Podcasts about directors guild

EPISODE 130: Mustapha Khan is an Emmy Award-winning American director of uniquely inspiring narrative, documentary and television films. His credits include: Song For Our People, a new music documentary currently playing in film festivals; Rocksteady, a coming-of-age action movie about a small town stock car racer; House on Fire, an award-winning documentary about the AIDS epidemic in Black America; twenty years of original films and specials for Sesame Street and other children's television shows; and his breakthrough film Reflections of a Native Son, which is on permanent display at the American Museum of  Television and Radio.  Mustapha Khan is a graduate of Harvard University and a member of the Directors Guild of America. mustaphakhan.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

Today on What's My Frame I'm joined by Director and Author, Bethany Rooney. Bethany has directed more than 250 episodes of prime-time including Law & Order, Chicago PD, Law & Order SVU, The Rookie, Criminal Minds, Tracker and Chicago Med. This year she celebrates her 40th Anniversary as a Director. Today we chat about Bethany's creative process, advice for actor's from the directors perspective along with her and Mary Lou Belli's bestselling textbook, Director's Tell The Story.Bethany is a storyteller through and through. Known for her vivd imagination and strong leadership skills. Bethany ensures that every script is fully realized artistically and works to further elevate projects in performance. Bethany Rooney began her directing career on the 1980's iconic television show, St. Elsewhere, where she served as Associate Producer.Bethany also served as Producing Director on two series: Bull and The Originals. She has directed Oscar winners and Emmy contenders Denzel Washington, Hilary Swank, Mariska Hargitay, Angela Bassett, George Clooney, Alfre Woodard, Felicity Huffman, Sally Field, and Robert Downey, Jr., among many others. Her textbook on episodic directing (co-written with Mary Lou Belli,) "Directors Tell the Story," is seen as an authority on the subject and is in use in many university film programs, as well as most of the studio/network diversity education programs.She has served the Directors Guild of America in numerous ways: as a member of the National Board, co-chair of the Women's Steering Committee and member of the Western Directors Council. She co-created two of the industry's leading diversity director training programs: Warner Bros. (2012) and the DGA's Directors Development Initiative (DDI, 2015.) Teaching rising directors is one of the ways Bethany continues to learn about and love storytelling. Director's Tell the Story 3rd Edition available now atBethanyrooney.comKindleLIBBY--What's My Frame, hosted by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Laura Linda Bradley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the WMF creative community now!Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? official site⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

California is one step closer to expanding its Film and TV Tax Credit Program. A key Assembly committee just advanced AB1138 and SB640 — part of a legislative push to modernize incentives and bring production back to the state. The bills would raise the annual credit cap to $750 million and broaden eligibility to include animation, short-form series, and large-scale competition shows. It also boosts individual project credits up to 35% for productions in L.A. The vote follows a flood of support from over 100,000 industry workers and strong backing from lawmakers. KFI's Heather Brooker (@theheatherbrooker) talked with Rebecca Rhine, the Western Executive Director for the Directors Guild of America, and President of the Entertainment Union Coalition, and the leading voice of the Keep California Rolling movement to get more details on the next steps.

In this episode, Brooklyn-based filmmaker and writer Maryam Mir shares her inspiring journey of transitioning from a consulting career to filmmaking. As a Kashmiri-Canadian born in Germany, raised in Bahrain, with Kenyan ancestry, Maryam finds inspiration in the warmth, joy, and gentleness of her many communities. She explores the powerful intersections of identity, storytelling, and social impact, emphasizing how filmmaking can create a sense of belonging and possibility. Maryam reflects on the discomfort of being a beginner in creative endeavors, the collaborative nature of filmmaking, and the importance of nurturing one's creative life force.We dive deep into the process behind her acclaimed short film Sweet Refuge, which has been screened at over 40 festivals and won multiple awards. Maryam takes us through the entire journey—from the initial spark of inspiration for the story, to the careful selection of actors, the challenges of filming over five days in Brooklyn, and the joy of sharing the film at festivals around the world.Watch Sweet Refuge here.[Bio]Maryam Mir is a Pillars Artist Fellow ‘24 (founded by Riz Ahmed x Netflix), Gotham Marcie Bloom Fellow '23, NYFA Artist Awardee '22 and Asian American Writers' Workshop Fellow '19.Her narrative short, “Sweet Refuge”, screened at 40+ festivals, won several awards, including a Directors Guild of America Jury Award and was acquired by AMC+ as part of their "Future of Film: AAPI Rising Stars". Her latest narrative film, "Grandma Swim", set in Bahrain, is currently in post-production, with support from the Doha Film Institute. She also recently produced "Sarah Thankam Mathews: After All This" for PBS' American Masters and is currently producing another documentary short in partnership with REI and The Redford Center. She holds an MFA degree from NYU Tisch's Graduate Film Program, where she was an Ang Lee Scholar and concentrated in writing and directing. Prior to film school, she worked in consulting for half a decade in New York and Dubai, where she helped Fortune 50 organizations strengthen their culture through storytelling and design.-- Are you ready to connect with your creative life force? Schedule a free 30 minute consultation ⁠⁠⁠here⁠⁠⁠!

WebsiteLet's Shoot With Pete Chatmon Podcast BioDirector Pete Chatmon a member of the Directors Guild of America (DGA), about his recent work and upcoming projects. Pete is a dynamic director, creator, and storyteller whose impressive portfolio spans high-profile television shows and his popular podcast Let's Shoot! with Pete Chatmon. Pete's upcoming episodes include Yellowjackets, episode 306, which will premiere on March 16, where he intensifies the show's signature tension and suspense in a highly anticipated installment of this dark psychological thriller. He also directed episode 503 of the final season of the hit Netflix show YOU, which premieres on April 24, bringing emotional depth and high-stakes drama as the series heads toward its thrilling conclusion. Pete's direction of NBC's Chicago Fire, episode 1315, which premieres on March 5, continues the show's legacy of action-packed, heart-pounding drama, while his work on CBS's Ghosts, episode 415, premiering March 6, and episode 416, premiering on March 13, showcases his mastery of blending humor with heart, delivering supernatural intrigue that keeps fans hooked. In addition to his directing work, Pete is the creator and host of the hit podcast The Let's Shoot! with Pete Chatmon, now in its 6th season. The podcast has become a must-listen for anyone passionate about filmmaking, featuring incredible guests like Rob McElhenney, Kaley Cuoco, and Issa Rae. Each episode dives into fascinating behind-the-scenes stories, industry insights, and in-depth interviews, showcasing Pete's expertise and passion for storytelling. With his impressive body of work in both television and podcasting, Pete has solidified himself as a leading voice in the entertainment world. A conversation with him would offer valuable, behind-the-scenes insights into the creative process and the art of storytelling. Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

This week on The Reel Debaters, the cast discusses the movies that they grew up with, the movies their parents showed them, and the movies they saw well before they were "meant" to in a nostalgically laced episode about what makes a cinefile a cinefile. Production CreditsRecorded at Sick Bad Panda Studios Art by Micheal PetrowHosts: Micheal Petrow Aaron Graham Rob StrachanProduction Credits:- Producer: Micheal Petrow- Editor: Micheal Petrow- Sound Engineer: Micheal PetrowContact Information: thereeldebaters@gmail.comAaron Graham is a film writer and Production Manager based in Canada. He has a freelance film writing background and was selected to the Talent Campus at the Berlin International Film Festival. He is a full member of the Directors Guild of Canada (DGC) and serves on the DGC Manitoba district council's executive branch. GET ON THE SHOW:Join the debate now and leave your idea on our voicemail or ask a question on our QuoraAsk a QuestionRD voicemail SOCIAL MEDIA:FacebookInstagramYoutubeDonate to the causeAbout UsSet in the backdrop of Winnipeg's booming film industry, The Reel Debaters Podcast is a motley crew of film-obsessed nerds and selected colleagues that sit down each episode, blending comedy and a deep insight of cinema with ridiculous, satirical debates and facetious musings on media.Examples are but are not limited to:Could James Bond be a nanny?Best new SNL Cast?What would Indiana Jones and Lara Croft's wedding look like?What if Conan The Barbarian could teach Sex Ed?When not arguing the world of make-believe you can listen to the reel talk sessions, which get more conversational with the best of film and TV as well as industry interviews from inside Manitoba's film industry, across Canada, and to Hollywood's front door.New episode every SaturdayMeet your cast:Micheal Petrow Film And Entertainment Sales/Executive Producer/HostMartin Navarro Comedian/HostJimmy Skinner Comedian/HostRob Strachan Home Theatre Expert/HostIan Bawa Filmmaker/HostMark Cowell String Bean Comics/HostCharles Fernandes The Nerdgasm Show/HostEmily Clark Dodge baller/Host

13 Oscar-Nominierungen erzielte der französische Spielfilm «Emilia Pérez», der von France 2 kofinanziert wurde. Der spanisch-sprachige Film von Jacques Audiard kam allerdings unter die Räder, weil trans*-Hauptdarstellerin Karla Sofía Gascón in den vergangenen Jahren auf den sozialen Medien gegen den Fernseh- und Filmbetrieb ausgeteilt hat. Scheinbar hat nur Zoe Saldaña als beste Nebendarstellerin eine Chance. Als ‚Bester Spielfilm‘ könnte wohl «Anora» gewinnen. Das Werk von Sean Baker handelt von einer 23-jährigen Stripperin, der mit dem Sohn eines russischen Oligarchen abhängt. Das Aussteiger-Drama feierte im Mai 2024 in Cannes Premiere und wurde dort gelobt. Be den Critics' Choice Awards, den Independent Spirit Awards, den Producers Guild of America Awards und den Directors Guild of America Awards wurde der Film ausgezeichnet. Anfang des Jahres hatte «Anora» bei den Golden Globes in der Kategorie Comedy/Musical das Nachsehen gegen «Emilia Pérez». In der Drama-Kategorie gewann «The Brutalist» mit Adrien Brody. Im Gespräch mit Fabian Riedner erzählt Veit-Luca Roth unter anderem über das Werk von Brady Corbet. Aber auch andere Kategorien werden in der Oscar-Vorschau besprochen.

There's a lot going on in this week's episode. Hosts Ema Sasic and Kevin Schwaller dive into the latest award seasons news, mainly how "Anora" took home the top prizes at the Critics Choice Awards, Directors Guild and Producers Guild. Could Best Picture be next? Later on, they give all the love birds out there a bloody valentine double feature: "Companion" and "Heart Eyes."Disclaimer:Copyright notice:(Intro/outro) She's The Greatest Dancer by Ryan Andersen is licensed under a Attribution-NonCommercial License. https://freemusicarchive.org/music/Ryan_Andersen/MORE/Shes_The_Greatest_Dancer?fbclid=IwAR1TDCO9eT6TxmDrTaJr9HRQVk2gUu00cNXeG8oik3avXVEhbSGqsqUfLkoCopyright notice:(Break) Extremely Tik-tok compatible for slow videos by Lundstroem is licensed under a Attribution 4.0 International License. https://freemusicarchive.org/music/lundstroem/the-happiest-songs/extremely-tik-tok-compatible-for-slow-videos/

For episode 227, I'm joined once again by my co-host Myles Hughes, with producer Steve Prusakowski behind the scenes preparing for Emmys and a new season of TV Topics, so look out for that. This is a big episode, as we're tackling a whole host of topics. Kicking off, we talk Critics Choice, Directors Guild, and Producers Guild wins forAnora, establishing the film as the one to beat the Oscars in at least Best Picture, if not Best Director as well. Then, it's on to discussingThe Monkey, considering how Myles has gotten to see it (my rave review ishere). He also has seenPaddington in Peru, while I regale him (mostly off-air, but some on-air) aboutCaptain America: Brave New World (reviewedhere) disappointing me. Throw in some questions and even a bit of light Valentine's Day chatter, and it's a strong episode...As always my friends and faithful listeners/readers, I do hope you all enjoy the latest episode of the Awards Radar Podcast, our 227th one to date (here's to many more). Of course, feel free to revisit the previous installments by clicking the Podcast tab (here) on the top of the page. Plus, listen to us on Apple Podcasts (iTunes), Spotify, and other platforms. More to come each and every single week, so from the bottom of my heart, thank you for listening!

Have a request for an upcoming segment? Send me a Text Message! Find out if HEART EYES, LOVE HURTS, I'M STILL HERE, or KINDA PREGNANT are See Its or Shove Its.Also, Oscar Outlook looks at how this weekend's Critics Choice, Directors Guild and Producers Guild awards have reshaped the Oscar races, particularly the Best Director and Best Picture races.Follow on Instagram and Letterboxd @seeitorshoveitSupport the showInterested in becoming an official supporter or just want to buy me a popcorn? Click the Support the Show link above!

This weekend truly kicked off the Oscar race with the 1-2-3 punch of Critics Choice, the Directors Guild and the Producers Guild all announcing their winners in the span of 24 hours, including dueling ceremonies for the latter. On episode 274 of The AwardsWatch Podcast, Editor-In-Chief Erik Anderson is joined by AwardsWatch Executive Editor Ryan McQuade and Associate Editor Sophia Ciminello to break down what happened, how it happened and what's next. In a surprising sweep, Sean Baker's Anora took home the top prize at all three: Best Picture at Critics Choice (its only win), the DGA for Theatrical Film and the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures at the PGA. Erik, who was at all three events, offers his insight to vibe in the rooms, which felt muted at Critics Choice until the left field Best Director win for Wicked's Jon M. Chu (and the awkward Oscar-stat intro the category got), and the race from the DGA to the PGA that brought life back to everyone, making Anora the first film to win the Palme d'Or and DGA since 1955's Marty and pushing it (back?) to the top of the Best Picture race. But what does that mean for its star Mikey Madison? The young actress is the far and away critics' leader but so far has lost to Demi Moore (The Substance) in their first two face-offs, the Golden Globes and Critics Choice (ironically, or not so). With BAFTA and SAG looming, as well as the passion for Fernanda Torres (I'm Still Here), Best Actress remains the most exciting race of the season. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h57m. We will be back next week with the very fresh BAFTA winners and a preview of the Screen Actors Guild. Till then, let's get into it. Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Matt is joined by Lesli Linka Glatter and Russell Hollander, the president and director, respectively, of the Directors Guild of America, to talk about some of the most important topics for directors in the entertainment industry. They discuss how the DGA manages its relationship with SAG and the WGA; how the AI landscape has changed since its last CBA, including AI's use in the film ‘The Brutalist'; why the TV market is hurting directors; and what the DGA's role is in the Justin Baldoni–Blake Lively lawsuit (02:34). Matt finishes the show with a prediction about Super Bowl commercials (24:10). For a 20 percent discount on Matt's Hollywood insider newsletter, ‘What I'm Hearing ...,' click here. Email us your thoughts! thetown@spotify.com Host: Matt Belloni Guest: Lesli Linka Glatter and Russell Hollander Producers: Craig Horlbeck and Jessie Lopez Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

Below the Line continues our Sixth Annual Oscar Series with a discussion of the nominees for achievement in Directing, and I'm joined by a panel of fellow below-the-liners: Bill Hardy, Roger Mendoza and Shaun O'Banion. (This is the second year we've discussed the directors nominated for the Academy Award in lieu of the Directors Guild of America nominees.) The 2024 Nominees for Directing: • “Anora” • “The Brutalist” • “A Complete Unknown”  • “Emilia Pérez” • “The Substance”  

Original Release Date: Monday 20 January 2025    Description:   Your friends in podcasting have a great deal on their minds ... Cold weather in the nation's capital, the hell of home renovations, fire and long-term unhealthful air and the Olympics in Los Angeles ... And they discuss it all on this week's show. They also remember the late David Lynch, suggesting that no artist has ever loved Los Angeles more than he did. They discuss the latest in the Justin Baldoni-Blake Lively (and now Ryan Reynolds!) lawsuits, and this leads to a discussion of the "abuser's playbook". The programming glories of the Detroit Film Theater (at the Detroit Institute of Arts) and the Renzo Piano-designed Academy Museum (at the L.A. County Museum of Art) get celebrated and lead to a discussion about "old school" wide-screen filmmaking, and big screen "pacing", as well as cyber punk and yacht rock! Finally, analysis will be directed onto the Directors Guild and Producers Guild awards nominations and what they portend for this week's Oscar nominations. Oh, yeah, and the show opens with an epic Dean Haglund meltdown!

Thanks for joining me today for Episode 178 of my podcast 'Think Big With Michael Zellner' sponsored by Sleepy ZZZ's Masonry. My guest today is writer and director, Jonathan Bowen.   Jonathan is the President and Owner of JLB Media Productions in Burbank, California. He is a member of Hollywood's Directors Guild of America, which is the only union representing directors in the country. He has received numerous awards at film festivals all over the United States that includes playing at over 40 film festivals, which has received him 25 nominations for his work. He also has 8 wins at those festivals, which anyone in the movie and filmmaking industry knows is an incredible thing to have done. He is here with us today to talk about the industry and to talk about That's Hollywood Indie drama, “The Comic Shop,” which stars SAG Award winner Jesse Metcalfe (On a Wing and a Prayer), Tristin Mays, Eric Roberts and Micah Giovanni.   I appreciate you coming on the show today, Jonathan.

Award-winning filmmaker Ky Dickens is best known for her acclaimed documentaries that shift public policy and culture. She's been hailed a storyteller at the intersection of film and complex social issues - demonstrated by receiving the Focus Award for Achievement in Directing and the Change Make Award for influencing social change through art and film. Ky's fifth film, SHOW HER THE MONEY, featuring award-winning actors Elizabeth Banks and Sharon Gless, was ranked as one of the top financial films of the decade by US News and World Report and won three Jury Prizes for “Best Documentary,” including from the Los Angeles International Film Festival. Though Ky is primarily known for her work as a documentary filmmaker, she recently ventured into the world of audio storytelling with her latest project, The Telepathy Tapes podcast. The podcast investigates the widespread claims of telepathy within the nonspeaking community, raising broader questions about the consciousness and the potential of human beings. The podcast has been hailed as “groundbreaking” and “paradigm-shifting” and was recently ranked among the Top 5 podcasts on the planet. This podcast will be developed into a feature film in 2025. Her 2021 Film, #TimeToCare premiered at SXSW and then for the United State Congress. #TimeToCare goes behind the scenes with social influencers whose surreal caregiving journeys made them TikTok sensations. Her film ZERO WEEKS (Amazon), about America's paid leave crisis, premiered its trailer at the White House Summit on the United State of Women, hosted by Oprah & Michelle Obama. Her 2019 film, THE CITY THAT SOLD AMERICA (Freestyle Releasing), is about Chicago's crucial place in American consumer culture and modern advertising. The film is a sequel to Emmy-award-winning ART & COPY. Her groundbreaking film, SOLE SURVIVOR (CNN FILMS), profiled lone survivors of otherwise fatal plane crashes. From 2019-2021, Ky rolled out a series of award-winning short films about Americans dying of curable diseases due to the Medicaid Gap (CRITICAL CONDITION, ON THE EDGE & LEFT BEHIND). She just directed her first narrative film, IN THE JUNGLE, slated to be released in 2024. Collectively, her films have won more than 20 audience choice, best film, or best-directing awards. In addition to her feature film work, Ky directs commercials for some of the biggest brands in America. Her clients include Netflix, Google, Facebook, TikTok, and Johnson & Johnson.  She's an active member of Film Fatales Los Angeles and a member of the Directors Guild of America. Having a brother on the spectrum, Ky's been active in the special needs community her entire life, starting in high school, where she spearheaded the district's inclusion program. She graduated with Magna Cum Laude honors from Vanderbilt University and lives in Los Angeles. Check out her podcast, The Telepathy Tapes, here: http://www.thetelepathytapes.com Donate and support her work here: http://spot.fund/fbxl4rsc _______________________________________ Want to work with Jeremy? ⁠⁠⁠⁠Click here.⁠⁠⁠⁠ Sign up for Jeremy's weekly newsletter!  Each week, he shares a personal story and his favorite books, tunes, articles, and ideas. Click here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://longdistancelovebombs.mykajabi.com/email⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. It's easy and takes five seconds. Follow Jeremy on Instagram @LongDistanceLoveBombs: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/longdistancelovebombs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Check out a list of 120 of Jeremy's favorite books here, including HIS BOOK, and many his guests have written and recommend reading: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.amazon.com/shop/longdistancelovebombs.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Here is all of Jeremy's favorite stuff on the planet: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.longdistancelovebombs.com/favorites⁠⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/longdistancelovebombs/support

We talk with James Burroughs about his reign as hollywood's greatest sitcom director, being the son of the Abe Burrows In the genetics of comedy, his book “directed by James Burrows”, “Cheers”, “Will & Grace”, “Mary Tyler Moore”, “Taxi”, “Friends”, the scripps that make him want to direct, the ones that don't, his amazing memory, his humble beginnings, the decade it took him to learn how to direct, working with geniuses like James L. Brooks, Chuck Lori, and Kohan & Mutchnick, Andy Kaufman. And Jimmy explains how his two best friends are Al Michaels and Bruce Springsteen.Bio: James Burrows is one of television's most respected and honored creative talents. Over his distinguished career, Burrows has been the recipient of ten Emmys, five Directors Guild of America Awards, the 1996 American Comedy Awards' Creative Achievement Award, and in 2014 the Television Critics Association's Career Achievement Award in 2006 he was inducted into the Academy of Television Arts and Science's Hall of Fame and was honored by the US Comedy Arts Festival with their Career Tribute award. He has been the recipient of 22 nominations for the Director's Guild of America Award, thus bestowing him the honor of being the most nominated director in the history of television at the Guild. He was recently honored by the DGA with the Inaugural 2014 Lifetime Achievement Award in Television. In November of 2015 he directed his 1000 th episode which was recognized by a TV Special on NBC in January of 2016. Burrows' success as the director of television pilots is legendary. He just finished the first two episodes of Frasier re-boot season 2, and has wrapped up the pilot “Mid Century Modern” for Fox. He will be at the helm of “Mid Century Modern” this Fall as the show goes to series. The current primetime television schedule features one show “Neighborhood,”- whose pilot episode Burrows directed and one streaming show, the “Frasier Re-boot” which will begin airing Season 2 on Paramount + in mid-September 2024. In January of 2020, he received his fifth DGA Award for directing the Emmy award winning show “Live in Front of a Studio Audience #1: Norman Lear's All in the Family and The Jeffersons.” He was also asked back to direct “Live in Front of a Studio Audience #3: Different Strokes and The Facts of Life” in December of 2021. In June of2022, he embarked into a new market when he published his autobiography, “Directed by James Burrows.” It has received quite a bit of attention and praise from the industry. Burrows is probably best known as co-creator, executive producer and director of the critically acclaimed series, “Cheers.” The hit show, which aired for 11 seasons, is tied for the most nominated Comedy series in the Television Academy's history and is in third place for most Emmys received by a Comedy Series. Burrows has also received numerous awards for his work on “Will & Grace,” “Frasier,” “Friends,” “Wings,” “Night Court,” “Taxi,” and “Dear John.” For the first time in 25 years, he returned to the stage in the spring of 1998 to direct the highly acclaimed “Man Who Came to Dinner” at the Steppenwolf Theatre in Chicago, starring John Mahoney. Burrows learned his trade from the very best, the legendary writer/director Abe Burrows, whose noted career included such classics as “Guys and Dolls,” “How to Succeed in Business Without Really Trying” and “Cactus Flower.” Born in Los Angeles and raised in New York, Burrows graduated from Oberlin College and continued his education at Yale, where he earned a master's degree in fine arts. Burrows relocated to Hollywood to work as a dialogue coach for “O.K. Crackerby!,” a short-lived television series starring Burl Ives. When the show ended, he returned to New York and initially worked as a stage manager before directing several off-Broadway shows, such as “The Castro Complex,” and stock productions of “The Odd Couple” and “Never Too Late.” In 1974, Burrows moved back to the West Coast when he was invited to visit MTM Productions in Los Angeles and offered a job directing an episode of “The Mary Tyler Moore Show.” Mr. Burrows and his wife, Debbie, reside in Los Angeles and between them they have a quartet of daughters.

Joining host Michael Azevedo on this episode is Amy Schatz the Emmy and Peabody award-winning director of a soul-stirring musical documentary called "Stand Up & Shout: Songs from a Philly High School." The film, which is now streaming on Max, tells the tale of an annual music program in the city's Hill-Freedman World Academy. The 54-minute documentary, which was executive produced by the award-winning team at Get Lifted Film Co. and the music superstar John Legend features 10th-grade students learning to write, compose, produce, and perform original songs. Together with local musicians, the students pitch concepts, work out arrangements, and eventually create an album that captures the challenges they are living through and the joy music brings to their respective lives. Folks in the Greater Boston area have the chance to see this infectiously joyful film on the big screen, with big sound at the kick-off of the 2024 Boston International Kids Film Festival on November 22 at 7pm at the Mosesian Center for the Arts in Watertown, MA. For more information about the full line-up of films and activities at this year's BIKFF, visit bikff.org.   Amy Schatz is an award-winning director and producer of children's shows and documentaries. Her work -- a mix of animation, documentary, performances, music videos, and heartfelt interviews with kids -- has earned 8 Emmy Awards, 8 Directors Guild of America Awards, 3 Peabody Awards, Parents' Choice Awards, and others.    Making Media Now is sponsored by Filmmakers Collaborative, a non-profit organization dedicated to supporting media makers from across the creative spectrum. From providing fiscal sponsorship to presenting an array of informative and educational programs, Filmmakers Collaborative supports creatives at every step in their journey.   About the host: www.writevoicecreative.com and https://www.linkedin.com/in/michael-azevedo/   Sound Engineer: A.J. Kierstead

CW: This episode discusses cinematic sexual violence. Sami Gold, undergraduate political science student at George Washington University and contributor to Liberal Currents, returns to the podcast for a two-part deep dive into the controversial new Donald Trump origin story The Apprentice, which was released weeks before the 2024 election despite half-hearted attempts from the Trump campaign to block the film.  Featuring Sebastian Stan as young Donald Trump and Jeremy Strong as his notorious mentor, the political fixer Roy Cohn, The Apprentice exceeded our low expectations. Part one of our discussion is about the film itself: the challenges of depicting Trump cinematically, an evaluation of how Toronto does standing in for Manhattan in the seventies and eighties, and the mixed reaction to the film from within Trump's inner circle.  Part two of our discussion, on Trumpism in general and the upcoming election, is available on the Patreon feed.  Over 30% of all Junk Filter episodes are only available to patrons of the podcast. To support this show directly and to receive access to the entire back catalogue, consider becoming a patron for only $5.00 a month (U.S.) at ⁠⁠⁠⁠⁠⁠⁠patreon.com/junkfilter Follow Sami Gold on Twitter and subscribe to his Substack, Shmulik's Takes “Don't Mess With Roy Cohn” by Ken Auletta, for Esquire, December 1978 “How Gotham Gave Us Trump”, by Michael Kruse, for Politico, July/August 2017 “The Apprentice at Cannes: Location Manager Richard Hughes on the Whirlwind Of 50 Locations In 30 Days”, from the Directors Guild of Ontario's “The Wider Lens”, May 21, 2024 International trailer for The Apprentice (Ali Abbasi, 2024)

Ida Lupino (1918-1995) was a British-American actress, producer, writer, and director. She acted in over 50 movies, wrote and directed several of her own films, and directed many popular TV shows. She was only the second woman to be admitted to the Directors Guild of America and explored taboo topics through her work.  For Further Reading  Ida Lupino, Hollywood Renaissance Woman How Ida Lupino lit a path for women directors and indie filmmakers alike OBITUARY: Ida Lupino October is the perfect time to delve into all things spooky. So this month, we're talking about the women who give us goosebumps. Some are real-life creators of spine-chilling works of fiction. Others are the subjects of frightening folklore. Either way, these Scream Queens are sure to give you a scare. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Hannah Bottum, Lauren Willams, Adrien Behn, Alyia Yates Grau, and Vanessa Handy. Special thanks to Shira Atkins. Original theme music composed by Brittany Martinez. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

Susanna Styron is a writer and director for film and television, and a documentary filmmaker.  Her latest documentary short, MY FATHER'S NAME, won Best Documentary in the NYWIFT Online Shorts Festival and is on the 2024-25 festival circuit. Susanna's documentary feature, OUT OF MY HEAD, premiered in MoMA's Doc Fortnight and went on to win Best International Documentary at the Melbourne Documentary Film festival. Her other documentary credits as writer/director include 9/12: FROM CHAOS TO COMMUNITY; IN OUR OWN BACKYARDS; and SUSPENDED SENTENCE. She began her documentary career as an Associate Producer for ABC-TV's documentary division, Close-Up. Susanna's debut feature, Sony Pictures' SHADRACH, starring Harvey Keitel and Andie MacDowell, which she directed and co-wrote, premiered at the Venice Film Festival and was one of New York Press critic Armond White's top ten films of the year. She wrote and directed for Sidney Lumet's TV series 100 CENTRE STREET, and wrote for Tom Fontana's BORGIA. Susanna co-authored several TV movies for Hallmark Hall of Fame and Lifetime, including an adaptation of Ann Tyler's BACK WHEN WE WERE GROWN-UPS, with Blythe Danner, Peter Fonda and Faye Dunaway; and the award-winning TAKING BACK OUR TOWN, with Ruby Dee. Her dramatic short, HOUSE OF TEETH, which she wrote and directed, won numerous awards on the festival circuit, aired on Shorts TV, and is available on Amazon. She directed several episodes of Brooke Adams and Lynne Adams' web series ALL DOWNHILL FROM HERE. Susanna's personal essays have appeared in The Yale Revue, SPIN Magazine, The New York Times and Real Simple magazine. She serves on the Special Projects Committee of the Directors Guild of America, and the Executive Committee of the Writers Guild Initiative, where she conducts writing workshops with underserved communities such as caregivers of wounded veterans, undocumented immigrant youth and LGBTQ asylum seekers, among others. She currently has projects in development with The Levinson/Fontana Company, Cinetic Media, and EP/Showrunner Carol Barbee.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

**Exciting News!** Join us for a special live stream event as we welcome back the legendary **John Callas**! He'll be sharing updates on his latest books, insights from his incredible career, and much more while chatting with the amazing **Miss Liz**! **Date:** September 23rd **Time:** 7 PM EST **Where:** Live on https://youtube.com/@misslizsteatimes?si=Vdguz-fRJkeKms8D**About John Callas:** John Callas is a 50-year veteran writer/director/producer in the entertainment business. His experience ranges from the worldwide release of feature films to numerous motion picture trailers, national and international commercials, live-action title sequences, a documentary shot on location in Russia, as well as having been the Worldwide VP for The Walt Disney Company while working at a large post-production facility. John wrote and directed the feature film “No Solicitors” starring Eric Roberts and has adapted NY Times bestselling book, “Lightning Strikes Twice,” and “Ageless.” John is a published author of SECRETS, WHEN THE RAIN STOPS, CHRISTMAS VOICES, THE MYTH, NO SOLICITORS, AND FIRST TIME PARENTS SURVIVAL GUIDE TO UNNECESSARY AND WILD SPENDING. NBC, FOX, CBS, Good Morning America, and Yahoo have featured John!, The Dr. Ward Bond Show, Kathy Andersen, Stop Depression Summit, Audible.com, iHeart.com, Bostonherald.com, Chicago Daily Herald, Pittsburg Post-Gazette, The San Diego Union-Tribune, The Milwaukee Journal Sentinel, Occidental College, and more. John's prowess can be seen on live-action teasers for Ransom, Dennis The Menace, Body Of Evidence, and The Golden. Child, Spaceballs, The Glass Menagerie, Cocoon II, Poltergeist III, Betrayed, My Girl, Glengarry Glen Ross, title sequences For The Two Jakes and A Few Good Men and a promotional film for an amusement ride from Showscan. John also directed an award-winning short film, THE WHITE GORILLA. John worked with notable actors, including Mel Gibson, Walter Matthau, Jack Nicholson, Madonna, Eddie Murphy, Howie Mandel, and Mel Brooks. In addition to working on feature film teasers, his work can be seen in projects for HBO, The Disney Channel, Show Time, the Broadway Play Phantom of The Opera, and the 1993 redesigned TRISTAR LOGO. John's extensive background also includes over 200 commercials for such clients as Kellogg's, Dodge, Sunkist, Sprite, Toyota, Fuji, Volkswagen, Honda, McDonalds, Mazda, Minolta, Jedi Merchandising, Kraft, Jordache, Sea World, Givenchy and Sonassage with celebrity George Burns and industrial projects for Corporations, including Vidal Sassoon, Salomon North America, Nissan and The Kao Corporation of Japan. John's television experience includes directing a 14-week series entitled Potentials, with guests Buckminster Fuller, Norman Cousins, Ray Bradbury, Gene Roddenberry, Timothy Leary, and others. He also directed 80 segments for Bobby's World rated the #1 show on Fox 11 Television in its time slot, garnering John an Emmy nomination. A multi-faceted filmmaker, John's work can be seen in music videos for Glenn Frey Of The Eagles, Bill Wyman Of The Rolling Stones, Jefferson Starship, Sammy Hagar, Rick Springfield, Doobie Brothers, Styx, and more. John has been recognized with An EMMY nomination for Bobby's World, THE NEW YORK CRITICS CHOICE AWARD for Lone Wolf, BEST FEATURE at Fright Night Festival & BEST DIRECTOR at Scar A Con festival for No Solicitors - Several awards for his short THE WHITE GORILLA, A CLIO and BELDING for his work on the Sunkist campaign, BEST OF THE WEST for directorial work on a one-woman show and an MTV AWARD FOR BEST CONCEPT for Glen Frey's Smuggler's Blues. John holds a Master's Degree from Occidental College and is a member of The Directors Guild of America. **Get ready for:** Book reveals Behind-the-scenes stories Q&A session **Engage with Us!** Share your questions for John in the comments! Use the hashtag **#JohnCallasLive** to join the conversation on social media. Like and share this post to spread the word! Let's celebrate creativity and inspiration together! #Author #Filmmaker #Entertainment #LiveStream #Books #JohnCallas #MissLiz #Storytelling #CreativeCommunity

Molly McGlynn is a writer and director who was born in Montreal to Irish parents and grew up in the United States.  Mary Goes Round, premiered at the Toronto International Film Festival in September 2017 and has screened at dozens of film festivals and won multiple awards, including the Panavision Independent Cinema Award at the Santa Barbara Film Festival, Best Feature Film at the Vail Film Festival and Best Narrative Feature at the Annapolis Film Festival.    Selected television credits include Workin' Moms, The Wonder Years, Grace and Frankie and The Big Door Prize. Additionally, she was the producing director on Season 2 of Bless This Mess.   Her second feature film, Fitting In, (fka Bloody Hell), starring Maddie Ziegler and Emily Hampshire, had its World Premiere at SXSW in the Narrative Spotlight section in March 2023. Its International Premiere was at the prestigious Deauville American Film Festival and its Canadian premiere was at the Toronto International Film Festival. It won Best Canadian Feature Film at the Vancouver International Film Festival and was nominated for Outstanding Directorial Achievement in Feature Film by the Directors Guild of Canada.   She also hosts the podcast Hello, My Mom is Dead, an honest and authentic look into grief and loss.   Mayer Rokitansky Küster Hauser (MRKH) syndrome is a condition affecting approximately 1 in 5000 female births and leading to the absence or underdevelopment of the uterus, cervix and vagina. There are 2 types of MRKH, Type 1 as typified above and Type 2, in addition to the above may also affect the kidneys, bones, heart or hearing. Find out more and get support here www.mrkhconnect.org   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

On this episode, I spoke to four wonderful creatives from the Fellow Travelers team, including editors Christopher Donaldson, ACE, Wendy Hallam Martin, ACE and Lara Johnston. After that chat, I spoke to makeup department head Jordan Samuel. Donaldson and I spoke back on an earlier episode of the podcast about his work on Sarah Polley's Women Talking. He is a Canadian Cinema Editors Award winner and a 2x Directors Guild of Canada Craft Award winner. Hallam Martin is also a past guest, being on of the first five on this podcast. She is an Emmy and ACE Eddie Award winner, as well as a 6x Directors Guild of Canada Craft Award winner and a 3x Canadian Cinema Editors Award winner. Johnston is a first time guest on the podcast. She is a Directors Guild of Canada Craft Award and a Canadian Cinema Editors Award winner. Samuel is also a first time guest on the podcast. He is a 2x BAFTA Award nominee, an Emmy Award winner, and a Hollywood Makeup Artist and Hair Stylist Guild Award winner. *** MORE ABOUT FELLOW TRAVELERS: FELLOW TRAVELERS is created for television by Oscar® nominee Ron Nyswaner (Philadelphia, HOMELAND) and stars Matt Bomer (The Normal Heart, The Boys in the Band), Jonathan Bailey (Bridgerton), Jelani Alladin (The Walking Dead World Beyond), Allison Williams (Get Out, Girls) and Noah J. Ricketts (American Gods). The series was nominated for 3 Primetime Emmy Awards.

On this episode, my guests are Jesse Mann (editor-director) and Tyson Sadler (director), the brains behind the documentary The Last Tourist. Jesse is both a picture editor and director whose professional work has spanned commercial, tv and film projects. The Last Tourist is her second feature film as editor. Her first film, as both editor and director, Material Success, screened internationally and won the Audience Choice at the Canadian Film Festival and Best Film at the Canadian Film Festival (2012). Most recently, she both directed and edited the online horror mini-series “The Confinement” (2021). She is a member of the Directors Guild of Canada and an associate member of the Canadian Cinema Editors. Jesse has an B.F.A. from Ryerson University's School of Image Arts.Tyson Sadler is an explorer, traveller and award-winning filmmaker. He has directed video content and documentaries for The New York Times, Associated Press, and The Huffington Post. His films have been screened at festivals around the world including Tribeca Film Festival, South by Southwest, The Edinburgh Fringe Festival, and the Toronto International Film Festival. An early pioneer i virtual reality documentary, he has worked tirelessly to use cutting edge technology to tell stories that build empathy around causes such as climate change, forced migration, and human rights.Show Notes:The Film's InceptionIndustry PolarityRegulating TravelAddressing the Root ProblemsGreenwashing Animal and Child Welfare TourismHow the Wealth Gap Increased During COVIDWhat was Left on the Cutting Room FloorHomework:WATCH THE FILM HEREThe Last Tourist Film Website | Instagram | FacebookThe Last Tourist TrailerJesse Mann's Website | InstagramTyson Sadler's Website | InstagramTranscript:Chris: Welcome Jesse and Tyson to the End of Tourism Podcast. Jesse: Thanks Chris for having us. Tyson: Thanks for having us. Chris: Thank you so much for joining me today to talk about your documentary film, The Last Tourist. So, it was released in 2022 to great reception.And as you might imagine, many of my listeners have pointed me in its direction. And after watching the film, I found myself really grateful that people finally approached these themes in the medium of documentary filmmaking and with what seemed to be a budget to do justice to what those themes confront. And so first I'd like to ask you two how The Last Tourist got started and what the inspiration behind the film's creation was and how did you decide to write a treatment for it? Tyson: Ultimately, you know, I think the inspiration for The Last Tourist came from a combination of personal shared experience and a shared passion for travel and particularly responsible travel.You know, in early 2018, I was approached [00:01:00] by the executive producers to write a treatment, for a short film around responsible tourism in the country of Peru. And through, you know, some follow up conversations, we sort of quickly realized that we had an opportunity because, a large scale documentary, on the subject of responsible tourism just didn't exist yet. I mean, we have wonderful films out there which challenge our conversations with our relationship with climate change and our relationship with our food source like An Inconvenient Truth or like Food Inc., but we didn't at that time yet have a documentary which really challenged our perceptions of the global impact of the travel and tourism industry and so over conversations with with our team and the producers we quickly realized that we had a unique opportunity to make "An Inconvenient Truth" for the travel industry and in early 2018, we seized on that opportunity to explore the positive and negative impacts of tourism on destinations.Jesse: And I think just to add to what Tyson was saying, I think originally [00:02:00] it started off as a short project and yourself and the executive producers who brought us together kind of pushed for it to become the large scale project that had ended up being filmed in 15 different countries or 16 with 400 hours of footage.So, sometimes you don't know, especially myself as a co-writer and editor, when you come on to a project, in the initial stages, you think, "Oh, you know, this is wonderful. It sounds like a great project." I had been an avid traveler, lived in a few different countries over 20 years and I thought, yeah, this is a story that needs to be told, but I will say in no way in the beginning, did I ever think it was going to be, and I think Tyson didn't either, was it going to be such a huge project. And you comment, Chris, on the expansiveness of the subject and the different kind of facets of the tourism [00:03:00] industry we were able to look at.And really I have to say that I'm happy that we got to touch on all those points and to the chagrin of my personal sleep and Tyson's as well, but it started off small, I have to say that, and it grew into something tremendous that I think we're very proud of.Tyson: It really was a natural progression of our desire to raise awareness about responsible tourism and its consequences. We had our world premiere, honestly, I think it was about two years ago now at the Vancouver International Film Festival, two years ago. And a little over two years ago, a little over two years ago.And the film is still doing a festival run. Just last weekend, Jesse was at the the Innsbruck Film Festival and it's still been getting a wonderful response, great conversations around it. And we're streaming on platforms around the world, you know, Crave in Canada, Hulu in the U.S., Amazon Prime in other countries. I was just in French Polynesia and was able to find our film on Amazon Prime, which was really delightful [00:04:00] to see that. Jesse: Yeah, it makes us happy as filmmakers to know that the story that we spent a lot of time trying to create in a way that we thought would connect with audiences worldwide is actually getting out there. And so it's really nice to be speaking to you on your podcast as well and kind of extend that out to potentially more people who haven't seen the film or some who just want to talk more about the topics. Chris: And I wanted to ask you two, given the fact that the film was released, you know, still very much in a pandemic during the, the COVID 19 times what the reactions were given the fact that tourism had ground to a halt in that time you know, I received a lot of Mail regarding your film, like, ah, you have to check this out.You have to watch this, right? And so a lot of people really excited about the project, about the film. But then I guess I'm also curious about[00:05:00] if there was much of an industry backlash in regards to the degree of sincerity perhaps around which the film exhibited these kind of deep and sometimes dire consequences that visit themselves on places and people in the name of tourism.Tyson: Yeah. I think the reactions to the film have been in my experience, almost entirely positive. But people don't come to me with criticism, they come to me with congratulations, but I think there's a lot of individuals in the tourism industry and sponsors that have really welcomed our film, The Last Tourist, as a necessary and eye opening piece of work.It sparked a lot of interesting conversations and prompted the industry to, in many ways, I think, reevaluate some of their practices. You Jesse: If we back it up to when we were just when we were meeting with all of the different professionals that we interviewed across the different facets of the tourism industry, I mean, when you and I were writing the story, there were so [00:06:00] many different conflicting opinions on how to solve one issue that we still come across that sometimes when we meet those industry experts outside of, let's say, film audiences.Because When we were writing it, we had to kind of decide which side of the coin we were going to follow through our story with, and whether it's a topic of let's say regulation, that was a topic that Tyson and I had a lot of conversations about when we were making the film because the industry in itself is kind of very polarized in terms of regulation.There's some strong proponents within the tourism industry who want regulation. And then there's some who are very against it. And Tyson and I had a lot of conversations about that. And I think we still do when we meet certain industry professionals out there and I think that's a really important topic as well.[00:07:00] Now that you are bringing up, post covid and the pandemic where we saw kind of what happens when things are shut down. You know, we see both the positive and the negative. I mean we mentioned it in the film, but almost every single person that we interviewed in our film lost their means of income during that time. Gone.And at the same time, the world experienced kind of you know, a refuge from, you know, airplane emissions and damage to destinations. And, you know, these were calculable things like we could see that this was a definite impact. So, I think there's these kind of topics and these conversations are where we see a lot of polarity.And I think that we tried our best to focus on the people and the developing nations in our story. But, there are a lot [00:08:00] of stories that were left on the cutting room floor and so it is good to discuss them after in a podcast like this. I know that's kind of a long winded interjection, but I do believe that we do have some polarity for sure Tyson and I have come across, but just not in terms of what Tyson is talking about, in terms of not not so much with the audiences It is more a bit in the industry. Tyson: I'll share an observation. During the process of creating this film, we interviewed literally dozens of travel experts, you know from academics to tour operators across the industry.It's universally recognized that responsible tourism and sustainable tourism is a good thing. But then when we dive a little bit deeper I found a very fractured kind of industry because everybody believes that they know how to do responsible tourism, right. And everybody else, often, isn't executing responsible tourism correctly.And so, on a foundational level, sure, we all believe in responsible tourism, but I think, the approach at how we get there isn't universally accepted, throughout the industry, and I think [00:09:00] that that's, on a basic level, we kind of explore those themes in the film as well as we interview people who kind of take different approaches to how to engage responsibly with tourists and host communities.Jesse: And we had to make some hard decisions, obviously based on the research that was coming in on what side we wanted to promote in the story. But sometimes I think it's fair to say, Tyson, if you agree with me that we did try to leave it a bit more open for audiences to try to make their own decision based on what we had learned, because it's not always an easy answer for every situation.It's quite nuanced, I think. Tyson: Absolutely. Chris: And you mentioned Jesse, regulation. In terms of the people you interviewed and your research, generally speaking, what does that look like, or what might that look like in particular locales or within the industry?Jesse: Well, I think we've seen quite a bit of it post pandemic because where we thought there was going to be [00:10:00] an ease back into traveling that has not happened. All the reports are coming back in that tourism is back up in droves and a lot of the same problems, if not more are back with travel again.And so we've seen places like Machu Picchu has started regulating the amount of people that are able to visit annually. Worldwide, there's different popular tourist destinations who have decided to limit the amount of tourism and tourists that come to certain destinations.You know, I think when it comes to destinations, we just have to be really careful that it doesn't become a tax that is elitist because that happens a lot with regulation across the board. You've seen it with cigarettes, you've seen it with airfare as well. You're paying a higher price for travel. And although I do believe personally and Tyson, you [00:11:00] can speak to this as well, but because we haven't discussed this recently, but when you put a strong tariff or tax on travel, I think it is important, but I think it has to be calculated so that it's not elitist because if we only have people traveling in the world who can afford it, if it becomes so unaffordable, this is totally against the core value of travel, which is to unite all people of all different socioeconomic statuses and really connect with different cultures and people, and if it's just suddenly becomes for people who can afford a really overpriced flight, I think that will completely take away the value of the core value of travel.But I do strongly believe that, and this I think is a very controversial thing to say. I do believe that things have to be regulated and there has to be something done, especially about the amount of flights that are happening on this planet. Because, you know, for instance, I don't know the statistics for Canada, but I was looking at it the other day for[00:12:00] the UK.And I think something like 70 percent of all flights in the UK are taken by 15 percent of the population, and I don't doubt that that's very similar for a lot of the Western world without knowing all the statistics specifically, so I think that that has to be really taken into consideration when putting out regulation in terms of flights or destinations and such.Chris: Yeah, I've thought about it quite a bit as well, and the elitization of travel, and this understanding that, well, we remove subsidies, for example, for air travel or other things, that we'll just have rich people flying around the world, which is more often than not the case already. Most flights are undertaken for business travel and that's a huge thing that I think most people don't know about, but instead of getting people with corporate backed funds or just rich people flying around the world, we're obviously looking for people with strong principles and good behavior to be the ones [00:13:00] traveling.But then how do you measure that? How do you quantify that in a way that honors the kinds of worlds we want to live in? And it's not just this like, oh, it's impossible. Sure. And we could take that understanding that to quantify such a thing would be next to impossible, but then it could also open up these kind of doors of imagination where in like what kind of infrastructures would we want to put in place that were not maybe Government sanctioned or not maybe top down, but actually from the bottom up, creating these kind of international or intercultural bonds and practices between people that would allow not just for the kinds of people who locals in quote unquote "destinations" want to receive to be able to travel, but then also to create the conditions whereby that kind of, for lack of a better word, behavior or principles could be deepened in the world.I mean, it'd be extremely difficult to, [00:14:00] to manage, but How would you quantify that? How would you measure that? Jesse: Yeah, and I think that's such a, such a complicated issue and I love what you're saying though. I think it's absolutely wonderful. And I do think it's possible to move in that direction.I'm not sure I have the answer for that and maybe Tyson wants to speak to it, but I also want to say that something that I think could be part of the solution is also promoting train travel as well. And I know that that kind of that stops at domestic. But at the same time, you know, I think governments should be allocating a lot of funds to push train travel to create and develop train travel and to also subsidize train travel more because it's just a wonderful way to reduce emissions and to actually continue allowing people to travel. Tyson: Yeah. There are some countries here in Europe, Jesse, and I think Europe is just far beyond a lot of the rest of the world. Canada, I think we're still living in the dark ages, you know, when it comes to long [00:15:00] distance train travel.Jesse: That's a shame. It hasn't been made a priority. Tyson: It just doesn't exist.Chris: Well, I'm curious also for you two how your own travels in your lives might have come to bear on your production or pre production and research in the film. Maybe you could tell us a little bit of how you've seen the world over the course of your life and your travels and if that came to bear at all in the making of the film.Tyson: Personally for me, I traveled extensively, for 20 years prior to embarking on this film. I worked in the travel industry. I worked for an airline for many years. I was also a journalist and I've done work for several large publications, which allowed me to travel to very, some very remote and exotic destinations around the world.This travel really exposed me to the beauty and the wonder of the world. But also the environmental and the cultural challenges that a lot of these destinations face. You know, the experiences, with travel for both work and for pleasure, I think they served as a [00:16:00] catalyst, for me just to delve deeper into this topic.And so when I was approached about directing and writing a film on this topic, I don't think there could have been a better fit. Like it just, everything just kind of fell into place and I just felt like I was really well poised because prior to that I had traveled to 70 different countries in a number of different capacities.I had personally engaged in a number of behaviors that we are critical of in the film in terms of animal interaction, you know, interaction with other cultures. And my travel through two decades was really an eye opening and learning experience for me. And what this film really is, I think for me and in many points in the film is a reflection of my past travels and things that have been illuminated in my mind in terms of what are some important aspects that we really need to address if we want to be more conscious and responsible travelers.Jesse: And I think from my end I surely [00:17:00] had not traveled to as many destinations as Tyson. But I did indulge my wanderlust in my twenties and thirties. I lived in a few different countries, Holland, South Africa, Germany, Canada. And I think that the absolute best aspect for me personally of travel is meeting the people.I absolutely love meeting people in different cultures and seeing the differences and the similarities and learning the wisdom as much as I possibly can in such a moment of my life, when I'm in a destination, if it grants me such a gift. And I think from that, I still do have such a deep, deep gratitude to my privilege and being able to travel in and meet such people.I've made such beautiful friendships over the course of 20 years and many I still keep in touch with across the various places I've lived. And I think that when you come back, [00:18:00] perhaps from living in different cultures in different countries and you come back to your home, the place you were raised in and where you were born and where you were raised culturally, and you can note the vast differences, and it's not a negative thing, but you start to pick up on the ways in which many people can see different cultures or different countries in a way that is completely disconnected from the actual truth and and this knowledge often comes with privilege.I was privileged enough to be able to travel to these destinations to meet certain people and to dissuade certain prejudices, but not everyone can. And so part of this film, I have to say, ironically, is that if you can't travel, this film is also a wonderful film to watch because it's something that you can meet these people [00:19:00] in these destinations.You know, there's so many places that I've been to also that are so many places I have not been to that were featured in the film as well. And with documentary filmmaking and making, and especially as an editor, I really do feel like I get to know these people so well, and I don't think that's just exclusive to myself.I think audiences, hopefully, if I've done it correctly, if Tyson and I have, have made the film correctly, that these people's hearts have come through in the film. And, this is something that Tyson and I really worked hard on. And I'm sorry if I'm deviating from the question a bit, but it does connect very deeply to my love of travel is is people and also my love of editing people and so it was something we worked really hard to focus on is how do we give these people a podium. They have their voice there. They're saying their truths. How do we give them a podium [00:20:00] and as the white filmmakers who are coming into different countries, how do we take a step back and really let them preach their wisdom? And so it was a balance for us really in finding the right voices, obviously speaking to the right professionals and speaking to professionals within different cultures that you see featured in the film and really making sure that their knowledge, their voice, their direction was giving us direction on how we edited and formulated the story and stories of everyone that we met in the travels of the production as well. Chris: And on that note, I'm curious for each of you, what was the most important topic or theme that came up in the film for you personally?Tyson: For me, maybe it's an echo of Jesse's sentiments there, but really it comes down to the impact on the communities that so graciously host us when we when we do travel. Travel you know has you know has an encyclopedia [00:21:00] of challenges that come with traveling responsibly unless we address the people. And I think we address this and the the film addresses this, but we can't begin to you know to start focusing on the environment unless we first focus on the communities who are there and helping them emerge from poverty. We can't begin to focus on how we can solve the problem of poaching in the African savannah unless we first address the root causes of why it's there and how it affects the host communities and how poverty affects people's decisions to be involved in this trade. Jesse: That was something that Jane Goodall was was really adamant about speaking in the film about as well Tyson: Yeah, and so to answer your question Chris, I mean ultimately it comes down to the communities and the people, the humanity of it all. First, we need to address the human aspect and then we can address the secondary aspects of what it means to be a responsible traveler.[00:22:00] Jesse: So for me, personally, the most incredible voices in the film that when they came in, I just thought, "oh, wow," were definitely Lek from Elephant Nature Park and one of our contacts in Kenya Judy Kefergona, who ended up being one of the main speakers and narrators throughout a huge portion of our film.These two women were just heroes. Like just with Judy, with the words that she was able to express for the people working in not just only the tourism industry in Kenya, but the people of Kenya who were vulnerable to unethical tourism, and then speaking to so many different subjects that were connected to so many different stories worldwide with such eloquence and such power and such knowledge [00:23:00] and encourage really, I think. She spoke about these topics. I was just enamored, just blown away and so grateful for her coming onto our film and Lek Chailart is just a modern day hero. She is the tiniest woman with the biggest heart who when I saw her story in our film against the backdrop of these beautiful giants, these elephants that she has rescued. And essentially she's an elephant whisperer in the truest sense of the word. And it's just such a magical thing to see.Listeners won't be able to understand this. I'm getting goosebumps when I just talk about her and this was the kind of thing that when Tyson and I were looking through footage and looking through stories that we were looking for, "Oh, that's the moment, ah! the moment. I got the goosebumps. That's it. It's there. And we found it in the stories, not just these two women, everyone you see featured in the story and some that were left on the cutting room floor, unfortunately there that gave us beautiful insight that we still used in crafting the story, that just wasn't able to [00:24:00] make it into the actual film for timing constraints.But really, I would have to say that these two, it's not specifically the stories, although both of them touch on really important stories, including child welfare and animal welfare, which to me, those two stories were really close to my heart. And we felt really strongly that they needed a really important part in the film.But it was really these two women who I just felt so grateful for in the film. Chris: I mean, the, the chapter on animal welfare was quite devastating for me in part because it had reminded me that in my early twenties, I had visited Thailand and I had gone to an elephant sanctuary. Not a zoo but a sanctuary, and had the opportunity to ride an elephant for a short time, and I felt really uncomfortable probably because I was on top of an elephant, just the kind of immediate awkwardness of such a thing, having never seen one in person, having never [00:25:00] experienced that before, but also kind of like, "what am I doing here?" And so, that part of the film really kind of opened up for me why I felt that perhaps existential discomfort, not just about being on top of an animal of that size, but in the context of the dynamic, you around how that was happening and why that was happening and not having the context for it so long ago.And of course, this is one of the things that we touch on in the episodes, in the interviews, in the podcast, is how can we come to understand these things when our visits are so short in these places, when we are only in a place for just a very brief time and there's really no context for the history and the culture and the political dynamics that surround these things.And then, most travelers, most tourists just end up leaving and the consequence of one's presence on the scene is kind of forgotten, at least by the tourist or traveler. Yeah, so thank you for [00:26:00] for that. Jesse: That question did come up actually at the recent screening of the film in Innsbruck at the Nature Film Festival, whereas someone in the audience asked very specifically, even though it would be great to stay at a destination for a long time, most people are, saving up for short travel when they have time off work. And they need to take this kind of tour because they can only afford this one. And what do you say to those people who want to travel better, but feel like they're kind of stuck or don't know where to go. But I would say in short, I think that touches on an issue that we have in the modern world with a lot of things. We are all overtired, overworked, and we don't have time to be ethical, we don't have time to do the research, we don't have time to investigate, if anything is against our core values, and we don't have time to and I get that, you know, it's not easy for everybody.And if you do have the [00:27:00] time and you are able to really do a deep dive then you're very privileged, because you have the time, which just means that you have the money. So we did try to give a lot of smaller tips at the end of the film in terms of how you can do smaller acts of, of kindness and of conscious traveling, to travel local, to put money into local economies to make sure that you're not requesting your sheets to be washed every day, making sure that you're traveling using reusable, to make sure that you're and I guess this goes into a little bit more of the extensive questioning is to ask the destination that you're traveling to what their policies are in connection with the locals, in connections with the environment. Unfortunately, there is a lot of greenwashing in tourism. And you know, that's in all industries right now worldwide. So it's not going to be so easy for someone who isn't an investigative [00:28:00] journalist to really find out the truth behind it all the time, but we can do our best.And there are quite a few links on the website thelasttouristfilm.com where you can see some of the different organizations that we spoke with that have lists upon lists of different collaborating companies that you can look to that can can show you places that are not greenwashing or that are working with locals, but back to the idea of taking the time and it is about taking the time, whether it's an hour even, just to take the time and do a bit of research and this especially comes back to the topic of child welfare and people who are still, en masse, volunteering worldwide to orphanages and orphanages where children have existing family members and that these orphanages have become of monetary value to developing nations [00:29:00] because they make money and it's really easy for us to pass judgment on places that do this, and it's definitely wrong, but if we as travelers are going there and saying with our travel dollars, this is something we want to invest in, then people in developing nations are going to say, this is how I make money.And it's the same with animal welfare. You pay for an animal sanctuary that you haven't done the research on. They're going to keep perpetuating that cycle. It's going to be the same with child welfare. So, if you do want to be ethical, you have to fit in a little bit of research in your travel time. And that's it. And I know it's not so easy for everybody.Tyson: Yeah, I'd like to expand a little bit on a theme that sort of both of you have talked about. Jessie, you had mentioned greenwashing. Chris, you had mentioned that you had been to an elephant sanctuary in Thailand. One of the most memorable takeaways that I had from this film is just the massive amount of greenwashing [00:30:00] and deception that exists within the industry.I came to know a lot of companies that appeared to just be normal travel companies doing the same thing that has been going on in the travel industry but marketing "green" although nothing really changes. It's just their marketing strategy that's changed. If we look at, for example, in Thailand, there are a number of places that call themselves an elephant sanctuary, an elephant retirement home, an elephant rescue center. And we can't rely on those names anymore to know that the service provider is giving us an ethical experience. We really need to ask deeper questions. It's the trend in the industry now to use this type of language, " sustainable," "responsible," "eco," all of these buzzwords.And I've just come to find these completely meaningless, in those terms. We really need to ask some deeper, more challenging questions of these experiences and the tour operators and the service providers to actually know whether what they're doing is ethical or not because it is very easy to call yourself a [00:31:00] sanctuary, when in fact, it's the complete opposite. If it truly was an elephant sanctuary, we wouldn't be able to ride the elephants, in that place and they would be providing them a life of dignity free from exploitation. And it's the same with children. Calling these places orphanages ,I think it's a misnomer. It's incorrect. You know, 70 percent of children who live in these quote unquote "orphanages" actually have at least one living parent.But it's all under the guise of trying to gain sympathy from the traveler. "Oh, come see an elephant at a retirement home. Come see a child at an orphanage." It's just a piece of marketing that doesn't reflect the truth. We have a lot of companies doing the same unethical practices they've been doing for decades.However, they've just really changed their marketing to appear more green.Chris: Yeah, it seems to be a never ending cycle where responsible isn't good enough, that now we got to be regenerative. So many of these words just end up becoming, marketing tools. Tyson: I'm hearing that word a [00:32:00] lot more these days as well. Chris: Yeah, so how do we proceed, not just with a degree of dedication towards research and, and and planning, but also deep discipline as to how these words are unfortunately, as you said, becoming kind of meaningless in their significance..I want to take a little turn with you both to ask about what happened as the film was going through post production and its release because most of the footage that you have is quote unquote pre pandemic and the COVID 19 pandemic hit, obviously, in 2020 and from what I understand your team was entering into the post production process and, of course, tourism ground to a halt almost completely, worldwide. And throughout the film, there are people that you two interview that contend with the consequences and context of tourism and look [00:33:00] to a more honorable path that it might take. But I'm curious in regards to the people that you did interview who had found a degree of success and perhaps within a more small scale, a more honorable way of doing tourism that those flights, those trains, the reception of people in their villages went from a hundred to zero, basically overnight.So much of the dire consequences of tourism revolve around or end up as exile, local people can't afford to produce food anymore in their places. And the education systems kind of move them towards getting jobs in the next city or even in other countries, and I'm curious in the context of the film and I guess the treatment that you put forward, you know, never perhaps thinking that something like this could happen. What was the fallout among the people that you interviewed in regards to their understandings of tourism and if it was [00:34:00] still this kind of for lack of a better word, golden goose or calf or sacred cow that they could rely on for the rest of their lives.What did you hear kind of in the ether as you were doing that post production? Tyson: I think it substantially expanded the wealth gap. I think during COVID the people that were hit the hardest are the people in the tourism industry that often are paid the least.Depending on what their jobs were, they were the ones who were suffering layoffs and they were the ones whose businesses couldn't afford to sustain themselves. And so I think, for the most vulnerable populations, the pandemic was absolutely devastating.People couldn't afford to put food on the table and pay rents, not just, I think, in developing countries, but even in the developed world. Airlines were laying off massive amounts of employees. Hotels were cutting staff. This was a global challenge that affected everyone. However, at that same time, we did hear stories that, you know, CEOs of major airlines were taking million dollar bonuses[00:35:00] for cutting costs. And that was an observation of mine, through that experience, you know, that the people who needed tourism the most for daily sustenance and to put bread on the table were the ones who were absolutely the most affected and the people kind of at the top of the tourism industry were still fine and they were also taking bonuses, which really bothered me just because the wealth gap just seemed to get further and further apart through that. But we do know, with the stories, that were featured in our film... there's a wonderful lodge in Ecuador, a homestay that we look at and they lost their income during that time.The elephant sanctuary in Thailand, the one that does do great work, not one that greenwashes an elephant sanctuary but they lost a lot of revenue where it was very challenging to feed the elephants and to house the elephants because they didn't have that revenue coming in to support the project. Jesse: We were hearing in in Africa, right?Some of the rangers [00:36:00] were who were placed in defense of the elephants and animals and rhinos and such were just gone. They just weren't there anymore at that time because if they're not getting paid, they can't stay there. And so poaching also went up in those areas as well.But you know, I think that in terms of what the positive was, I think a lot of people were hoping that post COVID that there was going to be hope for change, for renewal for doing things differently. And I think this was in when we were in post that this was maybe, potential to show people how things can be different by showing kind of the polar opposite and the effect and also showing how intrinsically connected people's livelihoods are to this industry and how vulnerable they are to massive change like this. I mean, the Dominican Republic that has [00:37:00] almost 90 percent of their GDP related to tourism? Tyson: Island nations are the ones who are most affected by tourism. You know, the Bahamas, the Dominican Republic. The Caribbean islands specifically. I don't know if it's as high as 90%, but the vast majority of their GDP from island nations comes from the travel and tourism industry, and they were certainly hit the hardest during the pandemic. Jesse: And so I think that we can see from that, I think the hope for us during post production was, okay, you know, this is a horrific blow to the people most vulnerable in this industry, but if we can get this message out after the pandemic, perhaps this could be something that could really change. And to be fair, change is slow sometimes and I mean, it's wishful thinking that post pandemic right after that suddenly everyone was going to become ethical travelers but I see so much potential just in the discussions online the people that we're [00:38:00] meeting at different screenings, the interest that we're getting worldwide, just to have these conversations and see that there is an interest in change.And when you talk about moving change, it does often come from the people, and I think, across the world over the past few decades, we've all been seeing again, I think our power as people, as citizens, as individuals, and the power that we have to come together over certain issues that we feel need radical change and even if it is slow change, I do see the inklings of that change happening within the tourism industry and I think it's really positive.Tyson: You still have a lot of work ahead of us. Chris: Amen. I think that's really, really important and, and perhaps fits properly inside of the context of the dominant culture, at least of North America or the quote unquote West, wherein, the pandemic also produced a deepening of the [00:39:00] culture of "everything now."Suddenly it was like, "okay, well, I can't go out here, so everything has to be deliverable, and at the tip of your fingers, right? And what might come with that is this notion that, we also expect social change to happen overnight. Right? And that it might be overshadowed by this kind of dominant culture of wanting everything now and also the unwillingness to do the necessary work, which is sometimes generational.Right? Not just a week or a month or a year, but generations.In that regard, the themes of the film are extremely broad and you go into a lot of detail and depth with each. So I'm very grateful for that, but I'm also curious what might've gotten left out.What might, one day end up on a director's cut of the film. Jesse: Oh, so much. Tyson: Ask the editor. Jesse: Oh. Well, I mean, you had so many stories that you brought [00:40:00] to the table that were beautiful, beautiful stories. Forgive me. I don't remember his name and you'll remember Tyson.But one of the. Tyson: I know who you're talking about. Jesse: Oh, do you? One of the men you interviewed at the UN had a really beautiful story to tell. And then we also had a really beautiful story from Costa Rica. An animal welfare and environmental story. Oh, my goodness. There were so many stories.Tyson: We had a wonderful story from Cusco Peru with an organization that was putting the first female porters on the Inca Trail and really fighting for gender equality on the Inca Trail.Jesse: What was that company's name again, Tyson? Well, the reason why I bring it up is because it's so unique that I just think, "oh, we should definitely highlight that to listeners" because they were taking female porters and they were reorganizing the whole industry based on their [00:41:00] precedent because they were treating porters with dignity, with safe conditions, with, valuable wages and this is something that's just not done across the industry on the Inca Trail with the male porters and there was some really, really horrific footage that we came across of the way these porters were living just not too far from where the tourists were sleeping comfortably in their tents. And this is a wide practice across the industry and Miguel from this company Evolution Treks and the gallon, do you remember his full name, tyson? Tyson: Miguel Angel Gongora Jesse: from Evolution Treks, yeah, a wonderful, wonderful man who was really, really passionate about changing the industry. And we spoke with many of the female porters, and yeah, that was a story that we were really, really sad to lose that [00:42:00] story. Tyson: Yeah. Yeah. With only 90 minutes, you know, we yeah, really had to make some challenging decisions on what to be included in the film and I really feel that a 90 minute film can scratch the surface, it can spark some interest in a number of these themes, but certainly, and maybe that's next steps for us, but I certainly think that what this the subject matter, deserves is a series, you know, cause we could dive much deeper.Jesse: Tyson and I have been talking about it. Tyson: Yeah, we, we can dive much deeper into each of these subjects and create a 90 minute doc on each of them. And so, at some point in the future, we'll be making some pitches and writing some additional treatments into how we can make a six part series and expand on the themes in this film, you know, from the environment to gender inequality to animal welfare and everything deserves a lot more time, but hopefully, what we've done with this film is just been able to spark a number of conversations and inspire people to go and do some additional research [00:43:00] into how these themes impact these communities.Chris: Yeah, well, thank you both so much for that. I have a lot more questions, but maybe that'll also be saved for a sequel. Jesse: Yeah, we'd love to speak to you again, Chris, if you'd like, in the future. Chris: That'd be great. Before we finish, I'd like to ask you what might be next for you two in your respective filmmaking and writing lives?Tyson: My world currently revolves around photographing wildlife particularly large wildlife. Yeah, I've been spending a lot of time traveling recently and in the ocean. I mentioned to you, I mean, tomorrow I'm hopping on a flight and I'm heading to Norway to go photograph large marine mammals in Norway. So that's that's where my life is taking me right now is in pursuit of wildlife filmmaking and photography. Jesse: Although I wish I could, I could say similarly, I right now my life is a little bit calmer. I had a baby 20 months ago. So, I've been on an extended maternity leave [00:44:00] and I'm currently just in development of projects for the future.I finished up this project in full right before my child was born. And I still have a few projects that were finished up recently, but as of the moment I'm completely in development and yeah, I really look forward to developing something with Tyson in the future in regards to what he was talking about a series on travel and on a lot of stories that we were so passionate and so blessed to come across, but that we just didn't have the ability to give the podium to in our film, but yeah, so I'm really excited for the future and just coming from this festival that I was at recently, I'm just so invigorated with the energy of the audiences and the passion to travel better and to demand better travel from the industry and from travelers as a whole. So this just really gives me a lot of hope. Chris: Well, congratulations on your [00:45:00] motherhood. Thank you. And having a little one in your life and this work and Tyson and the opportunity to be able to travel as you do, and to try to honor the lives of those beautiful four leggeds and no leggeds and the tailed and finned ones. So finally, how can our listeners watch The Last Tourist? Are there any screenings coming up? Jesse: Definitely on the website, thelasttouristfilm.com, right when you go to the webpage, there's a whole list of all the different avenues you can watch the film.But maybe Tyson could elaborate more. Tyson: Absolutely. Yeah, you can connect with us on Instagram at Last Tourist Film, as well. We're just kind of wrapping up the fall festival season before we do some additional screenings next spring. We just wrapped up in Germany and Iceland.I think streaming is the best way to find us, in Canada we're streaming on Crave. In the United States, we're streaming on Hulu. Delta Airlines, Emirates Airlines. In other countries around the world, you can also find us, I [00:46:00] know in France, in French Polynesia, Hong Kong on Amazon Prime. And there's a number of other markets that the film will be opening in very shortly which is really exciting.It's not available everywhere, unfortunately, around the world, but if you have a desire to see it, you know, please get in touch with us and we'll do our best to make sure that you have an opportunity to see the film. You can host a private screening. There's a number of ways that you can see this film, but please let's keep the conversation going.Let's get in touch. I'd love to hear from a number of the listeners, and let's find a way that we can allow everyone to see this film. Jesse: And what's been really exciting is we've got a lot of interest from schools. So, educational screenings have been happening all across the world, and that's just been amazing.Those are the best for us, I think. And I would just say, if any of the listeners have any further questions for us, we're always open to taking questions and chatting. Personally, Tyson and I can both be reached at our Instagram. So you can I think Tyson's is @TysonSadler, and mine is [00:47:00] @JesseMann, two S's, two N's. So if you want to leave that for your listeners, they're welcome to contact us. And anyone who's listening can contact us directly that way, who want to host a screening or find out ways to watch. Chris: Absolutely. Yeah, I'll make sure that all the websites and handles are available for our listeners at theendoftourism. com. And on behalf of them on behalf of myself, I'd like to thank you both for joining me today. Your film is incredibly inspirational, necessary, and deeply important for these times and I don't doubt that our listeners think the same. So, I wish you the most beautiful paths ahead on your travels with your families.And ...We get the opportunity to speak again sometime. Tyson: Thank you, Chris. This has really been a meaningful conversation. Thank you. Jesse: Yeah. Thank you so much for giving us this space and I wish you all the same. Chris: My pleasure. Get full access to ⌘ Chris Christou ⌘ at chrischristou.substack.com/subscribe

SEASON 2 - EPISODE 97 - MARK JOHNSON - PRODUCER Producer Mark Johnson (THE HOLDOVERS, BETTER CALL SAUL, GALAXY QUEST) joins us on this episode of the Team Deakins Podcast. After growing up in Spain and a brief stint as an extra on DOCTOR ZHIVAGO, Mark worked in commercials in New York City before finding his way into the Directors Guild of America's Assistant Directing training program. Mark later survived William Friedkin's globe-trotting production of SORCERER, emerging from the dirt and mud having risen to the position of 2nd AD, and eventually broke into producing with director Barry Levinson's DINER. During our discussion, we learn how Mark finds projects to produce and what he looks for in projects brought to him. Mark also reflects on the varying styles of directors and how he personally defines the responsibilities of a producer. We also learn how Mark shepherded GALAXY QUEST (a favourite of ours) into existence, and he shares a number of insights into the journey of its development, production, and release. We later learn how Mark first met writer Vince Gilligan and of their long-term professional relationship that led Mark to producing BREAKING BAD and BETTER CALL SAUL, and he reflects on the differences between working in television versus film. Mark is responsible for introducing us to director Denis Villeneuve before we worked together on PRISONERS, and it was a pleasure to be able to catch up with him in this episode.  - This episode is sponsored by Aputure

Simone Bartesaghi is an Italian award-winning filmmaker who has been recognized by the Directors Guild of America (DGA) and AMPTP (Alliance of Motion Picture and Television Producer) as an artist with "Extraordinary Ability in Directing”.At the age of 24 Simone received his Master's Degree in Economics at the University of Pisa, Italy. Three years later he established a successful Consulting Company specializing in Corporate Organization and Planning. In 2001 he gave up his thriving career to pursue his childhood dream.Two years later he won several prizes as the Writer/Director of short films, but the highest recognition came when he won the first and second place at the Milan International Film Festival, and became the recipient of both the Top and second Award, TWO Scholarships for THE LOS ANGELES FILM SCHOOL.Only four years after his arrival in the United States, he directed his first feature film DOWNSTREAM, that acquired a theatrical release and also received the prestigious Accolade Award.Simone's second feature RUN, a 3D film that he wrote and directed, has won several prizes including Best Screenplay and Best Emerging Director and is distributed in USA by Millennium. The movie is about the new discipline Parkour (Freerunning) with a rich cast including Eric Roberts (The Dark Knight), Adrian Pasdar (Heroes), Kelsey Chow (Pair of Kings) and William Moseley (Chronicles of Narnia).Simone's accomplishments and communicative skills have been recognized by many educational organization around the world and he is now an Adjunct Professor in Filmmaking at the prestigious Santa Monica College.Simone is also a published author with his book "The Director's Six Senses", an innovative, unique, and engaging approach to the development of the skills that every visual storyteller must have. The Director's Six Senses is an innovative, unique, and engaging approach to the development of the skills that every visual storyteller must have. It's based on the premise that a director is a storyteller 24/7 and must be aware of the “truth” that he or she experiences in life in order to be able to reproduce it on the big screen. Through a series of hands-on exercises and practical experiences, the reader develops the “directorial senses” in order to be able to tell a story in the most effective way.Enjoy my conversation with Simone Bartesaghi.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Join America's Roundtable (https://americasrt.com/) radio co-hosts Natasha Srdoc and Joel Anand Samy with Ronald Maxwell, one America's most noted independent film writers and directors. Ron Maxwell's most known and revered productions mirror his life-long interest in American history. He was the writer and director of epic war drama films: "Gettysburg," starring Martin Sheen, Jeff Daniels, and Sam Elliott (New Line Cinema, 1993); “Gods and Generals,” starring Robert Duvall, Steven Lang, and Jeff Daniels (Warner Bros. Entertainment, 2003); and "Copperhead," starring Peter Fonda, Billy Campbell, Lucy Boynton, Geneviève Steele, Angus Macfadyen, and François Arnaud (2013). He is a member of the Writers Guild of America, the Directors Guild of America, and the Academy of Motion Picture Arts and Sciences. Ronald Maxwell is the son of a World War II veteran. Ron's father John F. Maxwell served in the U.S. Army Air Corps in North Africa, Sicily, Italy and Germany. On June 6, 1944 his unit had arrived in the newly liberated Rome. americasrt.com (https://americasrt.com/) https://ileaderssummit.org/ | https://jerusalemleaderssummit.com/ America's Roundtable on Apple Podcasts: https://podcasts.apple.com/us/podcast/americas-roundtable/id1518878472 Twitter: @ileaderssummit @AmericasRT @NatashaSrdoc @JoelAnandUSA @supertalk America's Roundtable is co-hosted by Natasha Srdoc and Joel Anand Samy, co-founders of International Leaders Summit and the Jerusalem Leaders Summit. America's Roundtable (https://americasrt.com/) radio program - a strategic initiative of International Leaders Summit, focuses on America's economy, healthcare reform, rule of law, security and trade, and its strategic partnership with rule of law nations around the world. The radio program features high-ranking US administration officials, cabinet members, members of Congress, state government officials, distinguished diplomats, business and media leaders and influential thinkers from around the world. Tune into America's Roundtable Radio program from Washington, DC via live streaming on Saturday mornings via 65 radio stations at 7:30 A.M. (ET) on Lanser Broadcasting Corporation covering the Michigan and the Midwest market, and at 7:30 A.M. (CT) on SuperTalk Mississippi — SuperTalk.FM reaching listeners in every county within the State of Mississippi, and neighboring states in the South including Alabama, Arkansas, Louisiana and Tennessee. Listen to America's Roundtable on digital platforms including Apple Podcasts, Spotify, Amazon, Google and other key online platforms. Listen live, Saturdays at 7:30 A.M. (CT) on SuperTalk | https://www.supertalk.fm

Send us a Text Message.Nos vamos a la típica casa rural en medio de los Alpes franceses con Anatomía de una caída y te contamos en qué pueblo nevado rodó la película de Justine Triet, por qué podría haber ganado otro Oscar y el lugar donde se filmaron las secuencias de ese juicio en el que prácticamente todo se valía.Y nos damos un paseo por otras casa cinematográficas que a priori parecen paradisíacas pero a las que en realidad no querríamos mudarnos.La directora Justine Triet hablando de la experiencia de hacer esta película con el Directors Guild of America: https://soundcloud.com/thedirectorscut/anatomy-of-a-fall-with-justine-triet-and-nicole-kassell-ep-439Villarembert, el pueblito de la Saboia francesa donde vive Sandra en la película: https://maps.app.goo.gl/xBbaTnWc9BhHkRnF9El Palacio de Justicia en Saintes: https://www.francetvinfo.fr/culture/cinema/le-tribunal-de-saintes-en-charente-maritime-ecrin-du-film-multirecompense-anatomie-d-une-chute_6327216.htmlLa Cucina, el restaurante italiano a la orilla del río Isère en Grenoble: https://www.francebleu.fr/infos/culture-loisirs/un-petit-bout-de-grenoble-aux-oscars-2024-une-scene-d-anatomie-d-une-chute-a-ete-tournee-dans-un-restaurant-italien-1340947https://maps.app.goo.gl/vDY3GZRkbdvjXUy76El restaurante asiático donde Sandra y su equipo legal celebran la victoria al final de la película: https://www.leroyalrochefort.fr/https://www.facebook.com/RestaurantLeRoyal/posts/4582997711802394¡Síguenos en redes!Instagram @vuelodeidapodcastYouTube @vuelodeidaTikTok @vuelodeidaX @vuelodeida

Regulations and Content Guidelines: a. Broadcast Regulations: FCC The Federal Communications Commission (FCC) oversees and regulates broadcast television and radio in the United States. Rules govern areas such as indecency and profanity, advertising practices, political advertising, and equal time provisions. Broadcasters must comply with content guidelines, including restrictions on obscene, indecent, or profane material during certain hours. b. Content Ratings: Content rating systems, such as TV Parental Guidelines and the Motion Picture Association of America (MPAA) rating system, provide guidance on the suitability of media content for different age groups. Ratings help inform viewers and parents about potentially objectionable content, enabling informed decisions. Censorship, Obscenity, and Free Speech Concerns: a. Obscenity and Indecency Standards: Legal definitions and standards for obscenity and indecency can vary across jurisdictions, impacting the permissible content in media and artistic works. Regulations aim to strike a balance between protecting public decency and upholding free speech rights. b. Artistic Expression and Free Speech: The entertainment industry often navigates the tensions between artistic expression and societal norms or government censorship. Legal protections for free speech and artistic freedom can vary across countries and cultures, influencing the creative process and content distribution. Compliance with Labor Laws and Union Rules: a. Labor Regulations: The entertainment industry must comply with applicable labor laws, including minimum wage requirements, overtime regulations, and workplace safety standards. Specific rules may apply to child actors, stunt performers, and other specialized roles. b. Union Agreements: Unions such as the Screen Actors Guild (SAG), Writers Guild of America (WGA), and Directors Guild of America (DGA) negotiate collective bargaining agreements that govern working conditions, compensation, and benefits for their members. Compliance with union rules is essential for maintaining harmonious labor relations and avoiding potential strikes or legal disputes. Cross-Border Regulations and International Distribution: a. Import/Export Controls: The distribution of media content and artistic works across borders may be subject to import/export controls, censorship, or content restrictions in different countries. Navigating these regulations is crucial for facilitating international distribution and avoiding potential legal or cultural conflicts. b. Intellectual Property Protection: International treaties and agreements, such as the Berne Convention and the TRIPS Agreement, establish frameworks for protecting intellectual property rights across borders. Ensuring compliance with these treaties is essential for safeguarding copyrights, trademarks, and other intellectual property assets in global markets. c. Cultural Considerations: Different cultural norms and sensitivities can influence the acceptability and reception of media content in various regions. Localization efforts, such as dubbing, subtitling, or content editing, may be necessary to adapt to specific cultural contexts and regulatory environments. --- Send in a voice message: https://podcasters.spotify.com/pod/show/law-school/message Support this podcast: https://podcasters.spotify.com/pod/show/law-school/support

We often talk about how the path is not linear, and today's guest reminds us to stop and smell the roses on the way to wherever we are headed! The lovely Tara Miele is a filmmaker originally from Long Island. Her widely acclaimed film, WANDER DARKLY, starring Sienna Miller and Diego Luna, premiered in competition at the 2020 Sundance Film Festival and was distributed by Lionsgate. Currently, Tara is writing and is attached to direct a Carol Burnett biopic that Tina Fey is producing. Most recently, Tara directed two episodes of LESSONS IN CHEMISTRY, one of my fav shows of last year, for which she was nominated for a DGA award!  She is also well known for her 2016 viral video, MEET A MUSLIM, which she created to combat Islamophobia and has garnered 45 million views. Tara is a Co-Chair of the Women's Steering Committee at the Directors Guild of America, where she helped launch the DGA's first peer-to-peer mentorship program for women, The WSC Squad.  I've been eager to open up the aperture and invite other accomplished professionals onto the show so we can hear from them, “What makes an exceptional producer?” In this episode, we dive into her unique path, producer red flags, and how she's been able to balance her impressive body of work with her most rewarding job thus far - being a mother.  

In this rewind episode, we talk with Kristin Overn, the Founder and Executive Director of the PAGE International Screenwriting Awards competition. Kristin began her film career as a producer's assistant and script reader at companies like Davis Entertainment, Bonneville Worldwide, and 20th Century Fox. Since then, she has consulted, collaborated, and developed screenplays with dozens of writers, producers, and production companies. Kristin also has extensive experience in production and has served as a producer, line producer, and UPM on various independent features, original sitcom pilots, and several award-winning short films, TV commercials, and videos. She is a member of the Producers Guild of America and the Directors Guild of America.The PAGE International Screenwriting Awards sponsors the WRITERS' HANGOUT.Executive Producer Kristin OvernProducer Sandy AdomaitisProducer Terry SampsonMusic by Ethan Stoller

This week on Good One, host Jesse David Fox welcomes Judd Apatow back to the pod. While last time Apatow spoke about The King of Staten Island and his movie making process, this time he talks about his approach to hosting an award show. Specifically, how he's approached the five times he's hosted the Directors Guild of America Awards. Recorded live at SXSW in Austin on March 8, 2024, Apatow and Fox use the DGA monologue as a jumping-off point for a wide-ranging conversation about the state of comedy and the film industry. Order Jesse's book (out now!), Comedy Book: How Comedy Conquered Culture–and the Magic That Makes It Work here: https://us.macmillan.com/books/9780374604714/comedybook Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

Below the Line continues our Fifth Annual Oscar Series with a discussion of the nominees for achievement in Directing, and I'm joined by a returning panel of fellow below-the-liners: Katie Carroll, Bill Hardy, Roger Mendoza and Shaun O'Banion. It's the first year we've discussed the directors nominated for the Academy Award, but it's in lieu of our traditional conversation focused on the Directors Guild of America nominees (the DGA crowns their winners next weekend, Feb 10th). Same panel, same topic, but a slightly different focus; the episode runs long, but I hope you'll enjoy it.

From representing Yoko Ono to winning class action lawsuits on behalf of actors and musicians, Neville Johnson and his partner Douglas Johnson (no relationship) have built one of the most interesting and successful entertainment law practices in the nation, specializing in representing “talent” as opposed to the business side of the industry.  Join Rahul and Ben for a fascinating discussion with Neville and Doug, as they describe how they got their start in this practice, recount some of their most interesting cases, and talk about trends in entertainment law resulting from new technologies. About Neville Johnson - Senior PartnerWebsite: Johnson and Johnson, LLP Law Firm | Johnson and Johnson, LLP (jjllplaw.com) Professional Experience:Neville L. Johnson graduated Phi Beta Kappa from the University of California, Berkeley (1971).  He received his law degree from Southwestern Law School (1975), graduating near the top of his class.  He has tried over 28 civil jury trials and over 70 civil trials and arbitrations without a jury. He is a member of the invitation-only American Board of Trial Advocates (ABOTA), and is on the Board of Governors of the Consumer Attorneys of Los Angeles (CAALA since 2005), the Board of Directors of the national organization Public Justice, and on the Board of Governors of the Beverly Hills Bar Association 2013-2015 and 2020-2022 (BHBA). Johnson is a long-time member of the invitation-only Los Angeles Copyright Society, and on the Board of The California Society of Entertainment Lawyers. He was nominated for Trial Lawyer of the Year in 2005 by CAALA.  He was Co-Chair of the Entertainment Law Section of the Beverly Hills Bar Association from 2009 to 2011. He has been on the Planning Committee of the USC Entertainment Law Institute since 2011. He has appeared in courts in Arizona, Colorado, Florida, Georgia, Hawaii, Louisiana, Nevada, New York, New Jersey, New York, Oregon, Tennessee, New Mexico, Ohio, Pennsylvania, and Texas. In 2020, Mr. Johnson and his team secured a verdict in a Right of Publicity case of over 9 Million Dollars in damages, and over 7 Million Dollars in attorneys fees. Mr. Johnson has litigated and settled countless cases against a wide array of defendants concerning royalty accounting, profit participation, publicity rights, idea theft, copyright infringement, and many other entertainment law matters. He has also served as an adjunct professor at Southwestern Law School since 2012, where he teaches Entertainment and Media Litigation. However, his greatest pride has been in defending the privacy rights of all citizens against the worst malefactors in the media. His work in this field was perhaps best summarized by Professor David A. Elder, a leading expert on the law of privacy, who published the following special dedication in his treatise, Privacy Torts: To Neville L. Johnson… who has led the charge, often successfully (and always creatively and with great passion) in exposing some of the worst outrages of media newsgathering. Neville ranks with Brandeis and Warren as the great defenders of privacy. All America is in his debt. Mr. Johnson has practiced entertainment law and IP law since 1975 [except for 10 months in 1977-78 when he was a Public Defender (juvenile) in Los Angeles County and handled over 100 matters, including two murder trials and one attempted murder trial]. Mr. Johnson has represented many well-known celebrities and entertainment concerns. The firm currently represents Sylvester Stallone in net profit litigation, and many other writers, directors, actors, producers, musicians, models, and JoJo Siwa, the biggest teen star in the world. He and his firm have been lead counsel in many class actions, including pioneering class actions in the entertainment industry against the entertainment unions, major record companies and motion picture companies. The firm has also handled a number of consumer class actions. The firm handles 15 to 20 right of publicity cases a year. Mr. Johnson is a frequent lecturer and written extensively on entertainment, copyright and media and other legal topics, including in London, England  (Entertainment attorneys based in the UK, London Branch of Entertainment Section of BHBA), Cannes, France (MIDEM, the international music convention), New York (ABA Forum on Communications Section, and Entertainment Law Section and New York Bar Assn.: Entertainment Law Section), Nashville (ABA Entertainment Law Section), Las Vegas (ABA Entertainment Law Section), Miami, Arizona State University, Stanford University, U.C. Berkeley, Loyola Law School, Southwestern Law School, USC Entertainment Law Institute annual forum (3 times) as well as the undergraduate school, California Western School of Law, California State University, Northridge, and many times to the Entertainment Section of the BHBA as a panelist or moderator), the Intellectual Property Section of Los Angeles County Bar Assn., and Berklee College of Music (Boston). Johnson & Johnson LLP, based in Beverly Hills, California, is a litigation firm that specializes in complex litigation with a particular emphasis on entertainment, intellectual property, right of publicity, privacy, defamation, consumer issues, and class actions. Mr. Johnson and the firm also negotiate business and entertainment agreements. Representative Matters:Obtained a 9.6 Million Dollar jury verdict after a seven week jury trial for claim of violation of the right of publicity, Hansen v. The Coca Cola Company, the largest verdict for a right of publicity case in the history of the United States. The trial court also awarded 7.4 million dollars in attorneys' fees.Obtained a unanimous landmark privacy ruling from the California Supreme Court in Sanders v. American Broadcasting Companies, Inc. (1999) 20 Cal.4th 907, a decision that is included in multiple casebooks and taught in law schools across the country.Obtained a published California Court of Appeal opinion representing fitness celebrity Richard Simmons in right of privacy claims against a magazine and private eye for placing a GPS tracker on a car. Simmons v. Bauer Media (2020)Represented numerous victims (both individually and in a class action) of notorious wiretapper Anthony Pellicano and other liable parties, including obtaining a favorable partial affirmance of a significant sanctions award by the California Court of Appeal in Gerbosi v. Gaims, Weil, West & Epstein LLP (2011) 193 Cal.App.4th 435, which concerned a law firm's use of Pellicano's services.Pioneered the use of class actions against studios and record labels for improperly accounting to artists regarding royalties and profit participation, obtaining multiple eight-figure settlements therefrom. Represented many individuals in profit participation claims, including Sylvester Stallone, Jack Klugman, Richard Dreyfuss and Mike Connors.Represented the heir of songwriter Gram Parsons in Parsons v. Tickner (1995) 31 Cal.App.4th 1513, defeating a statute of limitations defense and establishing a fiduciary duty claim against a music publisher.Represented numerous legendary musicians and/or their estates on a variety of contractual, accounting, and intellectual property matters, including John Lennon, Buddy Holly, Michelle Phillips, Rick Nelson, P.F. Sloan, members of Earth, Wind and Fire, Mitch Ryder, Lloyd Price and many others.Obtained a $15 million award in a jury trial business fraud case. Honors:He has been repeatedly selected by Super Lawyers as one of the top entertainment attorneys in Southern California (top 5% of attorneys as voted by peers). In 2020, 2021 and 2022 Super Lawyer and his peers named him one of the top 100 attorneys in Southern California, the only entertainment attorney on the list, he was named one of the top 100 Power Lawyers in Entertainment Law by The Hollywood Reporter every year since, 2008, and in 2020 moved to a new permanent category and designated a “Legal Legend.” He has also been designated numerous times one of the top lawyers in entertainment by Variety and Los Angeles legal newspapaer The Daily Journal. He was nominated as Trial Lawyer of the Year by the California Consumer Attorneys Association of Los Angeles. He is a fellow at the American Law Institute (only 2% of all attorneys are members).  In 2020 he was honored as Alumnus of the Year by the Biederman Entertainment Law Institute at Southwestern Law School.   A law review article about his career is Richard and Calvert, “Suing the Media, Supporting the First Amendment: the Paradox of Neville Johnson and the Battle for Privacy,” 67 Albany Law Review 1097 (2004). On June 23, 2015, the Los Angeles Times did a major profile (front page, Business Section) on his career, “Contract Sport, ‘Go-to' L.A. Lawyer Says Hollywood Studios Are Shortchanging His Clients,” noting that Johnson & Johnson is one of the few firms successfully taking on the entertainment establishment on a regular basis. The cover story of the July 2016, issue of Attorney at Law magazine is about Neville Johnson.  The Los Angeles Business Journal profiled him on its first page, “Lawyer Up,” (September 9, 2019). Speaking Engagements:He is a frequent speaker, including in London, England [Entertainment attorneys based in the UK, London Branch of Entertainment Section of Beverly Hills Bar Association (BHBA)], Cannes, France (MIDEM, the international music convention), the Intellectual Property Section of Los Angeles County Bar Assn., and Berklee College of Music (Boston); and the Los Angeles Copyright Society. New York (ABA Forum on Communications Section, and Entertainment Law Section and New York Bar Assn.: Entertainment Law Section), Nashville (ABA Entertainment Law Section), Las Vegas (ABA Entertainment Law Section), Miami, Arizona State University, Stanford University, U.C. Berkeley, Loyola Law School, Southwestern Law School, USC Entertainment Law Institute annual forum (3 times) as well as the undergraduate school, California Western School of Law, California State University, Northridge, and many times to the Entertainment Section of the BHBA as a panelist or moderator),  SInce 2011 he has moderated the panel on ethical issues for the annual Year in Review for the Entertainment Section of the Beverly Hills Bar Association. Publications: Johnson & Johnson, “Interesting New Developments About Which All Practitioners Should be Aware,” 31 New York State Bar Assn, Entertainment, Arts and Sports Law Journal 56 (2020); Johnson, Johnson, Smolla & Tweed, “Defamation and Invasion of Privacy in the Internet Age,” 25 Southwestern Journal of International Law 9 (2019) Johnson & Johnson, “Trouble in Tinseltown, Los Angeles Daily Journal (April 23, 2019); “My Big Mouth,” Los Angeles Daily Journal (March 29, 2019); Johnson & Johnson, “Entertainment Contracts with Minors in New York and California, 30 New York State Bar Assn, Entertainment, Arts and Sports Law Journal 75 (2019); Johnson & Johnson, “A New Way to Revive a Corporation?,” Los Angeles Daily Journal (October 18, 2016); Johnson & Johnson, “Hollywood Docket: One Sided World,” 27 New York State Bar Assn, Entertainment, Arts and Sports Law Journal 32 (2016); Johnson & Elder, “Maybe America Needs More Peter Thiels,” Los Angeles Daily Journal (August 8, 2016); “We've Lost Control,” Los Angeles Daily Journal (June 16, 2016); “Talent Agency Act Survives Suit, Clarity Remains Elusive,” Los Angeles Daily Journal (May 10, 2013); “The Man Who Seduced Hollywood,” 36 Los Angeles Lawyer 41(September 2013); “Remedies for Web Defamation,” California Lawyer 36 (May 2013); “To Find Employment as a Lawyer, You Must Market Yourself,” 36 Los Angeles Lawyer 12 (June 2013); “Ten Rules for Success in the Practice of Law, 31 Los Angeles Lawyer 12 (June 2008); Chapter, Johnson & Aradi, “Defamatory Tweeting and Other Name and Likeness Violations” in Building Your Artist's Brand as a Business, International Association of Entertainment Lawyers (2012) (includes a discussion of right of publicity); Chapter, Johnson & Fowler, “Litigation: How to Draft Defensively Without Killing the Deal” in Licensing of Music from BC to AD (Before the Change/After Digital), International Association of Entertainment Lawyers (2014); Elder, Johnson & Rishwain, “Establishing Constitutional Malice for Defamation and Privacy/False Light Claims When Hidden Cameras and Deception Are Used by the Newsgatherer,” 22 Loyola of Los Angeles Entertainment Law Review 327 (2002); “New Developments in California Privacy and Defamation Law,” 23 California Litigation 21 (2010); Johnson & Johnson, “What Happened to Unjust Enrichment in California? The Deterioration of Equity in the California Courts,” 44 Loyola of Los Angeles Law Review 277 (2010); Johnson & Walsh, “The Danger of “Anti-Libel Tourism” Litigation in the United States, 32 Los Angeles Lawyer 44 (December 2009); Johnson, “Privacy and the First Amendment”, California Litigation (2006); co-author “Caught in the Act,” Los Angeles Lawyer (1998) (an analysis of trends in the right of privacy); Johnson & Lang, The Personal Manager in the California Entertainment Industry, 52 Southern California Law Review 375 (1979)(a definitive article on the regulation of talent agents, personal managers, and the interplay of entertainment unions and guilds in that nexus). He co-authored chapters on music publishing and personal managers in The Musician's Business & Legal Guide (2017 5th edition), and wrote the authorized and best-selling biography of the greatest coach in the history of sports, The John Wooden Pyramid of Success (Second Edition 2004). Since 2012, Neville and Douglas Johnson have taught a course on entertainment and media litigation as Adjunct Professors at Southwestern School of Law.  From 2011-2014, he was one of the panelists teaching the Los Angeles County Bar Association new admittees course on class actions; and since 2011 he has moderated the panel on ethical issues for the annual Year in Review for the Entertainment Section of the Beverly Hills Bar Association.  Professional Associations:American Board of Trial Advocates (invitation only)Association of Business Trial LawyersBeverly Hills Bar Association Co-Chair Entertainment Section, 2009-2011Board of Governors, 2012-2015, 2020-2022Consumer Attorneys Association of Los AngelesBoard of Governors, 2005-PresentConsumer Attorneys of CaliforniaLos Angeles Copyright Society (invitation only)Los Angeles County Bar AssociationLoyola Productions [Filmmaking arm of the Society of Jesus (the Jesuits)]Co-Chair of the Board, 2009-PresentNational Association of Recording Arts and Sciences (Grammy organization)Voting Member (as the recording artist professionally known as Trevor McShane)Public Justice (National organization advocating for consumers and fundamental rights)Board of Governors, 2011-PresentUSC Entertainment Law InstitutePlanning Board, 2011-Present Education:J.D., Southwestern University School of Law, 1975B.A., University of California at Berkeley, Berkeley, 1971 Practice Areas:Media LawEntertainment LawEntertainment Class ActionsPrivacy LawComplex Business Litigation Matters, including breach of contract, breach of fiduciary duty and fraudRight of Publicity (wrongful use of name and likeness)Copyright Infringement and Theft of Idea casesIssues involving the entertainment unions Admissions:CaliforniaUnited States Supreme Court  About Douglas Johnson - Managing PartnerWebsite: Johnson and Johnson, LLP Law Firm | Johnson and Johnson, LLP (jjllplaw.com) Professional Experience:Mr. Johnson is well known for handling high-profile and high-impact entertainment matters. His clients include producers, actors, directors, writers, production companies, music artists, composers, music publishers, and independent record labels. He is well-known for his successes in royalty disputes, profit participation disputes, right of publicity cases, and theft of idea cases for film and television.  Mr. Johnson also handles invasion of privacy and libel cases, business disputes, and class actions.  Mr. Johnson has been repeatedly named by Super Lawyer as a top intellectual property litigator for more than a decade, representing the top 2.5% of the profession in Southern California. Mr. Johnson also serves as outside general counsel for WorldStarHipHop.com, a popular music and pop culture website, where he deals with cutting-edge copyright, media, and right of privacy issues.  Mr. Johnson has handled numerous copyright infringement lawsuits in Federal Court for Worldstar.   Since co-founding Johnson & Johnson, Mr. Johnson has been at the forefront of developing California's right of publicity laws. He regularly represents celebrities, models, and professional athletes in litigation against defendants who have wrongfully used their images.  He has litigated cases up to the California Supreme Court, advocating for precedent to protect the rights of all Californians from those who would seek to profit from their names, images, and likenesses without authorization. Mr. Johnson's advocacy in this area of law extends to his participation on speaking panels, publication of scholarly articles, and educating law students on the importance of these rights.  Mr. Johnson recently litigated a right of publicity case that resulted in a 9.6 million jury award and an attorney fee award of 7 million against Coca-Cola and Monster Energy for building their Hubert's Lemonade brand around the name of the founder of Hansen Juices, Hubert Hansen.  Mr. Johnson also received a seven-figure jury award in a right of publicity case for an actor/supermodel.   Representative Matters:Handled profit participation disputes on behalf of Sylvester Stallone (Demolition Man, Expendables, and the Rocky Films), Glen Larson (Magnum PI, Knight Rider, Fall Guy, Battlestar Galactica), Ed Weinberger (Amen), Richard Dreyfuss (Goodbye Girl, Mr. Holland's Opus, and Close Encounters Of The Third Kind, and What About Bob?), Raymond Wagner (Turner and Hooch), Jack Klugman (Quincy, Odd Couple), Mike Connors (Mannix), the Estate of Charles Bronson (St. Ives, Telefon), Mort Engelberg (Hot Stuff and Smokey And The Bandit), and the owners of the Friday 13th horror franchise.  Lead counsel in a class action against Sony Music, resulting in $12.7 million settlement and 36% uplift in ongoing foreign streaming royalties in Nelson v. Sony (S.D.N.Y) benefiting thousands of legacy recordings artists; currently co-counsel in similar litigation on behalf of legacy artists signed to Warner and Universal. Lead Counsel defending RatPac inidea theft case over the 2018 Melissa McCarthy movie, Life of the Party. (case dismissed on Motion for Summary Judgment).Lead Counsel representing producer in a dispute over turnaround rights to the film Rush Hour 4.  Lead Counsel for Janet Jackson in a royalty dispute with her label.  Obtained $5.35 million in retrospective relief and an estimated $3.1 million in savings over the next three years in Risto v. AFM & SAG-AFTRA (C.D. Cal.) for non-featured performers who receive royalties from the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund.Obtained a seven-figure settlement as lead counsel in a major talent management dispute for actress Karrueche Tran after successfully freezing all her manager's assets in Tran v. Muhammad (C.D. Cal.)Currently representing the leading production music company in North America on a variety of copyright matters both in and out of litigation-see, e.g., Associated Production Music v. The Vail Corp. (C.D. Cal.)Co-counsel in class actions against major Hollywood studios alleging endemic underpayment on home video and new digital media for pre-1982 movies for writers, producers, actors, and directors.  In those cases, Mr. Johnson handled the settlement with Universal for $25 million, the settlement with Fox for $12.6 million, and the settlements with Sony and Paramount.Mr. Johnson was co-counsel in three class actions against the record industry companies over digital download royalties of underpayments to artists (Temptations/Motels/Ronee Blakely), resulting in eight-figure settlements.  The cases dealt head-on with unresolved points of law as to the classification of digital downloads, and the rights of artists to receive royalties in the face of changing technology. Mr. Johnson has litigated several high-profile libel actions against large media companies, resulting in several mid-seven-figure settlements.  Recently he represented Richard Simmons against In-Touch Magazine. In May 2020, he argued and won an Anti-SLAPP appeal for Mr. Simmons.With his partner, Neville L. Johnson, he settled three class actions against the Directors Guild of America, Writers Guild of America, and Screen Actors Guild of America for tens of millions of dollars of unpaid foreign levies.  Defended blues icon B.B. King in a case seeking declaratory relief regarding the right to produce a film about his life, resulting in dismissal of the lawsuit.Obtained a seven-figure jury verdict in Oregon U.S. District Court on behalf of a music artist and record company in a copyright infringement case.Represented business owner in arbitration in a partnership dispute resulting in a seven-figure award for the client.Wrongful death and civil rights case resulting in reorganization of staffing and training at a county jail. The matter was featured on the cover of the Sacramento News & Review and constituted the largest settlement in the nation at the time for such a case. Thought Leadership:Panelist, CalCPA: Entertainment Industry Conference (June 21, 2022)Panelist, Beverly Hills Bar Association, Entertainment Law Year in Review, Ethics (January 13, 2020)Adjunct Professor, Entertainment and Media Litigation, Southwestern School of Law, (2012 to Present)Panelist, “Backend Optics: Profit Participations Through Different Lenses,” Beverly Hills Bar Association, Entertainment Law Section, (2018)Panelist, “I'm a Celebrity, You Can't Do That, (Can You?), California Society of Entertainment Lawyers, (2018)Panelist, “Entertainment Year in Review: Entertainment Litigation With Stars Of The Bar,” Beverly Hills Bar Association, Entertainment Law Section, (2017)Panelist, “The Right of Publicity: The State of The Current Law,” Beverly Hills Bar Association, Entertainment Law Section, (2014)The Ever-Evolving Courtroom Drama of Net Profits, Donald L. Stone's Inn of St. Ives, (2012)Panelist, Right of Publicity: How Much Is Your Client Really Worth?, Beverly Hills Bar Association, Entertainment Law Section, (2012)Panelist, Current Issues in Right of Likeness, Defamation and Privacy, Beverly Hills Bar Association, Entertainment Law Section, (2011)Panelist, Injuries Without Remedies, Loyola Law School's Legal Symposium, (2011) Sample Publications:The Troubling Trend of Online Exceptionalism to Copyright's Separate Accrual Rule, New York State Bar Association, Entertainment, Arts and Sports Law Journal, Vol. 34, No. 2, (Summer 2023)Florida sides with California on delayed discovery in copyright cases, Daily Journal (March 3, 2023)The Second and Ninth Circuits Diverge on Copyright Law's Discovery Rule, New York State Bar Association, Arts and Sports Law Journal, Vol 33, No. 2 (Fall 2022)The Top 3 Copyright Law Developments of 2022 (So Far), New York State Bar Association, Arts and Sports Law Journal, Vol. 33, No. 2, (Spring 2022)Say Goodbye to Back-End Deals, New York State Bar Association, Arts and Sports Law Journal, Vol. 32, No. 3 (Fall 2021)3 Music Litigation Developments in 2020-2021, Daily Journal (October 23, 2021)Contract, Fraud, and Libel Damages, Journal of Consumer Attorneys Associations for Southern California, Advocate Magazine (October 2021).  3 Music Litigation Developments in 2020-2021, Daily Journal (September 16, 2021)Recent Developments In Entertainment Law: Defamation Jurisdiction, Copyright, and Talent Contest Agreements (Summer 2021)Black Windows: Scarlett Jo vs Disney, Daily Journal, (July 6, 2021)Recent Right of Privacy Developments, Daily Journal, (July 22, 2021)Developments In Libel, Social Media, Privacy and The Right of Publicity, (Spring 2021)Copyright Developments in 2020, New York State Bar Association, Arts and Sports Journal, Vol. 32, No. 1 (Sring 2021)Pandemic-era Appellate Rulings Take on Arbitration, Los Angeles Daily Journal (April 22, 2021)Recent Interesting Cases, New York State Bar Association, Arts and Sports Law Journal, Vol. 31, No. 2, (Spring 2020)Hollywood Docket: Trending: Data Privacy, Copyright Trolling, And A Clause To Keep In Mind, New York State Bar Association, (June 6, 2020)Recent Development In Copyright Law, Daily Journal, (August 2, 2020)COVID-19 And The Return To Film Production In California, Los Angeles Daily Journal, (July 13, 2020)Interesting New Developments About Which All Practitioners Should Be Aware Of, New York State Bar Association, Arts and Sports Law Journal, Vol. 31, No. 1, (Winter 2020)My Big Mouth, Journal of Consumer Attorneys Association for Southern California, Advocate Magzine, (December 2019)Entertainment Contracts With Minors in New York and California, New York State Bar Association, Arts and Sports Law Journal, Vol. 30, No. 1, (Spring 2019)Defamation and Invasion of Privacy in the Internet Age, Southwestern Journal of International Law, Volume XXV (2019)When Will Legal Communication Result In Liability? Los Angeles Daily Journal, (Mar 29, 2019)Entertainment Contracts With Minors: Clarification Needed, Los Angeles Daily Journal, (Nov. 27, 2018)Tales and Lessons Regarding the Right of Publicity, USC Entertainment Law Spotlight, Issue 2, (2018)Hollywood Docket: Tales and Lessons Regarding the Right of Publicity, New York State Bar Association, Arts and Sports Law Journal, No. 2, (Summer 2018)Hollywood Docket: Essential Clauses for Drafting an Ironclad Release and Consent Agreement, New York State Bar Association, Arts and Sports Law Journal, Vol. 29, No. 1, (Spring, 2018)Before You Sign That Deal At Cannes…Produced By, Producers Guild of America, (April/May 2017)Hollywood Docket: Making the Perfect Pitch, New York State Bar Association, Arts and Sports Law Journal, Vol. 27, No.3, (Fall/Winter 2017)Hollywood Docket: One-Sided World, New York State Bar Association, Entertainment, Arts and Sports Law Journal, Vol 27, No. 2., (Summer, 2016)A New Way to Revive a Corporation, Los Angeles Daily Journal, (Oct 26, 2016)Hollywood Docket: Social Media, the Law, and You, New York State Bar Association, Arts and Sports Law Journal, Vol. 27, No. 3 (Fall 2016)What Happened to Unjust Enrichment in California? The Deterioration of Equity in the California Courts, Loyola of Los Angeles Law Review, Vol. 44:277 (Fall 2010) Published Cases:Gerbosi v. Gaims, Weil, West & Epstein, LLP (2011) 193 Cal.App.4th 435Walker v. Geico General Ins. Co. (9th Cir. 2009) 558 F.3d 1025Simmons v. Bauer Media Group USA, LLC (2020) 50 Cal App.5th 1037Education:J.D., University of the Pacific, McGeorge School of Law, 2000, Dean's ListB.A., University of Southern California, 1996, Dean's List Practice Areas:Entertainment LitigationComplex Business LitigationClass Action LitigationIntellectual Property LitigationDefamation, Media, and First Amendment LawRights of Privacy and Publicity Admissions:California   

Jon Lindstrom is a Hollywood Actor, Director, Writer, Musician, and NOW Author, who has starred and appeared in many films and TV shows such as General Hospital, True Detective, Baywatch, NCIS, CSI, Confidential Informant and many more! Jon is a member of the Directors Guild of America as well as SAG. Recently Jon wrote a thriller called "Hollywood Hustle" that is available on his website for pre-order and comes out Feb 6, 2024! https://www.jonlindstrom.com/

Prophecy Radio episode #117 discusses Percy Jackson and the Olympians season 1, episode 6, “We Take a Zebra to Vegas.” How was Lin-Manuel Miranda as Hermes? What did they change from the books? Is Grover everyone's number one suspect for the lightning thief!? We also tackle the latest Percy Jackson news and read a few pieces of listener feedback. New episodes of Prophecy Radio air weekly, and we keep our discussions PG-13. News and Updates (00:01:44) Take this quiz to find out which hero you are. Here's the BTS video for episode 4. Have you seen the BTS video for episode 3? If so, send it our way! Did you see how close they're standing in the episode 5 poster!? Rick has been sharing a lot of memories on Threads. James Bobin has been nominated for a Directors Guild of America award for his work on Percy Jackson and the Olympians! There will be a Camp Half-Blood experience in São Paulo, Brazil. Kristen JUST MISSED the Percy Jackson and the Olympians exhibit now in Hollywood Studios. Percy Jackson and the Olympians season 1, episode 6, “We Take a Zebra to Vegas” (00:15:21) What did we think of this episode overall? Let's kick off our discussion by breaking down Percy's latest nightmare. The Iris Message scene was amazing for SO many different reasons. Why was Luke in Chiron's office??? You should've heard our shriek when Luke called Percabeth an old married couple. Percy needs to be a little more aware of how sensitive some demigods are about their parents. Who has two thumbs and can release a horde of animals into downtown Las Vegas? Does Grover not care about humans? Did you catch that cute turtle on the median? The Lotus Hotel and Casino was beautiful, inside and out. “Levitating” by Dua Lipa was an inspired choice. We love how the kids immediately remembered about the Lotus Eaters. Graphic novels (and audiobooks) still count as reading!! We finally get a Wise Girl!!! Grover seemed a little miffed at Annabeth. We get some backstory on Luke and Hermes. Meanwhile, Grover meets Augustus. Annabeth doesn't know what to do about the bigger plan at play here and Percy is SHOCKED. Why would Pan be in the Lotus Hotel and Casino? Does anyone know what story Hermes was telling when he was first introduced? The way Hermes' face turns pained when they introduce them as Luke's friends! Was there anything of note in Hermes' office? Annabeth has all the subtly of a sledgehammer. Mortal/god relationships are toxic. What was up with that Young Percy flashback? Hermes is insidious in a different way from Ares. Did you catch Annabeth pulling out her hat as she left? Hermes has some great quotes about parenting. What is Hermes' motivation here? Speaking of motivation, what about Augustus' motives? Was Grover actually close to finding Pan? Percy chose not to lie to Grover about how he kind of made them late. The driving scene was hilarious, and we loved every second. Does 3N17 stand for anything? They made it to Santa Monica in one piece!! This episode gave us some flashbacks to the Tartarus scenes from the books. Is this the same nereid from the other episode? The deadline already passed!! Percy refuses to give up on his quest. There's no way one of those pearls doesn't break, right? What's the difference between a nereid and a naiad? Feedback (01:51:13) notjustanotherfangirl is looking forward to season 2's credits sequence. Nicolaas rightly says that mechanical monster from episode 1 was a rhino, not a bull. Morgan had a guess for those bat/serpent/octopus creatures. Judith likes that Grover doesn't eat random things when he's upset. Jessica wants to know which added scenes we've liked best so far. Solomon had some thoughts on Medusa. Toby Stephens News warns us that making viewers reevaluate the definition of monstrosity is Jon Steinberg's love language. We need Athena and her owl ASAP. Jessica writes back in to talk about the winter solstice visit. And Nicolaas also loved Hephaestus' musical cues. Thanks for listening, and tune in next time for episode 118, in which we'll discuss Percy Jackson and the Olympians episode 7! This episode's hosts are: Karen Rought and Kristen Kranz. Each episode, our Prophecy Radio hosts and their guests will keep you up to date on the latest information coming out of Camp Half-Blood, including upcoming books and adaptation news, discuss a topic of choice, and do a chapter by chapter reread of the Percy Jackson series. Follow Us: Twitter // Instagram // Facebook // Tumblr Listen and Subscribe: Audioboom // Apple // Spotify Feel free to leave us your questions or comments through any of these mediums! You can also email us at prophecyradiopodcast@gmail.com or visit our homepage for archives and more information about our show. Prophecy Radio is a Subjectify Media podcast production. Visit Subjectify Media for more shows, including Not Another Teen Wolf Podcast, ReWatchable, and Not About The Weather, and for all our latest articles about the stories we're passionate about.

Louie Schwartzberg, Howard and Michele Hall have a longterm beautiful friendship, the core of which is based in capturing and celebrating nature's wonders. While Louie explores the earth and air, Howard and Michele have magnificently captured the splendors of what lies within beneath our waters. Howard and Michele Hall are perhaps best known for their underwater IMAX films. In 1994 Howard directed the first underwater IMAX 3D feature, Into the Deep. In 1998 Michele produced and Howard directed the IMAX feature, Island of the Sharks, which was an enterprise of Howard Hall Productions. In 2005 they returned to the IMAX 3D format by directing and producing Deep Sea 3D which was awarded Best Picture at the Giant Screen Cinema Association Conference and Best Large Format Film at Wildscreen 2006. In 2009 the Hall's released Under the Sea 3D. This film won best cinematography at the Giant Screen Cinema Association Conference in 2009 and Best Documentary at the Internationnal 3D Society in 2010. Howard was director of underwater cinematography for the Primesco Productions film Lost Worlds, the MacGillivray Freeman film The Living Sea, the IMAX 3D feature Return to Hubble, and was underwater cinematographer for MacGillivray Freeman's Journey Into Amazing Caves. In 2002 Howard was underwater sequence director and Michele was location manager for MacGillivray Freeman's IMAX feature Coral Reef Adventure, a film in which both he and Michele are featured on-camera. Of the five highest grossing 3D films produced by IMAX Corporation, two were directed by Howard Hall. Into the Deep has earned box office receipts of over $70 million and Deep Sea 3D has earned over $96 million. The Hall's recently released Under the Sea 3D has earned over $52 million. Between them, Howard and Michele have won seven Emmy Awards. Howard has produced and/or directed many award winning natural history television films including a National Geographic Special, which he co-produced with Michele, and three episodes of the PBS series Nature. Howard also directed and Michele produced the award winning, five-hour series Secrets of the Ocean Realm for PBS. Howard holds a BS degree in zoology from San Diego State University. He is a member of the Directors Guild of America and the Academy of Motion Picture Arts and Sciences. Michele is a Registered Nurse and holds a B.S. degree in Health Sciences. She is a member of the Television Academy of Arts and Sciences and the Women Divers Hall of Fame.

In 1969 this audacious western drove a nail into the coffin of the old studio system, recasting the West along with classic Hollywood stars including William Holden and Robert Ryan into a newly violent, gritty and cynical image reflective of the Vietnam War era. The movie was a huge success and had a major impact on the Baby Boomer generation. But 54 years later, after numerous filmmakers have built on the graphic elements of the film, what does it still have to say, if anything, to today's generation? Our panel of young film-lovers discusses the film's violence, its male-centered world, its depiction of 1913 Mexico, the revolutionary spirit that sets this action film so far from movies made even just a few years earlier, and what to make of the hard-drinking director, often accused of misogyny and cruelty, the legendary Sam Peckinpah? Hosts: Mark Netter & David Tausik  Panelists: Grace Chapman, Kylee LaRue & Guy Lewis An ElectraCast Production. https://en.wikipedia.org/wiki/The_Wild_Bunch https://www.rottentomatoes.com/m/1059489-wild_bunch 52nd on The 100 greatest American films by BBC 63rd on The 80 Best-Directed Films by Directors Guild of America (DGA) 80th on AFI's 100 Greatest American Movies of All Time by American Film Institute Learn more about your ad choices. Visit megaphone.fm/adchoices

Marshall Herskovitz Live on Game Changers With Vicki Abelson Masterclass! I've had many stimulating, fascinating, brilliant, talented, fun guests. None more so than writer, director, and producer, Marshall Herskovitz. There's a reason this human has won more Emmy, Golden Globe, Writers Guild, Directors Guild, Peabody, and Humanitas Awards than I can count… not to mention an Academy Award nomination. Wow, just wow! You don't get all those awards for writing, creating, and making great television and movies without being a great storyteller, and boy is Marshall that! From his eighth-grade short story to his first attempt at filmmaking, AFI––miracle-ing his way in, meeting Ed Zwick the very first day––a partnership that would change both their lives and all of ours… Snuffy's specifically and significantly. We talked thirtysomething from throw-away lack of interest to the cataclysmic creative shift in what was possible on series TV. From Day 1 to the present commitment to the reboot usurped by the pandemic. Marshall and Ed are still passionately committed to seeing it through to air and I don't doubt with these two at the helm it will come to pass. Marshall talked about My So-Called Life, Claire Danes, Special Bulletin, and the NBC backlash on his Emmy-winning debut, Jack the Bear, Dangerous Beauty, The Last Samurai, and Tom Cruise––wonderful inside scoop there. Likewise, DiCaprio and Blood Diamond. We talked Marshall's environmental activism and seemingly sensible solution and concluded with the political race and what 2024 may hold. A rare guest I didn't know going in, Marshall quickly felt like a dear treasured friend. The conversation was effortless, exciting, insightful, and inspiring. Loved it!Can't wait for more… on and off the screen. Marshall Herskovitz Live on Game Changers with Vicki Abelson Wednesday, November 8, 5 PM PT, 8 PM ET Streamed Live on my Facebook Replay here: https://bit.ly/40yB9aE

We're closing in on the holiday season, which means it will soon be time to enjoy our favorite Christmas movies once again. Brandon is thrilled to welcome back, author/film historian, Jeremy Arnold. Jeremy recently penned "Christmas in the Movies (Revised & Expanded Edition) : 35 Classics to Celebrate the Season". The book offers more than 70 pages of new content to Jeremy's previous 'Christmas Movies' book.  Brandon and Jeremy discuss the new titles added as well as the special features of the book. Topics include: Christmas & Film Noir, Christmas Cartoons and the importance of the year 1947 in Christmas movies. We also discuss how Christmas movies have been important cultural touchstones in times of national trauma. "Christmas in the Movies (Revised & Expanded Edition) : 35 Classics to Celebrate the Season" is available wherever books are sold from TCM and Running Press. Jeremy Arnold is a film historian, commentator, and author of Turner Classic Movies' The Essentials and The Essentials: Vol. 2. His writing has appeared in Variety, the Hollywood Reporter, Moviemaker, and the Directors Guild of America magazine, and he has recorded audio commentaries for the Blu-ray or DVD releases of numerous vintage films. He lives in Los Angeles.  

With decades of experience in entertainment and reality TV, Brady Connell's career might seem incredibly different than your own. But today on The Business of You, Brady shares just how similar his life lessons have been to those of any entrepreneur and freelancer! Brady Connell is an Emmy-award-winning Executive Producer, Showrunner, and Director with vast television producing experience. Connell's work has propelled the success of popular reality programs such as Survivor, The Amazing Race, and Extreme Makeover: Home Edition.  Brady is a two-time Emmy recipient for The Amazing Race, an NAACP Image Award recipient for Extreme Makeover: Home Edition, a DGA Award nominee for The Great Christmas Light Fight, and a Humanitas Prize winner for writing in children's programming. While Executive Producer/showrunner of Extreme Makeover: Home Edition at ABC, the United Nations recognized Brady and his team with the prestigious Peace Award: “The Most Positive Television Show in the World.” A graduate of UCLA, Brady Connell is a member of the Directors Guild of America, the Hollywood Radio and Television Society, and the Academy of Television Arts and Sciences. Currently, Brady is working on two primary projects: The Great Christmas Light Fight and Secret Celebrity Renovation.  Pursue your interests and the path will become clear When Brady Connell started working in television, he took a variety of short jobs in order to jumpstart his career. He wasn't passionate about it and even considered leaving production altogether.  That's when the makers of Survivor noticed his resume and connected the dots! Although Brady's resume looked like “a mess” to him, it was an amalgamation of experiences in game challenge creation and social experiments. The creators of Survivor realized early on that Brady's unique resume made him perfect for the role, and he went on to be one of the first producers of reality television in history.  The beginning of his career serves as inspiration that no matter how unusual your experience is, there is a perfect role waiting for you - you just have to work hard, develop your skills, and network.  Be customer service-centric While the entertainment industry is saturated with people trying to “make it in Hollywood,” Brady shares one thing that makes you stand out: Work ethic. It's a common belief that if you are a great performer, writer, or producer - or entrepreneur - that people will want to work with you, even if you're challenging. However, he points out that in a saturated market, your interpersonal skills are what set you apart from the crowd. Whether you're on set of a show and displaying a positive attitude, or an entrepreneur going out of your way to make your clients happy, your energy and attitude will define your career success.  Stick to your values In the world of reality television, Brady stands out: He has a firm commitment to working on life-affirming content (in a genre that doesn't always make it easy), with principled teams and reputable partners. He chooses his projects wisely, which he learned early in his career.  In the early years of his work in television, Brady got work wherever he could find it. Despite laughing when he refers to certain projects, he knows that his early work led him further toward success. Doing what he had to do early on led him down an illustrious path - and now, he gets to create television that has a major effect on the audience it serves.  Inspire to standards When managing others, Brady Connell has a technique we all can use: It's called inspire to standards.  When he begins work on a new project, he makes  a speech and sets expectations for the staff and crew. He shares the mission and vision of the show, what is expected of their time and energy, and how they will work together in collaboration. This is ultimately the source of his success - motivating people to be self-driven so that he doesn't have to manage them; he only inspires and encourages.  Inspire to standards works when we're creating a team, and even when we're managing ourselves. Brady uses this mantra for himself when he chooses projects - asking himself, what will drive my mission forward? What will be the most fun? What is the expectation, and is it a good use of my time? As entrepreneurs, we should be asking ourselves the same questions.  Enjoy these life lessons from a reality TV entrepreneur - and apply them to your own career, no matter what industry you're in.   Quotes “The decision to be a freelancer is a major, major career and life decision. If you're a freelancer-type person, you have to be okay with not knowing where your next paycheck is coming from and you have to be looking for work on a regular basis. That takes your career in one direction. On the other side of things, if you want stability and consistency, that takes your career in another direction. Nobody told me that when I was starting out.” “I was trying to get out of tv…until Survivor came along. They were putting resources into this really interesting social experiment. I happened to meet the right person at the right time. My resume, which looked like a total mess, actually made a lot of sense for this game show adventure experience. I had experience coming up with challenges for games.” “The Amazing Race - I felt like it was pure. It was like, go here and get there as fast as you can. And we'll give you a clue. Win the race around the world and we'll give you a prize. We just documented their story. Historically speaking, it was impressive. It is all real.” “You follow your gut along the way. In the freelance world, you're making choices all the time, daily. I love that, that I'm faced with that choice. I consider the impact and whether it will be fun; it makes me think about my day-to-day work!” “If you just want to crank out a product, it might as well be nuts and bolts. But telling stories is another thing. You're touching peoples' hearts. People in charge of projects have to have certain standards, personal standards, a commitment to the content, and elevating those standards so that everyone involved is self-motivated.” “Hire the right people, then set the standards - what are these expectations and what is the commitment. Everybody becomes really self-motivated. That's my operating procedure.” “There is a certain collaboration in business; it is the key to everything. Everybody has different jobs and skill levels. You don't want a bunch of egos just running around trying to prove themselves. I try to lay it out, this is how I want this production to run.” “A lot of people come from around the world to work in this industry, But you'll get called back if you have strong interpersonal skills. That'll stand out. If you have a good attitude and you're a hard worker, you will stand out.” Links mentioned in this episode: Visit Brady Connell's website at https://www.bradyconnell.com/  Connect with Brady on LinkedIn at https://www.linkedin.com/in/bradyconnell/ Read Brady's case study at https://thebrandid.com/portfolio/brady-connell/

Duncan Scott is a film and video writer/director. He has over 150 productions to his credit and has won four Emmy Awards, two Telly Awards, and a Peabody Award nomination.As a writer, director and producer, Duncan has filmed throughout the world, from Siberia to Argentina, and worked with director Woody Allen, anthropologist Margaret Mead, musician Eric Clapton, actor Michael Caine, and author Ayn Rand.He is a member of the Directors Guild of America, the Writers Guild of America, the Academy of Television Arts and Sciences, and the Creative Council of The Moving Picture Institute. Duncan has created film and television programs for ABC-TV, PBS, The Rockefeller Trust, Bell Atlantic, the American Museum of Natural History, New York State Dept. of Health, and the Chicago Nature Museum. He worked closely with Ayn Rand years ago on the restoration of the 1942 lost film classic,We the Living based on Rand's first novel. Duncan's company now owns and distributes We the Living. Show is Sponsored by https://www.expressvpn.com/yaron & https://www.fountainheadcasts.comJoin this channel to get access to perks: https://www.youtube.com/@YaronBrook/joinLike what you hear? Like, share, and subscribe to stay updated on new videos and help promote the Yaron Brook Show: https://bit.ly/3ztPxTxSupport the Show and become a sponsor: https://www.patreon.com/YaronBrookShow or https://yaronbrookshow.com/membershipOr make a one-time donation: https://bit.ly/2RZOyJJContinue the discussion by following Yaron on Twitter (https://bit.ly/3iMGl6z) and Facebook (https://bit.ly/3vvWDDC )Want to learn more about Ayn Rand and Objectivism? Visit the Ayn Rand Institute: https://bit.ly/35qoEC3#immigration #philosophy #Morality ​ ​#Objectivism​ #AynRand #politicsThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3276901/advertisement

Our guest today is producer, director and screenwriter Marshall Herskovitz. Many of his production projects have been in partnership with his long-time filmmaking collaborator, Edward Zwick whose films, he's produced and written half of. Their decades-long filmmaking partnership was launched as co-creators of the 1987 TV show, ThirtySomething. Now, Marshall had already written for the TV show, Family, in 1976. So his understanding of TV was pivotal in the success of ThirtySomething.Other projects he's credited for executive producing or creating include Traffic (2000), The Last Samurai (2003), Nashville (TV show 2016), Blood Diamond, and Women Walks Ahead(2017), starring the incomparable, Jessica Chastain.Marshall show, ThirtySomething, which only ran for four-season was quite successful. Co-created with Zwick, the follows the stories and journeys of seven thirtysomethings living in Philadelphia who struggle with everyday adult angst.[presto_player id=41018]The show's success earned over a dozen Primetime Emmy and Golden Globe awards, and personal honors for Marshall from the Writers Guild and a Directors Guild.Herskovitz's filmography is pretty adventurous. We discussed as many as we could in this interview and he was totally down for the ride. But if we are to highlight some must-mentions, Traffic will get the spot. Herskovitz co-produced Traffic in 2000 alongside esteem producer, Laura Bickford and directed by Zwick.The film holds a constant 93% approval rating on Rotten Tomatoes and won numerous Oscars BAFTA, Screen Actors Guild, and Golden Globes awards in 2001.It followed through grossing a total of $207.5 million on its $46 million budgetThe President appoints a conservative judge to spearhead America's escalating war against drugs, only to discover that his teenage daughter is a crack addict. Two DEA agents protect an informant. A jailed drug baron's wife attempts to carry on the family business.Another classic of his is the 1999 TV show, Once and Again. A divorced father and a soon-to-be-divorced mother meet and begin a romantic courtship which is always complicated by their respective children and their own life problems.Marshall dropped all sorts of knowledge bombs on the tribe this week. You have to listen to the episode to hear all those extra deets he shared with us about the attempts at rebooting ThirtySomething and many more.Enjoy this conversation with Marshall Herskovitz.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2664729/advertisement

The Directors Guild avoids a strike, Amazon may join the wireless market, and tech companies prepare for 2024 by acting like it's 2020. Also, Apple finally unveils its headset. Kara and Scott talk about the weird world of Washington with Friend of Pivot Ben Terris, author of "The Big Break: The Gamblers, Party Animals, and True Believers Trying to Win in Washington While America Loses Its Mind." Find The Big Break here. Send us your questions! Call 855-51-PIVOT or go to nymag.com/pivot. Learn more about your ad choices. Visit podcastchoices.com/adchoices

President Biden signed the bipartisan debt ceiling bill into law, averting default and an economic crisis just days before the June 5th deadline posed to lawmakers. The final legislation – which passed swiftly through the House and Senate last week – suspends the nation's debt limit until 2025.Nearly 300 people were killed and more than 800 others were injured in a train accident in Eastern India on Friday. While the government has launched an investigation into the cause of the crash, the mass casualties have renewed calls for authorities to take more action to ensure the country's rail system is safer.And in headlines: A federal judge rejected Tennessee's anti-drag law, California officials are looking into the arrival of more than a dozen migrants to Sacramento from Texas, and the Directors Guild of America has reached a “historic” deal with Hollywood studios.Show Notes:Crooked Media's Friend of the Pod Discord – serverhttps://fotp.supercast.com/Tre'Vell Anderson at the MLK Memorial Library — https://dclibrary.libnet.info/event/8491650#branchWhat A Day – YouTube – https://www.youtube.com/@whatadaypodcastCrooked Coffee is officially here. Our first blend, What A Morning, is available in medium and dark roasts. Wake up with your own bag at crooked.com/coffeeFollow us on Instagram – https://www.instagram.com/crookedmedia/For a transcript of this episode, please visit crooked.com/whataday

Chris and Andy talk about the news that Padma Lakshmi will be leaving her role as the host of ‘Top Chef' and who they might like to replace her (1:00). Then they discuss the Directors Guild reaching a deal on a new contract with the studios and how that might affect the writers strike (17:58). Finally, they cover the first episode of the controversial new HBO show ‘The Idol' and whether or not the pop star Abel "The Weeknd" Tesfaye is a good actor (26:08). Hosts: Chris Ryan and Andy Greenwald Producer: Kaya McMullen Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Directors Guild's deal shows just how much the entertainment industry sees AI as a theat. (00:21) Jason Moser discusses: - What a potential Directors Guild deal means for entertainment. - The challenges facing streamers as they look for more ways to profit from content. - Whether or not Apple can take headsets out of their gaming niche. (16:36) A simple pack of casino playing cards leads Ricky Mulvey and Asit Sharma on an exploration of how old products can become new again. Companies discussed: SNPS, META, AAPL, NFLX,DIS,WBD, PARA Host: Deidre Woollard Guests: Jason Moser, Asit Sharma Producer: Ricky Mulvey Engineer: Dan Boyd

Ryan speaks with Zach Braff about his new Stoicism-inspired movie A Good Person, how the idea of Amor fati has helped him translate recent personal trauma into art, what he has learned about supporting people who need help in the wake of a friend's tragedy, and more.Zach Braff is an actor, voice actor, director, screenwriter, and entrepreneur. He is most known for his starring role on the TV comedy Scrubs (2001-2010), for which he was nominated for the Primetime Emmy Award for Outstanding Lead Actor in a Comedy Series as well as for three Golden Globe Awards, and in his directorial debut Garden State (2004), which he also wrote and starred in. Zach has also directed a second feature film (Wish I Was Here in 2014) and the hit Apple TV show Ted Lasso (2021) for which he was nominated for a Directors Guild of America Award. His new movie A Good Person is scheduled for release on March 24, 2023.✉️ Sign up for the Daily Stoic email: https://dailystoic.com/dailyemail