Podcast appearances and mentions of Doc NYC

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

We are not mature enough to ignore that she said Jafar Punani, and we promise never to act mature enough to ignore that she said Jufar Punani. You're welcome. Nor will we ever underreact to the first big winners of awards season at the Gotham and NYFCC Awards + BIFA's. They mean everything (and nothing at all) AS ALWAYS! Plus, we react to the Thanksgiving week box office, and we review new films from DOC NYC and our nearby movie theaters and discuss the AMC Popcorn Pass in the final moments of the episode as well. AWARD NEWS: Half of the NYFCC Winners - 1:48 The 2025 Gotham Awards from all angles - 3:54 Reviewing 2000 Meters to Andriivka - 32:22 BIFA Winner Tallies - 37:22 Thanksgiving Week Box Office + how right was M1 about Wicked: For Good? - 41:04 MORE REVIEWS: Mr. Nobody Against Putin - 48:00 There Was, There Was Not - 50:46 Fackham Hall - 54:26 Rental Family - 58:17 The Rest of the NYFCC Winners including One Battle After Another wins - 1:00:25 OUTRO TALK: we discuss where you can follow us on social media and how you can support us with 5 star ratings and likes wherever you get your podcasts. https://linktr.ee/mikemikeandoscar . Plus, we discuss which one of us went in for the AMC Popcorn Pass and whether or not its actually a good deal.

A new film captures the magic of the Theater of the Ridiculous, an eccentric troupe rooted in New York's queer underground. Director Fermín Eloy Acosta talks about connecting with one of its former members, the Argentine-born artist Leandro Katz, and about his documentary "Museum of the Night," which is part of the DOC NYC film festival.

The new documentary "Street Smart: Lessons from a TV Icon" follows the life and career of Sonia Manzano, who spent decades playing Maria on "Sesame Street." Her role was a pivotal turning point for Latine representation on television. Director Ernie Bustamante joins to discuss the film, which is streaming online now as part of DOC NYC.

Director Ivy Meeropol discusses her new documentary "Ask E. Jean," about E. Jean Carroll's decision to come forward with her accusation of sexual assault against President Donald Trump. "Ask E. Jean" screens on November 20 as part of DOC NYC, including a Q&A with Meeropol.

Documentary filmmaker Karla Murthy talks about her new film "The Gas Station Attendant," a moving and intimate immigrant story about her father, told through their recorded phone calls and home videos. The film is featured at this year's DOC NYC film festival, with screenings on November 19 and 20, to be followed by a Q&A with Murthy, producer Rajal Pitroda, and executive producer DJ Rekha.

The new documentary "The Big Cheese" follows cheesemonger Adam Jay Moskowitz's hunt for an American protégé to bring home the top cheese prize at the Mondial du Fromage competition. Thusfar, no American cheesemongers have earned the honor. Director Sara Joe Wolansky discusses the film, which is screening as part of the DOC NYC film festival. On Wednesday, November 19, the 9:15 screening will be followed by a Q&A with Wolansky and film subject Adam Moskowitz.

Filmmaker Elizabeth Lo talks about her new documentary "Mistress Dispeller," in which a woman hires a professional to break up her husband's affair. 'Mistress Dispeller' is featured at this year's DOC NYC festival.

The new documentary "Santacon" tracks the growth of the phenomenon of drunken and delinquent Santas taking over New York City, and other cities and towns around the country. Director Seth Porges joins us to discuss the film, which has a world premiere at DOC NYC on Thursday, November 13.

In “Women Laughing,” longtime New Yorker cartoonist Liza Donnelly sets out to explore her lifelong passion for women's humor and cartooning by speaking, laughing, and drawing with a diverse group of remarkable women who create cartoons for the iconic magazine.“Women Laughing” includes intimate conversations with some of the most celebrated and groundbreaking cartoonists at The New Yorker including Roz Chast, Emily Flake, Liana Fink, Amy Hwang, and Emma Allen, the magazine's first female cartoon editor. The film will screen at DOC NYC on November 15 + 17.

[REBROADCAST FROM November 21, 2024] The new documentary, "Drop Dead City: New York on the Brink in 1975," tells the history of New York City's fiscal crisis in 1975. Directors Peter Yost and Michael Rohatyn discuss the film, which is closing out the DOC NYC film festival.

November 12 kicks off the start of DOC NYC, a film festival dedicated to exclusively featuring documentary films. All month All Of It will spotlight documentaries featured in the festival. The festival's artistic director Jaie Leplante provides a preview of the exciting slate of films featured at this year's DOC NYC. The festival runs through November 30.

The world premiere of Filmwax friend the filmmaker Alan Berliner's "Benita" will take place at DOC NYC. "Benita" is about experimental documentary filmmaker Benita Raphan who died by suicide during the loneliness of the COVID-19 shutdowns. DOC NYC 2024 Lifetime Achievement filmmaker Alan Berliner, who was her friend and creative advisor, creates a kind of posthumous collaboration with Benita on her final project, using as many of her images, sounds, and words as possible. BENITA is a deep dive into the many complexities of artists' lives, from the whimsical to core existential questions, and lessons we can learn about the intersection of mental health and creativity. – Jaie Laplante of DOC NYC Screenings: Friday, 11/14 7PM at the IFC Center & Sunday, 11/16 11:30 AM at Village East. https://www.youtube.com/watch?v=dk-lAX_947Q

The Director/Producer of Class Action Park & How To Rob A Bank - Seth Porges joins our show to discuss his new film, SANTACON, which uncovers a treasure trove of footage of the group that started this red menace, the same people who launched Burning Man & the inspiration for Fight Club's Project Mayhem, the Cacophony Society. You can check out Seth's film at DOC NYC, including its World Premiere on November 13th at 6:45pm at the Village East Theater by Angelika with a 2nd screening on Saturday the 15th at 9:30pm: https://www.docnyc.net/film/santacon/ And SANTACON will also be available via the Online Screenings at DOC NYC here: https://tickets.docnyc.net/websales/pages/ticketsearchcriteria.aspx?evtinfo=522060~bd725d56-8b11-414c-8cda-9ccb2ad3128d&_ga=2.65030766.1307042446.1762432735-1258641791.1760054829 On today's show, Seth Porges discusses SANTACON from all angles past & present, including how the film fits with his filmography and films/TV that influence his style. Plus, we have fun discussing the Fight Club angle, the Michael Moore cameo, and much more! If you enjoy our show, please follow, like, subscribe, rate & review Mike, Mike, and Oscar wherever you get your podcasts, and stay tuned for more filmmaker interviews like these, more Oscar Profile movie reviews like Frankenstein, more special guest hosted shows like an upcoming Oscar Bets Special w/ the Duke of Bettingham himself - David Long, and of course, more episodes of our Hollywood and Awards News Coverage on Oscar Race Checkpoint with both of us Mikes via this same feed. https://linktr.ee/mikemikeandoscar SANTACON Website and Trailer: https://www.santacondoc.com/

PODCAST: Donald Dell, Former Chairman at Sportive and considered one of the pioneers and founders of the sports marketing business, and his daughter Alexandra Dell, Founder of Big Sam Productions and award-winning documentary producer, join Sports Business Radio for a conversation. Donald Dell is a well-known sports agent, attorney, and commentator. He was a former US Davis Cup tennis player and undefeated Captain, and was the founder and chairman of sports marketing company, Proserv.  Dell managed the careers of many professional athletes, including Michael Jordan, Patrick Ewing, Ralph Sampson, James Worthy, Joakim Noah, Boomer Esiason, Andy Murray, Pete Sampras, Gabriela Sabatini, Arthur Ashe, Stan Smith, Jimmy Connors, and Tracy Austin, to name a few.  Alexandra Dell is a writer, director, producer who blends her passion for sports with powerful storytelling. She produced a documentary on tennis great Novak Djokovic with seven-time Emmy winner and Oscar nominee Sam Pollard, set to stream on Amazon in January 2026. She's also executive producing a scripted film about tennis legend and civil rights activist Arthur Ashe, with Skydance, Academy Award-winner Kevin Willmott (“BlacKKKansman”), director Elegance Bratton, Ashok Amritraj, CEO of Hyde Park Entertainment, and Warner Music Group.  With LeBron James and Maverick Carter, Alexandra executive produced Who Is Stan Smith? a documentary on the tennis legend and sneaker icon with SpringHill Entertainment. The film premiered at DOC NYC and opened theatrically in 70+ cities. It's currently streaming on ESPN.  This is the first time that Father and Daughter have done a joint podcast interview. LISTEN to Sports Business Radio on Apple podcasts or Spotify podcasts. Give Sports Business Radio a 5-star rating if you enjoy our podcast. Click on the plus sign on our Apple Podcasts page and follow the Sports Business Radio podcast. WATCH Sports Business Radio interviews by going to https://www.youtube.com/@sportsbusinessradiopodcast.Follow Sports Business Radio on Twitter @SBRadio and on Instagram, Threads and Tik Tok @SportsBusinessRadio. This week's edition of Sports Business Radio is presented by MAI Capital – the exclusive financial partner of Sports Business Radio. MAI Capital is a registered investment adviser and wealth management firm unified in purpose to empower clients to simplify, protect, and grow the wealth they work so hard to build.  Founded in 1973, the firm helps clients achieve their vision and goals through objective advice, tailored planning, comprehensive and integrated solutions, and highly personal service. For more information, visit www.mai.capital or MAI's company page on LinkedIn.   #SportsAgent #DonaldDell #AlexandraDell #Documentaries #SportsMarketing Learn more about your ad choices. Visit megaphone.fm/adchoices

This month on Arts in the City… we visit an exhibit dedicated to the stunts and spectacle of Mission: Impossible; take a look at some incredible travel photography; get the inside scoop on some of Off-Broadway's best; meet organist Gail Archer; and check out DOC NYC.

Documentary filmmakers Ellen Martinez and Steph Ching join host Michael Azevedo to discuss Slumlord Millionaire, winner of the Audience Award at the 2024 DOC NYC Film Festival. The film explores the rapid gentrification of New York City neighborhoods and the housing crisis sweeping not only New York but the nation. Told through the stories of a group of fearless residents, activists and nonprofit attorneys who fight corrupt landlords and developers for the basic human right to a home, the film premieres on the PBS series VOCES on Monday, July 28. It will also be available on all PBS digital streaming platforms starting on that same date. Ellen Martinez and Steph Ching previously directed and produced After Spring, a feature documentary about the Syrian refugee crisis. The film was executive produced by Jon Stewart, had its world premiere at the Tribeca Film Festival, was broadcast on Starz and received a Frontline Award for Documentary Journalism. Additionally, Ellen & Steph were both honorees on DOC NYC's inaugural "40 Under 40" list as directors. 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

Jill Damatac joins Let's Talk Memoir for a conversation about growing up undocumented in the US and how she ultimately self-deported, weaving Filipino food, mythology, history, and culture in her narrative, opting for a hybridized memoir to mitigate the fear of talking about her experience, American exceptionalism, internalized doubt and unworthiness, contextualizing the self within a broader set of stories, when fear is a defining container for our lives, being willing to announce our lived experience via memoir, wanting to shrug off the yoke of shame, offering the reader a kaleidoscopic view, and her new memoir Dirty Kitchen A Memoir of Food and Family.   Also in this episode:  -sifting through hybridized aspects of a memoir -knowing where to cut and where to expand  -shame around trauma writing   Books mentioned in this episode: Another Country by James Baldwin Bodywork by Melissa Febos How to Write an Autobiographical Novel by Alexander Chee The Art of Memoir by Mary Karr   Jill Damatac is a writer and filmmaker born in the Philippines, raised in the US, and now a UK citizen, she lives in the San Francisco Bay Area. Her film and photography work has been featured on the BBC and in Time, and at film festivals worldwide; her short documentary film Blood and Ink (Dugo at Tinta), about the Indigenous Filipino tattooist Apo Whang Od, was an official selection at the Academy Award–qualifying DOC NYC and won Best Documentary at Ireland's Kerry Film Festival. Jill holds an MSt in Creative Writing from the University of Cambridge and an MA in Documentary Film from the University of the Arts London.    Connect with Jill: Instagram: https://www.instagram.com/jilldamatac/ Website: https://www.jilldamatac.com/ Get the book: https://www.simonandschuster.com/books/Dirty-Kitchen/Jill-Damatac/9781668084632   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Ron Delsener Presents is equal parts all-access pass to New York's greatest gigs - featuring some of contemporary music's most iconic artists who performed in them; and a portrait story of the legendary figure who brought these shows together, rock concert promoter and impresario Ron Delsener.The upcoming doc on the legendary concert promoter features exclusive interviews with Ron Delsener, Billy Joel, Patti Smith, Bruce Springsteen, Steven Van Zandt, Jon Bon Jovi, Art Garfunkel, Paul Simon, Lenny Kaye, Gene Simmons, Paul Stanley, Verdine White, Lorne Michaels, Bette Midler, Jimmy Buffett, Cher and many more.Directed by award-winning filmmaker Jake Sumner, marking his impressive feature directorial debut. Along with Ron Delsener Presents, Sumner is also directing the documentary Seaweed Stories which will be narrated by Forest Whitaker and is currently in production on a doc on contemporary artist and designer KAWS. Sumner is also known for directing the acclaimed short documentaries "Fantastic Man:Who is William Onyeabor?", Channel 4's "I Was There When House Took Over The World", and 2019's "Bob of the Park", which won the Grand Jury Prize at DOC NYC. Other short films include 2015's "The Plastic Age", featuring Pharrell Williams, and "Magic Hats", which was featured in Banksy's large scale art project 'Dismaland'.The film is produced by award-winning RadicalMedia and will be released by Abramorama in theaters beginning May 30th.Check out the trailer:Https://www.youtube.com/watch?v=cEH0-CBQVdw Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Ron Delsener Presents is equal parts all-access pass to New York's greatest gigs - featuring some of contemporary music's most iconic artists who performed in them; and a portrait story of the legendary figure who brought these shows together, rock concert promoter and impresario Ron Delsener.The upcoming doc on the legendary concert promoter features exclusive interviews with Ron Delsener, Billy Joel, Patti Smith, Bruce Springsteen, Steven Van Zandt, Jon Bon Jovi, Art Garfunkel, Paul Simon, Lenny Kaye, Gene Simmons, Paul Stanley, Verdine White, Lorne Michaels, Bette Midler, Jimmy Buffett, Cher and many more.Directed by award-winning filmmaker Jake Sumner, marking his impressive feature directorial debut. Along with Ron Delsener Presents, Sumner is also directing the documentary Seaweed Stories which will be narrated by Forest Whitaker and is currently in production on a doc on contemporary artist and designer KAWS. Sumner is also known for directing the acclaimed short documentaries "Fantastic Man:Who is William Onyeabor?", Channel 4's "I Was There When House Took Over The World", and 2019's "Bob of the Park", which won the Grand Jury Prize at DOC NYC. Other short films include 2015's "The Plastic Age", featuring Pharrell Williams, and "Magic Hats", which was featured in Banksy's large scale art project 'Dismaland'.The film is produced by award-winning RadicalMedia and will be released by Abramorama in theaters beginning May 30th.Check out the trailer:Https://www.youtube.com/watch?v=cEH0-CBQVdw Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

The idea of a pristine kitchen with clean countertops feels distinctively American, or an all-American idealist. However, the concept of the American ideal, or the American dream, desperately needs to be challenged. How better to do that than through food? My guest this week, author and filmmaker Jill Damatac, does just that in her new memoir, Dirty Kitchen: A Memoir of Food and Family.  Jill was born in the Philippines, raised in the US, and is now a UK citizen living in the San Francisco Bay Area. Her film and photography work has been featured on the BBC and in Time, and at film festivals worldwide; her short documentary film Blood and Ink (Dugo at Tinta), about the Indigenous Filipino tattooist Apo Whang Od, was an official selection at the Academy Award–qualifying DOC NYC and won Best Documentary at Ireland's Kerry Film Festival. Jill holds an MSt in Creative Writing from the University of Cambridge and an MA in Documentary Film from the University of the Arts London. Her new book, Dirty Kitchen, is a food memoir of 22 years undocumented in the United States. In today's episode, we explore her memoir as a unique narrative that combines recipes, Filipino histories and mythologies, American immigration experiences, food writing, and personal narratives. Jill describes how she structured the book, how Filipino diasporic recipes relate to diasporic and migrant experiences, and the relationship between American foods and rebuilding a sense of self through Filipino foods after living undocumented for many years.  Resources: Buy Dirty Kitchen: A Memoir of Food and Family Website: https://www.jilldamatac.com/ Instagram: @jilldamatac  

When the unexpected diagnosis of Lewy body dementia struck Carla Preyers's husband, she found herself thrust into a role she never anticipated. "The journey chose me," she explains, recounting the four-year battle for a proper diagnosis and the profound challenges that followed. This conversation reveals the often-invisible struggles caregivers face when supporting loved ones with dementia.The emotional heart of this episode lies in Carla's honest discussion of caregiver self-preservation. Her commitment to morning prayers, positive environments, and regular exercise wasn't just about wellness—it was survival. "I had to manage my energy," she shares, explaining how negativity directed at someone with dementia "comes back to you triple." Her story has now found wider resonance through the documentary "Facing the Wind," executive produced by Yo-Yo Ma, Yolanda Wong, and David Hyde Pierce, which chronicles the journey of dementia caregivers across America.Are you caring for someone with cognitive decline or concerned about a loved one showing symptoms? Reach out to Carla through the links on our show page to learn how you might bring the "Facing the Wind" documentary to your community and join the growing advocacy movement for better dementia care and caregiver support.Carla's Story My husband, Patrick Preyer, was diagnosed with Lewy Body Dementia in 2018. For eight years, I walked alongside him as his caregiver until his peaceful transition in January 2023. Through heartbreak and healing, I learned how vital faith, community, and support are—especially for caregivers who often feel invisible.That journey is now told in the documentary Facing the Wind, which candidly captures our experience with dementia, caregiving, and the importance of self-care. This film was born out of connection—sparked by the Lewy Body Spouses Support Group on Facebook—and nurtured into a message of hope and resilience.I'm proud to share that Facing the Wind premiered at DOC NYC, one of the nation's leading documentary festivals, and was recently featured on People.com. The film is executive produced by Renée Fleming, Yo-Yo Ma, and David Hyde Pierce.As a caregiver self-care coach, I now dedicate my life to supporting those who give so much of themselves. While organizations like Voices Inclusive Research focus on providing a voice in clinical research to the community, my passion is to amplify the voices of the women caring behind the scenes—quiet heroes who need to be seen, supported, and sustained.Clips and Media Documentary ClipPeople Magazine FeatureFacebook Page We hope you have enjoyed this episode. Please like, comment, subscribe, and share the podcast.To find out more about Lynnis and what is going on in the V.I.B.E. Living World please go to https://link.tr.ee/LynnisJoin the V.I.B.E. Wellness Woman Network, where active participation fuels the collective journey toward health and vitality. Subscribe, engage, and embark on this adventure toward proactive well-being together. Go to https://www.vibewellnesswomannetwork.com to join. We have wonderful events, courses, challenges, guides, blogs and more all designed for the midlife woman who wants to keep her V.I.B.E. and remain Vibrant, Intuitive, Beautiful, and Empowered after 40+. Interested in an AI platform that meets all your needs? Click here

Episode Summary:In this episode, Damien Swaby is joined by Caitlin Boyle, a pioneering force in strategic documentary distribution and the founder of Film Sprout. Caitlin discusses how filmmakers can move beyond traditional release models to build meaningful connections with audiences through grassroots campaigns, non-theatrical screenings, and community engagement. Drawing on over a decade of experience guiding social impact films, she shares insights into how intentional distribution strategies can amplify a film's reach and deepen its impact. Whether you're an independent filmmaker, producer, or distributor, this conversation is essential listening.What We Cover in This Episode:Caitlin's career journey from WNET to founding Film SproutThe limitations of conventional theatrical distributionHow community screenings can drive deeper engagement and real-world changeDesigning a distribution strategy with purpose from pre-productionReal case studies from Film Sprout's work with impact-driven documentariesTips for filmmakers on connecting with grassroots organizations and educational institutionsWhy audience-building should be treated as a creative disciplineGuest Bio – Caitlin BoyleCaitlin Boyle is the founder of Film Sprout, a consultancy that has shaped the distribution strategies of hundreds of independent documentaries focused on social justice, education, health, and the environment. With over 15 years of experience building grassroots outreach campaigns, she's a recognized leader in impact distribution and a frequent speaker at DOC NYC, Sundance, and Good Pitch.Resources & Mentions:W: https://caitlinboyle.coE: hi@caitlinboyle.co

Director Daniel Straub and cinematographer (and brother) Austin Straub discuss their film “Out of Plain Sight”, which just won the Audience Award at Santa Barbara, ahead of their LA premiere with Slamdance. Past influences include Alex Garland's “Annihilation”.The conversation explores the themes of environmental awareness and the legacy of chemical pollution, the power of documentary filmmaking and the authenticity that comes from capturing real stories, emphasizing the impact a documentary can have on public perception.Also explored is the evolving landscape of documentary filmmaking, where fiction and non-fiction increasingly blend, and the ongoing need for accessible storytelling that resonates with viewers.What Movies Are You Watching?Like, subscribe and follow us on our socials @pastpresentfeature

Welcome to episode 2 of Art21 x The Art Career: Behind the Lens—a series dedicated to the curators and filmmakers who create the magic behind Art21's iconic documentaries and publications. Art21 is the world's leading source to learn directly from the artists of our time.In this episode, host Emily McElwreath sits down with Senior Producer for Art21, Ian Forster.As a producer and director, Ian Forster creates documentary content for Art21's various digital and broadcast programs. Since joining the organization in 2009, he has worked on six seasons of Art in the Twenty-First Century, most recently directing and producing “London” from the tenth season and “Johannesburg” from the ninth season. Additionally, he worked on the Peabody Award-winning film William Kentridge: Anything Is Possible and has overseen the digital series Extended Play since 2012, producing over 100 short artist portraits. Forster created the online video series Artist to Artist in 2013, which featured artists in conversation with their peers at international biennials.His films have screened at festivals internationally, including DC Shorts, DOC NYC, and Artecinema, and have been honored with a Vimeo Staff Pick and as a Webby Award Honoree. He graduated from the Newhouse School at Syracuse University with a B.S. in Television, Radio, and Film.About Behind the LensThis season, we're spotlighting the often-unsung visionaries—curators and filmmakers—who shape the stories behind today's most influential contemporary artists. Behind the Lens offers a rare glimpse into how Art21's groundbreaking films and publications come to life, bridging the gap between artists and audiences.About Art21Art21 is a celebrated nonprofit organization dedicated to inspiring a more creative world through the works and words of contemporary artists. Through their award-winning documentary series, educational programs, and digital resources, Art21 brings audiences closer to today's leading artists and their processes. Learn more at ⁠art21.org⁠. Free Resource for Artists!Want expert guidance on building your art career? Download Navigating the Art World: A Comprehensive Guide for Artists—a free resource covering essential industry insights, practical tips, and more. Get it here:⁠ Download Now⁠Links: ⁠theartcareer.com⁠Art21 – ⁠Art21⁠Follow Ian: https://www.instagram.com/ianjforster/Follow us: ⁠@theartcareer⁠Host: ⁠@emilymcelwreath_art⁠Production + Creative Direction ⁠@soniaruscoe⁠Editing: ⁠@benjamin.galloway⁠ Join our community for exclusive updates, artist resources, and behind-the-scenes content! Sign up at ⁠theartcareer.com⁠ Never miss an episode! Subscribe & leave us a review on ⁠Apple Podcasts⁠ & ⁠Spotify⁠

"The Only Girl In The Orchestra" is a short documentary film directed by Molly O'Brien that had its world premiere at DOC NYC in SHORTS: SHE STORIES section and was released globally on Netflix before the end of the year. The film follows Molly's aunt, Orin O'Brien, a trailblazing double bassist who became the New York Philharmonic's first female musician in 1966, hired by Leonard Bernstein. Now 87 and recently retired, she reflects on her remarkable career, valuing a quiet, supportive role for loved ones and students. O'Brien was kind enough to spend some time speaking with us about her work on the film, which you can listen to below. Please be sure to check out the film, which is now available to stream on Netflix and is up for your consideration for this year's Academy Awards for Best Documentary Short Film. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Truth in This Art, I have the pleasure of chatting with Jefferson Liu, an Asian American photographer, filmmaker, and designer whose stunning work has graced festivals like Cannes, Sundance, and DOC NYC. Jefferson takes us on his journey from the world of advertising to carving out his own artistic identity. We dive into the technicalities of photography, the importance of storytelling, and how he navigates the balance between personal projects and professional work. Join us for an inspiring conversation about finding your creative voice, embracing imperfection, and the beauty that comes from taking risks in the pursuit of art.  7 is definitely a lucky number, and Foraged is celebrating 7 amazing years in style!

Telly Awards judge Rebcca Stern is an acclaimed director and producer of documentary work. In 2023, she was named a DOC NYC 40 under 40 honoree, and she is on the board of Documentary Producers Alliance. Listen in to hear Rebecca discuss the challenges of budgeting for docs, increasing awareness of work conditions within the field, and more. Hosted on Acast. See acast.com/privacy for more information.

 In this episode of Visual Intonation, we dive deep into the world of J.M. Harper, a visionary director and documentarian who has spent his career capturing powerful human stories through both the documentary and narrative forms. Known for his work on films like 'Jeen-yuhs: A Kanye Trilogy' and the upcoming 'As We Speak', Harper's unique storytelling voice has earned him recognition from the likes of Sundance, DOC NYC, and the prestigious Guggenheim Museum. We explore how Harper's early experiences—from his time studying German at Princeton to creating his first films across Berlin and Senegal—shaped the creative force he is today.  Harper's approach to filmmaking is defined by his meticulous attention to detail and deep empathy for his subjects. Whether it's exploring the intersection of rap lyrics and the criminal justice system in 'As We Speak', or documenting the life of NBA star Stephon Marbury in 'A Kid from Coney Island', Harper brings a level of insight that turns the ordinary into something extraordinary. We discuss the evolution of his career, how he balances the roles of director, editor, and cinematographer, and the lessons he's learned along the way.  As a passionate advocate for diversity in the industry, Harper has also been involved in initiatives like Change the Lens, which seeks to increase Black representation both in front of and behind the camera. In this conversation, Harper shares how his personal experiences have shaped his commitment to bringing fresh, authentic perspectives to the screen. He opens up about his mentors, his process, and what drives him to continually push creative boundaries in a rapidly changing industry.  Join us as we hear from one of the most exciting filmmakers of today, J.M. Harper, whose cinematic work not only entertains but challenges the status quo. From the cornfields of Illinois to the bustling streets of Brooklyn, Harper's journey is a testament to the power of storytelling, and the impact a filmmaker can have when they fully commit to the stories they tell.   https://www.jmharper.com/  https://www.imdb.com/name/nm3554689/  https://www.instagram.com/jmharper/  https://twitter.com/jmharper?lang=en Support the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

The new documentary, "Drop Dead City: New York on the Brink in 1975," tells the history of New York City's fiscal crisis in 1975. Directors Peter Yost and Michael Rohatyn  join us to discuss the film, which is closing out the DOC NYC film festival.

Rounding out our weeklong partnership with DOC NYC, we speak with the directors behind the new film "Slumlord Millionaire." The documentary follows New Yorkers from all different parts of the city fighting against corrupt and abusive landlords. Director Steph Ching and Ellen Martinez join us to discuss the film, which you can stream through DOC NYC until December 1.

Two religious leaders in Brooklyn became concerned about rising tensions between Black and Jewish residents, and try to launch a new effort to create more understanding between the two communities. But that experiment proved more difficult than they imagined. The new documentary "All God's Children" follows Rabbi Rachel Timoner and Reverend Dr. Robert Waterman, and celebrates its world premiere as part of DOC NYC. We speak with the Rabbi and Reverend, along with director Ondi Timoner. This segment is guest-hosted by Tiffany Hanssen.

A new documentary follows a group of NYC schoolchildren with dyslexia who find themselves struggling within the school system, until parents decide to do something about it. Director Anna Toomey joins us to discuss "Left Behind," which is screening this week as part of DOC NYC.

Mental health is a serious matter, but sometimes it does help to laugh at it. A new documentary spotlights a group of comedians who have found ways to work mental health into their acts, even as they struggle with anxiety. Director Wendy Lobel joins us to discuss "Anxiety Club," screening this week as part of DOC NYC.

A new documentary traces the history of "yacht rock," the retroactive label associated with the smooth rock music of bands and musicians like Michael McDonald, Christopher Cross, Toto, and Steely Dan. The doc recently screened at DOC NYC and premieres on HBO on November 29. Garret Price, the director of "Yacht Rock: A Documentary," joins us along with JD Ryznar and Steve Huey, two of the creators of the webseries that coined the term.

In this episode, we delve into the remarkable world of Diane Warren, the legendary songwriter, through the lens of the new documentary Diane Warren, Relentless by director Bess Kargman. Bess is interviewed by my better half and the producer of this show, Jayce Bartok. He and Bess explore the complexities and triumphs of Warren's career, revealing the woman behind the music and the myths surrounding her. They discuss how Warren's reputation for being "difficult" is both challenged and explained in this intimate portrait.Director Bess Kargman shares her journey in earning Warren's trust and the creative choices behind the documentary. Learn about the challenges faced during filming, including navigating the COVID-19 pandemic and the unique demands of capturing Warren's relentless spirit. Kargman also discusses the significance of Warren's personal experiences, including her Asperger's and past traumas, and how these elements are woven into her songwriting and the film itself.Kargman recounts her experience interviewing Cher, highlighting the superstar's humor, humility, and unexpected normalcy. The episode also touches on the film's upcoming screenings at DOC NYC and its theatrical release, followed by its availability on Masterclass, marking a new venture for the educational platform into documentary filmmaking.Don't miss this engaging episode that offers a behind-the-scenes look at the making of Diane Warren, Relentless and celebrates the indomitable spirit of one of music's most prolific songwriters.00:00:00 Welcome!00:01:25 Introducing Director Bess Kargman00:11:36 What was it like interviewing Cher? 00:15:37 What was the hardest thing about making this film?00:20:16 What is the distribution plans for Relentless?Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribeMy favorite assistant: HEADLINER Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

Welcome back to Look Behind The Look! This episode takes us into the world of Kenneth Cole through his documentary, A Man with Soul, premiering at DOC NYC. Join guest host, producer Lauren Rieckhoff as she delves into Kenneth's impactful journey in fashion and social advocacy. Discover how Cole's passion for eradicating stigma and his fearless approach to social issues have shaped his brand and legacy.Through candid conversations with Kenneth and director Dori Berinstein, we explore the evolution of Cole's work from the early days of the AIDS epidemic to his current focus on mental health. Kenneth shares insights into his resourcefulness and the pivotal role New York City played in his career. Learn about the bold campaigns that challenged norms and the ethos that has driven Kenneth's success.This episode celebrates the intersection of fashion and social consciousness and the film that is explaining the importance of messaging in fashion.Catch the documentary at DOC NYC on November 18th and 21st, and stay tuned for its wider release.00:00:00 Welcome!00:01:54 Cole's “business” is about “how do we impact people's lives?”00:03:28 The impact of amfAR on the fashion world and the world.00:06:45 Dori Berinstein talks about how Cole's determination have led to success00:08:10 Cole's fearless approach to tackling social issues 30 years ago and now.00:13:59 Enjoy the film now screening at DOC NYC November 18th and 21st.Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribeMy favorite assistant: HeadlinerQuotes from Kenneth Cole"It's not just about how many shoes or suits or bottles of fragrance can we sell and to whom. It's how do we impact people's lives?""I figured early on in my career that if I could talk to people about not just what's on their body, what's on their mind, not just what they stand in what they stand for, then I'd have such a more meaningful and sustainable relationship with the customer.""These are not political issues. These are social issues. These are human issues.""I think New York is this culture hub and it's. There's anything that. Anything you could ever dream about, you know, exists somewhere here in New York.""Social media has redefined bravery." Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

On this week's CinemAddicts, Eric Holmes interviewed "Afterwar" filmmaker Birgitte Stærmose. "Afterwar" will be available online from November 17th through December 1, 2024 as a virtual screening experience through DOC NYC. The North American premiere is November 16 at the Village East By Angelika (featuring filmmaker Q&A). Poster courtesy of Magic Hour Films For more info: 1. Screening Info: https://www.docnyc.net/film/afterwar/Offiicial  2. Official Website: https://www.magichourfilms.dk/afterwar Official Plot Synopsis: "Burning buildings in a dense fog, a dead horse on a dusty road, people fleeing through harsh mountain landscapes. Afterwar opens with images from war-torn Kosovo, 1999, as a dark chapter in the history of modern Europe draws to a close.After the war, children sell peanuts and cigarettes on the streets of Pristina in order to survive. They speak to us: ‘There's only one reason I'm talking to you. It is my hunger! I'm so hungry, I could eat your money!' In a cinematic testament co-created over 15 years, they transform into adults before our eyes. Yet the child still stares back at us from behind the adult gaze, as the struggle to survive becomes a struggle for a future at all. They confront us with their innermost secrets and desires, while stuck in limbo and haunted by their past. Through a close artistic collaboration with the lead cast – Xhevahire, Gëzim, Shpresim, and Besnik – the film moves between raw realism, staged performance, and an existential meditation on the long-term repercussions of war. Any war, anywhere." ***Support CinemAddicts by purchasing/renting movies using our Amazon affiliate links or our SiteStripe.  ***CinemAddicts Movie Picks (worth Renting/Purchasing) include: Seven Cemeteries Dominique The Unlikely Pilgrimage of Harold Fry Red Rooms Take Cover For Ad-Free CinemAddicts episodes, subscribe to our CinemAddicts YouTube Channel. Like Our CinemAddicts Facebook Page Join our CinemAddicts Facebook Group for daily movie recommendations. Questions/comments on CinemAddicts email Greg Srisavasdi at info@findyourfilms.com. Our website is Find Your Film. Shop our CinemAddicts Merch store (shirts, hoodies, mugs). We do a bonus episode each month and early access spoilers for our CinemAddicts Patreon Members: CinemAddicts hosts: Bruce Purkey, Eric Holmes, Greg Srisavasdi Thanks to our Patreon Community 1. Ryan Smith 2. Stephen Schrock 3. Susan 4. Charles Peterson 5. Nelson B. McClintock 6. Diana Van De Kamp 7. Pete Abeyta 8. Tyler Andula 9. Stephen Mand 10. Edmund Mendez 11. Abbie Schmidt 12. Jeff Tait 13. Superfan Giovanni 14. Robert Prakash 15. Kristen 16. Chris M 17. Jeremy Chappell 18. Lewis Longshadow 19. Iver 20. Alex Clayton 21. Daniel Hulbert 22. Andrew Martin 23. Angela Clark 24. Myron Freeman 25. Kayn Kalmbach 26. Aaron Fordham 27. Tracy Peters 28. Grant Boston 29. Ken Cunningham  

In this episode of Look Behind The Look, we're diving into DOC NYC, the prestigious documentary film festival in New York City. Join me I discuss the much-anticipated documentary Beyond the Gaze, which spotlights the life and legacy of Jule Campbell, the trailblazing force behind the Sports Illustrated Swimsuit Issue. This film, directed by Jill Campbell, Julie's daughter-in-law, is a powerful exploration of memory, empowerment, the beauty of living life with no regrets… and teaching others to do the same. Jill and I discuss the dangers of pigeonholing films, labeling them simply as “fashion films” for example, and how films that may seem to be about something simple and frivolous on the surface, can prove to be about SO much more.Learn about how you can see this important film here: www.julecampbell.com DOC NYC Screening Information And Follow filmmaker Jill Campbell for more about the film here on her SubstackJill's IG00:00:00 Welcome!00:03:25 Beyond the Gaze will premiere at DOC NYC on November 17th. How did this project come about.00:10:11 Earning the trust of your subject and how she felt about this documentary being made.00:17:03 The film's structure building.00:26:35 Facing the pigeonholing of films and filmmakers, and the labeling of your documentary as a "fashion film".00:28:20 Substack and the advantages for filmmakers to offer more.00:30:51 The world premiere of Julie's film and its reception.00:36:02 The a crisis right now in independent documentary and for independent films00:42:46 Look behind the Look premieres November 17th at DOC NYC Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

The documentary film festival DOC NYC is celebrating its 15th anniversary. Next week, we will feature a conversation about one documentary per day, but first we are joined by the festival's programmers to give us a preview of the entire slate of films. Jaie Laplante, artistic director and Bedatri D. Choudhury, features programmer, join us to discuss. 

Kicking off this year's DOC NYC festival is the new film, "Blue Road: The Edna O'Brien Story." Director Sinead O'Shea joins us to discuss her work capturing the life of the Irish literary legend, who she interviewed just weeks before her death earlier this year. The film has its U.S. premiere at DOC NYC tomorrow evening.

Joining us is Nicholas Ma to discuss his documentary 'Leap of Faith' (2024), which follows twelve diverse Christian leaders from Grand Rapids, Michigan, as they gather for a series of retreats led by Michael Gulker, organizer of a project called the Colossian Forum. Over a year, these pastors—five women and seven men from various denominations and with differing beliefs and approaches—engage in deep conversations on divisive issues, exploring perspectives shaped by their faith and experiences. We witness moments of deep pain and frustration as their views clash, but we're also there for the discovery of surprising points of connection.Nicholas collaborated on the film with longtime partner Morgan Neville; the duo also made the great Fred Rogers documentary, 'Won't You Be My Neighbor?'. An award-winning director, writer, and producer, Nicholas's work includes the WNBA documentary 'Unfinished Business' and his feature debut 'Mabel,' which was awarded the Sloan Prize. A former DOC NYC fellow and Film Independent Fellow, he also previously worked on global economic policy on the Senate Foreign Relations Committee.Actual Facts is hosted by Eric SteuerSend us a note: actualfactspod@gmail.comTheme music by Yalls: https://www.dancasey.me/'Leap of Faith': https://leapoffaithmovie.com/MovieMaker Magazine: https://www.moviemaker.com/

Joining us is Nicholas Ma to discuss his documentary 'Leap of Faith' (2024), which follows twelve diverse Christian leaders from Grand Rapids, Michigan, as they gather for a series of retreats led by Michael Gulker, organizer of a project called the Colossian Forum. Over a year, these pastors—five women and seven men from various denominations and with differing beliefs and approaches—engage in deep conversations on divisive issues, exploring perspectives shaped by their faith and experiences. We witness moments of deep pain and frustration as their views clash, but we're also there for the discovery of surprising points of connection.Nicholas collaborated on the film with longtime partner Morgan Neville; the duo also made the great Fred Rogers documentary, 'Won't You Be My Neighbor?'. An award-winning director, writer, and producer, Nicholas's work includes the WNBA documentary 'Unfinished Business' and his feature debut 'Mabel,' which was awarded the Sloan Prize. A former DOC NYC fellow and Film Independent Fellow, he also previously worked on global economic policy on the Senate Foreign Relations Committee.Actual Facts is hosted by Eric SteuerSend us a note: actualfactspod@gmail.comTheme music by Yalls: https://www.dancasey.me/'Leap of Faith': https://leapoffaithmovie.com/MovieMaker Magazine: https://www.moviemaker.com/ Hosted on Acast. See acast.com/privacy for more information.

Clair Titley joins to discuss her documentary 'The Contestant' (2023). The film tells the surreal story of Nasubi, an aspiring Japanese comedian who, in 1998 at the age of 22, was selected for a reality TV show produced by the team behind the popular series 'Denpa Shonen.' Stripped of his clothes and placed in a tiny apartment, Nasubi was tasked with surviving solely on magazine sweepstakes winnings until he amassed 1 million yen in prizes. For 15 months, he lived in isolation, unaware that his every move was being broadcast to millions under the title 'A Life in Prizes,' making him one of Japan's biggest TV stars—without his knowledge or consent. Clair is a BAFTA-nominated director who began her career making oral history films for the BBC. She premiered 'The Contestant' at the 2023 Toronto International Film Festival, where it quickly became a favorite at festivals like Camden and Doc NYC.Actual Facts is hosted by Eric SteuerSend us a note: actualfactspod@gmail.comTheme music by Yalls: https://www.dancasey.me/Clair Titley: https://clairtitley.com/MovieMaker Magazine: https://www.moviemaker.com/

Clair Titley joins to discuss her documentary 'The Contestant' (2023). The film tells the surreal story of Nasubi, an aspiring Japanese comedian who, in 1998 at the age of 22, was selected for a reality TV show produced by the team behind the popular series 'Denpa Shonen.' Stripped of his clothes and placed in a tiny apartment, Nasubi was tasked with surviving solely on magazine sweepstakes winnings until he amassed 1 million yen in prizes. For 15 months, he lived in isolation, unaware that his every move was being broadcast to millions under the title 'A Life in Prizes,' making him one of Japan's biggest TV stars—without his knowledge or consent. Clair is a BAFTA-nominated director who began her career making oral history films for the BBC. She premiered 'The Contestant' at the 2023 Toronto International Film Festival, where it quickly became a favorite at festivals like Camden and Doc NYC.Actual Facts is hosted by Eric SteuerSend us a note: actualfactspod@gmail.comTheme music by Yalls: https://www.dancasey.me/Clair Titley: https://clairtitley.com/MovieMaker Magazine: https://www.moviemaker.com/ Hosted on Acast. See acast.com/privacy for more information.

In this episode, we delve into the captivating world of Emir Fils-Aime, a multifaceted artist and cinematographer hailing from Queens, New York. With a rich tapestry of experiences that span from the intensity of working in an emergency room to the transformative role of teaching middle school debate, Emir brings a unique sensitivity and intuition to his image-making process. His journey reflects a profound understanding of storytelling, shaped by diverse life experiences that inform his artistic vision.  Emir's recent work includes serving as the Director of Photography for the visually stunning installation visuals for Jill Scott's 20th anniversary tour of her iconic album, *Who is Jill Scott?* His contributions have not only elevated the aesthetic of live performances but have also deepened the connection between the artist and her audience. Additionally, Emir played a crucial role as an additional Director of Photography on the acclaimed documentary *Two Gods*, which premiered at DOC NYC and the Blackstar Film Festival, showcasing his ability to capture complex narratives through a cinematic lens.  As an educator and student of NYU Tisch, Emir is passionate about fostering self-awareness in his students by providing them with a historical context that enriches their understanding of world and social affairs. He believes that art is a powerful tool for reflection and change, encouraging young creatives to explore their identities within a broader societal framework. His commitment to teaching and mentorship highlights the importance of nurturing the next generation of artists.  In our conversation, Emir shares insights from his various projects, including his work with renowned brands like Telfar, Mass Appeal, and Hulu. We explore his creative process, the intersection of art and activism, and the emotional resonance of visual storytelling. Join us for an inspiring discussion that reveals how Emir Fils-Aime continues to make his mark on the art world while empowering others to do the same. Emir Fils-Aime's Website: https://www.emirfilsaime.com/Emir Fils-Aime's ImDb: https://www.imdb.com/name/nm8451549/Emir Fils-Aime's Instagram: https://www.instagram.com/blntprobe/Emir Fils-Aime's LinkedIn: https://www.linkedin.com/in/emir-fils-aime-55307538/Support the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

The filmmaker Erik Nelson is the guest in the first segment. Erik has a new documentary coming out about called "Daytime Revolution". For one extraordinary week beginning on February 14, 1972, the Revolution was televised. "Daytime Revolution" takes us back in time to the week that John Lennon and Yoko Ono descended upon a Philadelphia broadcasting studio to co-host the iconic "Mike Douglas Show", at the time the most popular show on daytime television with an audience of 40 million viewers a week. What followed was five unforgettable episodes of television, with Lennon and Ono at the helm and Douglas bravely keeping the show on track. Acting as both producers and hosts, Lennon and Ono handpicked their guests, including controversial choices like Yippie founder Jerry Rubin and Black Panther Chairman Bobby Seale, as well as political activist Ralph Nader and comic truth teller George Carlin. Their version of daytime TV was a radical take on the traditional format, incorporating candid Q&A sessions with their transfixed audience, conversations about current issues like police violence and women's liberation, conceptual art events, and one-of-a-kind musical performances, including a unique duet with Lennon and Chuck Berry and a poignant rendition of Lennon's “Imagine”. A document of the past that speaks to our turbulent present, "Daytime Revolution" captures the power that art can have when it reaches out to communicate, the prescience of that dialogue, and the bravery of two artists who never took the easy way out as they fought for their vision of a better world. The film will have a nationwide theatrical screening in 50 cities on October 9th, the day that would have been John Lennon's 84th birthday. The filmmaker Emily Packer graces the podcast in this episode's second segment. In "Holding Back the Tide", an impressionist hybrid documentary, Packer traces the oyster through its many life cycles in New York, once the world's oyster capital. Now their specter haunts the city through queer characters embodying ancient myth, discovering the overlooked history and biology of the bivalve that built the city. As environmentalists restore them to the harbor, Holding Back The Tide looks to the oyster as a queer icon, entangled with nature, with much to teach about our continued survival. The film had its world premiere at DOC NYC 2023, a New York theatrical at DCTV's Firehouse Cinema and will have a theatrical in Los Angeles beginning October Check the website for details.

Cara Cusumano has been with Tribeca since 2008, during which time the festival has become a globally respected showcase for film and TV premieres, live music, talks, interdisciplinary events, and talent discovery. During her tenure as Festival Director, Tribeca has been called “an annual powerhouse” (Time Out), “reliably and inarguably excellent” (Village Voice), and “one of the most prestigious festivals of the new millennium” (Playlist). She has served on nominating committees for the Cinema Eye Honors, the International Documentary Association Awards, the Gotham Awards, and the Irish Film and Television Academy Awards, and festival juries including CPH:DOX, Los Cabos Film Festival, DOC NYC, Nordisk Panorama, Bogota Audiovisual Market (BAM), and the Nantucket Film Festival. She holds a degree in Film from Columbia University's Barnard College, and an MA in Cinema Studies from New York University's Tisch School of the Arts. In this episode, we talk about: • Internships and her first job as short film programmer at Brooklyn Film Festival • The different programming teams involved in Tribeca and how she oversees them all • Choosing films to be featured at Tribeca • Typical day-to-day routine • Networking at film festival and how do you get a seasonal job there • Famous filmmakers/cast vs unknown first time filmmakers and films coming with distribution and film coming in without distribution • Want a job at Tribeca or any festival? Cara's recommendation for a starting position in the screening committee • Advice for filmmakers who are hoping to get their film into a festival including in the pre-production and post-production stages of their films • How to identify what films are “right” for Tribeca Festival • Collaborations and partnerships with brands like Chanel, Mazda, Indeed, AT&T, and Canva Guest: Linkedin Instagram Tribeca Website Host: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneMiller⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook page:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/mentorsonthemic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.michellesimonemiller.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠www.mentorsonthemic.com⁠⁠⁠⁠⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/user/24mmichelle⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you like this episode, check out ⁠How I Got my Press Badge for Tribeca Festival - 4th Anniversary Solo Episode TRIBECA SERIES: RESOURCES, PROGRAMS and AWARDS with Director of Artist Programs Bryce Norbitz --- Support this podcast: https://podcasters.spotify.com/pod/show/michelle-miller4/support

The 2024 Toronto International Film Festival, which runs September 5 – 15, 2024, promises, once again, to be one of the world's premier showcases for documentaries. TIFF's renowned Documentary Programmer and DOC NYC co-founder Thom Powers (Pure Nonfiction, WNYC's Documentary of the Week) joins Ken to break down the TIFF DOCS lineup and discuss what are sure to be some of the Fall awards season's most talked about and acclaimed documentaries.   Featuring 21 feature documentaries from 24 countries, the TIFF DOCS section is more international in scope than ever, covering a wide range of topics, from highly topical political docs (“The Last Republican”, “From Ground Zero”) to deeply intimate personal stories (“Mistress Dispeller”, “A Sister's Tale”) and awe-inspiring cinematic experiences (“Space Cowboy”, “The Last of the Sea Women”). The Fall doc season is here, and Toronto is ground zero.   Follow: @thompowers1 on Instagram @topdocspod on Instagram and X/twitter   The Presenting Sponsor of "Top Docs" is Netflix.

Jeff Cerulli! Comedian! Documentarian! Friend! Guy with a new special out now called "Live at the Bomb Shelter"! ABOUT THE SPECIAL: NYC-based comedian, writer and filmmaker Jeff Cerulli and Comedy Dynamics are pleased to announce the release of Live at the Bomb Shelter, Cerulli's debut full-length comedy special, out now everywhere comedy can be streamed. Cerulli takes the stage at NYC's Bomb Shelter for an hour of comedy that takes viewers on a hilarious journey through growing up on Long Island, the true crime craze, the joys of being a dog-dad, getting engaged after 10 years, and the struggles of helping an aging parent. Notably Cerulli gets into the bad NYC apartments I've lived in: “I had to move about a year ago because my last apartment was filled with lead…which is not what you want.”   Cerulli always loved stand up comedy, and knew he would try it one day. He started running comedy shows in his 20s - a great way to land consistent stage time. “I have run so many random shows at different places in the city that most of the bars are now either a 7/11 or a Citibank”. The Bomb Shelter is a weekly comedy show run by Cerulli since 2016 in the basement of the Gaf West - one of the best independent comedy rooms in New York, super-intimate with low ceilings, a hot pipe and Christmas lights all year round. Says Cerulli: “There isn't anything else like it, going up and telling jokes without a net. It is the only artform you must practice in front of strangers to get better.”  Cerulli is a filmmaker as well as a comedian, with multiple documentaries, web-series, and short films to his credit. Thus, he opted to make his own special a DIY affair, hiring amazing DP friend Ari Rothschild to shoot and run sound, and Paul Levin from International Digital Centre to mix. Cerulli edited Live at the Bomb Shelter himself, deftly switching hats: “I have been doing comedy for a long time, I have enough material, just do it.“ Cerulli took it to Comedy Dynamics because he loves what they are doing in the comedy space and was thrilled that they came aboard to distribute.  ABOUT JEFF CERULLI: Jeff Cerulli is a NYC-based stand-up comedian and filmmaker who has performed all around the world. Jeff has been featured on Sirius radios Jim & Sam show, Amazon Game Breakers, The Laugh Button & Decider. His web series The Feed earned critical praise - The Observer said “it hits too close to home” and Paste called it “a sly satire on social media.” Jeff's feature-length documentary debut Hungry premiered at the IFC Center as part of the DOC NYC film festival. His latest documentary Tasteless, about the ever-changing comedy landscape, is currently available on Apple TV. Jeff currently hosts the podcast Your Team's Stuff where he invites a guest to judge memorabilia he finds off eBay for their favorite sports team ABOUT THIS PODCAST: Listen and enjoy! And know that this is only the first HALF of our chat. For the second portion, subscribe via Apple Podcasts or click on over here to Patreon!