Podcasts about daedalus howell

Dan and Paul from Small Vines. Paul Sloan from Small Vines Wines joins Steve Jaxon and Dan Berger on California Wine Country. Daedalus Howell also joins us today. Small Vines Wines makes “world class wines of distinction.” Paul grew up in Sonoma County on a 250-acre horse and cattle ranch, on the eastern side of Santa Rosa. He worked in restaurants and ended up at John Ash & Co., known as one of the original farm-to-table restaurants. His favorite wines were always from families that grew the fruit and also made the wine. When he fell in love with age-worthy, food-friendly wines, he continued to work for the Dutton family and studied viticulture at Santa Rosa JC. He planted some high-density vineyards over the years and his wines come from them. High-Density Vines Dan Berger says that the predictions of weather are less reliable than ever, as climate change is not uniform. Paul finds that high-density planting helps, in hot years by shading the vines. High density planting works but you have to take careful care of the vines. Paul was the first person to actually design a wine with good natural acidity by planting high density vines. California Wine Country is brought to you by Rodney Strong Vineyards and Davis Bynum Wines. Phylloxera is a root louse that is so small it is hard to see. It chews on certain roots and in particular, native roots. So you have to choose rootstock that is impervious to it. It appeared in the late 1980s. It was inevitable that all the vines affected had to be torn out and the vineyards replanted. The more leaf surface you have, the more dappled sunlight you have, instead of direct light. By planting a 4-foot tractor row instead of an 8-foot tractor row, you can get fifty percent less direct sunlight on the fruit. Daedalus asks about automation and the potential to use drones in the vineyard. Paul tells about advanced tractors that gather data. The high end producers will continue to do things by hand, but a lot of less expensive wines will have to use some automation. Dan Berger mentions that a lot of the automation is in the winery, rather than in the vineyard. There are tanks with built-in chemical analysis equipment. Also, sorting the fruit is still an important manual process. Ideally, you only harvest the ideally formed clusters of fruit. Their first tasting is a 2021 TBH Chardonnay, that demonstrates the fruit selection. They sort the fruit on the vine. You only take the ideal length of cluster and diameter of berries. Their 2021 Chardonnay is the current release. His goal is to make age-worthy, food-friendly wines, so he sees no reason not to hold his wines for a few years before releasing them.

Erica, Judy & Doug. Doug Mryglod, Judy Phillips and Erica Stancliff from Deodora Wine are our guests with Steve Jaxon and Dan Berger on California Wine Country. Daedalus Howell is also in the studio today. This is the first time that Doug and Judy have been on the show for Deodora Estate Vineyards. Erica Stancliff has been on CWC before on this episode of June 24, 2020. Dan Berger introduces Deodora for winning a gold medal for a dry Riesling at the latest wine competition. The 2019 that won was up against some very stiff competition. The 2024 is maybe better, says Dan. Judy says they bottled it back in February and this is the first bottle they are opening. The grapes come from “an amazing site in the Petaluma Gap.” This is precisely what the American consumer wants, and doesn't know it. It is dry but not too much, with just enough personality in the aftertaste to suggest what kind of food it would go with. It should be served chilled but not ice cold. Dan describes plumeria, wild tropical fruit, and citrus flavors. The lime flavors will come out in about two years. Judy says Dan's commentary makes the perfect tasting notes for this wine. It is not gripping and so lemony. California Wine Country is brought to you by Rodney Strong Vineyards and Davis Bynum Wines. Daedalus Howell is also here today. He notices the minerality in this wine, “a quiet little whisper” of slate, underneath the fruit flavors. It was barreled in concrete, there was no malolactic fermentation, and there was one neutral French oak barrel, and stainless steel. Doug tells the Deodora story that starts with Judy. In 2012 they got a property that was an old goat farm. It took them months to clean it up and decide what to plant. There is a story behind the Riesling. He worked with Ford family in the Finger Lakes region, Heron Hill wine. Doug fell in love with Riesling after tasting theirs. Doug's Riesling made for himself Doug didn't want his Riesling to be too dry or too sweet, just in the middle, and for himself only. Dan says, “I did the same thing… just for me.” Dan says that Riesling makes itself if you have the right grapes. Judy says it was hard for them to believe they won that award for the Riesling. Erica Stancliff tells how she was born and raised in Forestville with parents who were home winemakers. They started Trombetta Winery where Erica is the winemaker. Her mentor was Paul Hobbs and she is now a winemaker for various local labels. She loves Petaluma Gap for the wind, climate, Sonoma coast influence and the fog. That makes it perfect, absolutely perfect for Pinot Noir, Chardonnay and also Riesling. Daedalus asks Erica if their friend Chris Sawyer, the “sommelier to the stars” is really the originator of the term Petaluma Gap. He claimed it, says Daedalus. Erica has a precise technical description of the climate that makes for slow development of brix levels. In Petaluma Gap you only get a few hours of the peak heat, before the wind comes in every day. The name Deodora comes from an old tree that is on a property he owns on a golf course. The tree is beautiful and comes from the Himalayas.

Send us a textFor our Season Five Finale, we welcome Leanne Battelle, the restaurant review writer for the Marin Independent Journal (and the editor of the Real Deal Marin website) and Daedalus Howell, the editor of the Pacific Sun (and Bohemian) for a lively discussion on the state of the restaurant business 

Today on the show we have writer/director Daedalus Howell. Daedalus' film Pill Head is the definition of being a Filmtrepreneur. So much, in fact, I used his film as a case study in my book Rise of the Filmtrepreneur®: How to Turn Your Indie Film into a Moneymaking Business. The method he used was the "regional cinema model." This model is based around developing, producing and distributing a film project targeted to the niche audience of a geographic area. He essentially made an Art House film for his hometown.Pill Head was entirely a hometown affair — from discounted permits to merchant buy-in and a recent theatrical release through a consortium of local exhibitors (no four-walling!) accompanied by tons of local press.After an overdose, art student Theda becomes an unwitting specimen in her university's experimental psych program. There's a side effect, however — she sees the branching possibilities of reality in an alternate universe. Moreover, an alternate self wards her off the program's enigmatic researcher Dr. Ashe. Determined to escape, Theda's salvation lays through the looking glass of quantum quandaries, romance revisited, and the jagged little pill of her own nature.In this interview, we go deep into the regional cinema model, how he creates multiple revenue streams and how he got that group of local theater owners to four wall his film for free.Enjoy my inspirational conversation with Daedalus Howell.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

[ interview starts at 3:50]An interview with the Editor of The Bohemian and The Pacific Sun Daedalus Howell in three parts!In the part first, Daedalus and Cincinnatus discuss his upcoming film shot entirely in Sonoma County, Wolf Story! It is a werewolf adventure romantic comedy that uses fiction and fantasy to impart grounded truths about life changes, identity and growing older.In the second part, they elaborate Howell's lengthy and varied career with dozens of roles in film and newspapers, which can nevertheless be simplified into career "story-teller." Daedalus gives something of his philosophic perspective on story and story tellers and myth-makers and how story imparts instructions about how to be a human being.In the third part of the interview, Daedalus talks about his role and responsibility as editor of two of the North Bay's most impactful newspapers. They discuss the master narrative of Sonoma County and whether it is true or false, empowering or despairing.Main Website: https://daedalushowell.com/Daedalus Howell Articles: https://muckrack.com/daedalushowellQuantum Deadline Book Trailer : https://www.youtube.com/watch?v=aojkAfWq3Y0Pill Head Film Trailer : https://www.youtube.com/watch?v=aojkAfWq3Y0The North Bay Bohemian : https://bohemian.com/

We talk with editor Daedalus Howell (also a filmmaker, writer, actor, and conceptual artist) to talk about the state of so-called "underground" newspapers.

Today on the show we have writer/director Daedalus Howell. Daedalus' film Pill Head is the definition of being a Filmtrepreneur. So much, in fact,​ I used his film as a case study in my book Rise of the Filmtrepreneur®: How to Turn Your Indie Film into a Moneymaking Business. The method he used was the "regional cinema model." This mode; is based around developing, producing and distributing a film project targeted to the niche audience of a geographic area. He essentially made an Art House film for his hometown.Pill Head was entirely a hometown affair — from discounted permits to merchant buy-in and a recent theatrical release through a consortium of local exhibitors (no four-walling!) accompanied by tons of local press.In this interview, we go deep into the regional cinema model, how he creates multiple revenue streams and how he got that group of local theater owners to four wall his film for free. Enjoy my inspirational conversation with Daedalus Howell.

Today on the show we have writer/director Daedalus Howell. Daedalus' film Pill Head is the definition of being a Filmtrepreneur. So much, in fact,​ I used his film as a case study in my book Rise of the Filmtrepreneur®: How to Turn Your Indie Film into a Moneymaking Business. The method he used was the "regional cinema model." This mode; is based around developing, producing and distributing a film project targeted to the niche audience of a geographic area. He essentially made an Art House film for his hometown.Pill Head was entirely a hometown affair — from discounted permits to merchant buy-in and a recent theatrical release through a consortium of local exhibitors (no four-walling!) accompanied by tons of local press.In this interview, we go deep into the regional cinema model, how he creates multiple revenue streams and how he got that group of local theater owners to four wall his film for free. Enjoy my inspirational conversation with Daedalus Howell.

Today on the show we have writer/director Daedalus Howell. Daedalus' film Pill Head is the definition of being a Filmtrepreneur. So much, in fact,​ I used his film as a case study in my book Rise of the Filmtrepreneur®: How to Turn Your Indie Film into a Moneymaking Business. The method he used was the "regional cinema model." This mode; is based around developing, producing and distributing a film project targeted to the niche audience of a geograhic area. He essentially made an Art House film for his hometown.Pill Head was entirely a hometown affair — from discounted permits to merchant buy-in and a recent theatrical release through a consortium of local exhibitors (no four-walling!) accompanied by tons of local press.In this interview, we go deep into the regional cinema model, how he creates multiple revenue streams and how he got that group of local theater owners to four wall his film for free. Enjoy my inspirational conversation with Daedalus Howell.

This edition of Daedalus Howell’s Night School of the Mind, is brought to you by Quantum Deadline, "...a noirish, sci-fi-lite detective story with a heap of self-parody that's by turns poignant, witty and comic..." says the North Bay Bohemian. And I agree because I wrote it and you can get it on Amazon right now in ebook and paperback. Remember when the entertainment industry was pushing the term “transmedia?” Yeah, neither do I but I do know what it means, because all I really need to know I learned on Wikipedia. Transmedia storytelling “is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies.” The entry was first created in 2015, back before the prefix “trans” took on the cultural heft of gender issues and the term “media” became a rapidly deflating political football. Plus, “transmedia” always sounded like one of those meaningless corporate constructions like “multichannel” or “accountability.” So, how do we refer to the technique of telling a single story or story experience across multiple platforms? Richard Wagner used the term Gesamtkunstwerk but the scope of media at the time didn’t reach beyond 15 hours of the Ring Cycle. Besides, gesamtkunstwerk sounds like something to say after a sneeze. I bring this up because I've been creating an immersive transmedia experience within a self-consistent fictional universe. Think Tolkien's Middle Earth or that galaxy far, far away. Or the Marvel Cinematic Universe, or even the the Dublin of James Joyce's Ulysses, or the intertextuality of Kurt Vonnegut’s Midwest and you get the idea. In my case, the scope is narrowed to my own particular take on Petaluma, CA, where I grew up and, 20 years later, repatriated. I realize that sounds like the premise of a terrible TV show wherein the protagonist lives in the big city, gets knocked on his ass, and returns to small-town Americana and reconnects with old friends, lost loves, and forgotten dreams — and maybe even himself. That’s not my story. The fictional Lumaville is a sort of psychic space laid over the topography of the places that have long haunted me. It operates as a kind of imagined parallel universe inhabited by a protagonist who is, likewise, a parallel version of its author. But with a far darker world view. I like to put it like this: “I create autobiographical fictions that draw on my experiences as a small town reporter – but with more drinking, danger and death. They’re semantically-engineered to make you feel better than I do. And, let me tell you, I feel just fucking great.” Conceptually, I consider the endeavor literary performance art and I'll swear up and down that it's a true story if asked. Because, depending on your brand of quantum physics, it is – somewhere. In a way, creating this fictional, alternate universe isn't an act of fiction so much as reporting the history of another reality – one that I call the Lumaverse. This is the context in which I wrote my genre novel experiment Quantum Deadline as well as the screenplay for Pill Head, our upcoming feature film in which a pill-addicted young woman undergoes an experimental sleep treatment and awakes wayyy later to find she's on the verge of a psychic breakthrough ...or psychotic breakdown. “But, Mr. Howell,” you ask, “Besides your obsession with prescription drugs and inability mature beyond the environs of your youth, why do this all this work in different media? Is it just massive ADD?” Good question. This is how I got started... Read the rest at DaedalusHowell.com.

Long left behind in B-Movies, quicksand is making something of a cultural comeback. But maybe not in the way one might expect. From fetish films to a David Bowie word salad, your host Daedalus Howell plays through the sandtrap and finds old video games, snakes, and Nazis along the way. Links to everything discussed at http://daedalushowell.com/blog/quicksand.

The third and final installment of the mini-series "Burning Down the Art House" focuses on Tom Schiller’s hat tip to Fellini, "La Dolce Gilda," starring Gilda Radner and evoking a nostalgia trip for your host, Daedalus Howell. Links to the videos and more at http://daedalushowell.com/blog/part-three-art-films. Sign up for your free Screenwriting Structure ebook! http://eepurl.com/lVAWH

Let’s talk a little about New Year’s Eve. I know, I know. It’s not even Christmas yet. But given that some of the New Years Eve events I’m about to mention will be sold out by Christmas, I thought I’d better talk about them now, while you still have a chance to snap up a ticket. But first, let me offer a little perspective on the whole theme of New Year’s Eve traditions. Different people celebrate the turning of the year in different ways. In Canada, on New Year’s Eve, cities offer free public transportation. Not sexy, perhaps, as traditions go, but it’s certainly practical. In certain parts of Mexico, as the midnight bells strike twelve times, partiers eat twelve grapes—hopefully without choking—because they make a wish with each swallowed grape. In Albania, at precisely midnight on New Year’s, they make perfectly timed phone calls to wish each other a prosperous new year. Also not sexy, or particularly festive, but definitely warm and fuzzy and nice. It’s midnight. Let’s call Dad. I like it. Meanwhile in the San Francisco North Bay area . . . well, we do all kinds of things. Amongst them, it has become a certified tradition for theater companies to wrap a big happy New Years Eve party around a brand new theatrical production, often kicking off the next full run of their new show by debuting it on the 31st of December, followed by a champagne toast, confetti, cheers and a kiss or two. I like that too. Case in point: this New Year’s Eve, Petaluma’s Cinnabar Theater (www.cinnabartheatre.org)—one of the first theater companies in the area to adopt the New Year’s Eve debut tradition—will be staging the first performance of their new show, Mahalia Jackson: Just as I Am. Written and performed by Sharon E. Scott, the show tells the story of America’s iconic blues and gospel singer, punctuating the tale with scorching renditions of Jackson’s best known songs. Cinnabar’s New Year’s Gala, running from $55-$66, begins at 9:00 p.m., and includes fancy pre-show desserts and champagne at midnight. Mahalia Jackson: Just as I Am, continues it’s run at Cinnabar through January 24. Over at Main Stage West in Sebastopol (www.mainstagewest.com), a bit of macabre mayhem will be added to the merriment on New Year’s Eve, as the esteemed theater launches Serial Murderess: A Love Story in Three Ax, Amanda Moody’s one-woman-show about a trio of famous female killers. Talk about drinking a cup of kindness … just make sure it’s not poisoned. Main Stage West’s first annual New Year’s Bash—cost $50, with the show beginning at 8:00 p.m.—includes food, drinks, a bit of murderous revelry, and the show itself. I suggest you dress to kill for this one. And finally, over at 6th Street Playhouse (www.6thstreetplayhouse.com), the New Year will kick in with a cabaret-style party and musical show—cost: $25-$40—featuring the return of Sandy and Richard Riccardi, the daft and daring duo whose charmingly satirical, tastefully raunchy songs have taken them to New York and back, and won them international acclaim on YouTube. There will be two shows, at 7:00 p.m. and 10:00 p.m. Food and drink will be available for purchase. These shows are actually much more than just a great way to kick off the New Year. Such special events are vital fundraisers; so even if you can’t make it out to your favorite theater, consider dropping off a tax-deductible donation as your way of saying Auld Lange Syne to support live theater in Sonoma County. Happy New Year, a little early, and here’s to a theatrically satisfying 2016.

Many of our Christmas entertainment traditions are tales of tribulation from Jimmy Stewart contemplating suicide in It’s a Wonderful Life to Charlie Brown’s seasonal affective disorder which becomes a kind of wistful melancholia with enough piano jazz. So, it stands for reason that writer and performer David Templeton would yoke is yuletide monologue, Polar Bears, to a similar strategy. “Tragedy plus time equals comedy.” But Templeton isn’t pursuing comedy so as much as a stage-borne catharsis. And he succeeds. Polar Bears is inspired by the true events that followed Templeton’s divorce from and the untimely death of the mother of his two young children and how he endeavored, against incredible odds, to keep the spirit of Christmas alive. Through funeral arrangements and an array of misunderstandings (including the inspiration for the title which will put a lump in your throat,) Polar Bears reminds that our children’s belief in Santa may not be the best measure for our belief in ourselves as parents. Well-directed by local theater veteran Sheri Lee Miller, the collaboration must have been akin to a protracted psychotherapy session. Though overcompensation is the modus operandi of many a divorced dad, Templeton’s story approaches the neurotic. By the second act it’s clear that Templeton’s son manifested a belief in Santa that endured long beyond what many might think healthy, or at least exceeded the initial benefit of Templeton’s efforts. The repercussions, of course, are grist for a dramatic confrontation that is by turns heartbreaking –and hilarious. And it’s testament to the raw honesty with which Templeton confronts himself as a father. Templeton is a writer first and an actor second – not a distant second, but enough that the latter sometimes has to play catch up with the former. At worst, Templeton has a tendency toward recitation, which, at nearly two hours of live performance, is a feat in itself. At his best, Templeton seems to eschew total fidelity to his text and speaks truly to the emotion of the moment. It’s like he’s speaking to a friend about one of the most challenging periods of his life. (Full disclosure: I consider myself among the playwright’s many friends who packed recent performance). Templeton’s hindsight, however, is not through rose-tinted glasses it’s more like a microscope whose slide is smudged around the edges with Vaseline. This affords it a kind of Golden Age of Hollywood-style nostalgia despite the rigorous self-examination. Polar Bears may not restore your belief in Santa Claus but might restore your belief in parenthood. Polar Bears plays Thursdays through Saturday at 8 p.m. and Sundays at 5 p.m., through December 20 at Main Stage West, 104 N. Main Street, Sebastopol. Tickets are $15 to $27 and can be had by calling (707) 823-0177, or by visiting mainstagewest.com. Not recommended for those who still believe in Santa Claus.