Podcasts about Development executive

John Maytham is joined by Warwick Eccles, Development Executive at award winning South African production house Mannequin Films, to explore the chilling world of Good Hope, the debut political thriller by Nick Clelland, recently optioned for screen adaptation. Set in a dystopian version of Cape Town, now an independent and heavily surveilled Cape Republic, the novel imagines a society where public executions coincide with the Noon Gun and only the qualified may vote Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

How to structure The Cocktail Pitch, why you are in fact a writer, and what to do during the two week long Houston Rodeo. Lindsey Hughes had much to say from her time as a Development Executive at major studios such as Disney. She now resides in Texas, where she has taken her decades of development experience and teaches networking, writing, and pitching under the name "The Pitch Master". She's as friendly as your neighbor and loves helping people prepare to sell their work. Check out her website, where you can read her blog, sign up for her newsletter or buy her book at: www.thepitchmaster.com Or follow on instagram @thepitchmaster Follow us @nativetonguespod for more content. If you're enjoying this, please follow us and leave a rating and review on Apple Podcasts, or share with a friend!

Episode Summary Amber Anderson is a Learning & Development Executive and Leadership Coach specializing in empowering empathetic and sensitive leaders to navigate the challenges of burnout, self-doubt, and overwhelm. Who's your ideal client and what's the biggest challenge they face? What are the common mistakes people make when trying to solve that problem? What is one valuable free action that our audience can implement that will help with that issue? What is one valuable free resource that you can direct people to that will help with that issue? What's the one question I should have asked you that would be of great value to our audience? When was the last time you experienced Goosebumps with your family and why? Build Unshakeable Leadership Confidence in 10 Minutes a Day Get in touch with Amber: LinkedIn, Website Timing Validation Focus Validate your strategic timing with precision using the KAIROS assessment system. Book your 30-minute KAIROS Strategic Assessment (€147) and transform intuition into data-driven confidence. When you know exactly WHEN to move, not just HOW, transformation becomes inevitable.http://strategy.uwedockhorn.com/

In this special episode of Craftcast, our hosts sat down with Peter Younger, Development Executive of the Widows Sons Masonic Bikers Association. The Widows Sons bring together two great passions—Freemasonry and motorcycling—forming one of the most recognisable Masonic Associations in the world. With Chapters across the world, their mission goes beyond just riding and wearing distinctive leather jackets: they raise incredible sums for charity, foster brotherhood, and introduce Freemasonry to the broader biking community. Peter also shares personal insights into the camaraderie and sense of purpose that being part of this group provides.Find out more about the Widows Sons and their incredible work at https://www.wsmba.uk/

Join us for an inspiring conversation with three incredible creatives shaping the entertainment world! Meet our special guests: Miatta Vincent Ronca Screenwriter and Executive Producer Miatta Vincent Ronca has optioned several films, including Once Upon a Wedding to Foxboro Productions and Butterflyto Sidney Kimmel Productions. In 2019, she won the Writers Lab Screenwriting Competition, and in 2020, she was a semifinalist in the CineStory TV Fellowship Contest. Later that same year, she debuted her sketch show Miatta's Festival Show on TikTok. In 2022, she formed her production company, II of Cups Productions. In 2024, her screenplay The Academy was a semifinalist in The Pan African Film Festival's John Singleton Competition. Her short film The Devil Ain't Pius premiered at the Essence Film Festival in July 2024 and was nominated for Best Short Film at the Bronzelens Film Festival in August. Keena Ferguson Frasier Director / Producer Keena Ferguson Frasier is an actor's director. Having starred in TV shows like Atlanta, The Young and the Restless, S.W.A.T., Sistas, Lessons in Chemistry, and many more, Keena has become a director that actors love to work with. She is an NAACP award winner and an HBO nominee for her film Lindon Passing, which she wrote and directed. Recently, she directed seven episodes for season 2 of the AMC series Lace and two episodes of the Chicago drama KoldxWindy for season 2. Delece James Producer Delece James is an experienced Development Executive and Executive Producer in the television and film industry. Her recent successful projects include American Gangster: Trap Queens, First Lady of BMF: The Tonesa Welch Story, and The Devil Ain't Pius. She is also a philanthropist and an active member of several organizations. Delece's passion lies in showcasing diverse content and challenging industry norms. Don't miss this chance to gain insights from these powerful voices in the industry! Watch the weekly LIVE stream on ⁠⁠BraveMaker ⁠⁠⁠YouTube⁠⁠⁠⁠⁠. Follow BraveMaker on social media: ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ ⁠⁠⁠⁠TikTok⁠⁠⁠⁠ ⁠⁠⁠⁠Facebook⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/bravemaker/support

Jared Reynolds has been in the field for over a decade. He helped launch a business accelerator, and thinks that experience will help him in his new role.

Phantom Electric Ghost Podcast With Gretchen Villegas: Global Development Executive Global social impact: How to impact the world? Gretchen Villegas is a seasoned Executive leader with 25+ years of experience specializing in mission-driven innovative program designs through partnership development, impact scaling, and revenue growth.  She has professional experience in managing international country programs in vulnerable communities with a portfolio total of over $320M+ funded by both public and private donors. Gretchen has early experience as a Peace Corps Volunteer in South America, and a 15+ year career managing USG-funded programs in Latin America and Africa, working in partnership with communities, local and international private sector partners, philanthropists, impact investors, and governments to find sustainable solutions to poverty so that marginalized households realize a viable pathway to a resilient, dignified life.   Gretchen has wide-ranging expertise in executive level leadership of global program portfolio effectiveness through evidence and data, intentional program design to optimize impacts for vulnerable children and their families, rigorous research to learn and adapt in program implementation, and revenue strategies to scale and enhance reach of programmatic initiatives. Link: https://www.gretchenvillegas.net/ Donate to support PEG free artist interviews: PayPalMe link Any contribution is appreciated: https://www.paypal.com/paypalme/PhantomElectric?locale.x=en_US Support PEG by checking out our Sponsors: Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription. The best tool for getting podcast guests:  Podmatch.com https://podmatch.com/signup/phantomelectricghost Subscribe to our Instagram for exclusive content: https://www.instagram.com/expansive_sound_experiments/ Donate to support PEG free artist interviews: Subscribe to our YouTube  https://youtube.com/@phantomelectricghost?si=rEyT56WQvDsAoRpr PEG uses StreamYard.com for our live podcasts https://streamyard.com/pal/c/6290085463457792 Get $10.00 Credit for using StreamYard.com when you sign up with our link RSS https://anchor.fm/s/3b31908/podcast/rss

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Ever found yourself walking down a path only to realize life had other plans for you? Today's episode is about unexpected turns, growth, and the passionate pursuit of support for those who need it.Sometimes a pivot is more than a career change; it's a life mission. Kelley Coleman is a Feature Film Development Executive turned Author and Advocate for parents , caregivers, and individuals with disabilities. Her writing is an extension of her Before Times career developing talking animal movies, and also a few fun disaster movies! Her book Everything No one Told Your About Parenting a Disabled Child: Your Guide to the Essential Systems, Services, and Supports ( Hachette , 2024) is a singular guide to accessing the supports disabled children need to thrive. And it's weirdly not boring, she swears! ( her words, not mine;)Her advocacy draws upon over a decade of firsthand experience, including advocating for her own  kiddo, who has multiple disabilities. Discover why Kelley has never looked back, the lessons she's embraced, and how she's lighting the way for others. Get ready to be inspired and see your own pivot in a new light!Connect with Kelley:Instagram - @hellokelleycolemanOrder Everything No One Tells You About Parenting A Disabled Child on Kelley's Website - www.kelleycoleman.comJoin the Club :Follow on instagram - @hollywoodsecondactclubSign up for our Newsletter. Subscribe here. Coaching Services:If you are interested in coaching and working together, schedule a time for a virtual coffee and let's talk! I'd love to hear about your goals and see if I can be helpful hello@hollywoodsecondactclub.com Rate, Review, & Follow on Apple Podcasts:"I heart Alexis and The Hollywood Second Act Club Podcast" If that sounds like you, please consider rating and reviewing my show! This helps me support more entertainment industry professionals–just like you–in crafting their own Fabulous Second Acts. Click here, scroll to the bottom, tap to rate with five stars, and select “Write a Review.” Then, be sure to let me know what you loved most about the episode!Also, if you haven't already, follow the podcast wherever you get your fix . I'll be adding lots of goodies to the feed–and if you're not following–there's a good chance you'll miss out. Follow now!00:00 Introduction to the Podcast01:10 Guest Introduction and Fun Anecdotes02:34 Balancing Career and Family06:00 Hollywood Career Journey10:57 Transition to Advocacy and Writing15:50 Writing the Book and Its Impact24:18 Current Life and Advocacy Work33:12 Final Thoughts and FarewellLove This Episode ? Send Me A Text Message and Let Me Know What Hit Home!

Karen Bolt, the Development Executive for actor and activist Danny Glover, and an accomplished Independent Producer, is a close friend of our OWC RADiO host, Cirina Catania. Over the years, Karen and Cirina have collaborated on several of Mr. Glover's projects, including insightful interviews with Bob Moses head of the Algebra Project in San Francisco and one of the key instigators of the Civil Rights Movement in the 60's. They also shared memorable experiences in Salt Lake City during the filming of "Just a Dream," directed by Danny Glover. Karen's impressive portfolio includes award-winning short films like "The Secret Weapon: Yesterday is Today" and "The McHenry Trial-Don't Judge a Kid by Their Hoodie," which have collectively garnered over 147 awards. In this episode, she shares invaluable advice for aspiring independent producers, drawing from her extensive experience in the industry. Cirina says, "As a poignant aside, after we hung up, I realized that our conversation reminded me of the fact that it has been 60 years since the Civil Rights Act was passed—a milestone closely tied to the legacy of Bob Moses, a key figure in that movement. We'll dive deeper into that topic in a future episode." Thank you for tuning in to OWC RADiO. Don't forget to like, subscribe, and many thanks to Other World Computing for sponsoring our show. Visit MacSales.com for an amazing selection of gear! ABOUT OUR HOST CIRINA CATANIA: Cirina Catania, is a successful filmmaker, former Sr Vice President of Worldwide Marketing at MGM-UA and United Artists and one of the co-founders and former director of the Sundance Film Festival. She is the founder, CEO and Executive Director of the non-profit, High School Media Collective. Cirina is Founder/Lead Creative at the Catania Group Global, Showrunner and Host of OWC RADiO and partner, Lumberjack System, as well as Tech Ambassador for companies such as Blackmagic Design.  She is a long-time member of the Producers Guild, Writers Guild, Cinematographers Guild, the National Press Club, National Press Photographer's Association, and more. She has worked as a writer, director, supervising producer, cinematographer, post-producer, or marketing exec on over 150 film, television and new media projects for the big screen as well as for networks such as National Geographic and Discovery. Cirina is based in San Diego, D.C. and Berlin when she is not on the road filming in the Amazon or other exotic locations. She is very proud of the fact that she has not yet contracted Malaria and that after all these years, she still loves her job! ABOUT OWC: Other World Computing, under the leadership of Larry O'Connor since he was 15 years old, has expanded to all corners of the world and works every day to create hardware and software that make the lives of creatives and business-oriented companies faster, more efficient and more stable.  Go to MacSales.com for more information and to discover an ecosystem that serves your needs. As Larry says, “Our dedication to excellence and sustainable innovation extends beyond our day-to-day business and into the community. We strive for zero waste, both environmentally and strategically. Our outlook is to the long term, and in everything we do, we look for simplicity in action and sustainability in practice. For us, it's as much about building exceptional relationships, as it is about building exceptional products.”

Could overcoming addiction be as simple as taking a pill?And what if psychedelics could be our gateway into healing mental health and obesity struggles?Today's conversation is nothing short of fascinating.Join me and special guest Mark Haden and Adi Zuloff-Shani from Clearmind Medicine as we dive deep into the current landscape of psychedelics in the health and wellness space.They share about an incredible new molecule that is currently starting clinical trials and showing promising lasting effects on addiction, depression and obesity.Mark Haden Mark Haden is a trailblazer in the field of psychedelic medicine, currently serving as Director of Clinical Research at Psygen and Adjunct Professor at the University of British Columbia School of Population and Public Health. He was a co-founder and spent 10 years as Executive Director of the renowned Multidisciplinary Association for Psychedelic Studies Canada (MAPS). Haden has dedicated the last 30 years to public education and training on drugs and drug policy, including advising the Health Officers Council of British Columbia on the issues of a regulated market for all currently illegal drugs as well as working with Addiction Services in counselling and supervisory roles. He is a frequent keynote speaker and distinguished author on the issues of drug control policy and psychedelics and was awarded the Queen's Diamond Jubilee Medal for his work on drug policy reform in 2013.Adi Zuloff-Shani, PhD Chief Executive Officer at Clearmind MedicineDr. Adi Zuloff-Shani is a Biomedical Research and Development Executive with a vast experience with over 20 years of strategic and operational leadership in the healthcare industry and a deep understanding of therapeutics development in heavily regulated environments. She has expertise in the Pharmaceutical industry, leading cell and drug development through drug and product development, CMC, non-clinical, all stages of clinical development, as well as clinical development strategies and regulatory (FDA, EMEA, others) interactions, NDAs, leading INDs, as well as parallel EU activities. Dr. Zuloff-Shani holds a Ph.D. in human biology and immunology from Bar-Ilan University, Israel.******************Connect with Clearmind Medicine Team:Facebook: https://www.facebook.com/ClearmindMedicine Twitter: https://twitter.com/ClearmindCMND YouTube: https://www.youtube.com/channel/UCg_JDmUZSqstavsbd3zYmmg Instagram: https://www.instagram.com/clearmindmed/ LinkedIn: https://ca.linkedin.com/company/clearmind-medicine ******************➠ Discover the unique ROOT CAUSE that is keeping you stuck on the sugar rollercoaster every year. Take the QUIZ HERE NOW. ➠ Ready to finally kick your emotional eating habit and build a new healthy relationship with sugar from the inside out? Say goodbye to late night snacking and stress eating for good. Get immediate access to my exclusive and FREE Kick Emotional Eating 3 Part Training here. ➠  Want to stay connected and work with Dani during her year off? Come join us in the Sugar Freedom Collective Monthly Community HERE.   ******************Come hang out with me and keep the conversation going on social media:Instagram: https://www.instagram.com/danielleda

Ever wondered what it's really like to be one of those elusive "suits" in Hollywood? Mike and Lance dive deep with Loni Rodgers, the horror-loving Development Executive from Bassett Vance Productions (yes, those Bassetts and Vances). In this eye-opening chat, Loni debunks the myths about the people above the line, revealing her own journey from film fanatic to executive. She shares insider scoops on industry trends, the hustle behind the scenes, and the serendipitous moments that paved her way. And just for fun, you'll never guess which horror icon Loni would hit the bar scene with! This episode is a fascinating peek into the collaborative chaos of filmmaking, proving that even the suits have a creative fire burning bright. --------------------------------- Music by Mitch Murder ►Loni's Website: bassettvanceproductions.com/ ►Mike Pecci's IG: instagram.com/mikepecci ►Lance's Instagram: www.instagram.com/golancego/ ►ILWP's IG: instagram.com/inlovewiththeprocesspod

--------------------------------- Music by Mitch Murder ►Loni's Website: https://bassettvanceproductions.com/ ►Mike Pecci's IG: instagram.com/mikepecci ►Lance's Instagram: www.instagram.com/golancego/ ►ILWP's IG: instagram.com/inlovewiththeprocesspod

Global development executive discusses bridging the gap for vulnerable communities Gretchenvillegas.net About the Guest(s): Gretchen Viegas is a global development executive with over 25 years of experience in the field. She specializes in mission-driven, innovative programming for vulnerable communities through partnership development, impact scaling, and revenue growth. For the first 15 years of her career, Gretchen lived and worked in Latin America and East and Southern Africa. In the past decade, she has been forging partnerships between non-profits and for-profits to do business for good. Gretchen is passionate about finding solutions to global challenges and believes in the power of collaboration to create positive change. Episode Summary: In this episode of The Chris Voss Show, host Chris Voss interviews Gretchen Viegas, a global development executive with extensive experience in the field. Gretchen shares her insights and experiences working in emerging markets and developing nations, where she focuses on helping vulnerable communities gain access to necessities such as clean water, food, housing, and education. She emphasizes the importance of listening to the needs of the community and working together to find sustainable solutions. Gretchen also discusses the role of for-profit and non-profit partnerships in addressing global challenges and achieving the United Nations Sustainable Development Goals. Key topics discussed in this episode include the impact of poverty, homelessness, and lack of clean water on communities worldwide, the need for collaboration between for-profit and non-profit sectors to address global challenges, the importance of empathy and understanding different cultures, and the role of youth in driving positive change. Key Takeaways: Global development is about partnering with vulnerable communities to help them access necessities and improve their quality of life. Collaboration between for-profit and non-profit sectors is crucial in addressing global challenges and achieving sustainable development goals. Understanding and empathizing with different cultures is essential for effective global development work. The youth play a significant role in driving positive change and shaping the future of global development. Businesses can make a profit while also making a positive impact on society and the environment. Notable Quotes: "It's not about showing up with the answers or with money and resources. It's about listening to what's important to the community and being a partner in finding solutions." - Gretchen Viegas "We need the for-profits and the innovation and creativity, along with the nonprofit boots on the ground, to come together and solve the big challenges we face." - Gretchen Viegas

Tonight on The Panel, Wallace Chapman and panellists Kathryn Graham and Simon Wilson discuss the removal of free evening and weekend parking in the Auckland CBD, and the impact of the solar storm on our power grid. Kathryn Graham is a Development Executive at the New Zealand Film Commission. Simon Wilson is a Senior writer for the NZ Herald.

Tonight on The Panel, Wallace Chapman and panellists Kathryn Graham and Simon Wilson ask where have all the Swiss Army Knives gone. They also discuss paying for scans during pregnancy and the Wellington lawyer taking Jetstar to the disputes tribunal. Kathryn Graham is a Development Executive at the New Zealand Film Commission. Simon Wilson is a Senior writer for the NZ Herald.

In this episode, Rory chats with Darren O'Sullivan who is a Development Executive with Enterprise Ireland. They chat about graduating from UCD with a masters in Mechanical Engineering with Business, his internship in Amsterdam 3D printing bridges, his modelling career and his plans for the future.

Jennifer Sutherland is a Training and Development Executive, an Adjunct Professor, and all around amazing human being. As we close out #WomensHistoryMonth Jennifer wanted to highlight the legend, Dolly Parton. Some people's impact can feel underrated because it is everywhere! We buzz about Dolly, Jennifer's teaching career, and about our history together as colleagues. Enjoy! #WomensHistoryMonth #BaxtersBuzz #DollyParton #Mentorship Angelic 8s: A Letter To Zara" is available: ⁠https://amzn.to/37BIX44 --- Support this podcast: https://podcasters.spotify.com/pod/show/baxter-hall/support

Holly Carney and her husband John Carney, NFL Place-kicker [23 years], began fundraising through their 501c3 Kick Start for Kids which raised over 60% of the revenue for Freshstart Surgical Gifts, in their first thirteen years. Today, Freshstart has its own wing in Children's Radys Hospital. Holly and John went on to open several more 501c3s: Breaking the Walls of Jericho to help teens in crisis, Dinner with the Pros which aided several Catholic Charities in Southern California, The John Carney Foundation to aid families in need, and God's Rave which gathered youth groups for the summer months to allow youth ministers a rest and support.As an educator, Holly wrote a children's book regarding step-mothers and produced a song to accompany her book. Holly opened her first company to launch an online store for her children's book Wicked Not, along with apparel and cards for blended families.Over two decades, Holly created and wrote curriculum for a variety of elementary school, junior high and high school programs involving athletics and faith formation. In parallel, her enthusiasm for creating and teaching transitioned into her passion for producing family friendly films and development for content in film and television.Holly began her career in the film industry as a Development Executive for the Independent Film space. Holly works alongside her adult children, JD Carney and Kiki Carney, to make a difference leaving a positive impact on the culture through film.I enjoyed our conversation and I'm sure you will too! Be sure to connect with Busy Living Sober! Facebook: https://www.facebook.com/busylivingsoberpodcastInstagram: https://www.instagram.com/elizabeth_chance_podcast YouTube: https://www.youtube.com/@elizabethchance X/Twitter: https://twitter.com/BusyLivingSober Pinterest: https://www.pinterest.com/elizabethlchance/busy-living-sober/   Sign up for email updates: http://eepurl.com/iDtRnw  Read more about Holly's work: https://www.imdb.com/name/nm9016529/Holly's website: https://www.hollycarney.com/ Instagram: https://www.instagram.com/hollypeoplescarney For more information, feel free to reach out to me at elizabeth@elizabethchance.comThanks for listening! Always remember, you're not alone! Remember you can reach out to me at elizabeth@elizabethchance.com You are NOT ALONE I PROMISE! Wishing you a happy, happy!Love, Elizabeth aka Bizzy  

Your host and engineer trained author Michael Anderson talks Political Tribalism, how the left & right thinks and behave, how we bashed and criticized the Democrats and Republicans. I will provide the link to see where are your values and political leanings based on responses.Follow Michael Anderson...His websitehttps://mikeandersonsbooks.com/Twitterhttps://twitter.com/MAndersonsblogSurvey your political orientationhttps://yourmorals.org/If you want to be a guest on my podcast, you NEED to sign up to Podmatch, by clicking on the link https://www.joinpodmatch.com/politically-high-tech Hosted on Acast. See acast.com/privacy for more information.

Every December we bring together a couple hundred leaders from our 15 different Peer Groups. On this week's episode, you get to hear the executive perspectives panel from that meeting, featuring Heather Stewart the President of ILLUME, and Jon Lundthe VP of Operations at Twin City Fan. Enjoy our conversation as we discuss leadership and workforce development.   Request a Peer Group Invitation

The final ever episode! This week, my first ever guest, Georgia Goggin is back! As a producer, Georgia has been collaborating with writer/director Dionne Edwards for over a decade under their banner Teng Teng Films. Georgia was nominated for the Breakthrough Producer BIFA for her work on their critically acclaimed debut PRETTY RED DRESS. Their previous film, the celebrated 2016 short WE LOVE MOSES won multiple awards, screened at festivals worldwide, has been licensed by Canal+, Netflix, HBO and is now available on Disney+. Georgia's writing and directing credits include BEND, which was backed by BBC Drama and comes to Short of the Week in December 2023, and SORRY FI DISTURB YUH (written by Russeni Fisher) which was nominated for the Outspoken Prize for Poetry in Film. Georgia has a feature in development with The Electric Shadow Company and a TV series with The Development Partnership. Georgia is an alum of Sundance, EIFF and Rotterdam talent development programmes. She is also Development Executive at The Uncertain Kingdom. We talk about becoming a writer and director in her own right and a whole host of reflections on making a film during a pandemic, making a creative career and well, making a life… Plus! Georgia asks me some questions about how the podcast got started, how it's evolved and what it's taught me…   SHOW NOTES Find out where you can watch PRETTY RED DRESS Apply for The Uncertain Kingdom's Short Film Production Fund Listen to our first conversation!  

Melanie DiPietro currently serves as the COO and Head of Development at the American and Swedish production company, Stockholm Syndrome. In her role, she oversees a diverse development slate across multiple territories, languages and genres. The company in its previous incarnation was the LA branch of the Swedish production company Brain Academy. As the Head of Development at Brain Academy, she helped champion the second season of Swedish Dicks (Pop), developed the eco-triller Last Light (Peacock) and Executive Produced the sci-fi family television series, Home Invasion, which aired on Viaplay in the summer of 2021 and is now available on Amazon Prime. She has a over a decade of experience working as a Producer and Development Executive and prior to her role at Brain Academy, ran her own production company which produced several short films and independent features. On this episode Jess and Jenn dive into Melanie's journey as a producer getting her start in Miami and her transition to Los Angeles where she now produces International content. How she got his start in the industry How she also worked as a script supervisor and that lead to the next chapter of developing and producing content Strike talk: how it's going and how she thinks the industry will change coming out of the strike She breaks down why it's taken so long for unions to rise against the streamers and how streamers originally structured deals How important understanding contracts are in the industry How to advocate for yourself and others on your crew when you see people getting taken advantage of What is coming up for Melanie next! Episode Resources: Melanie's IMDB Melanie's Instagram ──────────────────────────── ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting --- Send in a voice message: https://podcasters.spotify.com/pod/show/tipsycastingpodcast/message

Gibby and John Arezzi discuss the 2023 World Series, Jays free agents, Whit Merrifield, and if Cody Bellinger might be a good fit for Toronto in 2024. Former Blue Jay 2nd Baseman Orlando Hudson joins for another Gabbing With Gibby. Gibby and John Roast the San Diego Padres and Toast as the new MLB champs!

How AI will Affect Unscripted TV A Conversation with TV Development Executive Brent Jacoby In today's episode, I have a conversation with Brent Jacoby, a seasoned unscripted TV Executive Producer, Development Executive and Founder of Superspark.ai, all about how AI will affect unscripted TV. We chat about how to leverage AI tools to revolutionize the development and pitch process of unscripted TV, AI's impact on enhancing creativity within development teams and how AI-powered algorithms fuel and streamline the creative process, from ideation to show pitches. We'll end the conversation by trying to uncover the ethical considerations at the intersection of AI and creativity, while recognizing the invaluable role of human intuition in this evolving landscape. Learn how to use cutting edge technologies, workflows and tools to be a more creative and productive filmmaker. Listen to podcasts or watch tutorials by filmmakers for filmmakers on AI / Generative AI, Virtual Production, Cloud Production, AR/VR, NeRF / LIDAR, Drones and 3D Printing! Learn more at https://www.CreativeSpark.ai

Amazon Studios Senior Development Executive Sarah Christie talks about working as an entertainment lawyer before making the shift to development producer with Goalpost Pictures and then joining the scripted team at Amazon. She explains their strategy going forward, the difference in developing and writing projects with a streamer, what makes a great pitch, and why it was a no-brainer to greenlight their newest project the Lost Flowers of Alice Hart, which launched on Prime Video on the 4th of August.

We welcome YOU back to America's leading higher education podcast, The EdUp Experience! It's YOUR time to #EdUp In this episode YOUR guest is Kevin Grubb, Associate Vice Provost of Professional Development & Executive Director of the Career Center at Villanova University YOUR cohost is Robert W. Brown⁠, Esq., President of the ⁠University of West Los Angeles⁠ YOUR host is Dr. Joe Sallustio & YOUR sponsor is Commencement: The Beginning of a New Era In Higher Education! Why is career experience closely tied to purpose & mental well being? What is one of the most valuable skill set for potential employers? What does Kevin see as the future of Higher Ed? Listen in to #EdUp! Thank YOU so much for tuning in. Join us on the next episode for YOUR time to EdUp! Connect with YOUR EdUp Team - Elvin Freytes & Dr. Joe Sallustio ● Join YOUR EdUp community at The EdUp Experience! We make education YOUR business! --- Send in a voice message: https://podcasters.spotify.com/pod/show/edup/message

We consume information all of the time, but how much of that are we actually internalizing and learning? In my conversation with Abbie Mirata, Learning & Development Executive and Founder of The Intrapreneur Project, we discuss the importance of investing in learning in your organization, how to create a culture of learning and development in your team, and the power of "intrapreneurship" in empowering our team members to realize their full potential across their job and their passions. About Abbie: Abbie is a Learning & Development executive who has spent time both in the corporate space and as an entrepreneur. She is also the Founder of the Intrapreneur Project, a program dedicated to guide driven intrapreneurs to be personally fulfilled, grow professionally, and create inspired impact inside and outside their organizations. Grab Abbie's freebie "From Job to Joy": https://abbiemirata.com/job-to-joyLearn more about The Intrapreneur Project; https://abbiemirata.com/tip ** To get on the list for my upcoming Q&A sessions and "manager tip of the week" exclusive to my community, send the text MANAGER to (415) 234-5716. This text goes right to me, so feel free to ask any questions there as well, or share your questions for upcoming AMA episodes. Looking for support for your team? Reach out to hello@liagarvin.com to learn more about one of my four core focuses for teams:Manager Development - Micro to Macro Manager Development ProgramEmployee Engagement - Focus Groups & Action Planning WorkshopsRetaining Women - Accelerate Group Coaching Program for WomenFor Entrepreneurs & Founders - Billion Dollar Ops Playbook for Million Dollar Businesses -- Connect with me!LinkedIn: LinkedIn.com/in/liagarvinInstagram: instagram.com/lia.garvinWeb: liagarvin.comMusic by Y8S: isaacy8s.com

A former newspaper reporter, Aydrea Walden is currently a Staff Writer for Disney Jr., and has also written for Nickelodeon, Highlander Films, Now Write! Screenwriting Book Series, Makers Studios, The Walt Disney Company, and Amazon. She recently worked as a Development Executive at NBCUniversal Digital Enterprises where she helped create programming for the award-winning DreamWorksTV YouTube channel; and developed long form kids and family programming.Aydrea is the creator and star of the Webby-nominated series, Black Girl in a Big Dress. She is a multiple Moth StorySLAM winner, and recently completed the East Coast premiere of her one-woman show, The Oreo Experience: A Total Whitey Trapped in a Black Chick's Body, based on the blog of the same name, which has been featured in GOOD Magazine and Jezebel.com

Mel and Brooke sit down with Anastasia Rutkowski to chat about her career as an actor, working hard to be lucky, and moving from NYC to LA. Anastasia details the highs and lows from her journey to becoming a Development Executive. We'll learn a little bit about what a career path in showbiz looks like, what exactly a beautiful connoisseur of drink making does, and whether acting is the stuff of dreams or pure insanity. Follow Anastasia at: @arutkowski This week for Black History Month we're highlighting Black playwrights, check out these recommendations from Brooke! Katori Hall - The Mountaintop Suzan-Lori Parks - Topdog/Underdog Danai Gurira - Eclipsed Don't forget to join the Moms Art Too community at https://www.patreon.com/momsarttoo Ratethispodcast.com/momsarttoo Momsarttoo.com --- Send in a voice message: https://anchor.fm/momsarttoo/message Support this podcast: https://anchor.fm/momsarttoo/support

Hosts Katie Walsh and Blake Howard join multi-hyphenates filmmaker-film festival director Jason Fitzroy Jeffers and studio executive-film director-critic-programmer-screenwriter-educator Brandon Harris to talk about MIAMI VICE (2006) holding an uncomfortable mirror up to the reflection of early 2000s Miami.Join our Patreon for as little as $1 a month for an exclusive weekly podcast Rum and Rant + access to the OHM discord here.ABOUT JASON FITZROY JEFFERSJason Fitzroy Jeffers is a filmmaker from Barbados whose work focuses on giving rooted and nuanced voice to the Caribbean, pockets of subtropical Black life across the American South, and other marginalized, equatorial, Afro-diasporic spaces.As a filmmaker, he has produced award-winning shorts such as Papa Machete and Swimming in Your Skin Again that have screened at film festivals such as Sundance, BlackStar, TIFF, Sheffield and more. More recently, he co-directed the short film Drowning by Sunrise for The Intercept, and produced T, the 2020 winner of the Golden Bear for Best Short Film at Berlinale. Prior to this, Jeffers was a journalist with The Miami Herald, and his writing has also appeared in outlets such as American Way and Ocean Drive.In addition to his film work, Jeffers is also the Founding Director of the Miami-based Caribbean filmmaking collective Third Horizon, which stages the annual Third Horizon Film Festival, a showcase of cinema from the Caribbean, its diaspora, and other underrepresented spaces in the Global South. It was named one of the “25 Coolest Film Festivals in the World” in 2019 and 2021 by MovieMaker Magazine. For this and other work at the intersection of filmmaking and social justice, Jeffers was named a 2019 Ford Foundation / Rockwood Leadership Institute JustFilms fellow.Jeffers is currently in development on two feature-length projects: he is co-writing and producing Untitled Opa-locka Project, a science fiction set in inner-city Miami, which has been supported by Sundance Talent Forum, SFFILM and Cinereach; and he is also directing The First Plantation, a documentary on the fight for reparations in Barbados for which he was named a Doc Society New Perspectives fellow.ABOUT BRANDON HARRISOriginally from Cincinnati, Ohio, Brandon Harris has worked in the world of American Cinema as a studio executive and film director, critic and programmer, screenwriter and educator. Formerly a Development Executive for Amazon Studios, where he oversaw productions such as Master (2022) and The Voyeurs (2021) and acquisitions such as Blow the Man Down (2020) and Time (2020), Harris's lauded writings about cinema, politics, culture, and the intersections between them have appeared in The New Yorker, The New Republic, The Guardian, VICE, The Daily Beast, Variety, N+1, The New Inquiry, Brooklyn Rail, In These Times, Hammer to Nail, and Filmmaker Magazine, where he remains a contributing editor. Harris, formerly the festival programmer at the Indie Memphis Film Festival, is the director of Redlegs (2012), a New York Times Critics Pick. His genre bending mix of memoir and history Making Rent in Bed-Stuy, released in 2017 by Amistad Books, is a New York Times Book Review Editor's Choice and was named a Vogue Magazine book of the year.Join our Patreon for as little as $1 a month for an exclusive weekly podcast Rum and Rant + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON:ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, Brent Webb, development executive at Mortenson, talks to F&C reporter J.D. Duggan. Webb talks about creating buildings in Rochester, Minnesota, with the mindset that what they create there could help researchers on their path to save lives.

We talk to development executive Alex Hedlund.We talk at length about Matt Damon movie The Great Wall, why it failed, how he was involved and when he realised it was going wrong.He tells us what he learned from working on it, how it impacted his career and how it killed a genre.Alex talks about giving and taking notes, how he now chooses his projects and working on sensitive documentary topics.A great interview full of great advice.

We are honored to welcome Scott Goldstein, VP of Development and Casting and Bright Spot Content an All 3 Media American Company, who joins us from Los Angeles.Here are all the amazing accolades that Scott has achieved in his incredible career. "Scott Goldstein serves as VP of Development and Casting for Bright Spot Content. Scott plays a central role in the creation of new concepts as well as the selection of on-screen talent for the company's development and current productions. With seventeen years of experience in unscripted production, Scott has worked in multiple roles on top-rated shows. His early credits include casting for gameshow, dating, competition and reality series including Deal or No Deal, Beauty and The Geek, Wipeout, Flavor of Love and Below Deck. He went on to become a producer, helping to craft storylines for popular series, such as Jerseylicous, Chicagolicious, The Glam Fairy and The Customer is Always Right. In recent years, Scott has worked as a Development Executive for successful production companies, including Story Monster TV (an Endemol Shine Company) and Discovery Studios, before taking up his current position at Bright Spot Content."We met Scott when we filmed a reality TV Show sizzle reel with our dance studio Prestige Dance and Performing Arts Centre about 7 years ago. Sadly nothing ever came from the show but we had a ton of fun going through the process. Scott talks about how many shows get worked on and never make it and how fun and rewarding it is to work on a show that does make it and becomes a part of pop culture. We find out how Scott got into the industry and how working on Deal or No Deal for 3 years changed everything for him. He worked with Howie Mandell and Megan Markle. He travelled the country where 8000 people would show up to audition. They got to change some peoples lives by giving them $ 1,000.000.He tells us that if you win on THE PRICE IS RIGHT you have to pay taxes on all the prizes. We share the story of Scott's amazing proposal to his beautiful wife Adrian on the Steve Harvey Show and he tells us the truth what really happened, the scheme he had to come up with andall the behind the scenes details. Scott's wife opened the Mane Addict hair salon during Covid and is one block from Rodeo Drive. We talk about the San Francisco 49ers the curse of the Dallas Cowboys and of course Jimmy GQ Garappolo. Scott worked with Bob Saget on the American Game show 1 vs 100 and he says that Bob Saget was one of the nicest people he has ever had the pleasure working with. He says that Bob was the ultimate professional and would shake every crew members hand every single night thanking them. Scott has worked with a lot of people, but Bob Saget was the onlyone to ever do that. Then he tells a hilarious story about Bob Saget when he would work on his risque stand up comedy in between commercial breaks.The most popular show he has put together recently is "Hotties" on Hulu. "MARCELLA IS SINGLE" Scott has a heart to heart conversation with Marcella and this is absolutely hilarious - Do not miss it. Then Cruz and Scott are plotting how to make a dating show on the podcast with Marcella. Then Scott asks Marcella some "REAL QUESTIONS". :) Scott met his wife on the JDate dating app, which is a Jewish dating site. We talk about Scott's exciting life, going to red carpet events and we hope that Reality TV will be able to win awards just like the scripted shows do. Scott shares 2 of his favorite casting stories - one for the show "AGE OF LOVE" and one for the show "FLAVOR OF LOVE". Both stories are unbelievable. WOW. Stay tuned to Part 2 ........

This week, on the 52nd episode of the Talent Experience Podcast, our host Anne Fulton sits down with guest Susan Kushnir of Quantum Leap Consulting LLC. Susan is a Learning and Development Executive, a highly accomplished thought leader in the field of Human Resource Development, and a recent co-author. Together they dive into her newly released book, "Decoding Executives: What they say, what they mean, and what you should do”, which explores the common miscommunications that occur within employee and executive conversations.Tune into this episode as Susan and Anne explore "how to speak the language of executives", the gig economy, creative thinking around the career experience, the value we get from trying new things, and so much more! Connect with Susan through her LinkedIn, and for more insightful conversations visit www.talentexperiencepodcast.com. We hope you enjoy this episode of the Talent Experience Podcast!

Siena Oberman is a producer that founded Artemis Pictures. Recently listed on Forbes's 30 Under 30 2022, she was named in Variety's Top 10 Producers to Watch in 2021 and Diversity in Cannes Top 10 Women in Film to Watch in 2019. Siena has completed production on 16 features in various producing capacities, and has had films in festivals such as Venice, Berlinale, Telluride, TIFF and Tribeca. Her most recent films include MAINSTREAM directed by Gia Coppola, SKIN directed by Oscar winner Guy Nattiv, SEPARATION directed by William Brent Bell, BIRTHDAY CAKE and 18 & OVER directed by Jimmy Giannopoulos, and ON OUR WAY by directed by Sophie Lane Curtis. Prior to Artemis, she was a Development Executive at Yale Productions and studied Business and Film at USC. IG: sienaoberman Host: Jamie Neale @jamienealejn Discussing rituals and habitual patterns in personal and work life. We ask questions about how to become more aware of one self and the world around us, how do we become 360 with ourselves? Host Instagram: @jamienealejn Podcast Instagram: @360_yourself Music from Electric Fruit Produced by Tom Dalby Composed by Toby Wright

Spotlight Rising Stars in entertainment: Charlie Johnson is a up and coming film and television producer who started his career in physical production afte graduating from Georgia State University, He has worked as a producer assistant for Warner Brothers “Delilah” and “Dayshift.” This is where he found his path within the industry and the found his way to WME as a assistant within the motion picture picture department representing filmmakers and writer and learning the business side of the industry. He is moving to RK films where he help with the slate of projects they have set up as well as sourcing new material for the company as a whole as a development executive. Charlie also has started building his own production company where he looks to produce a range of shorts for the marque festival circuit. Great Show. Thank you for listening and supporting the podcast :) https://www.buymeacoffee.com/sneakies or https://www.paypal.com/paypalme/anonymouscontent, Check out our merchandise :) https://enchantedbooks.godaddysites.com/ Other awesome podcasts: Girl's Guide To Investing, Enchanting Book Readings (Top 1%), Thrilling Stories and "Ghostly Stories & Strange Things." Please Subscribe to our YouTube:) https://www.youtube.com/user/Fellinijr/videos Subscribe & Support ;) https://tinyurl.com/5h6xkwp9 Zombie Diaries: https://youtu.be/tBmgi3k6r9A You can support us by buying our books :) Young Adult wizard book series: "Margaret Merlin's Journal" by A. A. Banks at Amazon! :) Margaret Merlin's Journal ~The Battle of the Black Witch ~Book I https://www.amazon.com/Margaret-Merlins-Journal-Battle-Black-ebook/dp/B01634G3CK Margaret Merlin's Journal ~ Unleashing the Dark One ~Book II Science fiction action adventure https://www.amazon.com/Margaret-Merlins-Journal-Unleashing-Dark-ebook/dp/B01J78YH6I Margaret Merlin's Journal ~ The Mask of the Parallel World ~Book III An Adventure in Italy https://www.amazon.com/Margaret-Merlins-Journal-Parallel-World-ebook/dp/B01KUGIZ8W/ Margaret Merlin's Journal ~The Quest for the Golden Key ~Book IV https://www.amazon.com/Margaret-Merlins-Journal-Quest-Golden-ebook/dp/B076FTTDQN Children's Books at Amazon: Jack the Bear and Golden Hair by Sir Herbert Sneakies Skip Boots Big Safari Adventure by Sir Herbert Sneakies Adventures of Mooch the Pooch by Sir Herbert Sneakies Blueber Goober the Monster In My Closet! by Sir Herbert Sneakies https://www.instagram.com/margaretmerlinsjournal/ TikTok: Sneakies Instagram: marylinartist If you would like to be a guest on the show email: jobsmh(@)live.com If you would like to sponsor the show email: mystuffmah(@)gmail.com Thank you for listening. --- Support this podcast: https://anchor.fm/filmaddicts/support

Spotlight Rising Stars in entertainment: Charlie Johnson is a up and coming film and television producer who started his career in physical production afte graduating from Georgia State University, He has worked as a producer assistant for Warner Brothers “Delilah” and “Dayshift.” This is where he found his path within the industry and the found his way to WME as a assistant within the motion picture picture department representing filmmakers and writer and learning the business side of the industry. He is moving to RK films where he help with the slate of projects they have set up as well as sourcing new material for the company as a whole as a development executive. Charlie also has started building his own production company where he looks to produce a range of shorts for the marque festival circuit. Great Show. Thank you for listening and supporting the podcast :) https://www.buymeacoffee.com/sneakies or https://www.paypal.com/paypalme/anonymouscontent, Check out our merchandise :) https://enchantedbooks.godaddysites.com/ Other awesome podcasts: Girl's Guide To Investing, Enchanting Book Readings (Top 1%), Thrilling Stories and "Ghostly Stories & Strange Things." Please Subscribe to our YouTube:) https://www.youtube.com/user/Fellinijr/videos Subscribe & Support ;) https://tinyurl.com/5h6xkwp9 Zombie Diaries: https://youtu.be/tBmgi3k6r9A You can support us by buying our books :) Young Adult wizard book series: "Margaret Merlin's Journal" by A. A. Banks at Amazon! :) Margaret Merlin's Journal ~The Battle of the Black Witch ~Book I https://www.amazon.com/Margaret-Merlins-Journal-Battle-Black-ebook/dp/B01634G3CK Margaret Merlin's Journal ~ Unleashing the Dark One ~Book II Science fiction action adventure https://www.amazon.com/Margaret-Merlins-Journal-Unleashing-Dark-ebook/dp/B01J78YH6I Margaret Merlin's Journal ~ The Mask of the Parallel World ~Book III An Adventure in Italy https://www.amazon.com/Margaret-Merlins-Journal-Parallel-World-ebook/dp/B01KUGIZ8W/ Margaret Merlin's Journal ~The Quest for the Golden Key ~Book IV https://www.amazon.com/Margaret-Merlins-Journal-Quest-Golden-ebook/dp/B076FTTDQN Children's Books at Amazon: Jack the Bear and Golden Hair by Sir Herbert Sneakies Skip Boots Big Safari Adventure by Sir Herbert Sneakies Adventures of Mooch the Pooch by Sir Herbert Sneakies Blueber Goober the Monster In My Closet! by Sir Herbert Sneakies https://www.instagram.com/margaretmerlinsjournal/ TikTok: Sneakies Instagram: marylinartist If you would like to be a guest on the show email: jobsmh(@)live.com If you would like to sponsor the show email: mystuffmah(@)gmail.com Thank you for listening. --- Support this podcast: https://anchor.fm/filmaddicts/support

On this episode of The Mailroom, you're getting two for the price of one! At Management 360, Addison Cassidy is an assistant to TWO Executives: a Literary Manager and a Production & Development Executive. Hear about the hours of work that Addison puts into her job in order to make it as a producer for animation on this episode of The Mailroom.

Join Mandi Kerr and Cree Crawford, on this episode of Moving ^HEMP Forward. Cree is President and Co-Founder at Ionization Labs. The leading chemical data platform company, providing an unprecedented level of chemical data across multiple industries, with operational efficiencies proven in the legal cannabis space. Cree is also a Senior Operations & Development Executive with multiple documented historical success'. "Known for getting things done in challenging austere environments" Deep experience leading cross-functional organizations in complex environment matrix solving complex global challenges. He is a business development visionary who accelerates in start-up / revamp environments. Austere environment acclimated. Cree is a networking artist w/ extensive domestic international reach strong operation management, Multi-initiative, parallel program manager tactical & strategic team leader. He is also a communicator/diplomat with the ability to relate to and communicate effectively and negotiate with diverse cultures & environments.

Michael & Phil tackle the subject of writer's rooms, how writer's staffs are organized, and the responsibilities of individual writers at each level. Learn more about the different jobs in a TV writer's room and some interesting ways to break-in.Michael's Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJim Serpico, EP of Maron - https://www.imdb.com/name/nm0785351/Tom Sellitti, EP of Maron - https://www.imdb.com/name/nm0783418/Javier Grillo-Marxuach Website - http://okbjgm.weebly.com/Netflix in Albuquerque - https://www.bloomberg.com/news/articles/2021-05-03/why-hollywood-is-moving-to-albuquerque“Shit My Dad Says” Twitter Show - https://www.imdb.com/title/tt1612578/Michael: (00:00)The next step below, that would be writer's PA and that stands for a production assistant. So the writer's PA usually, usually writers are veal. We are kept hostage in a, in a writer's room like for hours and hours and hours, you don't leave, but they bring you lunch. And when they bring you lunch, that person who is bringing you lunch is a hero because they're feeding you and you, you know, so that the writer's PAs is usually the one who goes out. On a running brings you lunch.Michael: (00:32)Welcome back everybody today. We're going to be talking about various creative jobs in Hollywood, and we're going to probably start, I think, with, with the writer's room. Cause there's a lot of myths that we're going to expose. I think it's a lot of people have misconceptions about how writer's rooms, um, you know, how they actually work. I fell.Phil: (00:48)Yeah. And, and, you know, to, to your point, I think there are a lot of people who don't even understand things like what a showrunner is or what the difference between a co-producer, producer, a story editor, all these different writer's terms. I once had a friend mentioned to me, she's a nurse. She wanted to be an actress. And she's just like, you know, when you watch a TV show and you see all the credits that they're getting that say producer, they're all just writers. And she said it like, it was condescending a little, this is like just writers, like, Okay.Michael: (01:13)She's right, unfortunately. Um, but yeah, so a showrunner is the boss and a TV show in a movie. Uh, the director is Boston. A TV show that the showrunner is the boss. The showrunner is the head writer. Usually the showrunners, the creator of the show, the person who sold it, but not always and often not always the case. So, um, a number of times my partner would have been showrunners and we didn't create that show where the hired hands, because we have experience and were brought on to run the writer's room and the writer's room can consist of, we've been on show, usually around eight writers, let's say, but we've been on shows where we've had as few as four writers. And when we were on King of the Hill, that was Maron. When we were on King of the Hill, uh, there were about 20, at least 20 writers it was a huge writing staff.Michael: (02:00)So there's, there's that. And then all the writers in the writer's room compose the writing staff, but there certainly there are different levels to, to writers. So the showrunner again is the boss, the showrunner decides what kind of stories to tell and how to tell them. And some people, I guess I can maybe I'll get to the misconceptions first. Some people think that well, so where do you get these ideas from? Does the network just tell you what stories they want to have? And no, cause there's no one at the network who knows how to do that. If they did, they'd be writers there, that's not their job. Right. They, you know, so we pitched them our ideas, but we come up with the ideas. We say, we're going to do an episode about X, blah, blah, blah. And then that works. Does that sounds good?Michael: (02:39)Go ahead and do it. And so we have to come up with the ideas and usually it's the writing staff that will pitch the ideas to the showrunner and the showrunner and say, okay, I like that one. Let's talk about that one. Let's turn that. Let's see if we can turn that into an episode or I like the beginning, but not the middle, you know? And so let's stretch it out. Is that that's how do we break that into a story? And another myth I heard all the time, well, years ago it was like, oh, what character? I was around. It came when I was on King of the Hill. They'd say, what character do you write for as if like every writer was responsible for one character's voice. And there are 20 of us and king of the hill. I don't know how many, there were like five characters or whatever, or maybe more there's cause there's periphery characters.Michael: (03:16)But so no. And I used to tell people, I used to write for the dog, the dog, obviously didn't talk or have any lines, but that's when I said, but you write for all the cat, your job is to you get an episode and you write all the characters and that episode. And that's how, that's how it works. And they're so the staff, the writing staff is composed of one or two showrunners usually. And then there's certain levels of writers. So the newest baby writer is called a staff writer. That's the person with no experience. They just broke into Hollywood. Usually, usually they're a staff writer then above them. They, they say they work for a year. They get a promotion. Now they're called a Story Editor. And you'll see that at the end of the credits off. And you see the story that, or it gets a credit.Phil: (03:57)Let me ask this question, because this is something that came up on another podcast. We did, you made a reference that all of these titles that you're probably going to go through right here, that the next year. So are you a staff writer, your first year writing and then you bump a story editor usually, or you're so bad that you could stay staff writer. Is that a chance or do you just lose your job at that point?Michael: (04:20)Sometimes? Yeah. You could lose your job if you're no good. Sometimes you'll be a staff writer on the on one year and then the show gets canceled and then you get another job in a different show and they make you repeat your staff writer. They say, yeah, you're not getting the bump because we don't have a budget.Phil: (04:34)The bump budget-based. I imagine usually.Michael: (04:37)Yeah. I don't know if too many people who had a repeat staff it's like repeating your first year of college, I guess. Right.Phil: (04:45)I got held back in preschool by the way. SoMichael: (04:47)Yeah. Well, I can tell it's obvious when I talk to you.Phil: (04:49)Yeah. The adults don't set your kids in preschool in the middle of the year, guys. They just look stupid when all their friends move on.Michael: (04:55)For the rest of the let's talk about it. Um, so then after a story editor to become Executive Story Editor back in the sixties, the Executive Story Editor, or was they, that was the boss I'm executive story editor mean that was basically being called the showrunner, but these titles have changed over the years. And so executive story at a restorator is at one point it was like the most important person. And now it's one of the least important people on the staff. Um, I remember when I, well, I remember when I had, I had a writing teacher and he was, he like, he wrote on, uh, uh, Get Smart and Andy Griffith Show and all those great shows and Twilight Zone, the original Twilight Zone and all that. And he used to say that you just need to, you got to impress the story. It, the story editors that want to makes all the decisions. And, and this is back in like, you know, the nineties, I was like my old man, what are you talking about? The Story Editors at title has long since changed.Phil: (05:47)Uh, so I was going to ask, so my understanding here is that this changed because cause you're about to get into the producer titles, right? Yeah. So my understanding is that this changed because the story, the writing credit positions pay specific portions of their money into the WGA funds, but the producorial fees you get do not.Michael: (06:10)Yeah separately.Phil: (06:10)And the benefit to the, to the network and the studios is they don't have to match percentages of those funds, to the Writers Guild stuff .Michael: (06:19)To your health and pension. Right. It's separate. Exactly.Phil: (06:23)Where it changes, like how do we get these people and entice them to do this thing with us without having all the other expensive paying percentages of their, their fees?Michael: (06:31)Yeah. We'll give them a fancy title. Yeah. That'll tide them over there. Stupid. Um, so yeah, so there's executives. So is it okay to repeat Staff Writer, Story Editor, Executive Story Editor, then you get Co-Producer and then you become Producer and then you're like, wow, Producer, it's really just another level for a writer. Then you get, uh, after Producer becomes Supervising Producer, then Co-Executive Producer, which often means the number two, the number two writer, the like the number two in command and then Executive Producer. And so in sometimes there's also another title of Consulting Producer, which is just a fancy way of paying you even less money. Got it. So, but those are all just writers and there's very, you know, the producer aspect of those jobs are very limited. So when you're executive producer, you have, you do have many other Producer titles, like your responsibilities, you'll be responsible for casting or post-production... Supervising post production, or maybe editing stuff like that. The Co-Executive Producer doesn't often do those things, but is capable of doing those things.Phil: (07:33)And that's what you currently are on the show.Michael: (07:36)On Tacoma FD I'm a Co-Executive Producer. Right. But, but you know, in the past I've been Executive Producer on other shows. So, uh, you know, the difference in money there's a lot its not that much. Well, the Co-Exec... Co-Executive Producer that gets a good salary without all the stress of being executive producer. It's a good job to it's really the best job to have is a co-executive producer because he made good money, but you don't have all the stress of the boss.Phil: (07:59)Got it. So that's what to aspire to is not be the showrunner, but just be a co you'd be.Michael: (08:03)I remember years ago when I was, you know, thinking before I became a Showrunner, I was like, man, if I were a show runner, I'd do things different, do things better. And then, you know, cause you always think your bosses know what you're doing, they're they're doing. And then, then you become the boss and you're like, Ugh, I just wish I was a Co-Executive Producer.Phil: (08:21)Yeah. You always wish you had the less responsibility, the more, you know, the more, you know, you don't know. Right? Yeah.Michael: (08:26)So, but then, you know, those jobs basically at my level, like those, the two jobs I get, you need to be the boss or the second in command. So there's, I have to take whatever, whatever comes.Phil: (08:36)Now there is another executive producer on the show and that's typically the, basically the guy in charge of, or the woman, the person in charge of making sure that the show is happening from an actual producorial perspective. Right? So not always. So the production. So for example, to come at di we had a production company running things and the owner of that company had the title of EP as well. And that shows up in the credits and that person can be not a writer.Michael: (09:03)And I believe, I believe one of the, uh, managers, David Miner, I believe he's also executive toPhil: (09:09)Both of, both of the guys managers are on our show. They have EP credits because they brought the show to the network and said, we think you should buy this show.Michael: (09:19)Yeah. They help make it. They help sell it. They help make it possible. Yeah. But on other shows, I've worked on this. There's really only there aren't too many co uh, Executive Producers is their Showrunner and maybe no other executive producers, or maybe there's an actor who is so powerful to help got the show me, they might be Executive Producer or maybe often if the show is, is sold through a pod, you have a production company, then they'll get, you know, like you're saying, they'll have a Executive Producer title. Uh, yeah. So some actually that's not really no. And I say that now that I think about it. Yeah. I've always, I've been on other shows where there, there are other executive not they're called non-writing Executive Producers. So when I was on Maron, for example, uh, Jim Serpico, Tom Silletti, they were non-writing Executive Producers. They helps sell the show and their creative involvement in the show. It really depends on what their, what they have time for. Sometimes they're very involved in, sometimes they're not very involved at all.Phil: (10:12)Yeah. Okay. So that's an interesting note. I think, so those people have the same way now from an Office PA perspective. So during production, we still saved those people parking spots, and we understood who they were. And we made sure that they were included on every single email, every single notice that went out, anything that involved creative decisions, they were invited to all meetings. And it was always an understanding they could show up at any time, but also an expectation that they probably weren't going to show up. And so it's an interesting thing like, or, you know, one season of a show, I worked on the, one of these non writing Executive Producers showed up and our Office Production Coordinator didn't know who they were and it, but the secretary did luckily. So they were able to save that situation or it probably would have been a really, you know, egg on the face situation.Michael: (11:00)Yeah. Because sometimes they don't show up. Right. The homes that parking spot is empty all year. Yeah. But you know, sometimes they do show up cause they, yeah. So those are all, those are all creative jobs. So when you see at the front of a TV show, all those producers, like what are all these producers? Most of them are writers. And then some producers, there was always a couple of, there's a Line Producer, he'll get he, or she will get a producer title. And they're in charge of kind of, uh, they're in charge of the, the money and the budget. If, for example, the show runner says, Hey, I want to shoot a show, um, in a submarine. And like, I bet, you know, how do you make that happen? Well, the line producer, their job is to figure out how to make that happen to either rent a submarine or get a soundstage that looks like a submarine or tell you what, that's just too expensive. You can have to shoot it in a rowboat.Phil: (11:43)Right. Right. Yeah. And then, so there's a Line Producer and then a Unit Production Manager or UPM. Yeah. But there are different jobs or they are, or they're at the same job because I see it both ways I've seen it separated or they're the same person does both. Yeah,Michael: (11:57)Yeah. Yeah. And I, yeah, that's exactly right. And I don't, I don't really know what the difference is. Job responses, uh, job responsibilities are between the two, because on the shows that I've worked on, they've mostly been the same person. So.Phil: (12:09)Yeah. It's, I think it's just a level of authority and responsibility. So UPM is typically making the decisions to make sure everything happens in the line producer. My understanding is basically in charge of the budget and making sure you're not blowing the budget every episode and you can get to the end of the road and they're like your accountant almost, I guess you could say as the showrunner. Right.Michael: (12:27)Um, but we still have accountants.Phil: (12:28)We all see cameras like a CPA. Like they're like the CPA who says, we're a business manager, Hey, you need to cut your expenses here because yeah. This thing coming down the road.Michael: (12:36)Yeah. Often they'll negotiate, they'll, there'll be dealing with the unions and they, they, uh, they make sure that the show, they make sure that the physical production of the show actually happens. Yeah.Phil: (12:46)So, so, so this brings up what we're discussing here might be considered "above the line". Yeah. Goes right. Yeah. And, um, you know, we recently had an interesting conversation with someone who did not like the title above the line and alsoMichael: (12:59)A derogatoryPhil: (13:01)It's like, you know, the union negotiates those things. So your union is responsible for earning you those credits and signing what goes where yeah,Michael: (13:10)I think it's, I think actually it's just like where you appear on the call sheet. It's like, are you above this line or below this line? That was my understanding. It's like, and it's just, it's just the line, relax everybody you're on. It doesn't mean, you know, you deserve to die, you know? Right. It's just an, it's a, basically an accounting formality. Yeah. Right.Phil: (13:29)Yeah. Okay. But, but you do not have control over who does that? Just to clarify, because this person seemed to think that you, in your role as an Executive Producer, Showrunner have the ability to dictate through your use of language who gets called what? So people aren't offended.Michael: (13:44)Yeah, yeah. No, I, I walked into, you know, it's so strange. It's like I walk into these terminologies, these, these, the terminologies were decided before me. And, uh, and somebody has someone thought that they were just very offended by that. And I'm perpetuating some kind of, I don't know, egregious, uh, you know, offense in Hollywood.Phil: (14:01)And not to get like super into the weeds on this subject. But I do know, um, this season on Tacoma FD, either production company did require us to use gender neutral terminology for things. So this is like a term for like the Best Boy or Best Boy Grip or Best Boy Lighting. And now that's like Key Lighting Person and it's like a term, um, different things instead of form. And it was for a person. And so I understand those things, but when we're talking about literally anyone below the line is garbage and trash and we stop and use it, that's not exactly what's going on in this space.Michael: (14:31)No, those people are kind of important because they're writers the above the line. People like maybe we were the dreamers that, Hey, what if, and the other people, the ones who are doing it, so you can't just have dreamers on set. They don't that nothing will get done.Phil: (14:43)Yeah. Right. It's like, uh, I, I did hear an example on another show I worked on where they're like, they want us to have 50 people with the exact same haircut sitting in a restaurant. It's like, you don't understand the complexity of, of casting that the complexity of finding those people, the hair and makeup, the costs for extra pay. Like we got you 10 of those people not 50. Right, right. Yeah. So, so those are all the, so those are all the jobs that are just the ones that you've talked about. And those that basically to get into Hollywood, you have to start as a Staff Writer.Michael: (15:16)Hi guys, it's Michael Jamin. I wanted to take a break from talking and talk just a little bit more. I think a lot of you, people are getting bad advice on the internet. Many, you want to break into the industry as writers or directors or actors, and some of you are paying for this advice on the internet. It's just bad. And as a working TV writer and showrunner, this burns my butt. So my goal is to flush a lot of this bad stuff out of your head and replace it with stuff that's actually going to help you. So I post daily tips on social media, go follow me @MichaelJaminWriter. You can find me on Instagram and Facebook and TikToK. And let's be honest, if you don't have time, like just two minutes a day towards improving your craft, it's not going to happen. So go make it happen for you @MichaelJaminWriter. Okay. Now back to my previous rant.Michael: (16:02)And yes, then how do you start as a staff writer? There are entry-level jobs. So there's no assistant writers. People often say, well, I want to be an assistant writer on your show. It's like that doesn't exist. There are Writers Assistance. And those are the people who will sit in the writer's room and they sit at the keyboard and they literally, they usually either take notes or they type, as we, as the words go up on the, on a monitor, we're watching a screen. And so they actually type the script as we pitch lines. And so that's, um, it's, it's a kind of a high pressure job because you have to know the pro word processing program, like the back of your hand, but also you have to be a good speller because if you are not, people will make fun of you. And you know, everyone's staring at you while you do your job and like busting your balls.Michael: (16:46)Uh, you know, so it's a, it's a high pressure job. You have to have a good sense of humor about it. And so, but it's a great job to have because once you're in the writer's room and like, you will learn more as a Writer's Assistant than you would the tenures in film school because you're watching professional writers do their craft. So it's a wonderful, it's a great learning experience. And how do you get a Writer's Assistant job? Well, the next step below that would be Writers PA and essentially a production assistant. So the Writer's PA usually, usually writers are veal. We are kept hostage in a, in a writer's room like for hours and hours and hours. And you don't leave, but they bring you lunch. And when they bring you lunch, that person who's bringing you lunch is a hero because they're feeding you and you, you know, so that the Writer's PA is usually the one who goes out on a run and brings you lunch. This is before COVID of course, I don't know what goes, no one brings me food anymore. No one gives within six feet of me.Phil: (17:39)That's right. That's not in your family. Right.Michael: (17:43)Keep an arm, social distance kids. Um, so that's, Writer's PA and then kind of not, I wouldn't say below it, but Jason too, it would be regular PA or Set PA, which that PA works on the set. Another job would be Office PA. And that PA you know, the set PA might run errands, or it might block off the set when like, you know, when they're shooting an episode, the set PA will be on the perimeter. And you had, I'm telling you, you had this job for a while. And they're the ones who are, let's say you're shooting on New York City street. They're on the perimeter stopping traffic and people, you can't walk here. We're shooting.Phil: (18:14)Yeah, no. And let me point out here, the, our Locations Guy, when I said that I was locking down traffic interjecting and said, you are not allowed to do that. That is illegal. The police lock down traffic. You were there to wrangle pedestrians.Michael: (18:29)Whoa,Phil: (18:29)Interesting. Right. Because we do not have the legal authority to stop traffic, but on a closed set, that was my first day of PA work was literally standing in the hot sun out in the middle of Southern California telling cars when to drive into the scene. Yeah. But it was a closed set. And I was, I was literally doing that. And youMichael: (18:50)Had, you had your piece in a headsetsPhil: (18:54)[inaudible] or there, they literally call it background and you tell them to move. Yeah. Right. YouMichael: (18:58)Tell them that would be a set. That's one of the responsibilities of a set PA.Phil: (19:02)Yeah. They're responsible for getting information to everyone. Um, locking down, set for a sound. It's another very common thing where you literally post up in a doorway and you hold stop people from coming in and out because they're shooting that direction and you don't want to walk through set, like one of the first days of shooting of season two of Tacoma FD I walked onto a set and I looked right at the set PA and she didn't say anything. So I walked toward her and ended up walking right through the shot, like, yeah. And they showed it to me. They showed me a post me Sasquatching and through the background of the firehouse.Michael: (19:36)And that's the job of the PA supposed to stop. You I've walked on sets before to have my own show where I was Executive Producer. And I guess some PA was too nervous to tell me not to walk on set. And I walk into the shot and I ruined the shot. And I'm like, dude, you got to tell me not to walk into the shot. It's okay. You can tell, don't be afraid of me. Tell me I'm not, not tell me not to ruin the shot.Phil: (19:53)Didn't you tell me that there was a, uh, you had to spend like a significant amount of money and post cutting a PA out of the background and standing behind a tree or something.Michael: (20:01)Um, I'm sure that, yeah. I'm not sure if the PA, but I remember sometimes you have to do that we're or you cut a reflection. Sometimes you see a PA or something, or somebody is a reflection in a window. You have to take that out. Yeah. Yeah.Phil: (20:14)Um, so, so I've had most of these PA jobs, so that's a Set PA and then Office PA, you're the one making copies. You're the one making the signs. You're laminating things and go, go runs. You're coming on, runs and picking up stuff. You're going to Home Depot to buy specific daylight, luminescent, light bulbs for the Makeup Department, because they need specific lights in the trailer. You're getting water, you're moving things around set. You're going out on a run to Burbank to pick up Audio Equipment for the audio team. Cause they always need something. Yeah. You know,Michael: (20:48)It's interest. Cause I posted a little bit about that on social media. I do like these little clips and uh, and, and someone said, you have to, you, you know, I said, it's an entry-level job. It's not too hard to get. And someone said, you don't know what you're talking about. You have to have a Harvard Degree. You have to degree a degree from Harvard or an MBA. And like you already your mind, like, I can tell you need a car.Phil: (21:07)That's it. You need a car and you need to breathe. Right.Michael: (21:11)The pulse, if you, if you're dead, you're going to have, you're going to struggle. But if you have a pulse, you be okay. It's like, I don't really care. I don't need to know that you have a degree from Harvard from what do I care? I want to know. Can you go on a run?Phil: (21:23)Do you think that's people who just assume it's all an old boys club and you ha it's about who, you know, and it's not about like, like, oh, Harvard Alumni will hire Harvard alumni. Is it that kind of thing? Or do you think they actually think you have to be like a Rhode Scholar to be a PA?Michael: (21:38)No, I think there's, you know, breaking into Hollywood is hard and it's, you know, that first job, the hardest one is that first job to get in. And so you have to hustle and you really have to like, you know, send out flight. You kind of have to really be in contact with people. And you've got a nudge way in and I, and it takes a lot of work. And I think people would much rather say, well, they're not hiring people like me. Cause you know, there's an excuse as opposed to, that's not true at all. It's like, you just have to do your end to the part. You have to hustle to get the job. Yeah. You know, it's just, there's so many excuses. And like, I always say like, you can, you can have results or you can have excuses, uh, or you can have excuses or you can have results, but you can't have both. Right. And people like to have excuses. It just makes them feel better for not trying or not trying hard enough.Phil: (22:22)Now, now I've been on a other side of things. I think my first PA job, um, you gave my resume to a show that you were running and I didn't get that job. And I didn't get that job because your writing partner also referred someone and that person had experience. Yeah. Right. Yeah. And so I didn't get that job, but because I did so well in the interview when they needed a day player to come out and just lock down set for a day, they called me and said, Hey, it's one day job. You want to come up and sit? Absolutely. What time? Where should I be? I showed up early. I was there. I ran around set the whole day. And it just happened to be that that day, the Office PA was called back in to his Fox show and he had to leave. And so the UPM who was on set with me, watching me work said, you should consider this guy. He seems good. And I got offered a full-time position as the office PA because of that. And so it was thatMichael: (23:16)Is that luck. Was that, was that, did you get lucky or did you make your own luck?Phil: (23:20)I think that there's a, there's a level of luck, you know, there's this old saying that luck is where opportunity meets preparation. Right? Right. And so the opportunity came because I knew you and you were able to give them my resume, but I didn't get that job. Someone else got that job. And they had three other people who you and your running partner did not recommend who also got jobs because they had, and that's just the racket. But because I was willing to show up and I was prepared and I understood what was expected of me as a PA, I was able to prove myself on that, on that day, the chance I go, yeah.Michael: (23:57)We had a PA on Tacoma, FD, we talk about, I don't mention his name, but one day one of the writers asked him to get a, for like Tylenol or Advil or something to go to drugstore. And he kind of said, no, he was busy.Phil: (24:10)So we should talk about that too. So, so the Writer's PA job is not just lunch. Like you're responsible for whatever the writers need. Like the Showrunners asking you for binders, but not just not binders, but D clipped binders, full ring binders, because they don't like the way the dividers are. And it's my job to go get that for them. I'm also supposed to stock the fridge. I'm supposed to have first aid available. I'm supposed to clean up after them. And so to have a Writer's PA tell a Writer I'm busy. I can't get you medicine because you have a headache. But I think it was worse than that. I think it was. Do you know if we have any, I think they have some upstairs. Can you go get some, I don't think I can do that.Michael: (24:48)Yeah. And man and we all laugh when he said no and you know, like men just falls in this guy. Yeah. And then he didn't last much longer than that.Phil: (24:59)Well, he did some other stuff I heard too. I, I ended up replacing that guy that season. Um, but he did some other stuff too. Like you told me that he would just like stare through the glass at you guys while you were watching writing stuff.Michael: (25:12)Yeah. He just, I had a weird thing where like, he just didn't, he'd come into the room, the Writers' Room and he just wouldn't know when to leave. And he was like, you know, and it got awkward. It's like, Hey, did you got to leave? Now? We got to work. And he would just kind of stand there. I dunno, gabbing or, you know, watching and was just so uncomfortable. And the writer, we, we thought it was hilarious. Like this guy he's something else.Phil: (25:33)Well, he hit the nail in the coffin. And I think this is like a big note of what not to do is one of our Showrunners who is an actor on the show is like on Nutrisystem and like cutting weight to get camera ready, because he's going to be, you know, he's effectively starving himself to look good on camera. And he's entitled to lunch more than anybody else on the show. Cause it's his show. And one day he comes in, he's like today I want sushi. And he said, uh, we don't have the budget for that. Right. And he said, I don't care. I'll approve it. Cause he's show is responsible for the budget. And he goes, I've already put in the other lunch order.Michael: (26:11)Yeah. That's what it was about. And that, you know, and afterwards we were busting that actor's because you know, I, you're not in charge.Phil: (26:24)Yeah. You'll keep your job if you, uh, if you deny your showrunner on her food, the one time he asks for it and the whole season.Michael: (26:32)So that guy didn't, he didn't last very long. But, uh, yeah, your, your job is to say yes, not to say no as a PA. Right.Phil: (26:39)Well, yeah. Well, interesting stuff. And you know, ultimately like I got that job and I think to your note, one of the first things you told me forever ago is if, you know, if you want to make it in Hollywood, you have to be in LA because that's where the jobs are. And I think there's a caveat because this is a question I've seen in a lot of your social media people say, do you have to live in Hollywood to make it in film? And the answer is depends on what you want to do. Right? So for example, I went to film school in New Mexico and New Mexico is a smaller market that is expanding ridiculously right now. I think Netflix is investing a billion dollars in New Mexico and infrastructure expanding stages. And they bought the biggest stages there where they shoot Breaking Bad and Better Call Saul and all that stuff.Phil: (27:17)And so if you want to work in camera or you want to work in, you know, an office position or a locations or a costume position, my opinion is those exterior markets, Utah, where you have Park City studios, you have, um, Santa Fe or Albuquerque where you have a fast growing film industry. You have Louisiana, you have Georgia. Those markets is really easy to progress and move up the ranks in those craftsmen positions. Right. Right. But when we talk about writing, I really think the answer is you do have to be an LA because this is where the writing happens.Michael: (27:52)Yeah. All the writing, they even Handmaids Tale. They shoot that. I think in Toronto, they sh they write it here. Um, I'm pretty sure Breaking Bad. They, they, theyPhil: (27:59)Wrote here in LA, in LA shot, in New Mexico.Michael: (28:02)Right. So if you want to be a writer, then you want to be a writer's assistant and you want to be a PA here in LA. So you can come up this way. But in someone, some of them had sent me, um, a question that maybe was on Tik TOK or something. And she was, she seemed very lovely. And by, so I still let her have it. She was, um, she was like, uh, I live in the UK and I would gladly, I really want to break into the business. And I would gladly come here to LA. If someone could guarantee me a job. And I was like, you know, there's no guarantee, you know, no, one's gonna guarantee you a job. Uh, first of all, there are no guarantees in Hollywood. Right. You know, you're not, um, you know, you're, you know, you're not Brad Pitt Brad Pitt.Michael: (28:42)He's guaranteed to get a dressing room and, and a driver. You're a PA you have no guarantees. If you came here and got a job, let's say the show would get canceled after 10, at 10 weeks, or you get fired or whatever, you're still out of a job. Now you're out of a job. And so you're still screwed. You have to come here first. And when they're hiring for those positions, that basically for any kind of PA position, the job is like you interviewed today to start tomorrow. And so you can't fly here. We're not going to get, I'm going to give you a week to fly here. And then a week to find a place then a week to get a car because you need a car. It's like, you know, no, you have to be here for those opportunities. There's no, there's no guarantees.Phil: (29:22)Yeah. That's what you told me. You said you have to be here because when they want to hire someone, they need you today. Right? Yeah.Michael: (29:27)And I, I called you. I remember when that opportunity came up on our current show, I said, Phil, can you, can you be here this afternoon? They're hiring you. You have to be here today.Phil: (29:35)Yeah. I think the exact text was, um, we need a PA the job sucks. It's low pay. Do you want it? And I said, I'll do that job for free. Right. And your response. Good answer. That's how I got my first paid job. Hold on. And they're like an hour or so later the Script Coordinator. Um, so basically shot me a text said, Hey, man, uh, it looks like, you know, we'd like to use you on the show. I said, do you want my resume? He's like, no, Michael Jamin's words. Good enough. And it's because you had proved yourself at that time. Right. So they took your recommendation. And I literally showed up the next dayMichael: (30:09)And I have a new gunPhil: (30:10)And I haven't been working on the show in two years. I'm still on the show.Michael: (30:13)And if you had 'em right. And if you had, uh, you know, said, well, yeah, I'll be there next week. They would have found somebody else. Right.Phil: (30:20)Because, um, literally cause they were, they were buying their own. You guys were buying your own lunch at that point, I think.Michael: (30:25)Yeah. Like we, like, we need lunch. Yeah.Phil: (30:29)Carrie Clifford's like, I want my tuna where, which tuna do I get. Yeah,Michael: (30:32)Yeah, yeah. Yeah. And so yeah, having a good attitude and being ready to start tomorrow is, is really key. Unfortunately, that's how you, if you want to, like, if you want to work in Hollywood, you have to be in Hollywood, you know? And, and sure there are other jobs like in Atlanta and, and, uh, Albuquerque, but often, um, like it may be harder to have a career in those cities because there's just not as many opportunities. So I'm sure people, you know, piece together careers. I just think it'd be easier to piece together a career in Hollywood. There's just more options.Phil: (31:02)Yeah. There's constant. There shows constantly shooting, especially right now with streaming and cable. There's not like a development season. Like there used to be right. It'sMichael: (31:11)And you may have to move, you may, I know like costumers, they work here, but they have to take a job in some other state because that's where the show is shooting, but writers generally have to generally stay in LA. Yeah.Phil: (31:23)Yeah. So are there any other jobs or any other ways to break in to Hollywood at this point? I mean, is it, is it just, you have to work yourself way up as a PA or get lucky enough to, you know, be lucky enough and have the craft and skill to become a Screenwriter. Is there another option?Michael: (31:38)We talked about this in other episodes where if you have your own, if Hollywood is not going to come to you, unless you really make it worth Hollywood's while. So if you are blowing up on Twitter, if you have a giant Twitter feed or, uh, you know, Instagram or whatever, and, and you have a million followers, Hollywood will find you, you don't have to start at The Bahamas. Like, man, this person here, she's got it going on. Uh, let's give this person to show because they have a built-in marketing platform that often happens. Yeah. So there's a show on CBS, it'd be 10 years ago. Shit My Dad says, and that was based on a popular Twitter feed. Yeah. And so, you know, that guy just tweeted it from wherever he wanted and you know, just find stuff that his dad said.Phil: (32:19)Got it. So I, I do, you know, of other people who've broken in, so I'm another writer who is that a lot of stuff to put stuff out there as website he's got scripts and things. Javier Grillo-Marxuach who I think you might know. Yeah. He wrote lost. Yeah. Yeah. Lost. He was a showrunner on a bunch of stuff. So he, I believe was a development executive and he transitioned that position to being a writer. Yeah. So there are those other opportunities as well. Do you know anything about those?Michael: (32:45)I do know. I have a friend who we hired on a show, Glen Martin DDS years ago. And I didn't know him at the time we just hired him. We became friends. And I... I discovered after about a year that he was at one point a Development Executive at a studio and I was shocked. I was like, oh, I hadn't because it's a whole, whole different thing. Um, and he told me that most development executives from his they're, they're jealous of writers. They want to be writers. And so, because it's more creative and development executives or, you know, they, they tend to give notes, uh, but they don't do it themselves. And so, cause you know, it's one of those, like why would you want to become, uh, an executive at a studio or a network if you were not had that creative passion in you, you wanted to create. And so the closer I think they can get to creating the more fulfilled they would be, which is, you know, obviously writing is probably closer to... than giving notes toPhil: (33:35)Somebody. That makes sense. It makesMichael: (33:37)Sense, but I'm, I'm not gonna speak for all that. I'm sure there are many great development executives or creative executives who love exactly their job. But this is what he told me was that he felt that that many or most really wanted to be really wished they were writers. Right.Phil: (33:50)And I think that, you know, from my limited perspective, with the, the limited amount of work I've done, kind of the general vibe that I get from most people is that most people in most jobs in Hollywood dreamt of being a writer, director, producer, and they are now doing this other job, hoping to have the job that you're also trying to get.Michael: (34:13)I think many writers also want to be directors because it's not writing. It's like, Ooh, because writing is hard. You're like, well, directing it, that seems like something I could do. Was that, wasPhil: (34:20)That your experience when you directed on Maron?Michael: (34:23)Uh, no. That was just an opportunity that came our way. We didn't want to say no to it, but I know other writers who want to get into, or have gotten into directing because writing is really hard. Writing can be difficult even like, I, I used to say like, if you think writing is fun, you're kind of, you're probably doing it wrong. It's hard to do it. Right. It's hard. Yeah. And so I think a lot of writers that well, anything about writing, so.Phil: (34:47)Right, right. Well, awesome, man. I think it was incredibly helpful. You have any other thoughts or?Michael: (34:52)No, I think that's, I think we covered a lot. We have, we have more podcasts come and Phil. We got to save it for the next.Phil: (34:57)Oh, I love it. No. So again, you know, I think that if you want any more of this information, definitely check out Michael's course because he goes into this more detail kind of what's expected in some of those positions and what it takes. But yeah, I think the big note that I would like to give or leave people with is that you don't have to have won the lottery or be born with a silver spoon in your mouth. I sure wasn't. And I live in LA and I work full year round as a PA. And I'm actively working on progressing towards being a better writer so you can make it happen. You just have to get rid of the excuses and just take control and just make decisions with what can I do today to improve things. And we talked about this on another podcast, like I've always was raised with this prodigy syndrome.Phil: (35:41)I feel like I have to hit grand slams with everything I do. And there's this framework that I've transitioned to, which is, you know, it's Moneyball, it's singles singles win baseball games. If I can hit a single today, like which might just be writing something, I can hit a single today. It's not sexy. If I hit a single tomorrow, it's not sexy. If I hit a single one day three, it's not sexy, but they, for you score it run day five. You score a run. It's about chaining those singles together. And that's how you ultimately win.Michael: (36:08)I think so. That makes sense to me. Yeah. Like people say like, well, how do I become a writer is like, you're, if you write every day, you're a writer, right? If you want to be a paid writer, that's a little different, but you know, but if you were someone new who wrote a script last year, you're not a writer. You have someone you're someone who has written. So a writer you're constantly writing, it's active. And, and that will make, that will make you better at your craft and will increase your odds of actually becoming a professional writer.Phil: (36:35)Awesome. I love it. Here's a great way to end. Thank you, Michael. Thanks everybody for listening.Michael: (36:40)Thank you.Phil: (36:53)This has been an episode of Screenwriters Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing leaving a review and sharing this podcast with someone who needs to hear today's subject. If you're looking to support yourself, I encourage you to consider investing in Michael's screenwriting course at MichaelJamin.com/course. I've known Michael for over a decade. And in the past seven years, I've begged him to put something together. During the global COVID-19 pandemic. Michael had time. And I have to say, I wish I'd had this course 10 years ago. As someone who has personally invested in most online courses, earned a bachelor's degree, and actively studied screenwriting for over a decade, this course has been more valuable to me than most of the effort I've put in because it focuses on something noone else teaches: story. In his course, Michael pulls back the curtain and shows you exactly what the pros do in a writer's room and that knowledge has made all the difference for me. And I know it will for you too. You can find more information at MichaelJamin.com/course for free daily screenwriting tips. Follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.filet Hudson. This episode was produced by Phil Hudson and edited by Dallas crane until next time, keep writing.

This week, Shu and Sherm talk to a Development Executive. Anil Kurian, Head of Development for G-Unit Film & Television, joins The Diversity Hires to discuss the development process from the perspective of an executive and gives new writers tips for getting their work recognized.WebsitePatreonInstagramFacebookTwitterE-mail: diversityhirespodcast@gmail.com

Business with Bae is back, y'all! Since our first BWB of Season 1 started with Keertana's role as a casting director, it only made sense that our first BWB of Season 2 would be ALL about our other co-host, Nikki Menon's job as Development Executive. The work Nikki does as an executive at Ladies' Car Productions is vital not only in creating content on television, but also in promoting more South Asian & BIPOC representation. We do a DEEP dive into the buzzwords of development like pitches, general meetings and overall deals. And of course, Keertana trolls Nikki about creating a show to make her famous

If you're an entrepreneur or small business owner, you may know a thing or two about the balancing act between working in your business and working on your business. As entrepreneurs ourselves, we are constantly challenging ourselves to find the leverage points to work smarter AND get more done. Short term, paid deadlines are alluring… yet can leave us short-sighted and lacking a consistent pipeline. How do we stay the course from our captain's seat?  In this week's episode, we talk with Renee Bobb, Empowerment Coach, Award-Winning Entrepreneur, Author, Book Publishing Consultant, Speaker, Training & Development Executive, Semi-Pro Women's Basketball Team Owner, and Naval Veteran. Yes, you read that right. This woman does it all. She's the successful owner and operator of multiple businesses. How? She has built smart systems, diversified her income and thinks critically about how she positions herself as the solution to problems on the horizon.  Tune into this exceptional episode with Renee Bobb to learn how she approaches challenges, why she insists on building smart systems, and how she leads with legacy-building in mind. Connect with Renee on LinkedIn - https://www.linkedin.com/in/renee-bobb-783a7b3/ (https://www.linkedin.com/in/renee-bobb-783a7b3/) Follow Mike on Instagram https://www.instagram.com/mikeliguoriwrites/ (@mikeliguoriwrites) Follow Katie on Instagram https://www.instagram.com/fuelingfreedom/ (@fuelingfreedom) If you loved what you heard, please leave us a review on https://podcasts.apple.com/us/podcast/live-your-truth-now/id1553090054 (Apple). Every review helps us grow the show to reach more people and impact more lives.

Dianna Campbell is the President and CEO of DiCam Strategic Solutions, LLC. With over twenty years of experience in organizational development, fund/strategic development, marketing, business development, board recruitment, and team management, she has led fundraising efforts to secure sustainable growth through six- and seven-figure multi-year partnerships with Fortune 50 companies, philanthropic foundations and individuals. Her experience includes national brand campaigns, cause-related marketing, social enterprise business development and technology solutions to serve vulnerable and underserved populations. To date, Campbell has secured over $100M in program support for organizations including Points of Light Foundation, National 4H Council, Alliance for Healthier Generation, Rescue – Behavior Change Company and National Council on Aging. Visit www.dicamsolutions.com for more information This podcast is hosted by ZenCast.fm

Welcome back to FROM WOKE TO WORK: The Anti-Racist Journey. On this episode host, Kamala Avila-Salmon, discusses the next level on the journey, ALLYSHIP. Let's be clear, you are not an ally just because you think you are. You are also not an ally just because you would like to be. You are not an ally because you have Black friends. You are not an ally because you think the cops that killed Breonna Taylor and George Floyd and Jacob Blake and so many others should be locked up and stripped of their badges immediately. That is because ally is a verb. It is a set of consistent actions to interrupt and disrupt the status quo of systemic racism and anti-Blackness when you see it. It is DOING things- it is not feeling things or thinking things or reading things. It is ACTION, not words. To have this discussion about the importance of real, true allyship, Kamala is joined by a powerhouse panel of guests: actress, producer and director Terry Vaughn, Overbrook Entertainment Producer and Development Executive, Dougie Cash, and marketing professional Michael Hoffman specializing in the cross-section of entertainment and digital communities. Jump straight into: (00:44) - The definitions of true allyship - “Ally is someone who will speak up and go to bat for you when opportunities present themselves that fit you. An ally is really someone that puts their caring into action.” (09:57) - The intersection between marginalized communities - “Sitting in that place of privilege within my own marginalized community helps make me aware of the importance of making time and space to support those around me who don't have those experiences.” (16:41) - It was the year of 2020: The sudden (and quite upsetting) US' racial awakening- “It made me think about just us as a race and how much trauma we've all been carrying.” (27:04) - Tokenism, allyship and the needed empowerment of the black community - “Somebody that literally stood up and said: ‘I want her, I want to give her this opportunity, I've seen her work. I know how much time she's put into this craft of hers. I want her.'  Everyone that has ever done that for me is black.” (36:10) - How tangible is your allyship? - “Where are the spaces where what you're doing as an ally is hard? Where are the spaces where it actually is requiring you to give something up and to sacrifice? (44:20) - The Frequent Ally Questions: On performative allyship and non-black saviors - “Don't take some of the things that are being said personally as if you're being attacked, try to hear it for the context in which it's being spoken. Understand it's okay to disagree.” Resources Follow Terri on https://www.instagram.com/terrijvaughn (Instagram) and https://twitter.com/terrijvaughn (Twitter) Follow Dougie on https://www.instagram.com/dougiecash (Instagram)  Check out the https://www.facebook.com/WMNCpodcast (We Might Need Counseling) Podcast Follow Michael on https://www.instagram.com/mh0ffman (Instagram) Thanks for tuning in! Don't forget to follow https://www.instagram.com/therealkas1 (Kamala) on Instagram to learn more. Subscribe, rate and share this podcast so more people can find it, let's spread the word! From Woke to Work is a show produced and hosted by Kamala Avila-Salmon in partnership with Julian Lewis and TJ Bonaventura at https://studiopodsf.com/ (StudioPod). Edited at https://nodalab.com/ (Nodalab), art by Tommy Gomez, and music produced by davecantrap.

People view HR as a more serious role, but how can we make it more enjoyable? Andy Frey discusses how to balance fun and the seriousness of HR.

Cake Boss, Extreme Makeover Home Edition and a new show about dreams on Twitch. Learn how this creative Executive gets it done! A trajectory that includes as PA, talent agent and casting director, Andrew Strauser has made his mark in digital, cable TV and broadcast TV. Tips and tools for success! Awards: Reality TV Awards - Best Digital Series 1 win, 3 nominations Telly Award - Winner - Directing Online Series Telly Award - Winner - Diversity & Inclusion

Today I interview Jessica Wang – a Development Executive from Seven Stars Entertainment.  She talks about the clamp down on Chinese overseas investments means more influence on content by the Chinese and how the US are working more locally with the Chinese. She also talks about how after studying to be a director, she now sees the benefit of taking negotiating and legal classes.   The China/Hollywood Greenlight Podcast Episode #8 Jessica Wang Show Notes    Guest: Jessica Wang Company: Seven Stars Entertainment:  IMDB: http://imdb.to/2Ajydla Jessica's WeChat: Qian5594    Host: Caryn McCann www.Chinahollywoodgreenlight.com/podcast www.facebook.com/Thechina-HollywoodGreenlightPodcast www.linkedin.com/caryn-McCann @KungFuRockChick   HOW TO BULLET PROOF YOUR SCRIPT FOR CHINA https://wp.me/p8U8pg-fv    STRIKE GOLD IN CHINA'S TV MARKET https://wp.me/p8U8pg-d4      

Bridget Humphrey is a Programs Manager at Google/YouTube. She works out of the YouTube Space Los Angeles office in Playa Vista, CA, where she oversees hundreds of events each year. Her events range from screenings to parties to concerts, which she hosts to bring the YouTube Community together to inspire content creators to make more videos, meet each other, collaborate. Her events in 2014 alone attracted 16,000 attendees. In a prior career, Bridget Humphrey was a film and television Development Executive at various production companies including Scott Rudin Productions, Barry Josephson Entertainment, and more. She has worked on such films as TEAM AMERICA, SCHOOL OF ROCK, ENCHANTED, ALIENS IN THE ATTIC, and more. She holds a B.A. degree is Psychology from Pomona College and an M.B.A. from UCLA Anderson.