the story of how the premiere performance came about, thanks to the support of the Orlando Philharmonic and its music director, Eric Jacobsen.[Subscriber Content] Part 2 opens with a look at the practical challenges behind producing a project of this magnitude, especially the complexities of securing funding. This leads to a conversation about future performance opportunities and what lies ahead for SEVENTEEN. From there, we step back to learn more about Portia and Ron's individual careers, and I pose a classic creative question: do artists need to feel inspired to do meaningful work, or can the work happen without inspiration? Their answers are thoughtful and revealing. And finally, we close with a broader reflection as I ask both of them how hopeful they feel about the future.This episode offers a moving and thoughtful exploration of how art can respond to tragedy—and how music can become a powerful form of activism, remembrance, and healing.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Sitars and Symphonies: LA Composer Reena Esmail Fuses Indian Ragas with Western Rhythms We continue our California composers series with Reena Esmail. Her childhood in Los Angeles had two soundtracks: the Western classical music her parents loved, and the old, scratchy Bollywood tapes her paternal grandparents would play over and over. Those multicultural influences shaped what would become the driving question of her work: how do you invite people from different cultures onto the same stage to build a relationship and create music together? Composing is how Esmail has made her mark — by putting Western classical musicians in conversation with Indian artists, building bridges between violinists and sitar players, tabla drummers and western singers. She's an artist in residence with the Los Angeles Master Chorale, has composed with unhoused singers from Skid Row, and her music has been performed by major orchestras and choirs all over the world. How a UC Berkeley Professor Confronts Division With a Vision for Belonging Professor john a. powell spent much of his early life feeling like he didn't belong. At just 11 years old, he became estranged from his deeply religious family. After questioning church doctrine and not getting the answers he was looking for, powell — who spells his name in lowercase — left the church, and his father did not speak to him for five years. But that pivotal moment was the beginning of the path that led him to his life's work. powell is the director of the Othering and Belonging Institute at UC Berkeley, where he's also a professor of law, African American studies and ethnic studies. He's the author of two recent books, “Belonging Without Othering,” and “The Power of Bridging.” powell spoke with host Sasha Khokha as part of our series on Californians and resilience.  Learn more about your ad choices. Visit megaphone.fm/adchoices

HT2261 - Seeing Is Not Composing A bit of a cliche for beginning photographers is SZM — Super Zoom Mind. We see, say, a distant mountain, pull up our camera and photograph it only to be disappointed when the mountain is so small in the print. We see the mountain with our telescopic mind rather than composing a picture that includes the mountain. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

In this luminous return to the Hearts Rise Up podcast, sonic mystic and legendary space music composer Jonn Serrie invites us beyond the edges of music and into the sacred space where silence breathes, frequencies speak, and creativity plays like a child running free. What begins as a conversation unfolds as a cosmic remembering—a transmission on the soul of sound, the intelligence of texture, and the spiritual responsibility of the artist in an age of artificial intelligence.In this episode, Jonn weaves stories of childhood dreams, planetary awakenings, and divine synchronicities—revealing how music is not created but received, not engineered but lived. This is more than an interview. It's an initiation into the invisible forces that move through us when we dare to listen beyond the note, trust the muse's voice, and honor the stillness from which all sound is born.Episode Highlights00:00 Introduction03:15 The First Note as Sacred Threshold05:49 Texture Over Technique10:24 Composing from the Temple of Stillness11:00 Synthesizers as Living Beings14:11 Dancing with AI Without Losing the Soul15:57 Sound as Spiritual Weight18:05 The Vision Behind the Note20:10 Music as a Living, Breathing Intelligence21:33 The Voice of the Muse as a Child23:56 Initiatory Dreams & Spiritual Guide27:55 Creating from Cosmic Memory30:21 Returning to Compassionate Sound36:46 Music as Mirror and PortalHeart-centered Wisdom Shared38:55 "Keep that sense of play and creativity alive no matter what, because that's what it is. You're not learning how to be a technician of music. You're learning that the music technique is built into this joyful moment that music is created."— Jonn Serrie_______________Episode ResourcesWebsite: https://www.jonnserrie.com/YouTube: https://www.youtube.com/channel/UCb25kLFosbZbeh8QxYBvuLwApple Music: https://music.apple.com/us/artist/jonn-serrie/5297212Spotify: https://open.spotify.com/artist/1QZGv6Rumxnw9nIGmowvlMPandora: https://www.pandora.com/artist/jonn-serrie/ARjwK6vjpqPnvXZDeezer: https://www.deezer.com/us/album/545403242SoundCloud: https://www.deezer.com/us/album/545403242Amazon: https://www.amazon.com/music/player/artists/B000QJUXW0/jonn-serrie_______________Connect With Hearts Rise Up And LifeQuest Horizonshttps://heartsriseup.com/Sign up for our popular, weekly “Notes From Your Higher Self”https://www.lifequesthorizons.com/The Art of Inner...

Composing for film and tv with Alex and Cesar Vega! From Mexico City

Jim Jones is the co-creator of the new In The Know podcast music and has been the Executive Director of the Katie School of Insurance & Financial Services at Illinois State University since 2001. The Katie School supports over 500 students majoring in Risk Management and Insurance (RMI), actuarial science, and other majors, who are interested in careers in insurance. Jones works with ISU faculty, staff, administration, and industry executives in helping to develop talent for industry and educate students at the velocity of change. He holds an MBA in International Business from Saint Louis University, a BSBA in Finance and Accounting from the University of Missouri Trulaske College of Business, and CPCU, AIC, ARM, and AIS. In this episode of In the Know, Chris Hampshire and Jim discuss microinsurance in developing countries, the next generation of talent, what Gen Z is looking for in a career, and tactics for successfully addressing the talent gap in the insurance industry.   Key Takeaways Jim's current role in the insurance industry focuses on the next generation of risk management professionals. As the Director of Claims Education, Jim taught 20,000 students each year. Jim's research in creating inclusive insurance in developing countries. In The Know's new theme song was written while Jim was in Kathmandu. Expanding the reach of microinsurance to underserved populations. A portrait of today's recently graduated insurance professional. Tactics for addressing the talent gap in the insurance industry. Characteristics of companies that successfully hire recent graduates. Jim's stand-apart advice to his early career self.   In the Know podcast theme music written and performed by James Jones, CPCU, and Kole Shuda of the band If-Then.   To learn more about the CPCU Society, its membership and educational offerings, tools, and programs, please visit CPCUSociety.org.   Follow the CPCU Society on social media: X (Twitter): @CPCUSociety Facebook: @CPCUSociety                 LinkedIn: @The Institutes CPCU Society Instagram: @the_cpcu_society  

Composing songs of courtly love and war in the High Middle Ages, the troubadours were the poet-musicians of western and southern Europe – especially southern France. But were they really the lovesick wandering minstrels popular culture would have us believe? Or was there more to their artistry? Speaking to Emily Briffett, Linda Paterson answers your top questions on the troubadours and their enduring poetic and musical legacy. (Ad) Linda Paterson is the author of The Troubadours (Reaktion Books, 2024). Buy it now from Waterstones: https://go.skimresources.com?id=71026X1535947&xcust=historyextra-social-histboty&xs=1&url=https%3A%2F%2Fwww.waterstones.com%2Fbook%2Fthe-troubadours%2Flinda-m-paterson%2F9781789149197. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gaming hosts Josh and John sit down with Tobias Lilja, the composer and sound designer behind Little Nightmares 1 & 2! Tobias shares how he broke into the gaming industry with no experience, the art of crafting eerie and immersive soundscapes, and what it takes to shape a video game's mood from the very beginning. It's a must-listen for fans of indie titles, game audio, and anyone looking to break into the video game industry! All the gaming news you need, every week from the Video Gamers Podcast! Thanks to our MYTHIC Supporters: Redletter, Ol' Jake, Disratory and Gaius Connect with the show: Support us on Patreon: patreon.com/videogamerspod Join our Gaming Community: https://discord.gg/Dsx2rgEEbz Follow us on Instagram: https://www.instagram.com/videogamerspod/  Follow us on X: https://twitter.com/VideoGamersPod  Subscribe to us on YouTube: https://www.youtube.com/channel/UCU12YOMnAQwqFZEdfXv9c3Q   Visit us on the web: https://videogamerspod.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices