Podcast appearances and mentions of Davis Guggenheim

In which we remember the good and sane bush years. Watching: An Inconvenient Truth (2006), Davis Guggenheim & Al Gore Send us a question, comment or valid concern: auxiliarystatements(at)gmail.com DISCORD: https://discord.gg/csqrrRRD

Beyond the scandal and salaciousness, “Gossip” offers a fascinating look at the power of rumor and reputation. We're dissecting Davis Guggenheim's film, exploring the themes it raises, and analyzing the performances of its impressive ensemble cast: James Marsden, Lena Headey, Kate Hudson, Joshua Jackson, and more! Joining in on this juicy discussion of the power of rumors is Mark J. Parker of the Release Date Rewind podcast, the perfect companion to hop on this entertaining game of telephone gone wrong. Join us for a thought-provoking discussion on this often-overlooked gem. Link For Guests: Release Date RewindWhere To Watch Gossip

In March 1988, when the Board Chair of Gallaudet University, the world's only Deaf university, announced Gallaudet's new president, she had no idea what was about to happen. As chronicled in Nyle DiMarco and Davis Guggenheim's riveting new documentary, “Deaf President Now!”,  the students revolted against the decision to hire yet another hearing person to lead the university and took over the campus. In the span of just over one week, their struggle would not only transform Gallaudet but write a powerful new chapter in the history of the Civil Rights Movement.   Nyle and Davis join Ken on the pod to describe this remarkable protest movement and their own dynamic creative partnership. The result is a film that combines thrilling archival footage with moving contemporary interviews and deep insights into the Deaf experience. The film's original use of the Deaf POV and innovative sound design demonstrate that the revolution that began at Gallaudet has profoundly changed the culture and, now, the documentary form itself.   “Deaf President Now!” premieres on Apple+ on May 16.   Hidden Gems: Davis: No Other Land, Black Box Diaries Nyle: Crip Camp   Follow: @nyledimarco on Instagram X @davisguggenheim on Instagram @topdocspod on Instagram and X    The Presenting Sponsor of "Top Docs" is Netflix.

John is joined by the Oscar and Emmy Award-winning documentarian Davis Guggenheim to discuss his new film for Apple TV +, “Deaf President Now!” Davis lays out the story behind the movie, which revolves around a student protest that erupted over eight days in 1988 at Gallaudet University in Washington, DC, the world's only university for the deaf, and explains why it stands as “the greatest civil rights movement in history you've never heard of.” Davis also retraces his storied career as a non-fiction director, connecting the dots between his past films, from “An Inconvenient Truth” and “Waiting for ‘Superman'” to “He Named Me Malala" and "Still: A Michael J. Fox Movie”—and reveals why getting fired by Denzel Washington from “Training Day” changed his life, and for the better. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Documentary programmers Basil Tsiokos and Sudeep Sharma join us to discuss the nonfiction lineup for the 2025 Sundance Film Festival. The slate includes new work from Oscar winners Ahmir "Questlove" Thompson, Mstyslav Chernov, and Davis Guggenheim, plus films on book banning, the first openly trans attorney to argue a case before the U.S. Supreme Court, the late astronaut Sally Ride, and a documentary series on late "Pee-wee Herman" actor Paul Reubens. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sigmund and Devon share their favorite shows, films, apps, and more of the year. Then, they celebrate the show's 150th episode by answering questions sent in by listeners and reveal their Christmas gifts for one another.   Pre-Roll iOS and iPadOS 18.2: Everything New Besides Apple Intelligence Apple Intelligence in iOS 18.2: A Deep Dive into Working with Siri and ChatGPT, Together ActionMode: A Simpler, More Customizable Shortcut to Program Your Action Button   Recap: 2024 Devon's Picks Sigmund's Picks   Apple TV News Blackmagic Design URSA Cine Immersive Camera ResMed Kontor Head Strap von Holzhausen Carry Sling for Apple Vision Pro ‎Fitness Wrapped   Apple Original News First Look at Fountain of Youth Meet the Artist 2025: Nyle DiMarco and Davis Guggenheim on “Deaf President Now!”   Releases Wild Life: Sharks Yo Gabba Gabba! A Carpool Karaoke Christmas Santa Claus Is Coming To Town by Lady Gaga The Secret Lives of Animals Adventure: Ice Dive Apple Music Live: New Year's Eve   Extras True to Tone: 2024 Wrap Party Eva the Owlet Holiday Moon Wish Printable Activity Yo Gabba GabbaLand!: Tiny Desk Concert Billie Eilish: Artist of the Year 2024 Live Recorded on iPhone 16 Pro | Michael Bublé, Carly Pearce “Maybe This Christmas” Maybe This Christmas by Michael Bublé & Carly Pearce   TV App Highlights Squid Game What If...? Gladiator II Wallace & Gromit: Vengeance Most Fowl Nosferatu   Up Next: Christmas Gifts A Real Pain Succession Terrifier 3 Believe Me   Send us a voice message all week via iMessage or email to magic@macstories.net. Subscribe to Magic Rays of Light on YouTube and follow us on Mastodon and Bluesky. Sigmund Judge | Follow Sigmund on X, Mastodon, Threads, or Bluesky Devon Dundee | Follow Devon on Mastodon, Threads, or Bluesky

Eugene Kirpichov runs Work On Climate, a non-profit building the workforce needed to solve climate change equitably and justly, which he started after leaving his big tech career in 2020 to focus on solving climate change. Work on Climate has helped thousands of people land climate jobs and advance their companies, and is now focusing on creating systems change to support the full climate talent transition. In this episode, we discuss: ●  How a systems thinking approach is needed to create “the climate workforce” ●  The power of purpose to unite people around a common goal ●  Why Eugene left a great career in tech to start Work on Climate Key Takeaways: ●  Uniting Around Purpose to Drive Change: A common purpose acts as a powerful bridge, connecting people across backgrounds and experiences by giving them a shared reason to invest their time, energy, and passion. Work On Climate is a perfect example of this. Experts volunteer their time, offering office hours to help people navigate their way into climate careers. Donors open their wallets, not just because it's a good cause, but because they believe in the mission. This common goal of tackling climate change unites individuals who might not have crossed paths otherwise. When people come together around a shared purpose, doors open in new ways—opportunities for collaboration, support, and impact flourish. That's the true power of purpose. ●  Rethinking Our Roles for a Sustainable Future: Solving the climate crisis will require more than just new technology—it demands a complete shift in how we think about our roles, regardless of industry. Eugene emphasized that everyone, no matter what their job is, should be thinking about how they can support a sustainable future. Whether you're in finance, marketing, engineering, or education, there's a role to play in driving systems change. The future isn't just about “climate jobs”—it's about making every job a climate job. The key is embracing a mindset where sustainability becomes part of every decision and action we take. ●  Building the Skills to Shape a Better Future: As we tackle the climate crisis, we need people equipped with the right skills to lead the charge. Eugene highlighted some essential tools for building a sustainable future: STEM knowledge, design thinking, systems thinking, and collaboration. Whether you're just starting out or already seasoned in your career, these are some skills worth developing. References: ●  Connect with Eugene on LinkedIn ●  Work on Climate ●  An Inconvenient Truth, directed by Davis Guggenheim (2006) ●  Eugene's resignation letter ●  terra.do ●  OnePointFive ●  Climatebase ●  Cisco Foundation Connect & Share: If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests. I also love reading them!  If this episode resonated with you, I ask you to send it to a friend. Help bring even more visibility to these leaders that are using business as a force for good! Subscribe to the Purpose and Profit newsletter to make sure you don't miss future episodes.  This podcast is for you, the listener. I'd love to hear what resonated with you, or if you have a suggestion on who would be a great guest for this show. Please send me a note at info@KathyVarol.com.

I sit down with Emmy-nominated editor Roger Nygard, ACE to explore his new book The Documentarian: The Way to a Successful and Creative Professional Life in the Documentary Business. We dive into the essential steps for making and selling documentaries, from concept development to securing deals with major studios. Roger shares his own journey in the film industry, including the story behind his hit documentary Trekkies, and offers advice from top filmmakers like Ken Burns, Davis Guggenheim and Errol Morris. This episode is packed with insights to help you succeed in the documentary world!SHOW LINKSClick here to purchase The Documentarian: The Way to a Successful and Creative Professional Life in the Documentary Business (affiliate link) Click here to purchase Roger's first book, Cut to the Monkey: A Hollywood Editor's Behind-the-Scenes Secrets to Making Hit Comedies (affiliate link)Level up your editing career with the All Access Pass to the Hollywood Editing Mentor Community: https://hollywoodeditingmentor.com/community/Watch the video version of this episode: https://youtu.be/F9tRrJ0jR-UCheck out our free content and other resources! >>> SUBSCRIBE and leave a 5-star review on Apple Podcasts! >>>Original Music: "Apollo's Haze" and "Do You Want" by JesusdapnkFacebook: www.fb.com/jesusdapnkSoundcloud: www.soundcloud.com/jesusdapnkInstagram: @jesusdapnk

Editors - Inbal B. Lessner ACE and Ben Kaplan STORMY editors Inbal B. Lessner, ACE and Ben Kaplan each brought their considerable experience in unscripted storytelling to this timely and unique perspective of a woman who dominated the headlines throughout and following the presidency of Donald Trump. Directed and produced by Sarah Gibson, STORMY follows Stormy Daniels as she navigates being a mother, artist, and advocate working hard to reinvent herself following the Stormy Daniels–Donald Trump scandal.  Judd Apatow serves as an executive producer under his Apatow Productions banner. INBAL B. LESSNER, ACE Inbal B. Lessner, ACE is an Emmy-nominated and Eddie-winning producer and editor. Prior to her work on STORMY, Inbal was most well-known for such true crime hits as Starz' Seduced: Inside the NXIVM Cult (2020) and Netflix's Escaping Twin Flames (2023), both of which she co-created alongside her filmmaking partner Cecilia Peck.  As executive producer, showrunner, and editor, Inbal steered both shows towards nominations for Best Edited Documentary (Non-Theatrical) at the ACE Eddie Awards, nabbing a win for the latter. She was previously Eddie-nominated for her work on the "Can We All Get Along" episode of CNN's The Nineties (2017). Inbal has worked in the cutting rooms of directors such as Davis Guggenheim, Nancy Schwartzman, R.J. Cutler, Kelly Duane, Tricia Regan, Jeremy Simmons, and Tracy Droz Tragos, as well as Natalie Portman's feature directorial debut. A member of the AFI Conservatory faculty, she has also been a Visiting Professor of Film Editing at UNCSA Film School and is a mentor in the Karen Schmeer Diversity in the Edit Room Program. BEN KAPLAN A multi-award nominated documentary editor with over a decade of experience in the edit suite, Ben has worked on projects for CNN, Peacock, ABC/Hulu, Viceland and MAX.  When he's not cutting docs, he's usually cutting up ingredients in the kitchen, perfecting his favorite dishes. Editing STORMY In our discussion with STORMY editors Inbal B. Lessner, ACE and Ben Kaplan, we talk about: Making the most of the Miro board "If you can't sum it up, you must cut it out". Motorboating your way to authenticity Deconstructing one documentary for another Stringing together the spine of the story The Credits Visit ExtremeMusic for all your production audio needs Check out the Frame.io blog for an enhanced transcription of The Rough Cut. Watch the ACE Invisible Art - Visible Artists Panel Hear editor Inbal B. Lessner ACE discuss cutting SEDUCED: INSIDE THE NXIVM CULT Learn all about what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

On this week's episode, I have actress Paula Marshall (Euphoria, Walker, Gary Unmarried, and many many more) and we dive into the origins of his career. We also talk about how she dealt with being a new mom and working on a sitcom at the same time. There is so much more so make sure you tune in.Show NotesPaula Marshall on Instagram: https://www.instagram.com/thepaulamarshall/?hl=enPaula Marshall IMDB: https://www.imdb.com/name/nm0005191/Paula Marshall on Wikipedia: https://en.wikipedia.org/wiki/Paula_MarshallA Paper Orchestra on Website - https://michaeljamin.com/bookA Paper Orchestra on Audible - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptPaula Marshall:But a lot of parents, they go to jobs and then they come home or they don't work at all, and then it's just mom 100% and they're probably exhausted and happy. Some of my friends, I feel like they're like, I'm so glad. Finally I get to whatever. And either they're retiring and they get to go travel and like, no, I'm an actor. I'm looking for a gig, whatever. I don't think actors ever truly retire. I think we don't. I don't.Michael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations and writing, art and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase. And to support me on this podcast, please visit michael jamin.com/book and now on with the show.Welcome everyone. My next guest is actress Paula Marshall. She has been, I worked with her years ago on a show called Out of Practice, I think it was like 2005. But Paul, before I let you get a word in edgewise, I got to tell everyone, your credits are crazy long, so your intro may take a long time. So I'm going to just give you some of the highlights to remind you of your incredible body of work here. Really these are just the highlights. She works a ton. So well, let's see. I guess we could start with One Life To Live. That might've been your first one. Grapevine Life goes on. Wonder Years Seinfeld. I heard of that one. Perry Mason diagnosis. Murder Wild Oats. I'm skipping here. Nash Bridges. You did a couple Chicago Suns Spin. City Cupid Snoops Sports Night, the Weber Show. It doesn't end.Just shoot Me, which I worked on. I didn't even know you were on that. Maybe I wasn't there. Hitting Hills and Out of Practice, which we did together. Veronica Mars, nip Tuck, shark ca Fornication. You did a bunch of Gary Unmarried House friends with Benefits, the exes CSI, the Mentalist, two and a Half Men Murder in the First Major Crimes. What else have we got here? Goer Gibbons, I dunno what that is. You have to tell me what that is. And then Modern Family Euphoria. You did a bunch of them. Walker. Paula, I'm exhausted and I'm going to steal your joke here. You can because I'm going to say you're Paula Marshall, but you may know me as Carla Gina. That's what used to tell me CarlaPaula Marshall:And I know Carla,Michael Jamin:But knowPaula Marshall:She's like the younger version of me. Slightly shorter,Michael Jamin:Bigger, bigger. Boop. But you have done so much. I'm going to jump, I'm going to jump into the hardest part. I'm wondering if this is the hardest part for you is being a guest star on a show because you have to jump in with the cast, you have to know the rules and everything. Is that harder?Paula Marshall:Yes, a hundred percent. It's harder when I guest star on any shows, if I haven't seen the show, I watch three or four on YouTube just so I know who's who and the vibe and the energy. When I guest star on Modern Family I their last season and some could say I canceled the show by being there. I've been called a show killerMichael Jamin:Before. I remember You don't let Right.Paula Marshall:I still have not let that go. I like to say I've just worked on so many different shows at its peak and then it died anyway. It's hard because they're all in a flow and depending on the other actors, how cool they are to kind of throw the ball at you.Michael Jamin:But do you have to identify who's the alpha dog on set? Is that what your plan is? It'sPaula Marshall:Pretty clear right away. Really? Yeah. I mean besides whoever's first on the call sheet, I remember one of the producers of Snoop's, David Kelly's first big bomb. That was me.Michael Jamin:It was a sure thing what happened?Paula Marshall:You know what? I'm not sure. Well, when it was supposed to be a comedy quickly turned into a drama, it was not great. But as one of the producers of Snoop said, you don't fuck with the first person on the call sheet. You don't fuck with him. And so you identify that person and depending, it's funny because I've worked with so many great people and so many assholes too. Like David Deney. Damn, is he cool? He's so nice. When I worked on fornication with him, he set a tone for just the set, the crew, the actors, this freedom just to try things. And I remember during my, it was like the first day naked throwing up,Michael Jamin:Wait, were you nervous? Why were you throwing up?Paula Marshall:Hello? Of course. But IMichael Jamin:Remember you're never nervous, Paul, let me tell you who you were. I'm totally nervous. No, you're the most self-assured person probably I've ever worked with. You're very confident.Paula Marshall:Thank you. I'm actingMichael Jamin:Acting.Paula Marshall:But California occasion, it was my first day onset naked, fake fucking. And I remember standing there, it was yesterday, and either tweaking you and touching you up. And I say to everyone, what's amazing, what I'll do for $2,900 when a strike is pending? It was the writer's strike way back in the day. And I remember getting this part on fornication and I'm like to all the girls in the audition room, when we used to have auditions in rooms with other people, I looked around, I'm like, we're not going to really have to be naked. We're not those type of actresses. And they're like, no, no, no. And I'm like standing there. Yeah, yeah. I was naked.Michael Jamin:Was that your first time in a show being naked? I meanPaula Marshall:ToplessMichael Jamin:ShowPaula Marshall:On a show?Michael Jamin:Yes. Because you were in a model, I'm sure as a model, you're doing wardrobe changes all the time.Paula Marshall:I used to model. I was naked a few things back in the day.Michael Jamin:So were you really nervous about it? I mean, I imagine you would be, butPaula Marshall:Standing there naked is one thing. You just kind of have to dive in the pool, in the cold, cold pool and let it go because you got to put on the confident jacket, I guess I obviously wore a lot around you, but I mean it's more uncomfortable, the fake sex scenes, it's more technical and awkward. It's just but nervous. I dunno. Yeah, you're excited. But I'm also excited when I walk on stage on a sitcom before, if I'm not already in the set, when they start rolling, I'm backstage. How's my hair? Shit, how am I doing? Okay? I get hyped up until you do it once and people laugh and you're like, oh,Michael Jamin:Okay. Are you worried about going up on your lines at all? Is that at all you're thinking about?Paula Marshall:Yes, especially now. Oh shit, my memory. It's just that prevagen, I'm going to look it up later, but yeah, you do. But if you in a sitcom situation, we run it, we rehearse it all week. StillMichael Jamin:The lines are changing all week. That's all IPaula Marshall:Know. But they're changing all week. But then you run it and you drill it on TV shows like euphoria or whatever. Yeah, you run it. But then again, they don't really change the lines at all. But yeah, you were a little bit, but then you got a great script supervisor that you're like, I'm up. And then they say it and then you go back and you do it. But yeah, always, I'm always really nervous until maybe the second takeMichael Jamin:Of any, the hardest thing it seems to me is just like, okay, you're naked and you have to forget that there's all these people there. You havePaula Marshall:ToMichael Jamin:Completely, it's almost like you're crazy to have to be able to forget that,Paula Marshall:Michael, when you paid $2,900.That's right. I was shocked. That's all you get for being naked. Yeah, you do. You are nervous. But I don't know. I was 40 then, so I looked pretty good naked, although I only had four days notice. Back then we didn't have ozempic, so I was like, okay, I can't, no salt, no bread. And I remember in that shot that the camera guy, they decided in the moment, Hey, can you walk over to David? And then bent over, he's on the bed and then kiss him. I'm like, well, that depends. What's your lens there? You got there? And I'm like, how wide is your lens? And he looked at me and I'm like, I'm a photographer. I like taking pictures. So I know. And I'm like, so I'm going to bend over with my white ass and I had four days notice on this and my ass is just going to be in the pretty much. And you're like, okay, I could do it. But you hope for body makeup. I don't know. Don't you think I had any, I should have demanded bodyMichael Jamin:Makeup. And this was probably even before there were, what do they call them now? IntimacyPaula Marshall:Coordinators?Michael Jamin:Yes. Right.Paula Marshall:I mean, here's the thing. I guess it helps when you're not a loud mouth person like me. And even then it's hard to go, Hey dude, keep your tongue in your mouth. You don't want it in your mouth. Sometimes you're like, damn. He's a great kisser. Jason Bateman, I enjoyed the tongue in my mouth. SoMichael Jamin:It kind of dependsPaula Marshall:On who's sticking in the tongue. But the intimacy coordinator, I think it's just so people know what's going to kind of happen and get it. But California case, no, we didn't have that. This movie I was naked on with Peter Weller called The New Age. No, I remember in the middle of the scene, I'm on the bed and he's looking down at me and during one take he decides to suck on my nipple. Shocking. I turned bright red, which is what I do when I get nervous. And I'm like, dude, what are you doing? He goes, I dunno, I just thought it'd be fun. I'm like, okay. And I don't think they used it, but if there was an intimacy coordinator back then, I probably would've known.Michael Jamin:Yeah. So it'sPaula Marshall:Good I guess. But it's corny and you feel silly.Michael Jamin:Oh my God, I'm glad you mentioned the photography thing. That was one of my memories from working together and out of practice. This was before people had camera phones and cell phones and you carried a camera everywhere. And I remember thinking, you're the star of a sitcom. You're the star. I mean, you're an artist doing her craft, and yet it's still not enough that you wanted to work on something. You wanted to do something else as well.Paula Marshall:Maybe it's my parents growing up, they always had these really cool black and white pictures of them. And I used to look at them and go, wow, that was your life then. And it was hard to even imagine when they were so young. And so it's like photos are life to me. And I guess I don't want to forget the moments of my life that are important. And so I always would bring a camera with me on set, on location more than sitcom stages aren't as conducive to really cool shots. But yeah, I like capturing life.Michael Jamin:And you're still doing it on 35Paula Marshall:Millimeter? I still do it, although I did give in and I have a digital now because it's easier. It's easier. Develop film.Michael Jamin:Many. You took my headshot from me and for many years I way too long. I used that as my headshot.Paula Marshall:Yeah, it was good. I rememberMichael Jamin:It was great. And I wore Danny's shirt, you go, yeah, put this on. You look terrible. Whatever I was wearing, stillPaula Marshall:Do that. People still come over my friends and I'm like, you need a headshot. Put Danny's shirt on. He has some nice shirts.Michael Jamin:It's so funny.Paula Marshall:Yeah, I do. I still like taking pictures.Michael Jamin:I got to share another memory I had from out of practice, which I cherish this one. So it was right before it was show night for some reason. I don't know why. I had to run up pages to the cast. And maybe you were in the green room or you were somewhere upstairs. I don't know what the hell dressing. I don't know what was going on. I knock on the door and all of you we're standing in a circle holding hands. And Henry goes, Michael, you're just in inside. Come on in. And then I go in time for what? And then he tapped. This blew my, I love this memory. And you guys were just like, I don't know what you would call it, but you were invoking a good show to be supportive of each other and to be brave and true. And I was like, I can't believe I felt so honored that I was included in, I was like, are you serious,Paula Marshall:Henry? I actually forgot that memory and thank you for reminding me of it. Henry's just, he's something special.Michael Jamin:He is.Paula Marshall:I know there's rumors. Oh, who's the nicest guy in Hollywood? Henry Winkler. It's because it is, is I could text him right now and he would literally text me. Within eight minutes he will text me back. Oh, Paula, it's been so, he's just a dear. And so he is, again, back to the, when you go on set and who creates that energy? Although Chris Gorham, I think was the first on the call sheet, not Henry Winkler, but Henry was our dad. I mean, he was such a pro and yeah, he just created this lovely energy there.Michael Jamin:Yeah. Oh wow. So that's not common then for other shows that you've worked on. People don't do that. That's not a theater thing. It seems like a theater thingPaula Marshall:You would think. I think, I don't know, maybe it was a happy days thing.Michael Jamin:Why don't you start it on your next show? Why don't you start doingPaula Marshall:It? I think I might. I'm going to make it now.Michael Jamin:I thought it was so interesting. I was like, wow. But it's getting back to that first point, even the first, the first person on the call sheet technically is the head cheese. But they might not be the most difficult by far at all. I mean, you don't know who's the boss. That's true, right?Paula Marshall:I mean sometimes the and character is an asshole. I mean, I think mostly people when they don't really want to be there, they kind of rebel. I've always wanted to be on a sitcom. IMichael Jamin:Remember. Did that change? Oh, go ahead, please.Paula Marshall:I just remember, I believe my first sitcom was Seinfeld. I may have done a guest spot on some other one that maybe never aired or I can't remember. Or maybe I just think it's cooler to say my first sitcom was Seinfeld. I'm not sure. But that show, I don't know. There's a magic. But they didn't do any of that either. But they kind of really invited me in and I dunno, I'm just thinking,Michael Jamin:Do you prefer to do sitcoms, multi-camera sitcoms? Yes. Yes. Because the audience.Paula Marshall:Because the audience, because it's a high, I've never gotten anywhere else in my life. Not that I need to be high, but damn. When you go out and you make people laugh with a look or a line or a physical movement, I mean it's magic. And working with the actor, knowing more like theater, which by the way, I've never doneMichael Jamin:Well, why don't you do theater then?Paula Marshall:I don't know. I don't know. I'll call my agent another thing I'll write down.Michael Jamin:Yeah, do that.Paula Marshall:But probably only if it's a comedy. But it's that magic that you don't have to go and do another take and then they turn around and then you got a close up again. I mean, it's boring. Like our television, there's no magic in itMichael Jamin:Ever.Paula Marshall:Except on euphoria. I have to say there's magic there.Michael Jamin:Why do you say that?Paula Marshall:Because the writing directing the story level of, I mean, when Marsha is my character, when Marsha actually had a couple things to say. I remember I called or I spoke with Sam Levinson and I was like, dude, it's me, right? You wrote an eight page monologue almost for Marsha to say. And he goes, yeah, I can't wait to see it. And I'm like, oh my God. I was so nervous. I studied for three weeks. There was no rewrites. And then it's me and Jacob all Lorde on set. And we get there and there's no rush, there's no limitation. There's just like, what do you want to do? And he's like, I kind of feel like you're doing this and then you're doing the cookies and a lot of movement. But we did it until it felt good, and then we knew it, and there was a magic there. No one's laughing at me. But there's something special about that show. I mean, I've heard rumors like, oh, and on set. And I'm like, ah, not for me. Not for me at all. Not for you. No, it's amazing.Michael Jamin:What do you do though? When you're on set and you have an idea how you want to play or speech, how you want to deliver speech, and your scene partner is just on doing something completely fucking different. How do you handle that?Paula Marshall:If you know, don't have a say, meaning you're a guest, darn. You do what they tell you to. How high do you want me to jump? That's what you do. But if you're working together and you're equal parties, you probably have run it before. But I would say if they're not doing something that I want, then I use it and I am frustrated in the scene, or I just use whatever they're giving me because that's all I got. And I try to put that into my character.Michael Jamin:How much training have you had though? That's very actor speak.Paula Marshall:It really did sound a little actory, and IMichael Jamin:Apologize for that. No, it's good. I like it.Paula Marshall:I mean, I don't know. I lived in New York City and I took acting class with this guy named Tony Aon and Jennifer Aniston was in my class and Oh wow.Just a bunch of young people, but not all that much. Not all that much. I think the comedy thing, I didn't even know I was funny with Seinfeld, the guest stars aren't usually funny in sitcoms. The lead, the main characters, the stars of the show are funny guest stars just kind of throw the ball and you know what I mean? But something happened after I was on Seinfeld and then I read for, I guess it was Wild Oats, which was with Paul Rudd and Jan Marie hpp. And Tim Conlin. It was a sitcom on Fox. It was the same year that another show called Friends was coming out. And I remember them. Someone was interviewing us saying, oh, there's another show that NBC is doing with a group of friends. It's kind of like yours. And we're all friends. What's that cut to?And ours was canceled after one season, but I think the first time I was like, oh shit, I can do this. I know how to deliver a joke. But I never learned that again. It just happened one year in pilot season just kind of happened. And my agents were like, oh, Paul is funny. Okay. And then one time I remember I read for a pilot, after you do so many comedies, then people go, well, she's a comedic actress, she can't do drama. And then you're like, the fuck. Of course I could do drama. I remember one time during this callback, no original, just the first audition. And I had heard the casting director doesn't think or only thinks you're funny, doesn't think you're as good. Dramatic. Wow.Michael Jamin:Obviously if you could do comedy, you could do drama.Paula Marshall:No, you would think it's the other way around. It never works. It is really hard to doMichael Jamin:Comedy.Paula Marshall:But literally, I was like, well, I'm so angry that she thinks I can't. Finally, they couldn't find this girl, the character for the pilot. And then they finally, okay, Paula, we'll see her. So I get in there, and it was Davis Guggenheim was the director. I love Davis. After I read, I think it was three scenes. And during the last scene, I broke down and I was in tears over something and I look up with, you couldn't have placed the tear better. And I look up and I ended the scene and Davis goes, my god, Paula Marshall, you are one fine actress. And I do this. I look at the casting drifter and I go, you see, I'm not just funny. And I grabbed my bag and I walked out and I go, well, I just fucked myself for any future director again. There was something that came over me and I was like, I need you to know that I am not just one thing or the other. And then Davis probably three weeks later, texts me, I've been fighting every day for you. And I'm like, what are you talking about when you get these weird texts from people? I'm like, did I get the part? I got the part and they didn't want to see me.Michael Jamin:It's so interesting. I mean, obviously you're a working actor, you work a lot. You're successful, and yet you still feel like you're placed in this box and you have to prove yourself and get out of it.Paula Marshall:But there's something I really love about, there's part of me that I want to read, and I want everyone to look at that tape and go, fuck, I wish we could hire her. I wish there weren't the limitations and we didn't have to pick Carla at you now or whatever. I wish we could pick Paula. I want them to go, fuck man. She was really good. I want to stick in their brain. I always would cancel auditions if I wasn't ready for it. If I really knew I wasn't going to kill it, I wouldn't go, or I won't put myself on tape. I don't have enough time to prepare for it because that's the last thing they see of you.Michael Jamin:IPaula Marshall:Want it to be the best thing they see of me. So I only want to leave them with that because they're not going to remember that other stuff.Michael Jamin:That's a good point though. Are you doing a lot of self tape now? Is there anything in person?Paula Marshall:I have not had any auditions in person yet. Wow. Her actress ever Carradine. I think she's had her third one, and she always posts about it. She's so cute. And I think she booked one. No, I have a room now in my house. It's the tape room. And I've got a nice beauty light and I've got the tripod again. It's kind of easy for me because I have photography stuff.Michael Jamin:But who are you acting again or does Danny help you out?Paula Marshall:Well, Danny will sometimes read with me. My daughter would read with me. And sometimes when I'm all by myself, I read with myself. I will have a tape of the other voice, which is, or sometimes I leave space and then I put the audio in later. I mean, it's crazy the stuff that happens during Covid. We've got very creative over here.Michael Jamin:But in some ways though, because this sometimes a casting director is like, yeah, yeah, there couldn't be more wooden. And so in some ways it's got to be easier for you, right?Paula Marshall:Yes and no. Yes, because I get to pick the take I want,Michael Jamin:Right?Paula Marshall:Two, because two, I didn't even say one a b, I don't get nervous, so there's no nerves to hold me back or Oh man, I should have done it. Or I mess up. I just do another take. But then there's also, there's something about going in and being vulnerable in front of all those people and showing them what you can do. And especially in a comedy, I, it was like a zoom callback for a comedy. And I live in the hills and maybe it was the wifi or that slight timing was off just enough or the reader wasn't funny and I'm trying to connect with this dot. It was hard. There was no magic in it and you couldn't feel the other person. And so I think in a way, it's good in a way. It's really not good. So I'm willing to do whatever to get anything because I pay for college.Michael Jamin:But also, there's also the fact the to drive across town, I mean, that's got to get old, right? Driving everywhere.Paula Marshall:But when you're an actor, everything stops. You get a script, everything stops. You're not making dinner, you're not going out, you're not watching that movie or the show. You drop everything and then you focus on it. And hopefully, thankfully, because of the strike and the new negotiations that they got for us, I think we don't have to do a self tape over the weekend. We need to have enough time to actually prepare for it, which is amazing. Most of the time. Gary unmarried, I think I got the audition at eight o'clock in the morning. It was to meet producers at 11 o'clock the next day. And you're like, ah, okay, here I go. It's really hard to put all that energy and to them something great. And I never understand why you're casting people or producers. Don't give us more time because we want to give you something great. We don't want to go in there and read. I don't. I want to perform for you. And it's hard to do when I don't have enough time to do it. I also have a life, so I have other things, but you kind of do. You really drop it. You drop everything for an audition.Michael Jamin:It's interesting though. I want to get touched on something you said. You said it's hard to be vulnerable on camera, but then you said comedy, and do you feel like it's harder to be vulnerable? Because when I think of vulnerable, I think drama, not comedy.Paula Marshall:Yes. But there's nothing funnier. I remember my husband in many situations will say, I'll be upset or crying and I'll say something really funny, but humor comes out of the reality, like your honest to goodness, open soul, like your heart. The funniest stuff I think comes out of me when I'm in a vulnerable position, if I'm angry, if I'm sad when I'm just feeling whatever. So I don't know. I think in many sitcoms I've cried. And how do youMichael Jamin:Get past that though? How do you get past that vulnerability thing? I mean, are you a hundred percent past it or is there any reservations?Paula Marshall:Ask that again. Sorry.Michael Jamin:Very clear saying, well, when you're vulnerable on camera or trying to be, can you go, I don't know. Is there a limit to your vulnerability, do you think on camera or are you willing to go there all the time? As much, as far as you want?Paula Marshall:I guess so most of the time it depends on how much tears you have. And I usually, if the writing is good, and that's the big if this thing that I ended up booking with Davis Guggenheim, it was with John Corbett, and I had to cry and it was maybe like a steady cam up the stairs and going, and I break down and I crumbled to my knees, and I swear to God, I did it. Maybe 17 takes. And then we come around and turn around on him and I end up crying again. And John, after we, they yelled cut, he goes, Paula, what are you doing? Why are you crying again? I go, I don't know. The words are making me cry. I'm just tapped in doing it. They wipe it away. But you got to be careful because I'm vain and you got to look like you're not crying, and I'm really crying.So I get red and my eyes get bloodshot. You look different and the snot and you got to fix the whatever, makeup. But no, but when it's great, when the writing is great, of course, usually you don't have to do it. 17 takes, it was just had a lot to do with the steady cam and whatever. But usually you do it in three takes and you nail it and it's good, and they're like, wow, that was great. Let's move on. So you don't really have to in a movie, if you nail it, you nail it and they move on.Michael Jamin:What do you do though when you're in it and you feel like you're slipping out of it?Paula Marshall:Okay, so that when I drink this, soI have at least one of those before every tape night, I've always drink a Coke. If I can't, the writing isn't talking to me. If I can't relate to it, I do that substitute thing. If I have to cry, and this is really not making me cry, the subject and the words I substitute for something else that makes me cry. I'm a freakishly emotional person. I cry a lot. I'm very sensitive. You wouldn't really think that because kind of like Danny calls me bottom line, Marshall, and I'm very tough and whatever and no nonsense. And I say it like it is, and I will always tell you if you look fat in that dress, I like to be honest, but I don't know.Michael Jamin:But is there a moment where you feel like you're okay? You're on, you're giving a speech, you're in a scene, and then you're like, oh, I'm acting now.Paula Marshall:Yeah, yeah, yeah. I mean, every once in a while, I mean, I'll finish the scene. I don't want to stop myself. They might like it and for whatever reason, but I'll always say, can I have another one? Can I please have another one? Or Oh my gosh, I really like the second take. Just can you make a note of that, that the second take was much better. They know it's obvious when you see someone telling the truth, it's obvious which one is better, but you can't just tell the truth once and then move on because you don't know. Maybe there was a sound issue on that take. No. So it's tricky. Every once in a while you think you have it. The crappy thing is when they come around to you or they start on you and then you finally figure something out. I remember Bette Midler, we were doing the scene and they were on us first.It was a movie, I guess Danny and I did the scene together and it was bet opposite on a table. And they go to her, they turn the camera on her, and then she goes, oh, I just figured it out. We're like, no, the opposite. We did her first. Forgive me. We did her first and then they came on us. And then she goes, oh, I just figured out the scene. Can I do it again? And Carl Reiner's like, no, we got to move. No, we're out of here. So sometimes it takes a while to figure it all out, and she just thought she didn't nail it. It's Bette Midler. She nails every take all the timeMichael Jamin:You are listening to, what the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity, and Kirks Review says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book. And now back to our show.Do you have these conversations with them? Do you have conversations with actors with more experience and I don't know, are you still trying to learn from them?Paula Marshall:I just pay attention to what they're doing. I don't think I pick their brains like that, but I just watch them and I watch and I seeMichael Jamin:What are you looking for?Paula Marshall:Well, sometimes technically how they do it. I remember my first movie, Hellraiser three, I learned a lot about continuity,Which is something they don't really teach in acting class. If I'm going to play my drink up and sip it, I have to do that every single time. If I'm going to eat in the scene, I got to do it every single time, and I have to figure that out. And you have to really, if you're really going to eat, you got to really eat. Not teeny little bites, make your choice. But I learned things from different people. I remember Robert Duvall, I played his daughter in a movie and he would act and he kept going until his body knew it was over. And I remember the director had yelled cut at one point and he got really mad. He goes, I wasn't done, but he had finished talking. And he goes, I'm still acting here. It's like, I'm still walking here. But it was like, I'm still acting.I'm still doing, there's still so much more there. I observe and I see how they deal with issues and problems in their focus. ISHKA Harte guest star on that show of hers, and we auditioned a lot in the beginning. We came up at the same time and just everything was so serious to her. She really so passionate about her show and she threw away nothing. It was really kind of impressive after a hundred seasons now that she cared so much because some people after four Seasons, they're like ready to go. They're like, I got a movie down, I'm ready to go. But there's certain people like Maka who from day one till again, I think it's 25 seasons or 24 or something crazy. I remember when I worked with her and I hadn't seen her in 15 years or something, I just am like, God, how rich is she? And so instead I was like, tacky. I'm not going to say that. So again, I walk up to her and it was emotional that we hadn't seen each other in so long. I hugged her and I said, how big is your house? She goes, I can't complain.Michael Jamin:I'm like,Paula Marshall:But she's very passionate and so many actors are, and then there's some who are not and who are ready to goMichael Jamin:And who are they? Not names, but why are they there? Are they just rock stars who became actors? You don't know. It just falls into a job like that.Paula Marshall:There was one person and he just seemed really angry all the time. I don't think he was just a happy person. If you don't like doing this, I'm not sure why you're doing it. I don't know. There's just something inside you. I mean, this is the greatest thing ever to be paid to do what you love. And again, when my daughter said she wanted to be an actress, an actor, sorry, I was so happy. I was like, that's where I found joy in my life. I grew up in Rockville, Maryland, and I didn't know anybody, and I just watched the Mary Tyler Moore show, and I went, yep, that's what I want.How do I do that? I had no idea, none. And to find joy there. So when a person is coming to set and they're angry, it could be, they don't like the words actors are very particular about. If your dialogue is not great, it's really hard. It's so much easier when you have great dialogue and the scene makes sense and the relationships you buy them. It's so easy to do it. It's effortless and it's so real and it's so honest. And then when you've got this other stuff and you have to say the name of the person to remember that it's very cookie cutter network television, which you would think at this point would look at streaming and go, yeah, there's always something right over there because the quality is just beyond Well,Michael Jamin:How did you figure it out then? Okay, you're in Maryland. How did you figure out you stopped in New York first. What was that about?Paula Marshall:Did I moved to New York? I modeled in Georgetown as a local model there, doing little ads for Montgomery reward. And I didn't really want to go to college. My parents didn't make me go to college. I think I had two grand in my pocket from doing things here and there. I started doing commercials locally. And this woman by the name of Jay Sumner, who was the booker at this modeling agency called Panache, she said, we were at Champions. It was a bar called Champions. And though how I was there drinking at the bar, I don't know, I think I was 18. She said, Paula, you're so much more interesting in person than you are in a piece of paper, meaning I'm pretty, I'm good enough on paper, but you're so much more interesting in real life. And she goes, I think you should be an actress.And I'm like, okay, really? And I'm like, well, I always used to watch Mary Taylor Moore and all of that, but I'm from Maryland, how am I going to do? And she goes, I know somebody. I know someone in New York named Dian Littlefield, who's a manager, and I can set you up with a meeting. I'm like, what? So I ended up moving to New York City. Modeling was my waitressing job. I got a lot of money. It didn't take a lot of time. It was really easy. I love photography. So there was that connection that I wasn't just sitting there like an idiot with bathing suits or lingerie or junior wardrobe or whatever. So that was kind of my waitressing job to allow me to pay for rent and acting classes. And then I was like, you know what? I think I really like it. It's true. Just a piece of paper. And it's funny, I love taking pictures. I love stopping life, but there was just, I guess more to me than just the piece of paper. So I guess that's kind of how it happened.Michael Jamin:How did LA happen then?Paula Marshall:So I would audition test for a lot of things. I would fly to LA for different pilot projects. I would read in New York, and then most of the things were shooting in la, not New York at all back then. So I would fly to LA and I think it was just one of my agents said, look, Paul, if you really want to do this, you got to live in la,Michael Jamin:Right?Paula Marshall:I was like, ah, okay. So I moved to LA and yeah, and I was young and 20, I think I was 25 when I moved here, kind of old to kind of start, but I looked really young. And when you read for enough things and enough people are interested, the head of my agency said to me after a pilot, I, or I tested for something and I didn't get it. And he told me back when we didn't have computers, we had to go pick up our scripts and there would be a box outside the script, their office, after hours, he would look through and go, these are my scripts. In the middle envelopes, it says Paula Marshall on it. Anyway, I was kind of sad and I'm like, I don't know. I'm not booking anything. And he goes, but you're testing a lot. You're very close. And I'm like, what does it take? What am I lacking? What am I missing that I'm not booking the thing? He goes, I believe in you and you need to keep doing this. And then I did. I slowly would start booking things.Michael Jamin:What were you lacking? Do you know?Paula Marshall:Maybe it was the confidence, maybe I was really nervous. I remember one time, I think it was during the Flash, it was a pilot called The Flash with John Wesley ship, and Amanda pays Amanda Paynes. Anyway, ended up booking it. But I remember in the audition room, I think it was at NBC or I don't know, one of the big three, the scene, I put my hand on my knee and I was shaking so much from being nervous that I was like, oh, stop doing that. I don't want them to know. I'm nervous because they want everyone to be fearless and confident.And I get that because it takes a lot to go stand in front of a bunch of people and say stuff over and over, or stand there and be naked and do it over and over. There's got to be part of you that's kind of cocky and confident, and not that you think that you could do that over and over with someone else's words. I mean, it's kind of crazy that I do this, but I don't know what tipped me over the scale. I never gave up. And I kept doing it and trying to figure it out and asking and asking the casting directors, and they always say nice things. They never say, well, you messed this thing. No, it's just there's a magic. If I don't book something now, I don't take it personally. Someone else just had a little bit more magic that day, and they tapped into the character and the writer saw that person that they wrote down and spent so many hours writing that Blonde Girl or Carla Gino just got it better than I did. Okay. IMichael Jamin:Know. To me, one of the hardest parts of acting, aside from the acting part is the fact that you really don't, don't have agency over your, you have to wait often. You have to wait. So what do you do in that time?Paula Marshall:Well, you find hobbies. I learned very early on to save money. You live under your means. So even if you get a gig and you're the lead in a show, you're making a lot of money per week. And like me, most of the shows, they did not go more than a season. So you have to take that and live under your means, and you can't spend money and buy fancy things. I invested my money in my house, I think maybe three or four houses now. I try to invest my money and I fill my days with other things.Michael Jamin:Do you stress about it at all or no?Paula Marshall:Yeah. Yeah. I think in the beginning, early on I was very busy all the time. There wasn't a lull. And when you do have a job on, if you're a series regular on a show, you love your weekends, you love your time off. If you're working crazy hours sitcom's, not crazy hours, you know that those areMichael Jamin:Great for writers.Paula Marshall:I mean, yes, that's true, but if you're a director, Jimmy Burroughs would be like, I got a tea time at three 30. We got to get out of here. It's a dream. And maybe that's why I love the sitcom so much, because you got to to act and have a real life. When I had my daughter, I remember going, how would I be a mom and work on a single camera show? I would never see the kid. So when I was pregnant or when I read for Out of practice, I had just had my daughter a week before I went in to test for the show over at CBS. There was a script on my doorstep when I brought her up on the baby thing. And I'm like, I'm a mom and oh, right, I'm an actress and I'm 20 pounds overweight. And oh, I thought I was going to push the, I'm not going to work for a year button.That was the plan. Then I saw the script and I read it and I'm like, oh man, it's a sitcom. I'm not going to work very many hours. I'm going to work three weeks on one week off. I'm like, maybe I'll just do it. Maybe I'll just read for it and we'll see. And I really liked it. I really liked the character. And then when I got it, I was like, oh shit, I don't even have a nanny. How do I do this? So Danny went with me tape night. He was my nanny. I remember them going home because the baby, they were cool. Once we got picked up, they allowed me to have a little trailer outside for my nanny, Mariella and Maya, and I was breastfeeding at the time. She was just born. And it allowed me to do that. And I remember Henry, Henry Winkler still was like, how's Maya? And it was just a great thing. I had my baby. You couldn't ask for a better job for a mom. I was living my dream and I was having a baby when I was 40 years old.Sitcom is the greatest thing in the world, and I'm still trying to get back on one. There's just not that many of them now. It's really sad. Multicam, I've written like three of them. Speaking of writing. Yeah, go on. The writer. So I remember, I think it was when the pilot that I did with John Corbett, when I cried 17 takes in a row, when that didn't get picked up, I remember I was dropping off my daughter at elementary school and Dave Grohl, yes, that Dave Grohl sees me. And I had just found out that the pilot wasn't picked up. It's called Murder in the First, no, sorry, different thing called something different. That was another show that I did. But anyway, so Dave Girl's like Paula Marshall, what's up? You look sad. And I'm like, oh, another pilot wasn't picked up. It just sucks.And he goes, Paula, when either his studio or something, they didn't like the music or whatever, and he goes, you know what? I did put his arm around me. We're walking down that hallway. And he goes, I just did it myself. I got this set up and I just did it myself. And he goes, you should do it yourself. Why don't you write something? And I'm like, yeah, why don't I? And I'm like, well, because one, I'm not a writer, but he goes, who cares? So because of Dave Grohl, that opened the door to getting ideas out, writing something for me. One thing actually, I mean it went kind of far an idea went very far that I ended up producing with Paul Riser and Betsy Thomas wrote it. This was a little bit before, but it's an outlet for me. I'm still not great at Final Draft. I'm still like, oh, how do I get the thing and the thing and the page? I can't even figure it out half the time. So I've written a few sitcoms, mostly from my point of view, because I want the job, because I wantMichael Jamin:To. So you wrote a single camera sitcom and then you showed it to Paul, and thenPaula Marshall:What happened? The Paul and Betsy one, I met Paul's, I believe his name was Alex, but I can't really remember. I met this guy at a wedding and he was like, oh, you're really funny and blah, blah, blah. I'm a big fan. I'm like, oh, that's nice. Thank you very much. And he goes, do you have any ideas? Do you write? And I go, no, I don't write. I go, I have this idea for a show. And he goes, really? Why don't you come pitch it to me? And my partner? I'm like, great. Okay. He goes, Hollywood. I'm like, who's your partner? He goes, who's your partner? And he goes, Paul Riser. I'm like, what? Okay. So I literally got his number and I'm like, oh my God, I'm going to go meet with Paul Riser. I go meet with Paul Riser. I give him my pitch.He really liked it. And he goes, I like it. I think let's do it. Let's work together. I was like, you couldn't have given me anything that would've made me happier than the fact that Paul Riser liked an idea of mine. It's almost like when I made Diane Keaton laugh in an audition. I literally called my agents and I was like, I'm good. I could die now. So the Paul Riser thing, it was just my idea. I had a lot of say. So I got to produce, I got to make a lot of decisions. It was probably one of theMichael Jamin:Greatest. So you shot it then.Paula Marshall:So we shot it and it wasn't picked up, butMichael Jamin:You sold it to a studio.Paula Marshall:All of them wanted it. This is great. Everyone but Fox, wow.Michael Jamin:Wanted it. That's amazing.Paula Marshall:It was crazy. But you have Paul Riser, I matter your stuff, but when you have someone like a Paul Riser or someone who is respected in Hollywood and has produced before, of course people are going to give them a shot,Michael Jamin:But not necessarily. I mean, they must've really liked it. So you wrote it and you started it?Paula Marshall:I started in it. It was my idea, but I did not write it. Later on, I ended up writing things and pitching, and a lot of people like my stuff, but I really mean should go out a little more aggressively than I do. But I have one right now that we're kind of sending around me and my buddy Jeff Melnick, that he really likes this story. And it was, I won't tell you what it is,Michael Jamin:But that's not nothing. I mean, that's a big achievement, honestly,Paula Marshall:For me. Yeah, I don't write. I still am a terrible speller. I have a reading disorder. I've got this thing where reading is hard for me because the font and the text is very contrasty, so I'm a terrible speller. Thank God for spell check, because otherwise,Michael Jamin:Well, so you're working on another piece for yourself as well then? Yes. I'm impressed.Paula Marshall:I have about three scripts that I've worked on here and there, and I remember I thought, oh, well, this is when I'm going to kill it. I'm going to knock these things out. I'm What happened with Covid? We were so scared. And my daughter was home going to now, whatever, ninth grade or 10th grade. And so it became, that whole time became about helping her find joy. I always said, every day, I'm going to help her get through this. And I really pushed all my stuff back. Any good mom does let everyone eat before you eat. Maybe the way I grew up. So I took care of her and all of that stuff before I focused on me. And then she went to college this year, and you would still think I'm like, Paula, I got to finish these things, which I did. I'm back. I'm back doing it, and I like it. I really like it. There's something about the story, but no one ever taught me to write. So I'm writing from my experience, the years of reading sitcom scripts, IMichael Jamin:HavePaula Marshall:'em in my closet. I have almost every single script, especially the ones that I loved, and I go back to it and I refer back. I'm like, how did they do this? Even setting it up, I'll go back and sneak a peek.Michael Jamin:That's really smart. Was it hard for you when she left the house?Paula Marshall:Jesus. Oh, here's the thing.Michael Jamin:Yeah, make up touching upPaula Marshall:Makeup breakMichael Jamin:Last looks.Paula Marshall:I mean, because she's not in Boston,She's down the road. It feels like if something bad happened, I could be there. I don't have to get on a plane and only one direct flight. There's one school in Connecticut that she got into, and it was a great school, and there's one direct flight at 6:00 AM I'm like, this is never going to happen. And she chose, I was like, whatever you want, wherever you want to go to college, it's your decision. I mean, I'll tell you what I, but it's all up to you. And she chose and it was something that's not too far away. And it's great. I get to see her and it's worked out. It's a win.Michael Jamin:What about the emptiness of the house? I'm going to make you cry now. That's what I feel like. The house is so empty. YouPaula Marshall:Know what? And I think though, Michael, I think if she was in anywhere else, I think if I couldn't get to her, and that's a weird thing as a mom, it's about protecting your child. But yeah, I could cry when I think about certain things. Thanks, Michael. It's about protecting them. And I think that the distance, because we are close, she's still in. She's still here. I don't like cooking dinner as much. I'm sorry, Danny, because I don't really have to. The big change is just her presence, her energy, the thought about, well, what's Maya doing? Or what does she got to do? Now it's not, and one of my scripts is, well, I'll tell you one of my scripts is about what happens when your kid goes away to college? What happens to a woman?Michael Jamin:And go ahead. Can you tell me a little bit?Paula Marshall:So it started a while ago, just like my fear of who am I? What do I do? I mean, yes, I'm an actress, but then I pulled from that and I'm like, well, if I'm not an actress and I don't have a job and everything has been bombed, there's so many places to go. Okay, you've just got to, it's like reinventing yourself, which almost every mom that I know who doesn't have a job, it's very true. I was so fortunate that I could have my cake, my baby, and also work. But a lot of parents, they go to jobs and then they come home and or they don't work at all. And then it's just mom, 100%. And they're probably exhausted and happy. Some of my friends, I feel like they're like, oh, I'm so glad. Finally I get to whatever. And either they're retiring and they get to go travel, and I'm like, no, I'm an actor. I'm looking for a gig, whatever. I don't think actors ever truly retire. I think we don't do.Michael Jamin:I guess it depends on how much you love it and how much it must come on. It's got a wear on you. The downs have to be, I don't know.Paula Marshall:Well, I think probably just like a writer,You have to be able to fill your day when you're not going to be working and making money again. It's why it's smart to save your money and invest it and not buy that fricking mansion. If you got that check. Remember one time I went to the bank and I was depositing, it was before they had the picture phone deposits, a really big check. And it was the biggest check I think I've ever gotten. The first time I got that kind of money on a show and the teller, and again, I looked very young, the teller who didn't look much older than me and took the check,And he looked at the check and he looked at me and he goes, what do you do? What do you do? And I laughed. I go, I'm an actor. I go, but trust me, this thing, this isn't forever. I know it's not forever. So I have to live my life. It's not forever. Because my goal is I never want to lose my house. I always want to be able to afford things. You hear these horror stories about these, you think you got it, and then it shows canceled, and then you can't do that. I've always been kind of smart when it comes to money, but it's hard. It's really hard. WeMichael Jamin:Spoke a little about this because your daughter's interested in acting and you were, this is before we started taping, and what's your advice for her?Paula Marshall:My advice is find a way to tap in and find the truth in anything. And if you can't, then again, you substitute. If it's not connecting, you got to figure out a way to connect to it. It's about being truthful In imaginary circumstances, it's really hard to walk into a room and pretend the thing and crying. You just really have to practice going there. I remember one time, and even in my life, life situations, I will take note of them. One time I was in San Francisco drunker than I've ever been before for whatever reason. And I remember the hotel I was, I think it was during Nash Bridges, and I was like, oh, I'm so wasted. I want to remember what I look like when I'm this wasted. So I, my, I guess I did have a cell phone then. So I took my cell phone or my camera, no cell phone, and I recorded myself being drunk.And it's like that one actor, he would always, Michael, he's an English guy, Michael, I forget his name. He would be like, you can't overdo the acting, but you're trying not to be drunk. Yes. To try to make sure that the words are coming out. And so that's what I did. I literally was like, this is me talking at my, it was the craziest thing. So in life, take advantage again, back to the advice to my daughter. Live these experiences and remember them. And if you cry, if you're sensitive and emotional, fucking use it. There's plenty of people who can't cry at the drop of a hat. I can cry. You give me something to people always know Paula can cry in a scene and even if I don't connect to it again, I substitute and I find a way. I'm an emotional person and the thing I think I have trouble doing is the angry part.I'm not great at being super angry. I don't think I play a lot of those roles like I was doing, I've worked with Steven Weber on his new Chicago Med. I was going to say new show, it is like year nine, but I play his ex-wife. I think it's airing tomorrow as a matter of fact. And there was a scene where I had to come in and I'm yelling at him and I'm like, God, this is so not me. I'm not a yeller. I don't yell even in the middle of a fight. If I'm fighting, I try to get it out and then I cry because I get frustrated because I can't say, I'm not one of those bitchy women wives who are like, I'm just not. Anyway, back to the advice from my daughter, you take life's experiences and you put a little marker on them and you remember them.So when you need them, and I didn't even think I was going to have any children because I started so late and as the actress in me, I just never thought, I dunno, mom and my mom material. I don't know. I was like, you know what? I could really learn a lot as an actress by tapping into that love. I remember you'd see my friends who had kids way, way early and I'm like, God, they love these things. What did that feel like? I never knew what that was and so I took that experience and without it, I don't think I would truly ever be able to play a mom as genuinely as I am. Love because man, I love my kid and I didn't think I'd be like a great mom. I am the best mom I am and I love her and I love being a mom and all of it. So I tell my daughter to practice. Practice, learn your lines very easy and don't go in if you're not prepared. That's kind of a big one. You're not really,Michael Jamin:Just because you said mom was there, that fear the first time you decided to play mom, they say once you play mom like, oh, now she's a mom.Paula Marshall:Well, it's just an age thing, so that was never a thing for me. I'm going to play whatever I look like for sure. So I don't care. I don't care about that at all.Michael Jamin:Interesting. Paula, this has been such a great conversation, so thank you so much. You'rePaula Marshall:Welcome. I had so much fun talking with you.Michael Jamin:Yeah, I mean, I just love talking the craft with people like you. You're a pro and you're just, I don't know, so much wisdom to share, so thank you so much. You'rePaula Marshall:Welcome.Michael Jamin:Thank you.Paula Marshall:I'm enjoying your Instagram posts.Michael Jamin:Oh, we'll talk about that, but alright, well thank you. That's it. That's you're released, but don't go anywhere now we are going to talk some more here. Alright everyone, thank you so much. What a great conversation. Paul. Should they follow you somewhere? Did they do anything or just watch you on something? What do they want 'em to do?Paula Marshall:Depends on when you get this.Michael Jamin:Venmo you the most. What do you want? Venmo? MePaula Marshall:Cash is great. I mean, my Instagram is the Paula Marshall. I guess I'm not really great at all that stuff.Michael Jamin:Are you supposed to be though? Do your agents tell you?Paula Marshall:No, agents don't. But if you have so many followers, then it used to be this thing called a TV Q, which is your TV quotes, how many people know who you are? And that's just, social media has kind of taken that over, really. So people, I think people care how many followers you have. I do notMichael Jamin:Again, but Tbq is not a thing anymore, you're saying?Paula Marshall:I don't think it is. Wow. No. I mean maybe they call it something else, but I know an actress friend of mine was early on in the Instagram thing. She's like, yeah, I got to join Instagram. Yuck. I'm like, yeah, the thing. She's like, I was told I have to have it and you got to pitch. I'm not that self-promoting and I'll say things that are inappropriate and crude and get kicked off of Twitter for it, but whatever. That's who I'm,Michael Jamin:Thank you again. Really, it was such an honor to have you on. Alright everyone, more conversations coming. Thank you so much for tuning in. Until next week, keep creating. You're an actor. Tell your friends about this. You're other actor friends. Alright, everyone, thanks so much.Wow. I did it again. Another fantastic episode of What the Hell is Michael Jamon talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most. Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I loved the Journey and Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More. Great stuff coming next week.

Le Calendrier de l'après, une série d'émission de l'Apéro Ciné Volume 9 : It Might Get Loud, réalisé par Davis Guggenheim. Plus d'infos sur le film : https://m.imdb.com/title/tt1229360/ Pour voir le film : https://www.justwatch.com/fr/film/it-might-get-loud. Un podcast Apéro Ciné, en collaboration avec Galaxie Pop.

Composer John Powell has been composing film scores since 1997; whether it's How to Train Your Dragon, The Bourne Identity, or Solo: A Star Wars Story, you've likely heard and loved at least one of his scores. He earned an Academy Award nomination in 2010 for the epic, uplifting sweep of How to Train Your Dragon, and has three Grammy nominations for his scores to Happy Feet, Ferdinand, and Solo.   But now, the veteran composer has an Emmy nomination under his belt, for a decidedly different project than he's used to: Documentary. For Still: A Michael J. Fox Movie, Davis Guggenheim's Apple TV+ original exploring the actor's rise to Hollywood fame and subsequent struggle with Parkinson's, Powell spent a whopping five months working on a score that balanced Fox's unique struggles while emphasizing the joy and energy that animates the actor's decades-long career.   Powell was also kind enough to join us to talk for a bit about the arduous process of building the score, how scoring for documentary requires an entirely different musical vocabulary, and how Guggenheim pulled him through his toughest moments as a composer.   You can find John Powell at his official website here.   Still: A Michael J. Fox Movie is currently streaming on Apple TV+. You can also listen to the score on your preferred music streaming service courtesy of Lakeshore Records.

Still: A Michael J. Fox Movie explores the life of actor Michael J. Fox in his own words. It's a moving and heartfelt documentary as he talks about his rise to fame in the 1980's with the TV show Family Ties, the Back to the Future movies, and what his life is like living with Parkinson's Disease. Fox's story is told with personal interviews, archival footage and reenactments. Cinematographers C. Kim Miles, Julia Liu and Clair Popkin all worked separately on different portions of Still, and all three are Emmy-nominated for their work on the documentary. Julia served as the primary DP for the interviews with Fox, discussing the look with director Davis Guggenheim. They storyboarded the interviews, including shots and lighting, with ideas for moods to evoke different parts of Michael's life. Guggenheim wanted most of the interviews to feel like they were locked off, just like the title. It provided a contrast to the archival footage, where Fox is incredibly acrobatic and frenetic.The interview and b-roll of present-day portions of Fox's life were not completely verite- Julia would approach each action with a plan, and do a few takes. DP Clair Popkin joined the team when Still already had edited raw assemblies of scenes with archival footage cut in. It provided him with a clear idea of how to match and transition interview scenes in and out of the archival video clips. Clair had worked with Guggenheim on several documentary projects in the past, and he was able to step in and shoot the interview portions Julia wasn't available for. Finally, cinematographer C. Kim Miles shot all of the reenactment portions of Still. He met with Guggenheim, who he considers to be the king of planning, but also flexible enough to shoot off the cuff on the day. Since the reenactments came in at the end of the process, Kim found it tremendously helpful to see the rough cut and match the look. He was able to create a softer, more idyllic look for Fox's past memories. Kim and the crew spent 20 days shooting the reenactments, and Fox personally thanked everyone for their part in telling his story. For both Julia and Clair, it was very exciting to work with Fox. It was not just a job- everyone was also a fan, and Julia was thrilled to meet him. Clair felt so much joy and positivity from Michael J. Fox, who was also a consummate professional. Find Julia Liu: http://julialiufilm.com/about @jucliu Find Clair Popkin: http://clairpopkin.com/ @clairpopkin Find C. Kim Miles: https://ckimmiles.com/ @kimiles Still: A Michael J. Fox Movie is currently on AppleTV+ Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

As Director Davis Guggenheim explains, Still: A Michael J. Fox Movie is “the story of a short kid from Canada who drops out of high school to become a movie star, and he does. Then a few years later, he wakes up with this crazy diagnosis, in a Florida hotel room, and the movie's about what does he do with that?”    Davis sat down with Ken & Mike to discuss how his team arrived at deploying montages of recreations mixed with contemporaneous footage from Michael's televisions and movie work to illustrate the events of his life.  They also explore how Davis used a special lens as well as a frank interview approach to provide his documentary a sense of immediacy.  The results are a film that is ultimately, despite the deprivations of Parkinson's, an optimistic take on a life well-lived.

When you are telling the story of such a distinct personality, music is such a vital and driving force....On this episode we are diving into some Emmy nominated work on what just might be one of the best documentary films of the calendar year.  It's time for 'Still: A Michael J Fox Movie'.The improbable tale of a short kid from a Canadian army base who became the darling of 1980s Hollywood — only to find the course of his life altered by a stunning diagnosis. What happens when an incurable optimist confronts an incurable disease?Director Davis Guggenheim tackled this story with grace, humor and the piss and vinegar that his subject demand of him, and part of this came down to the score for the film.  A unique thing making the score, not only for a documentary but for a documentary on such a well known public figure as well, on paper it could feel daunting.Which is why he came down to composer John Powell and his extensive composing history with over 70 film credits to his name....all be it no documentaries.We had the pleasure of sitting down with John Powell to talk about how he got the job, the challenges of it all, what got him into the business and so very much more.

Academy Award winning sound supervisor and re-recording mixer Skip Lievsay returns to the podcast, along with Academy Award winning director Davis Guggenheim, to discuss their incredible new documentary, Still: A Michael J Fox Movie.“I think in a much more traditional documentary, you can polish too much. The sound. You can make it too perfect. And that's sort of what we talk about [with] the off-camera voice. You want to make sure the audience feels like you haven't screwed with the original material.”—Davis Guggenheim, Director and Producer, “Still: A Michael J Fox Movie”Still: A Michael J Fox Movie is now streaming on Apple TV+ in Dolby Vision® and Dolby Atmos®.Please subscribe to The Dolby Institute Podcast wherever you get your podcasts.You can also check out the video for this episode.Learn more about the Dolby Institute and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Mike and Kenny discuss and spot faith in the biography film "Still: A Michael J. Fox Movie."  Directed by Davis Guggenheim and available for streaming on Apple tv+, "Still" presents Michael J. Fox's journey into acting, and at 29, his journey into early onset Parkinsons disease.   Faith Spotted:  The reality that earthly treasures, in this instance health, are vulnerable and can be lost or stolen. Matthew 6  Similarly the parable of the rich fool. Luke 12 Job Suffering for seemingly random reasons, and maintaining care and being open to God's presence and maintaining one's relationship with God.  Also in lament Psalms. Theological Half Truths, as labled by Rev. Adam Hamilton, Sr, Pastor of The United Methodist Church of the Resurrection. In this circumstance, "God doesn't give us more than we can bear." Rather than passing out struggles, depending on ones strength, God supports, sustains, and loves us in the midst of our struggles that are a part of living in a broken world. God sustains directly as well as through support of others.  Similar experience in questions of theodicy, the answer to questions regarding a God of love allowing bad things to occur or to occur to righteous persons.  Romans 8 In all things God works for Good for those who love God.          

Le mois de juin 2023 est passé à toute vitesse pour 24FPS, le podcast avec ou sans spoiler, alors il est temps de faire le bilan ! Voici la liste des 12 films abordés sans spoiler par Jérôme et Julien : You Hurt My Feelings de Nicole Holofcener (à partir de 0:03:42) Renfield de Chris McKay (à partir de 0:08:54) Still - La Vie De Michael J. Fox de Davis Guggenheim (à partir de 0:24:19) Transformers - Rise Of The Beasts de Steven Caple Jr. (à partir de 0:31:39) Élémentaire de Peter Sohn (à partir de 0:55:52) Asteroid City de Wes Anderson (à partir de 1:03:38) Past Lives - Nos Vies d'Avant de Céline Song (à partir de 1:19:01) Tyler Rake 2 de Sam Hargrave (à partir de 1:26:03) Reality de Tina Satter (à partir de 1:36:00) SISU - De l'Or Et Du Sang de Jalmari Helander (à partir de 1:42:38) Le Challenge (No Hard Feelings) de Gene Stupnitsky (à partir de 1:49:34) The Flash de Andy Muschietti (à partir de 2:01:09) Et ils évoquent des spoilers de The Flash à partir de 3:43:50 Bonne écoute, et n'hésitez pas à partager votre avis sur les Batman de Tim Burton ! Crédits musicaux : The Batman Theme de Danny Elfman, issu de l'album Batman - Original Motion Picture Score (1989), et Batdance de Prince, issu de l'album Batman (1989) 24FPS est un podcast du label PodShows

On this episode Wolf & Cub checkout the 2023 Documentary Still: A Michael J. Fox Movie Directed by Davis Guggenheim which follows the life of the beloved actor & advocate exploring his personal & professional triumphs & travails, & what happens when an incurable optimist confronts an incurable disease. The Doco is available on Apple TV+We would like to dedicate this Episode to our dear friend, Australian Screenwriter Mac Gudgeon 1949 - 2023Michale J. Fox Foundationhttps://www.michaeljfox.org/If you have a film you would like us to look at or any questions for us to answer about filmmaking please reach out at:lionfuryproductions@gmail.com Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Connected Leadership podcast, Andy Lopata speaks with Annetta Marion, the producer of the biopic film "Still: A Michael J. Fox Movie", directed by Oscar-winning filmmaker Davis Guggenheim. The film charts the career and struggles of Michael J. Fox with Parkinson's disease. Annetta shares her personal journey into the entertainment industry and her love for storytelling. She also discusses her rules for great storytelling and the importance of engaging viewers in a narrative. Prior to "Still", she worked on Oprah's Master Class docuseries and shares her experience of working with iconic figures who shared their stories. She emphasises the importance of caring deeply and meeting people where they are, irrespective of their status or title. The conversation then shifts towards Annetta's role as a producer on "Still" and working with director Davis Guggenheim. Annetta emphasises the importance of being adaptable, building relationships, and mentoring others. Annetta highlights how important it is to win the trust of the people involved in a project and create an atmosphere where people feel comfortable and are able to act naturally in front of the camera. Annetta explains how the movie "Still" is not just about Michael J. Fox's Parkinson's disease but his entire journey and path, and how it was a collaborative effort to tell his story. She talks about the power of storytelling and the importance of teamwork in creating a successful film. Further, Annetta talks about her latest project, a little horror movie called "Communion," which departs from her previous work in its minimalist approach to dialogue. She also discusses the power of improv, not just for entertainment but as a life lesson, and how it can build confidence and help prepare people to be ready for opportunities. Annetta highlights that talent does not discriminate, and it's crucial to be prepared and let the universe do its part in finding opportunities. Overall, the episode highlights the power of storytelling in connecting people and creating engagement and provides insights on how to build relationships, care deeply, and mentor others. The conversation delves into the importance of winning trust in a project and creating a comfortable environment for building great relationships with team members to perform well. Listen now to learn more about Annetta's latest project and how the power of storytelling connects people. Connect with Andy Lopata Website Connect with Annetta Marion Website

Director Davis Guggenheim discusses his new film, Still: A Michael J. Fox Movie, with fellow director Ondi Timoner in a Q&A at the DGA theater in Los Angeles. In the conversation, Guggenheim discusses incorporating documentary, archival and scripted elements, making a movie about more than just Parkinson's disease, and overcoming expectations regarding a documentary about a famous individual. The film follows the actor, diagnosed with Parkinson's disease at the age of 29, as his public life is unspooled alongside his never-before-seen private journey, and explores what happens when an unwavering optimist confronts an incurable disease. See photos and a summary of this event below: https://dga.org/Events/2023/June2023/STILL_AMJFMovie_DocSeries_0423.aspx

Today, on The Goggler Podcast, Bahir and Uma watch and review Davis Guggenheim's Still: A Michael J. Fox Movie on Apple TV Plus.

Chris and Taylor review the AppleTV+ documentary film, Still: A Michael J. Fox Movie, directed by Davis Guggenheim starting Michael J. Fox and his struggle with Parkinson's disease. The film follows the life of beloved actor and advocate Michael J. Fox, exploring his personal and professional triumphs and travails, and what happens when an incurable optimist confronts an incurable disease.Follow us on:Instagram: https://www.instagram.com/thepotentialpodcast/Facebook: https://www.facebook.com/thepotentialpodcastTwitter: https://twitter.com/thepotentialpodThanks to our sponsor: LetsGetChecked Let'sGetChecked: Get 25% off any of your health tests at trylgc.com/potential and enter promo code POTENTIAL25 ★ Support this podcast on Patreon ★

Vandaag houden we in onze podcast een soort van groepstherapie, over miskopen. Want we kopen allemaal weleens een gadget waarvan later blijkt dat het niets voor ons is. Waarom gebeurt dat? En hoe voorkom je het?En in het tech-nieuws deze week: het delen van je Netflix-account gaat je nu echt geld kosten, nog meer AI in Windows en in Photoshop en de eerste Dyson-stofzuiger die ook kan dweilen.Volg het actuele tech-nieuws elke dag via het vernieuwde Bright.nl.Tips uit deze aflevering:Serie: Mrs. Davis op HBO Max van Damon Lindelof, die we kennen van Lost en The Leftovers. In deze serie neemt een non genaamd Simone het op tegen een almachtige AI genaamd Mrs. Davis waar iedereen de hele dag mee in contact staat via een oordopje, zoals in de film Her. De non weigert met de AI te spreken maar sluit uiteindelijk een faustiaans pact: als zij de Heilige Graal vindt, dan zet de AI zichzelf uit. Ze noemen het een 'sciencefiction comedy drama'.Serie: Het is weer dino-week op Apple TV+. Elke dag komt er een nieuwe aflevering online van Prehistoric Planet. De opzet is ongeveer hetzelfde: een natuurdocu gepresenteerd door David Attenborough, waarin we kijken naar dino's alsof ze echt gefilmd zijn. We zien dan allemaal nieuwe inzichten van wetenschappers: wat de dino's deden maar ook hoe ze eruit zagen. Dit seizoen gaan de wetenschappers daar in de serie zelf dieper op in, en vertellen ze waarom de ene dino nu bijvoorbeeld met veren wordt weergegeven, of waarom de andere dino dikker is dan voorheen.Film: Still over acteur Michael J Fox. Op het hoogtepunt van zijn roem krijgt hij te horen dat hij de ziekte van Parkinson heeft. Je ziet in de docu hoe erg dat is om te hebben. Zo zie je Fox meerdere keren hard vallen. Toch is het geen zware film, maar juist erg luchtig. Ondanks alle leed is Fox zijn humor niet verloren. De docu is ook knap in elkaar gezet door regisseur Davis Guggenheim met slim gemonteerde fragmenten uit de series en films waarin Fox speelde.En maak kans op een jaar lang gratis Podimo, door ons luister-onderzoek in te vullen. Ga naar dagennacht.nl/podcastonderzoek en vul hem in – zo gepiept. Dankjewel!Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Still: A Michael J. Fox Movie is a 2023 American documentary film directed by Davis Guggenheim about the life of actor Michael J. Fox and his struggle with Parkinson's disease. It was released on May 12, 2023, on Apple TV+. --- Send in a voice message: https://podcasters.spotify.com/pod/show/popcorn-junkies/message

On today's episode the guys discuss superstar actor Michael J Fox and  the new documentary on his life, ‘Still' (0:52). The guys start off with the discussion with the story behind the “J” in Michael's name and his early life in British Colombia. They then discuss when they first encountered him in the NBC sitcom ‘Family Ties'. Asif and Ali then discuss Fox's breakthrough in ‘Back to the Future', as well as his other hit films. They then discuss his return to television with ‘Spin City' and how his diagnosis of Parkinson's disease at age 29 factored into this. They then discuss their thoughts on the new documentary on Fox's life ‘Still', directed by Davis Guggenheim.    Then the guys discuss Parkinson's disease (27:02). Asif talks about what we know about the cause, the primary symptoms and how it is diagnosed. He then discusses the treatment how the the side effects from Parkinson's disease medications can cause their own problems. Asif then goes over surgery for Parkinson's, including deep brain stimulation. He then discuss a major scientific breakthrough in Parksonson's disease via research funded by the Michael J Fox Foundation.  The opinions expressed are those of the hosts, and do not reflect those of any other organizations. This podcast and website represents the opinions of the hosts. The content here should not be taken as medical advice. The content here is for entertainment and informational purposes only, and because each person is so unique, please consult your healthcare professional for any medical questions.    Music courtesy of Wataboi and 8er41 from Pixabay   Contact us at doctorvcomedian@gmail.com   Follow us on Social media: Twitter: @doctorvcomedian Instagram:  doctorvcomedian   Show Notes: Michael J. Fox Looks Back on Hollywood Triumphs, Setbacks and Why ‘Parkinson's Is the Gift That Keeps on Taking”: https://variety.com/2023/film/features/michael-j-fox-parkinsons-disease-still-documentary-1235607552/ Making a Michael J. Fox Movie With Michael J. Fox's Movies: https://www.nytimes.com/2023/05/14/movies/michael-j-fox-interview.html Billy Vera - At This Moment (HQ): https://www.youtube.com/watch?v=O2ur063fMhs Parkinson Disease: https://emedicine.medscape.com/article/1831191-overview Michael J. Fox, three co-workers at 70s TV show, all got Parkinson's: https://www.cbc.ca/news/canada/michael-j-fox-three-co-workers-at-70s-tv-show-all-got-parkinson-s-1.339756  Senate Appropriations Subcommittee on Labor, Health and Human Services, and Education Hearing on Parkinson's Research and Treatment September 28, 1999 The Testimony of Michael J. Fox: https://media.pluto.psy.uconn.edu/parkinsons/foxhearing.html The Michael J Fox Foundation: https://www.michaeljfox.org/ Breaking News: Parkinson's Disease Biomarker Found: https://www.michaeljfox.org/news/breaking-news-parkinsons-disease-biomarker-found?pn_cid=pn-a1b1R00000AlQ16 A Parkinson's ‘game changer,' backed by Michael J. Fox, could lead to new diagnostics and, someday, treatments: https://www.statnews.com/2023/04/12/michael-j-fox-parkinsons-biomarker/ Assessment of heterogeneity among participants in the Parkinson's Progression Markers Initiative cohort using α-synuclein seed amplification: a cross-sectional study: https://www.thelancet.com/journals/laneur/article/PIIS1474-4422(23)00109-6/fulltext

"Still: A Michael J. Fox Movie" had its world premiere at the Sundance Film Festival, where it received rave reviews for how it incorporated archival footage and re-enactments into beloved actor and activist Michael J. Fox's story. With Michael as the sole interviewee, this inside look at his life told from his perspective gives his fans and newcomers a full picture of the kind of man he is. Director Davis Guggenheim and Editor Michael Harte were kind enough to spend a few minutes with us discussing their work on the film, which you can listen to down below. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

Human frailty has never impeded genius or one's quality of character...On this episode we are diving head first into one of our favorite streaming services over at Apple+ and looking at a truly inspirational and emotional documentary that just hit the service.  It's time for 'Still: A Michael J Fox Movie'.The improbable tale of a short kid from a Canadian army base who became the darling of 1980s Hollywood — only to find the course of his life altered by a stunning diagnosis. What happens when an incurable optimist confronts an incurable disease?If you've ever doubted the comedic genius that is Michael J Fox....then you really need to see this movie as we see a man determined to live and determined to still be as funny as he ever was.  We had the unique pleasure of sitting down with director David Guggenheim and editor Michael Harte to determine how this magic all came together.'Still: A Michael J Fox Movie' is playing in select theatres and on the Apple + streaming service now.

Dan and Mike review the Davis Guggenheim documentary Still: A Michael J. Fox Movie starring Michael J. Fox, Daniel Irizarry, and Tracy Pollan.#movies #podcast #michaeljfoxActress Karissa Lee Staples Oh Brother Podcast: Subscribe on YouTube Listen on all podcast platforms Follow us on Twitter & Instagram Leave a 5-star rating/review on Apple Podcasts

In this episode, we chat about the wonderful new documentary “Still” about Michael J. Fox. The documentary goes back to his childhood, moves forward through his acting career, and goes deep into his life with Parkinson's Disease.Directed by Davis Guggenheim (director of “An Inconvenient Truth”), “Still” finds Michael getting very personal about Parkinson's—how he was diagnosed, what he did to hide it for so many years, and how he manages it now. We discuss how some documentaries make you feel voyeuristic and “wrong” for watching and how others (like this one) engage you in a freeing and nonshameful way.The style of this doc is so magnetic, using myriad clips from Michael's movies and TV shows to mirror what he discusses in the interview. Whatever you already love about Michael J. Fox, you will love even more as you watch this film. We're now planning a rewatch of the “Back to the Future” trilogy!The film is available on Apple TV+. -Original music by Garrett ThompsonFollow us on Instagram @GeekGirlSoupContinue the conversation on FacebookListen to Cort's podcast with Brad at PureFandom.comCheck out Susan's movie stats on Letterboxd Email your questions and comments to GeekGirlSoup@gmail.comGeek on!

On this episode, I spoke to director and producer Davis Guggenheim and editor Michael Harte about their work on Still: A Michael J. Fox Movie. Guggenheim is an Oscar winner for An Inconvenient Truth, an Emmy winner for Boys State, a BAFTA Award nominee for He Named Me Malala, a DGA nominee for Waiting for Superman, a Grammy Award nominee for U2's From the Sky Down in the Best Long Form Music Video category, and much more. Harte is an Emmy nominee for Three Identical Strangers, a BAFTA Television Craft Award winner for Don't F**k with Cats: Hunting an Internet Killer, an ACE Eddie nominee for Three Identical Strangers, and a Critics' Choice Documentary Award nominee for Three Identical Strangers.

In this weeks episode of the world's-fastest-movie-review podcast Jackson and Mike review two new films!!! First ‘BLACKBERRY' The company behind the first smartphone, the BlackBerry, meets a catastrophic demise. Starring Jay Baruchel & Glenn Howerton. Then a quick review of ‘STILL: A MICHAEL J. FOX MOVIE' The international pop culture darling of the 1980s, only to find the course of his life altered by a stunning diagnosis. Directed by Davis Guggenheim.

A apresentadora Kamila Pavão juntamente com o crítico de cinema Caio Sandin, atualizam os principais lançamentos de filmes e séries pra assistir com as mães. A correspondente internacional Miriam Spritzer, direto de Nova Iorque, acompanhou a entrevista do ator Michael J. Fox e o diretor Davis Guggenheim que dirigiu o documentário que conta a trajetória do grande astro do filme “De Volta para o Futuro”. Disponível na Apple TV+See omnystudio.com/listener for privacy information.

When Academy-Award winning filmmaker Davis Guggenheim set out to make Still, a film about Michael J. Fox, he imagined he'd be making a hybrid documentary/80s movie. What he discovered along the way, however, was something deeper: his subject is far more than an iconic mega-star — Michael is an inspiration. After decades of living with the degenerative and debilitating effects of Parkinson's disease, Michael J. Fox reveals his personal philosophy: “With gratitude, optimism is sustainable.” Katie's conversation with Michael and Davis is funny and revealing, and traces the highs and lows of creating a film about an incurable optimist trying to overcome an incurable disease.  Want to be a know-it-all? Subscribe to Wake Up Call, our jam-packed newsletter. Monday through Saturday, we break down the top news stories of the day, answer your pressing questions, and scour the internet for the best entertainment tidbits, streaming recommendations, recipes, and health and wellness tips. To sign up, go to katiecouric.com, or click here.See omnystudio.com/listener for privacy information.

Host Sam Clements speaks to director Davis Guggenheim about Still: A Michael J. Fox Movie, in cinemas now.  The film follows the life of beloved actor and advocate Michael J. Fox, exploring his personal and professional triumphs and travails, and what happens when an incurable optimist confronts an incurable disease. If you'd like to send us a voice memo for use in a future episode, please email podcast@picturehouses.co.uk. Subscribe on Apple Podcasts. Follow us on Spotify. Find us on Twitter, Facebook and Instagram with @picturehouses. Find our latest cinema listings at picturehouses.com.  Produced by Stripped Media. Proudly supported by Kia. Thank you for listening. If you enjoy the show, please subscribe, rate, review and share with your friends. Vive le Cinema.

Amsterdam - Editor, Jay Cassidy ACE AMSTERDAM editor, Jay Cassidy ACE has cultivated an impressive career spanning almost fifty years and approximately sixty different projects.  Cassidy has worked extensively with directors such as David O. Russell and Sean Penn, as well as documentarian Davis Guggenheim.  Thrice-nominated for an Oscar for his work on Penn's INTO THE WILD (2008); as well as Russell's SILVER LININGS PLAYBOOK (2013) and AMERICAN HUSTLE (2014), Jay is not one to settle for status quo when it comes to making the most of technology in the editing room.  He continues to lean into new developments in hardware, software and color science for his craft. AMSTERDAM is a 2022 period/mystery/comedy/thriller film directed, written, and produced by David O. Russell. It stars an ensemble cast, led by Christian Bale, Margot Robbie, and John David Washington; featuring Chris Rock, Anya Taylor-Joy, Zoe Saldaña, Mike Myers, Rami Malek, and Robert De Niro.  The film follows three friends—a doctor, a nurse and a lawyer—who are caught in the mysterious murder of a U.S. senator in the 1930's.  Filmed in Los Angeles from January to March 2021, AMSTERDAM marks Russell's first film since JOY (2015). In our discussion with AMSTERDAM editor, Jay Cassidy ACE, we talk about: Balancing context setting and character development The benefits of monitoring in the DCI-P3 color space Working with actors in the cutting room Collaborating with Oscar®-caliber additional editors The world's most amazing microphone The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to AMSTERDAM additional editor, Alan Baumgarten ACE discuss his work on THE TRIAL OF THE CHICAGO SEVEN See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

WTOP Entertainment Reporter Jason Fraley wishes Malala Yousafzai a happy 25th birthday today. Today's podcast features this 2015 conversation with filmmaker Davis Guggenheim about his documentary "He Named Me Malala," chronicling her journey from surviving a Taliban attack to becoming a global ambassador for girls' education and the youngest-ever recipient of the Nobel Peace Prize in 2014.

Cet épisode est un extrait du podcast publié lundi dernier.  En moins de 10 minutes, il te permettra de capter les plus beaux messages de l'épisode avec Paloma Moritz. Un extrait qui je l'espère, remplacera Instagram pendant ta pause de 10mn, se retrouvera dans tes oreilles avant de t'endormir, ou à ton réveil pour commencer ta journée dans la joie.  Si ce passage te plait et que tu as envie d'en connaître plus sur mon invité.e de la semaine, l'épisode en entier t'attend chaudement sur Nouvel Œil.

Les scientifiques du monde entier alertent sur l'urgence climatique et déjà, les conséquences sont visibles.  Paloma Moritz a mis son engagement au centre de tout. Elle enquête, questionne et informe sur les sujets d'environnement pour le média Blast.   Vers quelle société avons-nous envie d'aller ? Tous les sujets sont à repenser à travers l'urgence écologique, et c'est une incroyable occasion pour sortir de la démesure et revenir à un minimum de sens dans nos vies.   Pour Paloma Moritz, il s'agit de porter de nouvelles lunettes avec lesquelles aborder le monde, qui redéfinissent la place de l'humain au sein du vivant. Cette bifurcation fera qu'on sera un maximum de personnes qui ne perdront plus leur vie à la gagner. Parce que pour changer le monde, il faut d'abord changer son monde.  Le premier écogeste est d'avoir un métier qui contribue à construire la société alternative que l'on doit créer. Quel sera le tien ?     Avec Paloma, on parle d'engagement, d'environnement et de vivant.    Belle écoute ! ☀️ --- Pour retrouver Paloma

Rock Docs: A Podcast About Music Documentaries Today's documentary is It Might Get Loud, released in 2009, directed by Davis Guggenheim. For this episode we are joined by Very Special Guests Molly Mary O'Brien and Chris Wade of "And Introducing", A Podcast About Words About Music. Check them out at Twitter @andintropod and listen to their show wherever you listen to podcasts. "It Might Get Loud" is an extremely Obama-era meeting of guitar superstars Jimmy Page (Led Zeppelin), The Edge (U2), and Jack White (The White Stripes). When you get these three together in a room with some guitars, sparks are going to fly, right? Right? Rock Docs is hosted by David Lizerbram & Andrew Keatts Twitter: @RockDocsPod Instagram: @RockDocsPod Cover Art by N.C. Winters - check him out on Instagram at @NCWintersArt

Dans cet épisode, le trio Gravlax - Papa(Gubi)da – Casa revient pour une troisième et dernière fois dans l'univers de Movieland ( basé sur le livre de David Honnorat ). Chaque membre y a pioché un film qui l'interpellait, ce qui donne un épisode éclectique avec au programme : 4'50** Le film de Gubi : « Boys Don't Cry » de Kimberly Peirce ( 1999 ; SPOILERS à partir de 35 minutes ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=26275.html 39'00** Le film de Casa : « Créatures Célestes » de Peter Jackson ( 1994 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=12859.html 1h 18m 45s** Le film de Gravlax : « Spinal Tap » de Rob Reiner ( 1984 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=26322.html Les recommandations :La reco de Casa ( à 1H03 ) : « Lovely Bones » de Peter Jackson ( 2009 )https://www.allocine.fr/film/fichefilm_gen_cfilm=56899.htmlLa reco de Gravlax ( vers 1h 50m 30s ) : « Dressé pour tuer » de Samuel Fuller ( 1982 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=15532.htmlLa reco de Gubi ( vers 1h 57m 20s ) : « Laurence Anyways » de Xavier Dolan ( 2012 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=186111.html Films évoqués durant l'épisode : « Stop Loss » de Kimberly Peirce ( 2007 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=129276.html “Carrie, la vengeance” de Kimberly Peirce ( 2013 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=194194.html « Yellow Rose » de Diane Paragas ( 2019 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=267676.html « Million Dollar Baby » de Clint Eastwood ( 2004 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=56714.html “Buffy, tueuse de vampires” de Fran Rubel Kuzui ( 1992 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=42119.html « Miss Karaté Kid » de Christopher Cain ( 1993 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=10479.html « Zodiac » de David Fincher ( 2007 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=59320.html « Dogville » de Lars von Trier ( 2003 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=28927.html « Broken Flowers » de Jim Jarmusch ( 2005 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=58211.html “Kids” de Larry Clark ( 1995 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=13283.html “Gummo” d'Harmony Korine ( 1997 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=18469.html Série “The L Word” d'Ilene Chaiken ( 2004 – 2009 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=198.html “Fausses Rumeurs ( Gossip )” de Davis Guggenheim ( 2000 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=25572.html « Rub & Tug » de Rupert Sanders ( 202? ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=265891.html « Dallas Buyers Club » de Jean-Marc Vallée ( 2013 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=137097.html Série « Transparent » de Joey Soloway ( 2014 – 2019 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=16877.html Série « Euphoria » de Sam Levinson ( 2019 - … ) :https://www.allocine.fr/series/ficheserie_gen_cserie=22215.html « Pour les soldats tombés » de Peter Jackson ( 2018 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=262058.html Série documentaire « The Beatles : Get Back » de Peter Jackson ( 2021 ) :https://www.allocine.fr/series/ficheserie_gen_cserie=29470.html « Fantômes contre Fantômes » de Peter Jackson ( 1996 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=15353.html « La Danza de la Realidad » d'Alejandro Jodorowsky ( 2013 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=220582.html « Poesia Sin Fin » d'Alejandro Jodorowsky ( 2016 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=235348.html « Bad Taste » de Peter Jackson ( 1987 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=39184.html « Braindead » de Peter Jackson ( 1992 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=5311.html « Les Feebles » de Peter Jackson ( 1989 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=16146.html « Mais ne nous délivrez pas du Mal » de Joël Séria ( 1971 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=10178.html « Prisoners » de Denis Villeneuve ( 2013 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=180887.html « Au-delà » de Clint Eastwood ( 2010 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=140633.html « Being Charlie » de Rob Reiner ( 2015 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=240469.html “Stand By Me” de Rob Reiner ( 1986 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=2495.html “Princess Bride” de Rob Reiner ( 1987 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=3326.html “Quand Harry rencontre Sally” de Rob Reiner ( 1989 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=32035.html “Misery” de Rob Reiner ( 1990 ):https://www.allocine.fr/film/fichefilm_gen_cfilm=6432.html Série “Better Call Saul” de Vince Gilligan ( 2015 - ? ) :https://www.allocine.fr/series/ficheserie_gen_cserie=16950.html “The Rutles – All You Need Is Cash” d'Eric Idle et Gary Weis ( 1978 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=141249.html “We are four lions” de Chris Morris ( 2011 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=143493.html “Baxter” de Jérôme Boivin ( 1988 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=4412.html “Les Chiens” d'Alain Jessua ( 1979 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=8573.html “L.A. Confidential” de Curtis Hanson ( 1997 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=12032.html « 8 Mile » de Curtis Hanson ( 2002 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=41011.html « Chien Blanc » d'Anaïs Barbeau-Lavalette ( 2021 ) :https://www.allocine.fr/film/fichefilm_gen_cfilm=288970.html Musique diffusée durant l'épisode : Générique « Loud Pop » ( Gravlax ) Tristan Calder, Brandon Hale & Sebastian Barnaby Robertson “Cruise” The Charlatans « Codine Blues » The Knitters « Silver Wings » Opal « She's a diamond » Quicksilver Messenger Service « Who Do You Love » The Bobby Fuller Four “A New Shade of Blue” The Cars “Just What I Needed” The Dictators “It's Alright” The Isley Brothers “That Lady, Pts. 1 & 2” The Smithereens “She's Got A Way” Timmy Thomas “Why can't we live together” Peter Dasent : “The Princess Of Llam” / “Be My Love” / “The Loveliest Night of the Year” / “The Fourth World” / “Pauline & Juliet” / “Life In Borovnia” / “The Shrine” / “Divorce” / “Bad Chests And Bone Diseases” / “A Night With the Saints” / “Two Dutiful Daughters” / “Juliet's Aria - Sono Andati” / “For The Good Of Your Health” Brian Eno : “I Wish You All A Long And Happy Life” / “Wide Heaven” / “Farewell - A Life Ended” This Mortal Coil “Song to the Siren” Spinal Tap : “Tonight I'm Gonna Rock You Tonight” / “Big Bottom” / “Sex Farm” / “Heavy Duty” / “Christmas with the Devil” / “Bitch School” / “Rock'N'Roll Creation” / “Gimme Some Money” / “(Listen to) The Flower People Say” / “Hell Hole” Ennio Morricone “Theme of White Dog” / “Sorrowful Julie” / “The Girl & The Dog” Moderat “A New Error” Nina Persson & Nathan Larson "The Bluest Eyes In Texas" Liens : Vidéo sur la véritable histoire de Brandon Teena, « Teena Brandon : L'effroyable fait-divers qui a inspiré le film Boys don't cry** » :https://www.youtube.com/watch?v=sKmNcx9jfIk Le livre « MovieLand » de David Honnorat :https://livre.fnac.com/a12574656/David-Honnorat-Movieland#omnsearchpos=1 Le jeu de société « Movieland » :https://livre.fnac.com/a13611576/David-Honnorat-Movieland-le-jeu-cine#omnsearchpos=1 Chaîne YouTube TLV Podcast :https://www.youtube.com/channel/UCoLK73hPXzMYGnZEYVRvAEQ Lien Twitter : https://twitter.com/TLVPodcast Page Facebook : https://www.facebook.com/M.Gravlax Page du podcast : https://podcloud.fr/podcast/tu-las-vu Page Sens Critique avec tous les films traités dans le podcast :https://www.senscritique.com/liste/Tous_les_films_traites_dans_notre_podcast_Tu_l_as_vu_venez_n/2716388 NDLR : Après vérification, Kimberly Peirce a bel et bien réalisé un épisode de la série « The L Word » ( l'épisode 5 de la troisième saison ) mais n'en est pas la créatrice ( qui est Ilene Chaiken ). La déclaration de la mère de Teena Brandon, JoAnn Brandon, concernant le fait qu'Hilary Swank a remercié la personne ayant inspiré son personnage lors de la cérémonie des Oscars en l'ayant qualifié d'« homme » et en tant que « Brandon Teena » est : « Cela m'a rendu furieuse. Elle (Hilary Swank) ne devrait pas se tenir sur cette scène et remercier mon enfant. J'en ai marre des personnes qui obtiennent des récompenses pour des choses qu'elles ne connaissent pas. »

Mark Putnam, Democratic media strategist and founder of Putnam Partners, has helped elect 11 Governors, 10 Senators, and dozens of members of Congress. In this conversation, Mark talks growing up in Alaska, his unconventional path to working in political media, early races on which he cut his teeth, helping elect Presidents Obama and Biden, how to think about “viral” ads, some of his favorite spots, and smart insights from one of the most successful careers in political media.IN THIS EPISODE…Mark talks what it's like growing up in Alaska…Mark remembers the tragic disappearance of of Congressman Nick Begich…How Mark thinks of Alaska politics 101…A memorable meeting a teenage Mark had with Senator Ted Stevens…Mark explains the connection between his college major in Molecular Biology and what he does now…How Geraldine Ferraro helped a novice Mark get into political consulting…The iconic political admakers Mark apprenticed under…The 1986 Senate race Mark first put his stamp on…The losing 1994 Governor's race where Mark learned an important lesson…Mark's thoughts on using humor in political advertising…Mark's opportunity to help elect a friend a state Attorney General…Mark's rules of thumb on videos going viral…What Mark thinks is unique about a Putnam Partners ad…Mark talks through the media behind Heidi Heitkamp's upset Senate win in 2012…Mark makes a believer out of a skeptical Governor Bill Richardson on an out-of-the-box idea…The two moments Mark remembers most from working for the 2008 Obama campaign…Mark helms “the most expensive political ad ever made”…Mark's role in the 2020 pro-Biden Unite the County Super PAC ads…Mark tells a wild story from a local New Jersey race when he was repeatedly threatened for trying to do the job…Mark talks what he's learned about running a business and building a team…Mark's weirdest work habit…Mark's advice for the next generation of political media consultants…AND…August releases, David Axelrod, Mark Begich, Joe Biden, Randy Bryce, Ken Burns, Chuck Chvala, Jim Clyburn, the consideration set, Chancy Croft, Jeremiah Denton, Michael Dukakis, Ellis Island, Carter Eskew, Peter Fenn, forcefields of appeal, gold Cadillacs, Al Gore, Davis Guggenheim, Bob Graham, Mike Gravel, The Great Alaska Earthquake, John Gregg, Jay Hammond, MJ Hegar, Tom King, Bill Knapp, Tony Knowles, MTV, Jim Margolis, Mitch McConnell, Amy McGrath, Steve Murphy, Nordstrom, Tom Ochs, Ozzy Osbourne, Mike Pence, the Philadelphia, David Plouffe, Hal Riney, Joe Salazar, Terry Sanford, Steve Schale, Richard Shelby, Paul Simon, Tony Soprano, Bob Squier, Mark Squier, Tommy Thompson, Donald Trump, the valiant effort reel, Phil Weiser, John Zaccaro, Laura Zaccaro, & more!

On this episode, Damian talks with the acclaimed director and founder of Concordia Studio, Davis Guggenheim. Davis shares the story of how he turned Al Gore's dry slide deck about global warming into an Academy Award-winning film that transformed the public's understanding of climate change with his documentary An Inconvenient Truth (2006). He also explains the ingredients of a good documentary, breaks down how they're realized in his films about Malala and U2, and talks about how storytelling, when done right, has the power to unite us. Influence is a production of WeTransfer, produced in association with Reasonable Volume. See acast.com/privacy for privacy and opt-out information.

Guests: Céline Cousteau, Explorer and Filmmaker Davis Guggenheim, Director, An Inconvenient Truth; Founder, Concordia Studio  Cristina Mittermeier, National Geographic Photographer; Co-Founder, SeaLegacy While IPCC risk assessments and emission projections can help us understand climate change, they don’t exactly inspire the imagination or provoke a personal response to the crisis. But a growing league of storytellers is using photographs, films and the human experience to breathe life into the cerebral science of climate change and conservation. So how can films, photographs, and the human experience convey the urgency of the climate story?  “15 years ago we needed to convince people that it was real,” notes director and producer Davis Guggenheim, “and then we need to convince people that humans are causing it. And then you want to convince people that this is the most urgent story of our time.” Guggenheim’s documentaries include He Named Me Malala, Waiting for Superman, and a certain Academy award-winning film with former Vice-President Al Gore. Over the years he’s learned that good climate storytelling requires a delicate balance between a compelling character and a path to action. “We always thought the An Inconvenient Truth was a redemption story about a politician who lost an election,” he says, “and it was his mission in life to tell this truth that he knew.” Sometimes the compelling character in a climate narrative is the filmmaker herself. In Tribes on the Edge, a new documentary that explores the threats to the land, rights, and health of the Indigenous Peoples of the Javari Valley in the Brazilian Amazon, explorer and filmmaker Céline Cousteau reluctantly made herself part of the story.  “I did place myself in front of the camera so that I would create a bridge,” Cousteau says, “so that the audience would follow me as somebody perhaps more familiar, more accessible, the neighbor, and follow me into this adventure.” Other visual artists, like photographer Cristina Mittermeier, try to let the images speak for themselves.  “I don't like photographing indigenous people as if they were encapsulated in the past in a romanticized way that no longer exist,” she says, “they live and walk amongst us and they look like us.” Whatever their methods, these storytellers share a goal of trying to create a more equitable relationship with nature through images and sound. “Do not ever forget that one of your main focus and goals is to shift consciousness,” explains Céline Cousteau, “and you may never know exactly what your films or stories have done, but you need to believe in what you're doing.” RELATED LINKS: He Named Me Malala My Octopus Teacher SeaLegacy Tribes on the Edge Learn more about your ad choices. Visit megaphone.fm/adchoices

Guests: Céline Cousteau, Explorer and Filmmaker Davis Guggenheim, Director, An Inconvenient Truth; Founder, Concordia Studio  Cristina Mittermeier, National Geographic Photographer; Co-Founder, SeaLegacy While IPCC risk assessments and emission projections can help us understand climate change, they don't exactly inspire the imagination or provoke a personal response to the crisis. But a growing league of storytellers is using photographs, films and the human experience to breathe life into the cerebral science of climate change and conservation. So how can films, photographs, and the human experience convey the urgency of the climate story?  “15 years ago we needed to convince people that it was real,” notes director and producer Davis Guggenheim, “and then we need to convince people that humans are causing it. And then you want to convince people that this is the most urgent story of our time.” Guggenheim's documentaries include He Named Me Malala, Waiting for Superman, and a certain Academy award-winning film with former Vice-President Al Gore. Over the years he's learned that good climate storytelling requires a delicate balance between a compelling character and a path to action. “We always thought the An Inconvenient Truth was a redemption story about a politician who lost an election,” he says, “and it was his mission in life to tell this truth that he knew.” Sometimes the compelling character in a climate narrative is the filmmaker herself. In Tribes on the Edge, a new documentary that explores the threats to the land, rights, and health of the Indigenous Peoples of the Javari Valley in the Brazilian Amazon, explorer and filmmaker Céline Cousteau reluctantly made herself part of the story.  “I did place myself in front of the camera so that I would create a bridge,” Cousteau says, “so that the audience would follow me as somebody perhaps more familiar, more accessible, the neighbor, and follow me into this adventure.” Other visual artists, like photographer Cristina Mittermeier, try to let the images speak for themselves.  “I don't like photographing indigenous people as if they were encapsulated in the past in a romanticized way that no longer exist,” she says, “they live and walk amongst us and they look like us.” Whatever their methods, these storytellers share a goal of trying to create a more equitable relationship with nature through images and sound. “Do not ever forget that one of your main focus and goals is to shift consciousness,” explains Céline Cousteau, “and you may never know exactly what your films or stories have done, but you need to believe in what you're doing.” RELATED LINKS: He Named Me Malala My Octopus Teacher SeaLegacy Tribes on the Edge Learn more about your ad choices. Visit megaphone.fm/adchoices

Guests: Céline Cousteau, Explorer and Filmmaker Davis Guggenheim, Director, An Inconvenient Truth; Founder, Concordia Studio  Cristina Mittermeier, National Geographic Photographer; Co-Founder, SeaLegacy While IPCC risk assessments and emission projections can help us understand climate change, they don’t exactly inspire the imagination or provoke a personal response to the crisis. But a growing league of storytellers is using photographs, films and the human experience to breathe life into the cerebral science of climate change and conservation. So how can films, photographs, and the human experience convey the urgency of the climate story?  “15 years ago we needed to convince people that it was real,” notes director and producer Davis Guggenheim, “and then we need to convince people that humans are causing it. And then you want to convince people that this is the most urgent story of our time.” Guggenheim’s documentaries include He Named Me Malala, Waiting for Superman, and a certain Academy award-winning film with former Vice-President Al Gore. Over the years he’s learned that good climate storytelling requires a delicate balance between a compelling character and a path to action. “We always thought the An Inconvenient Truth was a redemption story about a politician who lost an election,” he says, “and it was his mission in life to tell this truth that he knew.” Sometimes the compelling character in a climate narrative is the filmmaker herself. In Tribes on the Edge, a new documentary that explores the threats to the land, rights, and health of the Indigenous Peoples of the Javari Valley in the Brazilian Amazon, explorer and filmmaker Céline Cousteau reluctantly made herself part of the story.  “I did place myself in front of the camera so that I would create a bridge,” Cousteau says, “so that the audience would follow me as somebody perhaps more familiar, more accessible, the neighbor, and follow me into this adventure.” Other visual artists, like photographer Cristina Mittermeier, try to let the images speak for themselves.  “I don't like photographing indigenous people as if they were encapsulated in the past in a romanticized way that no longer exist,” she says, “they live and walk amongst us and they look like us.” Whatever their methods, these storytellers share a goal of trying to create a more equitable relationship with nature through images and sound. “Do not ever forget that one of your main focus and goals is to shift consciousness,” explains Céline Cousteau, “and you may never know exactly what your films or stories have done, but you need to believe in what you're doing.” RELATED LINKS: He Named Me Malala My Octopus Teacher SeaLegacy Tribes on the Edge Learn more about your ad choices. Visit megaphone.fm/adchoices

I am honored to welcome Dennis McKesey President & Lead Consultant at In Our Best Interest, LLC discussing how they helping #educators meet the challenges of #Remote learning. Dennis appears in the critically-acclaimed documentary, “Waiting for Superman,” directed by Davis Guggenheim as well as the book, “Whatever It Takes,” by Paul Tough.Also joining me is Mark Testoni CEO SAP National Security Services (SAP NS2) Mark Testoni is among the nation’s leading experts in the application of technology to solve problems in government and industry, especially in the U.S. national security space.

شاید خیلیها بیل گیتس رو تنها به این خاطر اینکه یکی از ثروتمند ترین افراد دنیاست میشناسند. بیل گیتس با ارائه محصولات و اجرای پروژهایش در حوزه های محتلف، دنیا رو تغییر داده. بی شک او یکی از تاثیرگذارترین افراد روی کره زمین است. این اپیزود بر اساس مستند سه قسمتی ‘درون مغز بیل گیتس’ ساخته شده که در آن به بیوگرافی زندگی بیل گیتس، چکونگی تاسیس شرکت مایکروسافت، آشنایی با همسر، دوستان قدیم و جدید و دغدغه های فعلی او پرداخته شده. Inside Bill's Brain: Decoding Bill Gates, Davis Guggenheim, Netflix

This time on RevU2 - The U2 Podcast Tyler and Jonny rev up the trabants and return to the 90s for a look at Davis Guggenheim's rockumentary, From the Sky Down. Will the band implode or re-invent? Will they escape the shadow of the Joshua Tree? Will Brian Eno ever get away from interior decorators?

Born on this Day: is a daily podcast hosted by Bil Antoniou, Amanda Barker & Marco Timpano. Celebrating the famous and sometimes infamous born on this day. Check out their other podcasts: Bad Gay Movies, Bitchy Gay Men Eat & Drink Every Place is the Same My Criterions The Insomnia Project Marco's book: 25 Things I Wish I Knew Before I Started My Podcast NOVEMBER 3 National Sandwich Day Diana Silvers, Dolph Lundgren, Charles Bronson, Kate Capshaw, Lois Smith, Jeremy Brett, Davis Guggenheim , Roseanne Barr , Dennis Miller, Ken Berry, Monica Vitti , Kendall Jenner, Brian Henson, Kathy Kinney, Lulu --- Send in a voice message: https://anchor.fm/born-on-this-day-podcast/message

Sarah Anthony is a dear friend and an award winning documentary producer. She produced the Netflix film Bikram: Yogi, Guru, Predator. She was the lead Producer on the Grammy-winning HBO documentary series, The Defiant Ones, and on The Price of Free (formerly titled Kailash), a documentary about child slavery which won the 2018 Sundance Festival Grand Jury Prize. Sarah began her documentary career in London, with films on subjects ranging from the Iraq war to the Ming Voyages of the 1400’s. She was Associate Producer for PBS FRONTLINE on The Age of AIDS, a four hour series covering the history of the HIV/AIDS pandemic. In 2007 Sarah moved to Los Angeles and joined Exclusive Media as the Co-head of Documentary Features. Public art, music and social reform make her heart sing. At Exclusive she supervised development, production and distribution on multiple documentaries including Martin Scorsese’s George Harrison: Living in the Material World, Billy Joel’s Last Play at Shea, and the Academy Award-winning Undefeated. Sarah has worked extensively with director Davis Guggenheim and the Emerson Collective on a variety of social justice issues, from immigration reform to re-designing the American high school system. This week, we discuss how she manages being on the front lines of telling stories that impact change, our mutual love for budgeting, and how George Harrison helped her become a better human.⁣ Can’t wait to hear what you think of this week’s episode! Beijos, Caca

O documentário Waiting for Superman de 2010, dirigido por Davis Guggenheim, trata sobre a realidade das escolas públicas nos Estados Unidos. Vamos nos debruçar sobre  o filme e compreender como lá, e como aqui, o ser humano disfarçado de burocracia emperra tudo, e não permite que o ensino púbico de qualidade seja universal e abrangente.

This week on our Vergecast interview series, editor-in-chief of The Verge Nilay Patel chats with filmmaker Davis Guggenheim on his new documentary “Inside Bill’s Brain: Decoding Bill Gates” on Netflix. Davis talks about how he got Bill Gates to participate in the film, the structure for the documentary, the most surprising thing he’s learned about Bill, and more. We are conducting an audience survey to better serve you. It takes no more than five minutes, and it really helps out the show. Please take our survey here: theverge.com/survey  Learn more about your ad choices. Visit megaphone.fm/adchoices

A look at the Netflix documentary made by award winning filmmaker Davis Guggenheim. The content here points and connects the dots of the not so commercial Bill Gates. Its focused on his humanitarian efforts!

Se você não tem programa para esta sexta-feira a noite, talvez seja interessante acessar sua conta na Netflix e conferir o documentário código Bill Gates, dirigido por Davis Guggenheim, vencedor do oscar responsável por obras como verdade inconveniente.O intuito do documentário, que será dividido em três partes, é fazer um retrato completo de Bill Gates, grande nome responsável pela Microsoft, empresa de tecnologia norte americana que está, desde a década de 80, entre as maiores do mundo. Além de falar sobre toda a trajetória de Bill pela companhia, a obra também vai tentar decifrar como funciona a cabeça do executivo, qual maneira ele utiliza para conseguir achar soluções para os problemas mais complexos do planeta. O material foi construído com entrevistas com o próprio Bill Gates, com Melinda Gates, esposa dele, e parceiros que passaram a vida toda ao lado do executivo. O trailer chama a atenção logo de cara, quando Gates diz que o maior medo dele é que seu cérebro pare de funcionar.

The man, myth and legend of tech and philanthropy — founder of Microsoft and cofounder of the Bill and Melinda Gates Foundation — reflects on his trailblazing work with computer software, starting the largest private philanthropic foundation in history and cooperating with a Netflix docuseries. But first: Davis Guggenheim, the documentary filmmaker best known for the Oscar-winning 'An Inconvenient Truth,' joins Scott to discuss his career and his aforementioned Netflix docuseries about Bill Gates. Credits: Hosted by Scott Feinberg, recorded by Matthew Whitehurst and produced by Matthew Whitehurst and Joshua Farnham.

"Davis Guggenheim who?" we hear you ask. Why, it's no less than the critically acclaimed documentary film-maker behind Al Gore's Oscar winning, carbon-based thriller An Inconvenient Truth and guitar-fetish piece It Might Get Loud. The brothers have great fun discussing their musical ability, their spin on American party politics, and the charisma of the former "next President of the United States of America." If that was not excitement enough, this Yuletide edition includes a customary seasonal triple whammy of delights: The Brothers dip into their outtake collection, the third annual Tomlinson awards, and it's a Pandy editing special! Merry Christmas one and all!

"Davis Guggenheim who?" we hear you ask. Why, it's no less than the critically acclaimed documentary film-maker behind Al Gore's Oscar winning, carbon-based thriller An Inconvenient Truth and guitar-fetish piece It Might Get Loud. The brothers have great fun discussing their musical ability, their spin on American party politics, and the charisma of the former "next President of the United States of America." If that was not excitement enough, this Yuletide edition includes a customary seasonal triple whammy of delights: The Brothers dip into their outtake collection, the third annual Tomlinson awards, and it's a Pandy editing special! Merry Christmas one and all!

"Davis Guggenheim who?" we hear you ask. Why, it's no less than the critically acclaimed documentary film-maker behind Al Gore's Oscar winning, carbon-based thriller An Inconvenient Truth and guitar-fetish piece It Might Get Loud. The brothers have great fun discussing their musical ability, their spin on American party politics, and the charisma of the former "next President of the United States of America." If that was not excitement enough, this Yuletide edition includes a customary seasonal triple whammy of delights: The Brothers dip into their outtake collection, the third annual Tomlinson awards, and it's a Pandy editing special! Merry Christmas one and all!

"Davis Guggenheim who?" we hear you ask. Why, it's no less than the critically acclaimed documentary film-maker behind Al Gore's Oscar winning, carbon-based thriller An Inconvenient Truth and guitar-fetish piece It Might Get Loud. The brothers have great fun discussing their musical ability, their spin on American party politics, and the charisma of the former "next President of the United States of America." If that was not excitement enough, this Yuletide edition includes a customary seasonal triple whammy of delights: The Brothers dip into their outtake collection, the third annual Tomlinson awards, and it's a Pandy editing special! Merry Christmas one and all!

Academy Award-winning director Davis Guggenheim chats with David about the growing negativity of political media, working with Al Gore on An Inconvenient Truth, and the shared pathology between D.C. and Hollywood.

New "Kahnversations Podcast with Actor Jesse Lee Soffer!   In this installation of "Kahnversations," we interview Jesse Lee Soffer. Excelling past an ‘up-and-comer’, Jesse has firmly rooted himself in Hollywood soil, capturing the attention of audiences through his work in both television and film. Jesse currently stars in the NBC drama CHICAGO P.D., which premiers its 4th season in September, where he plays the brash, young detective, Jay Halstead, a character which he also portrayed in the companion series, CHICAGO FIRE and crossed over into a third show, LAW AND ORDER: SVU. Stemming from a long history in television, Soffer got his start on the small screen in 1995, starring in the TV Movie, FROM THE MIXED UP FILES OF BASIL E. FRANKWEILER, opposite the legendary Lauren Bacall, before being cast by director Richard Shepard in AMC’s long-form presentation THE ROYALE. Soffer’s recent television appearances include a co-starring role on THE MOB DOCTOR for FOX, RIZZOLI & ISLES for TNT, and the CBS series’ THE MENTALIST and CSI MIAMI, Jesse also landed major roles in the TV Movies, JODI ARIES: DIRTY LITTLE SECRET and NBC's HATFIELDS AND MCCOYS” opposite Virginia Madsen and Sophia Bush, and was cast as a series regular on the Mary Kate and Ashley Olsen sitcom, TWO OF A KIND. Not limited to only primetime, Jesse made a successful run on daytime television as well, being cast on both CBS serials GUIDING LIGHT and AS THE WORLD TURNS. His portrayal of troubled youth Will Munson earned him three consecutive Daytime Emmy nominations for Outstanding Younger Actor in a Drama Series in 2006, 2007 and 2008, as well as a Soap Opera Digest Award nomination for Outstanding Younger Lead Actor in 2005. Soffer has been able to transition to features as well, in fact, beginning his acting career at the age of 8, starring alongside John Goodman and Cathy Moriarty in the film MATINEE for Universal. Jesse can also be seen in the films, IN TIME, alongside Justin Timberlake, Davis Guggenheim’s GRACIE, opposite Elisabeth Shue and Dermot Mulroney, SAFE PASSAGE, where he plays the son of Susan Sarandon and Sam Shepard, and starred as Bobby Brady in both THE BRADY BUNCH MOVIE, and A VERY BRADY SEQUEL. When he is not filming, Jesse resides in Los Angeles. You can download or subscribe to the podcast for FREE by clicking below. If you like “Kahnversations,” please leave a rating or review on our iTunes page! __________________________________ So many inspiring podcasts out there allow us to hear all about how well-established stars got to where they are today. But those actors are so faaaaaaar away from where so many of us are today! Wouldn’t it be great to hear from the guy who just booked his first pilot? Or the kid finally doing a studio pic after a bunch of low budget indies? Or the woman who’s been a series regular a few times but is only now becoming a name? What about the guy who’s been on a show for years and you know his face but what’shisnameagain? Or that actress who is now a freakin’ showrunner???? How’d THEY do it, right? How did they transition from relative obscurity, bartending and bottle service, to buying that house in the hills? We’re producing “Kahnversations,” a podcast that provides access to THOSE people -- your immediate predecessors -- so that you can learn from them while their battle scars are still fresh. In “Kahnversations,” our own Ryan Bailey interviews some of Lesly Kahn & Company’s working actors, directors, and writers in order to learn how they got started in Hollywood, the challenges and hurdles they faced, and how they overcame the odds. (They also dish out some crazy stories!) Listen in and enjoy as these entertainers speak candidly about their paths, processes, and experiences. You might even hear a bit about how Lesly and the Kahnstitute have influenced and shaped their careers.  

Davis Guggenheim takes the wheel this week in “Deep Water,” an episode that feels like a direct follow-up to the series pilot. Now we’ve got a better handle on the characters, from Al (Ian McShane) and Seth’s (Timothy Olyphant) fiery relationship to Jane (Robin Weigert) and the Doc’s (Brad Dourif) unlikely alliance. J points out that […] The post Hoopleheads: Episode 2 “Deep Water” appeared first on Movie Fail.

Early in his career, Oscar-winning director Davis Guggenheim declared he would never make documentaries. He tells us about the bad experience in Hollywood that made him have a change of heart, and talks about his newest film, He Named Me Malala, which profiles activist Malala Yousafzai and her family.

David and Sue-Anne continue their series: Five Dimensions of Well-Being with the focus this week on the ENVIRONMENT. The featured Alignment Movie is: An Inconvenient Truth. An Inconvenient Truth is a 2006 documentary film directed by Davis Guggenheim about former United States Vice President Al Gore's campaign to educate citizens about global warming via a comprehensive slide show that, by his own estimate made in the film, he has given more than a thousand times. David and Sue-Anne talk about how you can adjust to the climate change that is now self-evident. It’s time to come together and discover a way where we all can collectively make a shift and discover new solutions to the changing world that’s upon us. Watching this Alignment Film with 3 friends is a powerful and empowering first step. An Inconvenient Truth Official Trailer https://www.youtube.com/watch?v=OAK8Cd4t0WA The Intention Session http://peaceofmindovertures.com/intention-session/ How To Make a Shift By Watching Movies http://peaceofmindovertures.com/how-to-make-a-shift-by-watching-movies/

WEB BONUS: Filmmaker Davis Guggenheim joins Elvis Mitchell for a Q&A following a screening of He Named Me Malala at LACMA.

Early in his career, Oscar-winning director Davis Guggenheim declared he would never make documentaries. He tells us about the bad experience in Hollywood that made him have a change of heart, and talks about his newest film, He Named Me Malala, which profiles activist Malala Yousafzai and her family.

On today's Satellite Sisters, Julie has much to say about her foe Vladimir Putin - his birthday, his hockey skills and his seizing the stage in Syria.  Plus, she fills us in on the new Nobel laureate for literature, Belarusian author Svetlana Alexievich.    Speaking of Nobel Prize winners, Liz reports from the London premiere of He Named Me Malala.  She was honored to have dinner with Malala's parents and filmmaker Davis Guggenheim at the event.  Liz's job at National Geographic Channel means she will be working on the movie when it comes to Nat Geo next next year.  Malala and her parents want to be sure that the film gets to the widest possible audience of girls and their parents everywhere. Sheila fills us in on celebrity news from Randy Quaid, Shia LeBoeuf and Gwyneth Paltrow. Gwynnie?  What could she possible have said on Twitter to upset Sheila?   Lian shares some archeological news from the New York Times about British mummies from the Bronze Age.  It's all about peat, apparently.  Plus, she reports on her outfit for the 80"s party she warned us about.   Julie recommends one thing for stress relief.  People, have you tried googling CorgiCon? We recommend.   And finally, it looks like Amazon has started to ship our new book "You're The Best: A Celebration of Friendship".  We hope you enjoy it.  If you do, we'd love for you to post reviews on amazon.com and goodreads.com. 

Matt Damon is currently sitting atop the box office with his starring role in Ridley Scott's The Martian, and we're joined by special guest Zahra Noorbahksh this week as we unpack the stellar sci-fi epic. In addition, we talk up new releases like Davis Guggenheim's latest documentary He Named Me Malala, and the fairy tale reinvention Pan. But that's not all, we also discuss the latest headlines out of Hollywood, including a franchise onslaught that's going to see four more Transformers films, two more Mad Max films, and at least one more Prometheus. All that, plus the usual Listener Letters and back-and-forth banter you've come to expect from the MovieFilm gang! Listen below, or via

The Tuesday podcast with Lian Dolan and Julie Dolan. This week on the show, we cover the new Malala documentary for Davis Guggenheim, He Named My Malala . A wonderful new film about the Nobel Laureate from Pakistan who advocates for global education for Girls, a cause that First Lady Michelle Obama also advocates.    For more information about He Named Me Malala or the Malala Foundation, please visit this website.   For more information about Let Girls Learn, please visit this website.    Sheryl Sandberg's Lean In foundation and McKinsey & Co issued a new report this week about getting women in the top jobs. There's a little good news-- but more not so good news. Lian and Julie discuss the findings. You can read the full report here.    Plus, Julie gives the rundown on what to do in Brooklyn before and after our event at Powerhouse Arena. 

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Climate change, public education, presidential campaigns…and electric guitars? No topic is off limits for Davis Guggenheim, critically acclaimed filmmaker and documentarian behind such influential films as An Inconvenient Truth, Waiting for “Superman”, and It Might Get Loud. His works have changed the course of the national dialogue, bringing issues such as the failures of public education and the impending dangers of climate change to the forefront of political discussion. At his event with the IOP, Guggenheim discussed his latest project He Named Me Malala. It is an international feature-length documentary that follows the story of Malala Yousafzai, a young woman activist from Pakistan, and her father, Ziauddin, who fought against the Talibanization of their hometown Mingora, and more generally his life, the societal impact of his work, and his future projects.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Climate change, public education, presidential campaigns…and electric guitars? No topic is off limits for Davis Guggenheim, critically acclaimed filmmaker and documentarian behind such influential films as An Inconvenient Truth, Waiting for “Superman”, and It Might Get Loud. His works have changed the course of the national dialogue, bringing issues such as the failures of public education and the impending dangers of climate change to the forefront of political discussion. At his event with the IOP, Guggenheim discussed his latest project He Named Me Malala. It is an international feature-length documentary that follows the story of Malala Yousafzai, a young woman activist from Pakistan, and her father, Ziauddin, who fought against the Talibanization of their hometown Mingora, and more generally his life, the societal impact of his work, and his future projects.

El realizador Davis Guggenheim dirige este filme, que cuenta la historia de la apasionada entrega de un hombre decidido a exponer los mitos e ideas equivocadas acerca del calentamiento global y de su prevención. Este hombre es el ex vicepresidente Al Gore, que después de perder las elecciones de 2000 decidió cambiar de rumbo y dedicarse a ayudar a salvar el planeta. Este conmovedor retrato de Al Gore y de su "espectáculo itinerante de calentamiento global" muestra a un hombre divertido, abierto y dispuesto a todo para hacer llegar a la mayor cantidad de gente posible la sorprendente verdad acerca de lo que él llama "la emergencia planetaria" antes de que sea demasiado tarde. Las peores tormentas conocidas en Norteamérica tuvieron lugar en 2005 y Al Gore no se muerde la lengua a la hora de explicar lo que está pasando. El documental, además de exponer claramente los hechos y de hacer algunas predicciones, cuenta la historia personal de Al Gore, desde el universitario idealista que empezó a preocuparse por la crisis medioambiental a escala mundial, pasando por el joven senador que debió enfrentarse a una terrible tragedia familiar, hasta el hombre que casi llegó a presidente pero que regresó a su primera pasión, el medioambiente, convencido de que aún se podía hacer algo

El realizador Davis Guggenheim dirige este filme, que cuenta la historia de la apasionada entrega de un hombre decidido a exponer los mitos e ideas equivocadas acerca del calentamiento global y de su prevención. Este hombre es el ex vicepresidente Al Gore, que después de perder las elecciones de 2000 decidió cambiar de rumbo y dedicarse a ayudar a salvar el planeta. Este conmovedor retrato de Al Gore y de su "espectáculo itinerante de calentamiento global" muestra a un hombre divertido, abierto y dispuesto a todo para hacer llegar a la mayor cantidad de gente posible la sorprendente verdad acerca de lo que él llama "la emergencia planetaria" antes de que sea demasiado tarde. Las peores tormentas conocidas en Norteamérica tuvieron lugar en 2005 y Al Gore no se muerde la lengua a la hora de explicar lo que está pasando. El documental, además de exponer claramente los hechos y de hacer algunas predicciones, cuenta la historia personal de Al Gore, desde el universitario idealista que empezó a preocuparse por la crisis medioambiental a escala mundial, pasando por el joven senador que debió enfrentarse a una terrible tragedia familiar, hasta el hombre que casi llegó a presidente pero que regresó a su primera pasión, el medioambiente, convencido de que aún se podía hacer algo

It's finally time for Adam Scott Aukerman to discuss one of U2′s landmark albums aka their seventh studio album Achtung Baby. They’ll talk about recent U2 news, their thoughts on what the best first U2 single has ever put out is, and Davis Guggenheim’s From the Sky Down documentary about the making of the album Achtung Baby. Plus, Adam gives us an update on reading Harry Potter with his son. Tune in next week as they dive deeper into Achtung Baby in part 2!  This episode is sponsored by Bonobos . Use offer code EDGE to get 20% off.

Documentary Director Davis Guggenheim, best known for "An Inconvenient Truth" and "It Might Get Loud," shares his perspective on how to reform education in America. Check out WaitingForSuperman.com for more info.

#85 Waiting for Superman (2010), de Davis Guggenheim by Civilcinema

In this edition of the Harvard EdCast, Academy Award-winning filmmaker Davis Guggenheim, director of Waiting for "Superman", discusses his film and its impact on education reform.

In this episode of the REAL MOVIES PODCAST, Jon and Rob discuss the 2010 Davis Guggenheim documentary WAITING FOR "SUPERMAN."You can find WAITING FOR "SUPERMAN" streaming on Netflix. You can also buy or rent the movie in the iTunes store.To read Jon's blog on documentaries, go to dontputmetosleep.blogspot.com or to follow him on Twitter, go to twitter.com/jonrhodescholar.To read Rob's blog, visit robcarmack.blogspot.com or to follow him on Twitter, go to twitter.com/robcarmack.Don't forget to check out the AROUND THE WICKET Podcast, a conversation about sports and pop culture.

Lance Izumi Koret Senior Fellow in Education Studies Senior Director, Education Studies Lance T. Izumi, J.D. is Koret Senior Fellow and Senior Director of Education Studies at the Pacific Research Institute for Public Policy (PRI), California’s premier free-market public-policy think tank based in San Francisco and Sacramento. He is the co-author of the groundbreaking book Not as Good as You Think: Why the Middle Class Needs School Choice (San Francisco, CA: Pacific Research Institute, 2007), which has been praised by publications such as The Wall Street Journal and Education Week. He is co-executive producer of the award-winning 2009 PRI full-length film documentary Not as Good As You Think: The Myth of the Middle Class School, which is based on his 2007 book. The film has been broadcast multiple times on PBS. He also appears in Academy Award-winning director Davis Guggenheim’s major 2010 education film documentary Waiting for Superman, which was voted best U.S. documentary at the prestigious Sundance Film Festival. In 2008, The New York Times selected Lance Izumi to be one of its online contributors on the presidential race and education issues. In 2009, The New York Times posted “Sweden’s Choice,” a video op-ed which he wrote and narrated and which has garnered critical praise. He is also the co-author of the book Free to Learn: Lessons from Model Charter Schools (San Francisco, CA: Pacific Research Institute 2005), which has been used as a guidebook for creating high-performing charter schools in New Orleans after Hurricane Katrina. 

 Lance Izumi is the author/co-author of numerous major PRI studies, including the "California Education Report Card: Index of Leading Education Indicators" (1997, 2000, 2003 and 2007 editions), "Failing our Future: The Holes in California’s School Accountability System and How to Fix Them" (2006), "Putting Education to the Test: A Value-Added Model for California" (2004). "They Have Overcome: High-Poverty, High-Performing Schools in California" (2002), "Facing the Classroom Challenge: Teacher Quality and Teacher Training in California’s Schools of Education" (2001), and "Developing and Implementing Academic Standards" (1999). Lance Izumi is a member of the Board of Governors of the California Community Colleges, the largest system of higher education in the nation with nearly 3 million students. He served two one-year terms as president of the Board of Governors from 2008 through 2009, and in 2010 he received an award recognizing his leadership and service. Governor Arnold Schwarzenegger initially appointed him to the Board in 2004 and re-appointed him in 2009. 

 In 2008, the United States Army appointed Lance Izumi to its Los Angeles/Southern California Advisory Board Executive Committee. In that capacity, he assists the Army with its community outreach, image enhancement, and recruiting efforts.
 In 2010, the Army’s Sacramento Recruiting Battalion named him president of its grassroots advisory council. In 2007, Lance Izumi was named to the California Advisory Committee of the United States Commission on Civil Rights. In 2003, United States secretary of education Rod Paige appointed him to the Teacher Assistance Corps, a task force of experts assigned to review state teacher quality plans as they relate to the federal No Child Left Behind Act.

 He also served a five-year term as a commissioner on the California Postsecondary Education Commission, the state’s higher education coordinating body. Lance Izumi is the co-editor of two books: Teacher Quality (Hoover Institution Press and Pacific Research Institute, 2002) and School Reform: The Critical Issues (Hoover Institution Press and Pacific Research Institute, 2001). 

For ten years, he was a regular contributor to the "Perspectives" opinion series on KQED-FM, the National Public Radio affiliate in San Francisco. Prior to going into the think-tank world, Lance Izumi served as chief speechwriter and director of writing and research for California Governor George Deukmejian. He also served in the administration of President Ronald Reagan as speechwriter to United States Attorney General Edwin Meese III. Lance Izumi served as a commissioned officer, holding the rank of captain, in the California State Military Reserve, the state defense force that assists the California National Guard. He was attached to the Public Affairs Office at CSMR Headquarters in Sacramento. During his service, Mr. Izumi was awarded the commendation medal and the achievement ribbon.

 Lance Izumi received his juris doctorate from the University of Southern California School of Law and his master of arts in political science from the University of California at Davis. He received his bachelor of arts in economics and history from the University of California at Los Angeles. Related publications: * Not as Good as You Think: Why the Middle Class Needs School Choice * Putting Education to the Test: A Value-Added Model for Education * The California Education Report Card: 2003 * California Index of Leading Education Indicators: 2000 Edition * California Education Report Card: Index of Leading Education Indicators, 4th Edition * Free to Learn: Lessons from Model Charter Schools * Failing Our Future: The Holes in California's School Accountability System and How to Fix Them * To Serve and Educate: A Handbook for School Board Members

Devin Pike talks with the director of "Waiting For 'Superman'," the highly-touted documentary on pulling education in America back from the brink.

This week: Oscar-winning filmmaker Davis (“An Inconvenient Truth”) Guggenheim schools us on his latest movie… We take a trip down memory superhighway… Apple’s got a Situation… and a meta joke.

02.05.10 :: Oscar-Winning Director Davis Guggenheim (It Might Get Loud & An Inconvenient Truth)Plus, a huge announcement, the week's news and en--- Send in a voice message: https://anchor.fm/relevant-podcast/messageSupport this podcast: https://anchor.fm/relevant-podcast/support See acast.com/privacy for privacy and opt-out information.

02.05.10 :: Oscar-Winning Director Davis Guggenheim (It Might Get Loud & An Inconvenient Truth) Plus, a huge announcement, the week’s news and en

Warren chats with Davis Guggenheim (Director:An Inconvenient Truth) about his last doc, what it means to be an artist, and clueless security guards. http://www.thewarrenreport.com

As the world of brand names and politicians offer their bandwagon platitudes for the summer of 2020 we’ve been thinking a lot about what that means for us. On the surface of it, conversations about wildlife, nature, conservation, climate change, mass extinction, and more – don’t often feel like there is a direct connection with racism, LGBTQ rights, gender equality, rampant runaway nationalism, classism, wealth inequality... And yet, the two worlds of our cultural values and the physical space and beings which inhabit it are completely intertwined. They are intersectional. They are undetachable. That is why we have made the decision to rebrand our podcast. We feel the name “Eyes on Conservation” no longer serves the purpose it once did. We feel that it doesn’t address those issues enough, and instead of simply throwing a #BLM stamp on our Instagram, patting ourselves on the back, and calling it a day, we’ve decided to make social equality and natural conservation - the natural allies that they are - central to our journey forward. And we want you to take the journey with us. We would like to hear from you what you think about this. What ideas you have for a new name, what concerns or questions you have. Please give us your feedback either through email at info@wildlensinc.org or by calling our voicemail at 208-917-3786. We will listen and read everything you send us and would love to share your answers on an upcoming episode. Wild Lens Collective member Sarinah Simons is a freelance filmmaker, activist and intersectional environmentalist currently based in northern California. She works in wildlife management for the state. Sarinah is passionate about telling stories about wildlife and marginalized communities. Her upcoming projects include the Amah Mutsun Tribal Band’s traditional fire practices in California, and A Change in the Clouds, the story of Panama’s indigenous Guna Yala people, jaguar conservation, and the crossroads of climate change. Website: http://www.sarinahsimons.com/ IG: https://www.instagram.com/_sea_legs/ GoFundMe: https://www.gofundme.com/f/change-in-the-clouds-film Wild Lens Collective member Ben-Alex Dupris, aka @Bendigenous, is an enrolled member of the Colville Confederated Tribes, where he grew up. Over the years he has worked in commercial entertainment, tribal language preservation, youth media training and most recently, documenting front-line environmental activism. He is a Concordia Studios Artist-In-Residence Alumni headed by Academy-Award winner Davis Guggenheim, Firelight Impact Producer's Fellow, and a Sundance Institute "Rauschenberg" Producer's Fellow. His directorial debut, Sweetheart Dancers, was a Grand Jury Winner for best short film at OUTFEST LA, and his upcoming PBS American Masters features Pawnee painter Bunky Echo-Hawk as a part of a series curated by Firelight Media. @Bendigenous also teaches “Indigenous Mythology in Film” at Duke University’s Center for Documentary Studies, with upcoming class dates coming up in the 2020-2021 year. The work we’re doing is made possible because of people like our patrons on Patreon. Thank you so much to all of you. Please consider becoming a supporter for as little as a buck a show at www.patreon.com/wildlenscollective ( http://www.patreon.com/wildlenscollective ). A Message From the Native Filmmakers Fighting the Dakota Pipeline at Standing Rock – Speech by John Trudell “We Are Power”, video short produce by Ben Alex and Heather Rae https://www.youtube.com/watch?v=Phre0bArD0M Sweetheart Dancers – Directed and Produced by Ben Alex Dupris https://www.pbs.org/filmfestival/films/sweetheart-dancers Extended Interview: Burning a Forest to Revive a People – Valentin Lopez for PBS explaining the significance of fire practices for the Amah Mutsun Tribal Band https://www.pbs.org/video/valentin-lopez-burns-forest-revive-people-hotbmr/ A Change in the Clouds – Directed and Produced by Sarinah Simons https://www.gofundme.com/f/change-in-the-clouds-film Sea of Shadows – Co-director, Matthew Podolsky https://www.youtube.com/watch?v=QiFjJCUd9ro Music in today’s show by Blue Dot Sessions via the Free Music Archive under Creative Commons licensing.