Podcasts about DV

In this Age of Kali, hari-kīrtana is very, very important. The importance of chanting the holy name of the Lord is stated in the following verses from Śrīmad-Bhāgavatam (12.3.51-52): kaler doṣa-nidhe rājann asti hy eko mahān guṇaḥ kīrtanād eva kṛṣṇasya  mukta-saṅgaḥ paraṁ vrajet kṛte yad dhyāyato viṣṇuṁ tretāyāṁ yajato makhaiḥ dvāpare paricaryāyāṁ kalau tad dhari-kīrtanāt “The most important factor in this Age of Kali, which is an ocean of faults, is that one can be free from all contamination and become eligible to enter the kingdom of God simply by chanting the Hare Kṛṣṇa mantra. The self-realization that was achieved in the Satya millennium by meditation, in the Tretā millennium by the performance of different sacrifices, and in the Dvāpara millennium by worship of Lord Kṛṣṇa can be achieved in the Age of Kali simply by chanting the holy names, Hare Kṛṣṇa.” (Cc Madhya 6.242) ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/ https://www.bbtacademic.com/books/ https://thefourquestionsbook.com/ ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #mantramusic #spiritualmusic #kirtan #mantra #spiritualawakening #soul #spiritualexperience #spiritualpurposeoflife #spiritualgrowthlessons #secretsofspirituality #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #spiritualconnection #thepowerofspiritualstudy #selfrealization #spirituallectures #spiritualstudy #spiritualquestions #spiritualquestionsanswered #trendingspiritualtopics #fanthespark #spiritualpowerofmeditation #spiritualteachersonyoutube #spiritualhabits #spiritualclarity #bhagavadgita #srimadbhagavatam #spiritualbeings #kttvg #keepthetranscendentalvibrationgoing #spiritualpurpose

In the first episode of the Darling Bish Hour, hosts Melissa Reich and Amy Phillips dive into the latest Bravo news, focusing on Kandi and Todd's split. The conversation shifts to prenups and financial dynamics in relationships, before transitioning to the Potomac franchise. The hosts discuss the ongoing journey of personal growth and healing, particularly in the context of Monique's return to the show. Melissa and Amy discuss Gizelle's expectations of her co-stars, Ashley's relationship choices, Stacey's lying and Wendy getting busted for “forgetting her PIN”. TW: Brief discussion of DV and addictionAt the end of the episode, Melissa and Amy share practical tips to manage stressful winter & holiday seasons, including navigating family gatherings. We hope you enjoy the episode and THANK YOU FOR LISTENING!Disclaimer: Posts are not intended to diagnose, treat or provide medical advice. Your Bish Therapist (YBT) is for entertainment and informational purposes only. The podcast, my opinions, and posts, are my own and are not associated with past or present employers, any organizations, Bravo TV, Grey Heart productions or any other television network. The information in YBT podcast and on its social media is provided for general informational purposes only and is not intended to diagnose or treat. Please do not act or refrain from acting based on anything you read, see, or hear on YBT, podcast or associated social media. Communicating with YBT via email, and/or social media does not form a therapeutic alliance. Melissa, operator of YBT, is unable to provide any therapeutic advice, treatment or feedback.For more Drama, Darling, and exclusive content, subscribe to: http://Patreon.com/dramadarling Follow Drama, Darling on Instagram: https://www.instagram.com/dramadarlingshow/   Email Drama, Darling with YOUR comments, questions and drama:  DramaDarlingz@gmail.com Follow Amy Phillips on Instagram: https://www.instagram.com/dramadarlingshow/   NEW MERCH! Drama Darling Shop https://drama-darling-shop.printify.me/LATHER. Natural care for skin and hair.Get 50% off with Code: Drama https://www.lather.com/?srsltid=AfmBOoqvsVMcGSzY_p0OhkoE-Luvl_9a6oDGw4k8ltr5o7O34yIjPiAJJONES ROAD BEAUTY Jones Road Beauty, modern Day clean makeup.Jonesroadbeauty.com Code: DRAMANOCD Don't let OCD write the drama—you deserve to be the director of your own life. https://learn.nocd.com/DRAMA

In the first episode of the Darling Bish Hour, hosts Melissa Reich and Amy Phillips dive into the latest Bravo news, focusing on Kandi and Todd's split. The conversation shifts to prenups and financial dynamics in relationships, before transitioning to the Potomac franchise. The hosts discuss the ongoing journey of personal growth and healing, particularly in the context of Monique's return to the show. Melissa and Amy discuss Gizelle's expectations of her co-stars, Ashley's relationship choices, Stacey's lying and Wendy getting busted for “forgetting her PIN”. TW: Brief discussion of DV and addictionAt the end of the episode, Melissa and Amy share practical tips to manage stressful winter & holiday seasons, including navigating family gatherings.We hope you enjoy the episode and THANK YOU FOR LISTENING!Please follow YBT podcast, click automatic downloads and give a 5-star rating (it really helps!) Please follow @yourbishtherapist on Instagram, Patreon, YouTube, FB, and TTFor full video (ad free, bonus content & early releases) visit YBT Patreon, Spreaker Supporters Club or YouTubePatreon: https://patreon.com/YourBishTherapist?utm_medium=unknown&utm_source=join_link&utm_campaign=creatorshare_creator&utm_content=copyLinkSpreaker Supporters club:  https://www.spreaker.com/podcast/your-bish-therapist--6065109/supportYouTube: https://www.youtube.com/channel/UCu8bmVPTlWANg5v7rGRJjow?subconfirmation=1 To find links to all YBT content: https://linktr.ee/yourbishtherapistBrand Ambassador: www.Iamhumanthebrand.com for clothing with a purpose. Code BISH20 for 20% off purchasePodcast website page:  https://www.spreaker.com/show/your-bish-therapistDisclaimer: Posts are not intended to diagnose, treat or provide medical advice. Your Bish Therapist (YBT) is for entertainment and informational purposes only. The podcast, my opinions, and posts, are my own and are not associated with past or present employers, any organizations, Bravo TV, Grey Heart productions or any other television network. The information in YBT podcast and on its social media is provided for general informational purposes only and is not intended to diagnose or treat. Please do not act or refrain from acting based on anything you read, see, or hear on YBT, podcast or associated social media. Communicating with YBT via email, and/or social media does not form a therapeutic alliance. Melissa, operator of YBT, is unable to provide any therapeutic advice, treatment or feedback.    Disclaimer: Posts are not intended to diagnose, treat or provide medical advice. Your Bish Therapist (YBT) is for entertainment and informational purposes only. The podcast, my opinions, and posts, are my own and are not associated with past or present employers, any organizations, Bravo TV, Grey Heart productions or any other television network. The information in YBT podcast and on its its social media is provided for general informational purposes only and is not intended to diagnose or treat. Please do not act or refrain from acting based on anything you read, see, or hear on YBT, podcast or associated social media. Communicating with YBT via email, and/or social media does not form a therapeutic alliance. Melissa, operator of YBT, is unable to provide any therapeutic advice, treatment or feedback.

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

In the second hour, DV discusses could Browns coach Kevin Stefanski could be an option for the Titans if Cleveland cuts him loose? They also had more discussion on Ward vs Sanders and the roster they have with them 

DV live de Californie et Hugo en Inde. On débriefe du SX Tour de Lyon, le WSX en Australie et le reste de l'actu...Support the showChaine YouTube DV TALKS MOTOAbonnez vous sur YouTube ici! Créez Votre Podcast Ici!

Amye and Amanda talk about Seeking Sister Wife S6:EP11 Defenders of the UniverseCONTENT WARNING: We talk about DV/abuse/racism when we talk about the Merrifields. Chat is approximately at the 5-14 min mark. Then again when we discuss them in this episode near the end. The Davises close the chapter on Teresa. Anjelica attempts to reconcile with Shanay. The Williamsons are eager to see where their new relationship takes them. The Merrifields learn if their family is expanding but Garrick's ideas for their future leaves the ladies questioning everything.For ad-free and BONUS episodes, please support the show by signing up for Little Miss Recap PREMIUM:https://www.patreon.com/littlemissrecap or click subscribe on Apple Podcasts!Listen to my true crime podcast: Murder She Watched at www.murdershewatchedpod.comGet in touch with us:Facebook: https://www.facebook.com/groups/littlemissrecapFacebook group: https://www.facebook.com/groups/littlemissrecapInstagram: @littlemissrecap Voicemail: www.littlemissrecap.comEmail: amye@littlemissrecap.comGrab yourself some Little Miss Recap merch at: https://littlemissrecap.myshopify.com/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Peter Boyles talks with Christine Kuehn (Author of "Family of Spies") and her husband Mark Schiponi. The story of How the Book Came to Be, Explosive Family Secrets, An Affair with Joseph Goebbels, Spying for the Japanese, How long was the Pearl Harbor attacked planned for?. And much more! LINK TO YOUTUBE: https://www.youtube.com/live/DV_mat-BCqY?si=jJT3zZh3JOEUw_ipSee omnystudio.com/listener for privacy information.

On Today’s Show: Thanks to today's sponsor, longtime freak Alirio, we're finally tackling the massive backlog of DV voicemails — and we're starting all the way back in 2017. Yes, Tim chokes on mucus, dredges up ancient listener messages, resurrects dead callers, goes off on a Tourette's documentary detour, and somehow still barely gets through […] The post Tick Avalanche at Tourette's Camp | Clearing the Backlog of Listener Voicemails | DV Daily first appeared on Distorted View Daily.

Why Brands Should Stop Avoiding News with Jack MarshallBrands have long shied away from advertising in news, fearing controversy or association with “negative” stories; but that hesitation is costing them results. This week, Mike Shields talks with Jack Marshall, Head of News at DoubleVerify, about why avoiding news is a missed opportunity and how advertisers can take a smarter, more nuanced approach to brand safety and suitability.Jack shares insights from DV's research, which shows that news content drives 16% more engagement than non-news media, and explains how AI-driven tools are helping advertisers target responsibly while supporting trusted journalism. The conversation covers the shifting perceptions of news advertising, AI's role in brand safety, and why authentic reporting may soon stand out as the antidote to AI-generated “slop.” Highlights:

These are 7 of the top headlines in military news. NOTE: All persons are innocent until proven guilty in a court of law.  Today I cover these 7 headline cases:  -Death of Officer Lauren Craven (Sailor Antonio Alcantar charged) -OB/GYN Maj Blaine McGraw accused of secretly recording patients -Double Murder/Suicide out of Wright-Patterson AFB -4 Deaths in One Unit at FE Warren AFB -Whiteman AFB airman kills Good Samaritan during DV incident -Triple Murder in Harnett County, NC -Convicted Killer Ellis Handy denied parole for the 25th time ⸻

On Today’s Show: Tim kicks off Thanksgiving week by revisiting his dark past as an AOL “please don't cancel” ghoul, then dives headfirst into the rancid online worlds of dog-abusing TikTok goblins, neo-Nazi child recruiters, and Jeffrey Epstein's inbox cosplay. Plus: highway exhibitionism, old-school DV prank calls, and why Tim's eyeballs sometimes decide to go […] The post Dog Shit Facials and Neo-Nazis 4 Kids! first appeared on Distorted View Daily.

  Bush Fellow head of USD Native recruitment and engagement   New study seeks proper care for DV victims with traumatic brain injuries   Hualapai tribe chooses this year's Christmas tree for Arizona Capitol  

Do you enjoy property management? It's often a thankless industry, and it's easy for property management business owners and their team members to become unhappy and burnt out. In this episode of the #DoorGrowShow, property management growth expert Jason Hull sits down with Ashleigh Goodchild, the voice behind PM Collective, to explore what it really takes to build a property management career that you can enjoy. You'll Learn [01:06] Importance of Having Support  [08:01] Community-Led Learning for Property Managers [15:07] Structured Management vs. Random Leadership [21:36] People-Centric Property Management [32:41] Making the Invisible Visible Quotables "There's so much help available out there. And a lot of times we just don't ask as entrepreneurs." "The slowest path to growth is to do it alone." "A lot of people don't actually see what we do. And I think that's where you've got the opportunity." Resources DoorGrow and Scale Mastermind DoorGrow Academy DoorGrow on YouTube DoorGrowClub DoorGrowLive Transcript Ashleigh Goodchild (00:00) Generally churn rate and loss rate for businesses can range anywhere between 15 and 30%. Our office is sitting at about 5%. we've got 1200 doors, to have that 5 % churn rate actually considered really great. Jason Hull - DoorGrow (00:05) Yeah. Welcome everybody. I am Jason Hull, the owner and founder of DoorGrow, the world's leading and most comprehensive coaching and consulting firm for long-term residential property management entrepreneurs. For over a decade and a half, we have brought innovative strategies and optimization to the property management industry. We've talked to thousands of property managers, helped them add hundreds of doors, help them increase profit, simplify operations, get themselves out of the business more and more. And we believe the good property managers can change the world and that property management is the ultimate high trust gateway to real estate deals, relationships and residual income. We are on a mission to transform property management business owners. and their businesses. want to transform the industry, eliminate the BS, build awareness, change perception, expand the market, and help the best property management entrepreneurs win. Now let's get into the show. So my guest today is Ashleigh Goodchild. Welcome. She's the voice behind PM Collective, the art of property management. together, we're going to explore what it really takes to build a property management career that you can enjoy covering the balance between structured management and random leadership, how to create workplaces people actually want to stay in, and Ashleigh's vision for a more human, less transactional industry. So Ashleigh, welcome to the show. Ashleigh Goodchild (01:35) Thank you so much for having me. Jason Hull - DoorGrow (01:37) So let's give us a little bit of background on you for those that don't know you yet, that maybe you're listening. How did you get into entrepreneurism? How did you get into doing what you're doing now? Give us some of the backstory. Ashleigh Goodchild (01:52) Yeah, so I started real estate back when I was 18 and like many people just falling into it and I was placed into an office that had a business owner, one was an air hostess and one was a pilot and really had no idea of how to run the business. So at that age of 18 and not knowing any better, I just jumped straight into the business and started helping them quite a lot. And then As I went on in my career, I then started my business, SoCo Realty, when I was 23. So I've had that business for 20 years and I've had a very blessed property management and business ownership life. I do say though that when I was 23 and when I started the business, I don't think it would have mattered what I was doing. It wasn't actually about the property management. It was actually probably about business ownership that I was drawn to. And I think I always say, even if I was a hairdresser at 23, it would have been a hairdresser shop that I opened up, just happened to be working in property management. So I've been running that and I've had a very blessed property management life. I always feel a little bit guilty when people talk about the roller coaster of their property management businesses, because I don't feel like I've had that. Or if I have, I sort of feel like maybe I just didn't sweat the small stuff. And so that led me into... Jason Hull - DoorGrow (02:50) Yeah. Yeah. Ashleigh Goodchild (03:10) running and founding PM Collective, which was bringing in a peer-to-peer mentorship and training Australia-wide where we run 200 coffee and conversations every year. And we really support each other in the industry just by that casual learning from each other. Jason Hull - DoorGrow (03:27) That's awesome. So they're getting together, hanging out with each other, sharing ideas, and you're kind of the facilitator in this. Ashleigh Goodchild (03:35) Yeah, we do it Australia wide. have loads of hosts around Australia. So other people like myself who want to give back. So it's a great opportunity for people to give back. We've actually run a couple over in the US as well. And we have just had one in New Zealand. So the idea is that it allows people in the industry who have been in for a long time, like I said, to give back to the industry and help the the younger ones that are coming in to really learn to enjoy the career as well. So it's really great. Jason Hull - DoorGrow (04:04) Yeah, you know, it's amazing how much help is available and how willing people are to help. Yeah, I'm reading a book right now by Simon Squibb, I believe is his name, something like that. And it's it's about like following your dream and having a dream. But he said he created an organization that. I guess over in the UK, but he created this organization that allowed people to either help. fun people's dreams or for people to get their dreams launched. And he said that they had way more people. He thought everybody would be wanting to get the dream and their own dream met. He said they had way more people offering to help those that had a dream. And so, and he was talking about how much help is available. So. There's so much help available out there. And a lot of times we just don't ask as entrepreneurs. know, there's this funny thing that when we start out as an entrepreneur, we've kind of come through this whole world where we're such a minority, because most people on the planet are not entrepreneurial currently. And so we get a lot of feedback that we're weird or that we're different or that we're strange. And so we learn to kind of isolate. We start to recognize, I'm different and there isn't a lot of help or support. which is kind of an inaccurate viewpoint, but we kind of view ourselves as an island. And then we start our journey as an entrepreneur and we usually think we're gonna do it all ourselves. We're gonna read the right books and watch YouTube videos and we wear it as a badge of honor. I'm gonna get this thing started and do it all alone. that's, as I say at the end of my podcast each episode, that's the slowest path to growth is to do it alone. Ashleigh Goodchild (05:40) I think as well, like we find that a lot of people are really great at their jobs. They're either, you know, great property managers, great BDMs, and they have people around them that say, you know, you're so good at what you do, you should go open up your own business. And I don't think people actually realize there is, it can be really hard to start your business. I mean, you've got the logistics side of things, but you just assume the phone's going to keep calling and start calling as soon as you're out on your own. Jason Hull - DoorGrow (06:02) Yeah. Ashleigh Goodchild (06:09) And I think that that's one of the biggest things that I see people underestimate. And so to be able to give them that support and not be forced to sell their business because it's just got too stressful. I've got one of my clients where she had her own property management business when she was in her twenties. And she ended up selling it because it was just too much to handle at that age. She didn't have the support, you know, 10, 15 years ago. Jason Hull - DoorGrow (06:14) Yeah. Yeah. Ashleigh Goodchild (06:36) And I remember her saying, I wish PM Collective was around because I wouldn't have sold my business. But now I can have the stamina for my business because I've got that support around me. So I think that that's where I'm seeing a really big gap. people who think, you know, people who are great at their job, which means that they think they're going to be great at business ownership, which is not always the case as well. Jason Hull - DoorGrow (06:57) Yeah, there's a great book on that exact subject. It's called the E-Myth, the E-Myth Revisited. And in this book, E is entrepreneur, it's entrepreneur myth. And basically the summary of the whole book is if you think you, if you've learned how to do the technician level work, you like you have learned how to bake really great cakes. The myth is that now you think, well, I could go start a business and start a bakery making cakes. But a business involves a lot more. A business involves marketing, sales, accounting, you know, a lot of different stuff that is outside the skill set of baking a cake. And so the same thing with property management. Some people are like, I've managed properties for a while, or I've done business development for a property management company, done sales for a while. And they think I could now go start a business doing this. And that's the technician level work. That's not the business ownership type of stuff. then that's where things get a little more difficult. Yeah. Ashleigh Goodchild (07:57) read that book it's actually a really great one for newbies in the business. Jason Hull - DoorGrow (08:01) Yeah, yeah. So yeah, I love that. So how does the PM collective work? How are you getting people together? How do you facilitate this? What does a typical meetup look like? How do you make these connections? Ashleigh Goodchild (08:13) Yeah, so we very much just have hosts that reach out to us and they see a gap in their location. And then they just give me, they have to give me three dates, times and locations. And I just set them up online for them. So it's relatively easy for the host. Everyone just rocks up. It's very, very casual. They grab their own coffee, they take a seat and the host is there just to sort of welcome everyone and sort of facilitate it to a certain point. We have the groups, they can range anywhere in size between four people to 20 people. And to be honest, even the groups of four, I find are so important because I find that the intimate conversations are so much stronger in those small groups and people really open up. And the conversation could be about anything. It could be about... certain products that we're using. might be about some subscriptions. It might be about what's currently not working, what demos we've had, what problems we've had. And I find in that smaller group, people definitely open up a lot more and get that real, really good support that they need. Sometimes it's we chat on a personal level. Again, that comes down to people that are personally happy, I believe make the best. employees and their best employers. And it's really important that we look after people's personal state and having those personal conversations and those opportunities to vent, think are incredibly important in that environment as well. And then we have a big mixture. So we've got some groups where we get a lot of BDMs come along, some where it's just the solo printers, some where it's the referring partners, they sort of just all find their own vibe. But one of the biggest things that has been really important is that consistency. So knowing the for the public to know that we're going to show up every single month at this location. And we're here if and when you need us. That consistency is really important. So really casual, you don't need to buy a ticket or anything like that. And I think that really what's made them successful though is that consistency. Jason Hull - DoorGrow (10:15) Got it. So is how does the PM collective have the bandwidth to facilitate this? How do you guys make money? How does that work? Ashleigh Goodchild (10:23) So we don't, we sort of run it as a bit of a not-for-profit, even though it's not registered as a not-for-profit. So the purpose is very much community-led learning. And I guess on a personal level, I run my own business, my own real estate business. So for me, that's my bread and butter, and this is really what's considered my passion project. So this is sort of more my legacy, I guess. And, you know, I've got the time and the energy. Jason Hull - DoorGrow (10:27) Okay. Ashleigh Goodchild (10:48) to and the love to do it. So that's what I do. We have got great sponsors who help support our podcast and cover the cost for the membership and things like that. And we've got a membership base, which would be say, I guess on the smaller medium size. And over time that will grow. But for now, the support is really where it's at and we're driven by that with no need. for any strong monetary value coming through at the moment. That might change in 10 years, but for now and the last five years, it's been perfect. Jason Hull - DoorGrow (11:19) Well, mean, it sounds like the people that are really giving to this community like yourself probably have some of the healthiest businesses because the people that are in over their head don't have time to go hang out or go to lunch or to meet up with people. so, you know, that, and that, you know, that allows people to come in that maybe they're are struggling to meet and hang out with people that are in a healthier place and kind of lend them a hand up. Right. So. Ashleigh Goodchild (11:32) No. It's interesting because in Australia, we've got what we call CPD points. don't know if you've got them, where they're like compulsory development points that you've got to do to hold your registration. and our events, they are not CPD registered, which means that people don't come along because they are coming because they just have to be registered and they just have to do so many points. They come because they actually want to come along. Jason Hull - DoorGrow (11:57) Okay. Yeah. Ashleigh Goodchild (12:12) And I think you'll find that that has made a massive difference with the vibe. Like we had an event the other night, because we sort of run the separate events as well. And, you know, everyone comes along, they're catching up, they haven't seen each other for a couple of months. And it really feels like someone's birthday party. But the important thing is that people are there because they want to, not because they're going to get a CPD point attached to it. And you really can feel that difference in the vibe. Jason Hull - DoorGrow (12:37) Got it. Okay, well, let's take, I'm gonna do a quick word from our sponsors. This will be relevant. If you are a property management business owner, you're tired of getting tangled up in numbers, KRS SmartBooks has your back. They specialize in property bookkeeping for small to mid-sized managers who'd rather focus on, well, managing. So with over 15 years of experience in real estate, accounting, they're pros in Appfolio Yardi and all the top property software. Trust them to make your monthly reports hassle free so you can get back to what really matters running your business. Head over to KRSbooks.com to book your free discovery call. And so maybe that'll help you have a little more time to get back to the property management community. All right. So back to what we were talking about, Ashleigh. I love, I love this idea. I love that you've facilitated this vehicle for everybody to get together. You just, resonate positivity and I'm sure that kind of sets the tone for the group that people are kind of attracted to. And I've been part of groups where the leaders are very positive and it's just a different category and group of people. There's a lot of people that are helpful, positive. I'm in masterminds like that. And then there's others where the leader is more kind of like a dictator cult leader and like, it's just a very different environment. And there's a lot of guilt and a lot of shame and stuff like this, right? and, I've been in some men's programs and things like that that were like that. And it's just, you know, it's a totally different environment. So you've created, and so this is really, I think a strong Testament to you. How many, how many people are involved in this throughout Australia and beyond. Ashleigh Goodchild (14:13) should know the answer to that and I don't. And I would probably say there would be around 20 hosts around Australia. So 20 people, have started having visionary leaders in each state and to help sort of help me control the states. But yeah, about 20 hosts. But then like I've got, for example, an audio summit coming up. Jason Hull - DoorGrow (14:21) Wow, OK. Yeah. Ashleigh Goodchild (14:37) And that's got 17 leaders in Australia doing an audio summit for me. And we're doing 17 days of tips and tricks. So there is a lot of people that make up all of this, a lot of other coaches and trainers that give their time and their knowledge as well to it. So it really is a big project. in total, I'd say there's probably about a good 40, 50 people from coaches, trainers, leaders. who facilitates some sort of knowledge base for me on all these events. So pretty lucky. Jason Hull - DoorGrow (15:07) So describe to me the difference between structured management and random leadership. Ashleigh Goodchild (15:13) Yeah, so that's something that I practice inside my real estate at SoCo. And one thing that I've learned from other people and other leaders is when we do, obviously you need structured management, in terms of processes and procedures and all of that, and that's fine. But when it comes to leadership, sort of what you talking before about the dictatorship, I feel like I probably practice servant leadership a lot more. practice servant leadership at SoCo, which is the real estate, and I practice servant leadership in PM Collective. And very much I do picture myself or feel that I'm a leader from the bottom and that you just tell me what you need and I will deliver it for you. So I do that both in PM Collective and SoCo. And that's where the support comes from. The random leadership, I think, has been something that has really helped me keep long term staff. I'm known in the industry for having a long term team. anywhere between sort of seven years and 15 years average for property managers, which is great. And one of the things I would say have helped me and I have to say I haven't done this on purpose. It's just the way that I've done it. And I now I reflect back on it. I can see how it's worked. And if we were to every single year, give our team a Christmas bonus every single year, they're going to expect that. And if one year you don't do it because you can't afford it or something's changed, people are going to start getting a little bit ticked off because it's like, where's my bonus? get one every year. And I think the same goes with the Jason Hull - DoorGrow (16:52) become expected.   Ashleigh Goodchild (16:54) very much expected. And I think when we start getting, creating expectations with our team, that's when we can start getting a little bit of conflict. And I've seen it in a lot of agencies. So where I, I, I think what I think works really well is things like we might as an office randomly buy someone a coffee, or we might just randomly say, Hey, let's go out for lunch, or randomly, we'll do a Christmas bonus randomly. We might shout everyone a voucher for a massage. All of those random things mean so much more to your staff and they appreciate it so much more. Even if it was that $5 coffee or that random walk or that random time that you're giving, I just find that that doesn't set up expectations and people appreciate those little things a lot more. And like I said, it's not something that I went and said to myself, this is how I'm gonna manage my team. It's something that I just did naturally, probably because I'm a little bit scatty and I probably was, you know, not very good at keeping things consistent. But now that I look back on it and I can see that that 100 % has played a massive part in creating a really healthy long-term team. Jason Hull - DoorGrow (18:07) Yeah, that makes a lot of sense. know, yeah, giving gifts means a lot more or giving experiences or doing things means a lot more than, you know, than just a bonus that they're expecting at the end of the year. And most people aren't actually money motivated. BDMs usually probably should be a little bit and maybe entrepreneurs, but that's the mistake entrepreneurs make is that we assume everybody else likes money as much as we do. A lot of times. And so we try to bonus people or reward people or motivate people with money. And a lot of times that backfires. And because most people aren't money motivated or money driven, know entrepreneurs listening right now are like, what? That makes no sense. I don't understand it, but yeah.   Ashleigh Goodchild (18:48) I think a lot of businesses as well, they try to manage their team by textbook and you know, the textbook says, we should give people their birthdays off or a textbook says we should, you know, we should do a bonus at Christmas or whatever it might be. But I think, you know, really getting to know each person and I know who in my team values me sitting down and talking to them and asking them how their weekend was. However, if I went and did that to someone else in the team. That'd be like, you just go away. I'm trying to work here. And I, I, I, yeah, I know what, what each person needs to be happy. One thing that I found more recently is that if your team can have a hobby, that is probably the biggest thing to create a happy team and hobbies prevent burnout. And I think that when we get a lot of people in the industry where all they do is work and family, work and family, they don't have anything in between. And so like one of my girls, she loves to play golf. She really young girl, 21 years old, plays golf semi-professionally. And she had asked whether she can start having some private coaching on Tuesday afternoons. So she was going to come in a few hours early. And I was like, absolutely no problems at all. Because if I give her that Tuesday afternoon off to go play golf, there's something else that she loves. I just find that, you know, people have to have other things they love just besides, yeah, besides the work and family. And that's something that I feel like I really try to encourage with everyone in industry is find a hobby if you're feeling stressed. And you know, and a hobby is not, you know, reading a book or something like that. It's actually like playing pickleball or netball or coaching a team or it's something specific. Jason Hull - DoorGrow (20:37) Got it. OK, so you're encouraging team members to have hobbies. And that allows them to maybe have a little bit more to bring to the table in terms of energy and life, it sounds like. Yeah. Ashleigh Goodchild (20:42) 100 % Yeah, yeah, it just allows them to enjoy enjoy work. And like I said before, you've got to have them they need to have a happy home life for them to perform well for your clients. It's really, really important. You can't, you can't have them having a tough personal life at all that's going to affect you and your clients. Jason Hull - DoorGrow (21:10) Got it. Yeah. Yeah. There's a, there's a really good book called giftology by John Rulin. And he talks about the benefit of giving gifts, gift giving, to basically for almost as marketing or do increase referrals or to increase retention. But the same thing applies to team members. These doing these random things, sounds like a really solid idea. And then also encouraging hobbies I think could be really beneficial. So, So explain your vision for a more human and less transactional industry. Ashleigh Goodchild (21:43) So in Australia, have starting to become quite reliant on our offshore staff and our offshore team. And I'm assuming that that's everywhere. Would that be the same with your businesses? Jason Hull - DoorGrow (21:55) Yeah. Yeah, I would say so. There's a lot of people that are hiring VAs in the Philippines or Mexico for sure. Ashleigh Goodchild (22:02) Yeah, I mean, and whether it's part of your business plan or not, you know, I fully respect that. But what we've found in businesses is that by passing on the transactional work to our offshore team, and transactional, mean, collecting the rent, arranging maintenance, sending out inspection letters, you know, all of that sort of admin tasks, we're finding that that's really not where the value of a property manager or business owner is anymore. Jason Hull - DoorGrow (22:19) Mm-hmm. Ashleigh Goodchild (22:31) And so what we need to do is to move our skillset into more of a consulting role. We currently have been doing for a number of couple of years and I teach this a lot to other officers is what we call an annual investor audit. So our annual investor audits, they are 30 minute consults with every client and we are going diving straight into all the holistic side of their property because we need to make sure as a business that our clients are emotionally well and financially well. If they're emotionally and financially well, they're going to keep their investment property. The minute that they're stressed and not making money is the minute that they sell. And obviously that's not what we want in the businesses. So to do that by checking in with them, we are talking to them about any red flags we see with their tenancy with their rent or their inspections.   Jason Hull - DoorGrow (23:10) Yeah. Ashleigh Goodchild (23:27) We're talking them through and helping them understand what level of maintenance is considered normal or excessive in their property. If they're not spending enough maintenance, we're talking to them about ideas they've got for future renovations. We're talking to them about what their mortgage rates doing, how are they feeling? Are they positively geared or negatively geared? Is there any circumstance that's coming up in the next 12 months that we should make a note of that might cause them a little bit of stress? We are... Talking about all of those things on a real conversational level and it allows us to pick up trends of what that client's plans are. Are they planning on building a portfolio? Are they planning on selling in six months? Are we going as an office to see a huge wave of clients starting to sell? Is that something we need to protect that, you know, as an asset in our business? And so when we start getting into that consultancy role, it's no different to your accountant organizing a tax planning meeting. you know, in April, for example, that's exactly what we're doing. And we are planting seeds for that client so that they're never surprised when we call them up to say, Hey, your rent's gone backwards, or you got to spend $10,000 on the property. And that has been incredible. It's not only been something that's helped our churn rate. Generally in Australia, churn rate and loss rate for businesses can range anywhere between sort of 15 and 30%. Our office is sitting at about 5%. For it so for a large, a large office with we've got 1200 doors, to have that sort of 5 % churn rate is is actually considered really great. And I do put that down to the annual investor audits. And in addition, though, it allows the business owner Jason Hull - DoorGrow (24:52) Yeah. Ashleigh Goodchild (25:10) to take control of their asset and not to have to maintain that relationship. Because at the end of the day, I'm very passionate about that that client is my client as the business owner. And I need to keep that relationship up. And if I put all of that responsibility onto the property manager and my property manager leaves, I've got a risk that that client is going to follow the property manager. So that's a little bit of my of the importance and responsibility I take as a business owner. So they have been an incredible game changer for retention, but it's also helped uncover new business opportunities because when we've done these for our clients, we've never sort of asked them, do you have any properties? But so many clients have actually said to us, that was so good. Can you do it for my other property? And I'm like, sure. Where's your other property? and got the address and we've subsequently got the business of the because the other agencies weren't doing it. So obviously over time, more offices will start doing it. But that's just a great example of elevating the human side of property management. And we started introducing these in our business, like I said, a couple of years ago, I now teach them to other agencies around Australia. And then as soon as we can get, you know, a really good percentage of businesses, all bringing these in as just a natural part of the business, then we will that's how we see the industry elevate. And then that's just going to be considered a normal thing like checking rent arrears. And so that's really my vision to, to bring in things like that. I've been trialing, I do a lot of like mirroring in the business. So I trial things in my business first. And if it works, I will put it out to the industry. the other trial that I did was, which actually didn't work. And, it was about, I had a junior property manager and we had a lot of clients that we were losing from, from fees from owners being fee driven. And I thought to myself a little bit like a hairdresser. You've got a junior apprentice to cut your hair. You've got a senior stylist or you've got the director. And I thought to myself, I'm actually going to do a fee schedule with a junior rate. So if you want to, if you're fee driven and you want a junior to look after your property with less than one year experience, this is the fee. And if you want a senior, this is the fee. Now I thought that everybody would jump at the junior fee schedule because everyone seemed to be fee driven. What was so interesting is I did this trial for 12 months and I probably had 3%, maybe 2 % of clients actually say, I'll go with the junior fee schedule. Every single person said, thanks, but I think I'll stick with a senior. And I think that that's a great example to showcase that investors do want the experience. They want the peace of mind. And we all thought they wanted cheap fee schedules, but when given the opportunity for the cheap fee schedule with a junior, they didn't take it. So I thought that that was a really good example. Yeah, I know. Jason Hull - DoorGrow (27:49) Mm-hmm. yeah. I could talk about that for an hour. We've tested a lot of stuff on pricing. Ashleigh Goodchild (28:10) But it was just a great test to do. I trialed it, it didn't work. So I've gone to the industry and I've said, given it ago, it hasn't worked. I'm now trialing a second option with fee schedules. And hopefully that works because I just feel like the industry needs to move just from the same fee schedules we've been doing for 20 years. It really is something that needs to be done there. So that's my next mission. Jason Hull - DoorGrow (28:14) Yeah. Yeah, I love it. I love the experimentation. So cool thing about my position is I get hundreds of guinea pigs. And so I do all sorts of testing. And so we could chat about some of that. We've done some fun stuff, but I love the idea of the annual investor audit. call those, we coach clients on that as well. We call those annual portfolio reviews and that's a great opportunity to get more referrals. great opportunity to get more reviews and testimonials. It's a great opportunity to create more connection with the client and to showcase what's invisible to them currently that you're actually doing work. And yeah, and it's going to significantly decrease churn. You mentioned churn maybe between on a lot of companies, maybe being between 15 to 30%. And if you're at 1200 units, I was doing math while you were talking, that would be between 180 to 360 units being lost each year. And so a lot of property managers don't pay attention to what's leaving and they think, well it's infrequent or they're selling their properties or whatever and they're not paying attention to that. They're so focused on how do I get more doors? And sometimes they're losing more doors than they're adding each year or they're just breaking even. And so they've been at the same spot for like a decade sometimes. And they're wondering, why does this feel like a grind? And they're not making progress. And sometimes you have to look at what you're losing and what's your level of service that you have there and how visible is what you're doing to your client? Because if it's not visible, they're going to assume, well, why do I even pay them? They're not doing anything. They're just collecting rent. Yeah. Ashleigh Goodchild (30:15) Yeah, it's like, I call it a, we've got a client success manager. And I think that that's a real missing part in a lot of businesses because we've got the BDM who brings in new business. We've got the property manager who maintains it, but the client success manager actually is what I call a BDM in reverse, because if they can prove your retention, that is growth. So therefore it is still a BDM role. Jason Hull - DoorGrow (30:21) Mm-hmm. Yes. Yeah. Ashleigh Goodchild (30:41) that you've got someone specifically for. So that's a real big missing part. And I think a lot of businesses when they don't have somebody specifically on that role. Jason Hull - DoorGrow (30:52) Yeah, I've been privy to see inside of a lot of different types of businesses and being in a lot of different masterminds. And one of the things that I've seen is that some of the most sales oriented organizations, like companies that they're focused on placing salespeople and hiring salespeople and stuff like this, they always have their best salespeople graduate to be on their client success team. is how they kind of position it. And they call that their second sales team. Because these are the people that get people to re-up or renew or continue on, or to bump up into a higher level program. so client success is your other sales team. their whole job is to decrease churn. Their whole job is to increase retention. So at DoorGrow our client success manager is my oldest daughter. And she does our client success. And she's got the personality for it. She's much more of a feeler than I am. She's much more about community than myself, right? I'm more of a logical thinker in a lot of instances. And so clients just love her. She does a great job. And so everybody should have client success. What's funny is in the property management industry, you hear the phrase property manager, but that's like this mystery sort of title that means a different thing to everybody you ask. And so for some of them, some people think their property manager is supposed to be a BDM also. I'm like, those are... probably different personality types. Some think they're the maintenance coordinator, but then they'll hire a maintenance coordinator and they call somebody else a property manager. so property managers also could be those client success people, the relationship builder. And so that's where it gets confusing is when we're, I hired a property manager. Well, okay, what are you having them do? I always have to ask because it's always different. So I don't know if you've noticed that in Australia, but. Ashleigh Goodchild (32:41) Yeah, and I think as well, like, I like what you mentioned before about how a lot of people don't actually see what we do. And I think that's where you've got the opportunity. Because I remember a long time ago, a client said to me, you know, wanting to negotiate on fees after a couple of years. And he said, you know, your job's easy, you don't, you know, the you don't have to do anything for your money. So therefore, you should reduce the fees. And I'm like, Jason Hull - DoorGrow (32:49) Yeah, it's invisible. Ashleigh Goodchild (33:07) Hold on a second, we've chosen a fantastic, perfect tenant. We do a lot in the background to make it look like we are managing it nice and easily and not creating any stress for you. Do you want me to create a problem tenant so it looks like that I'm doing work so that you can justify the fee? Because the fee is so, is reflective on you finding, it look like that we're having a very easy life. but that's taken a lot of skill and experience to do that. It's just so backwards, isn't it? That the way that they validate our fee, if we have got lots of problems and they think we're not worth our fee when we've got nothing to do and got a perfect tenant, which was the result of us putting it in the first place. Jason Hull - DoorGrow (33:34) Yeah. Yeah, I used to work in IT and one of the things I learned in doing IT and working on computers and networks is that if you make everything run perfectly, they wonder why they even pay you at all. And then I also noticed if there was a problem, they're like, why do we pay this person at all? There's now this problem with the network. so either way, couldn't win. So I learned I had to make the invisible visible. I had to tell them all the time, hey, I just updated this server. I just changed this. This has been improved. That's preventing these problems. And they're like, wow, Jason's on top of this. Jason's making everything run smooth. So I had to learn to be noisy. I worked at Hewlett Packard and I was in Boise, Idaho and I had a boss in Texas. And he would just look at our... he would message us all throughout the day through an instant message app or whatever. He would message us, what are you doing? What are you doing? And I was like, he can't see what we're doing. So I just started changing my status. I allowed you to put a little status, they use some Microsoft app, I can't remember Teams, I don't remember what it was. But I just would update it every day and I would say like throughout the day what I was working on in that moment. Updating this, working on this, doing this, and just what I was doing. And so then he started asking, what's your coworker? doing because we were a two person team that were over a big system. And he was like, what's what's what's Josh doing? Is he working? What's he? So he started to perceive that I was on top of things and working and this other person was lazy and not doing stuff. I'm like, no, he's working too. So yeah, but that's I sold, you know, we've translated that to helping clients make sure you're showcasing the invisible because they can't see it. Otherwise, you have to be noisy. And those annual reviews are a great opportunity to do that because you say Here's how many maintenance requests we've handled that you didn't have to deal with. Here's how much money has been collected. Here's the payouts that we've done to you. Here's all the stuff that we've been taking care of that's prevented you from having to deal with this. Here's how many calls we took. Here's how many tickets we handled. All these vanity metrics justify why they spend the money with you. So I love that you're reinforcing that idea. So for my clients listening. She said, and she's got 1200 doors, which is probably more than some of you. so Ashleigh, what do you feel like people are hearing your low churn rate besides the annual investor audits that you do and maybe having a client success manager. I don't, what, what do you feel like is really significantly reduced the churn rate down to 5%. I mean, that's significant in any business. Ashleigh Goodchild (36:25) Yeah, it would. You've got your audits, it would probably be I think myself being a director of the business who is 100 % active in property management and approachable is a really important word. Clients know that they can call me at any time they know that if one of my property managers is on leave, they can call me to handle anything that plays a massive part. And if I reflect on some of my clients, because we all get clients that, you know, maybe aren't happy with something or a little hiccup has happened, to know that my clients don't just silently leave and say, that happened, not happy, I'm gonna go find someone else. They always contact me first. I actually had one the other day to say, Ash, my property manager is really lovely, but I'm just feeling like I need someone with a bit more confidence. No problems at all. Let me move you to this person. The fact that they approach me first and give me the opportunity and know that they can call me to move them. I just take that with so much privilege because that doesn't happen in a lot of offices. If you're not approachable and your client would rather just leave the property, then bother coming to you because they don't think they're going to get heard. That's going to be a problem. So for me, that is massive. Jason Hull - DoorGrow (37:24) Yeah. Ashleigh Goodchild (37:46) And then probably the final thing, I think that our values really show through, through social media and my presence on social media, the fact that they know me on a personal level, they can see that I've got kids, they can see that I've done podcasts, they can see when I win awards, and embracing our clients on our journey and allowing them to see every part of me as a human being, I think is great. We do an annual an annual drive for a not-for-profit. support DB survivors quite a lot in our business and we promote philanthropic investing. And so the fact that we bring in our clients to be involved in that process by buying their clients, their tenants a hamper for Christmas to strengthen relationships has been a fantastic PR exercise with clients saying, you know, yes, please organize my 10 Christmas hamper and we're just so thankful to be aligned with a business like yours that supports, you know, good causes. It's those little things that I've probably played the biggest part in it, in their retention and client success. Jason Hull - DoorGrow (38:49) Love it. Yeah, I love that. A lot of property managers are so focused and business owners are so focused on thinking, what, how do I get more money? How do I take more instead of like the benefit of being involved in how much trust it would create to be involved in some sort of philanthropy or charity or something that's a bit more outward focus. And, and one of things we are really big on at DoorGrow is coaching our clients on finding a, in building out their client centered mission statement is figuring out. How do you make this vision bigger so that you're having a positive impact, not just for yourself, for the business, for your team, but maybe the community at large, maybe the industry at large? And what sort of impact and change do you want to see there and making that vision bigger? Because it allows you to attract team members that are inspired by a bigger vision, allows you to attract clients that resonate and are inspired by a bigger vision. And so you get better people all around. Ashleigh Goodchild (39:48) And it gives other people the opportunity to do good. And with our annual hamper drive, we did that last year. And all we did, we aligned ourselves with a not-for-profit hamper company, which is sort of like a by-product of one of the charities. And they support women getting back into the workforce. And so not-for-profit, we emailed all our clients and we said to our landlords, listen, if you've had a great year with your tenant, we would love to arrange a hamper on your behalf. It's $88. Jason Hull - DoorGrow (39:53) Yeah. Ashleigh Goodchild (40:16) and we'll take it from your rental income and we'll send it on behalf of you for Christmas. It's a great way to acknowledge you've had a great experience with your tenant and strengthen that relationship. And from that alone, just us doing OneDrive last year raised 14,287. And so this year we have now through PM Collective promoted that through other agencies to do the same. And I actually had an email from the CEO of the not-for-profit today and she said, Ash, I am just so excited to get these numbers back to you. We have had such a huge response from you and assitting against it. And I just can't wait to see what the figure will be because I know as an agency, we will do probably double and the fact that other agencies now will do good. It's just an example of the impact that we didn't realize we were having by giving our landlords the opportunity to do good, but then sharing that with other people to give them the opportunity for their clients to do good. It's just so wonderful on so many levels. And it's the same with our philanthropic investing. encourage owners who financially are able to rent out their home at a low market rate to a survivor of DV. Jason Hull - DoorGrow (41:19) Love it. Ashleigh Goodchild (41:29) to do it and you'll be surprised at how many people don't even know it's an option. It's not saying that it's right for every landlord, but there are so many landlords out there who have a vacant property and didn't even know that they could do this jump on board. yeah, giving those opportunities to people that didn't know that it was an option, I think is really great to see. Jason Hull - DoorGrow (41:50) Yeah, love it. mean, people want to feel good about themselves and, you know, being able to give gifts or being able to benefit others makes people feel good about themselves. And if you're giving your clients a chance to feel good about themselves, they're going to associate that with you. Yeah, that's beautiful. So, well, cool. I love all these different ideas and tips. think you've shared that. I love the idea of doing the annual portfolio reviews. love the idea of, you know, the Ashleigh Goodchild (42:04) Yeah. Yeah. Jason Hull - DoorGrow (42:18) charitable stuff, the philanthropy stuff. Love the idea of giving people a vehicle or some method to bypass the frontline staff person that they're assigned so that they can reach somebody that can maybe, if they want to complain about that, that team member or some, there's a, there's a gateway there or a vehicle there for them to do that rather than them just going, well, I guess I have to quit. I don't know. Yeah. So I love, I love these ideas. that I think anybody listening to this would benefit in decreased churn. Ashleigh Goodchild (42:40) Yeah. Jason Hull - DoorGrow (42:47) Well, Ashleigh, I appreciate you coming here on the show. How can people maybe get in touch with you or with your business or whatever you would like to share with others here in closing? Ashleigh Goodchild (42:58) Yeah, well, I mean, I'm very easy to Google. You can just Google Ashleigh Goodchild and hopefully find me there. But I am on Instagram and all the socials under PM Collective or under Ashleigh Goodchild. So I'd love to connect with anyone that finds me on those platforms. Jason Hull - DoorGrow (43:16) Perfect. All right, Ashleigh. We'll probably have to have you come talk to our clients sometime. I think that'd be fun. So, all right. Thank you, Ashleigh. Appreciate you coming here on the show. All right. So for those that are struggling in your property management business and you want to kind of get to that next level, make sure you reach out to us at doorgrow.com. We would love to facilitate or help you or see if we could help you with your business. Ashleigh Goodchild (43:21) Love them. Thanks for having me. Jason Hull - DoorGrow (43:41) If you felt stagnant for a while, also join our free Facebook, just for property management business owners at doorgrowclub.com And if you would like to get the best ideas and property management, join our free newsletter at doorgrow.com/subscribe And if you found this even a little bit helpful, don't forget to subscribe and leave us a review. We'd really appreciate it. And until next time, remember the slowest path to growth is to do it alone. So let's grow together. Bye everyone.  

Since Hannah Clarke and her three children were murdered in 2020, 431 women have been killed in Australia. But when it comes to Domestic & Family Violence, there are systems in place that should protect people are maybe failing. Following a two year investigation, journalist Ben Smee has been unpacking just how we tackle DV and where the institutions might be coming up short. And in headlines today, Ukraine and Russia have carried out another exchange of soldiers’ bodies; Kellie Sloane is set to become the new NSW Liberal leader after Mark Speakman resigned under pressure; A public inquiry has delivered an assessment of the UK’s response to COVID-19, finding former PM Boris Johnson oversaw a toxic, chaotic and slow system; Colleen Hoover says she is now “embarrassed” to be associated with her bestselling novel It Ends With Us following the legal drama between the film’s stars. THE END BITS Read Ben's Broken Trust series here Support independent women's media Check out The Quicky Instagram here GET IN TOUCHShare your story, feedback, or dilemma! Send us a voice note or email us at thequicky@mamamia.com.au CREDITS Hosts: Taylah Strano & Tahli Blackman Guest: Ben Smee, Guardian Journalist Audio Producer: Lu Hill Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

A three-month homicide investigation in Washington State led to a suspect barricaded in a vehicle inside a garage. What began as a routine containment evolved into a seven-hour standoff, which suddenly escalated when the freed domestic violence victim returned to the residence and was taken hostage. Joel Anderson and Bob Shaw detail the tactical challenges of coordinating Pierce County and Washington State Patrol SWAT teams through multiple operational phases—from vehicle barricade to urgent hostage rescue—all while managing the unpredictable dynamics of a DV relationship and a suspect determined to avoid capture.GUEST INFORMATIONJoel AndersonTactical Commander, Washington State Patrol SWAT Team, Vice President of Washington State Tactical Officers AssociationBob ShawPatrol Sergeant, Pierce County Sheriff's Department SWAT Team, Washington State Tactical Officers Association Cadre Member

Ever feel like you're slowly running out of air in a “nice” relationship?This week, Eleni Sagredos joins Dr. Kerry to unpack how coercive control hides behind charm and “preferences,” and why it's so hard to spot until your autonomy has been chipped away. We trace the subtle dynamics that slowly worsen an abusive power imbalance. PODCAST EXTRA EXCLUSIVE SEGMENTFind the exclusive second segment and weekly newsletter here.MORE ABOUT THE PODCAST EXTRA INTERVIEW 

The man accused of the DV murder of Molly Ticehurst has plead guilty; Oasis concertgoers are being told to monitor for symptoms after a case of measles was confirmed at a Sydney show; Opposition Leader Sussan Ley says her party is still committed to action on climate change, despite dumping net zero targets; Customers who attack or threaten shop and hospitality staff could face jail terms under a state government crackdown on retail crime; Actor Morgan Freeman has been taking legal action against those replicating his voice without permission. Support independent women's media CREDITS Host/Producer: Taylah Strano Audio Production: Lu HillBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Ever wonder why some days you can handle anything, and others one small thing sends you over the edge? In this episode, we're talking about the Window of Tolerance - a powerful concept in trauma healing and nervous system regulation that helps you understand your emotional capacity and stress thresholds.You'll learn how to identify when you're in your optimal zone (where you feel safe and grounded), when you've slipped into hyperarousal (fight or flight), or hypoarousal (freeze or numbness) - and learn ways to return to balance.I'll walk you through how to find your personal “limit number,” how to track your triggers, and how to recognize when your body is asking for rest, regulation, or boundaries. We'll also talk about why media exposure, chronic stress, and trauma can shrink your window - and practical ways to expand it again.Plus, stay tuned for the end, where I share powerful Truth & Dare prompts to help you practice self-awareness and nervous system care in daily life.

Actor and author Tasma Walton was enjoying her big break on TV show Blue Heelers in the 1990s in Melbourne when a transformative visit from her grandmother launched her in a new direction.Boonwurrung/Bunurong woman, Tasma grew up in windy Geraldton, in Western Australia in the 1970s, hearing stories from her grandmother about baby whales and women who lived in kelp forests. These stories always featured a bay and very cold water — neither of which were in Geraldton.Many years later, while Tasma was filming Blue Heelers and living in St Kilda in Melbourne, her grandmother came to stay, and the stories she had told Tasma over and over again started to make sense.Except for one tale that had been sanitised for children's ears — a supposed love story between Tasma's great-great-great grandmother, Nannertgarrook, and a sealer man.As an adult, Tasma heard her calling and started to research the truth of what had happened to Nannertgarrook, generations ago.Further informationIf you need help, you can call the National domestic family and sexual violence counselling service on 1800-RESPECT — 1800 737 732.I Am Nannertgarrook is published by Simon & Schuster Bundyi.Tasma was named joint winner, with Robbie Arnott, of the $100,000 ARA Historical Novel Prize for 2025.Watch Reckless on SBS from Wednesday 12 November on SBS, NITV, and SBS ON DEMAND.This episode of Conversations was produced by Alice Moldovan. The Executive Producer was Nicola Harrison.This episode explores heritage, ancestral legacy, inherited trauma, intergenerational trauma, DV, family violence, method acting, mob, Indigenous, First Nations, Aboriginal, slavery, blak, blak mothers, reconnecting with culture, bunurong strong, Nerrm, Narrm, Wilsons Prom, Wilsons Promontory, mermaids, dolphins, asthma, asthma attacks, medea, monologue, auditions, acting auditions, SBS, reckless, St Kilda, Blue Heelers, Luna Park.To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.

The more we organize opportunities for everyone to read Prabhupāda's books more thoroughly, more questions are answered, and the more we imbibe Prabhupāda's mood, it's inescapable—and we don't wonder about it. We know directly Prabhupāda has manifested himself as a spiritual hologram right in front of us and spoken to us directly and as intimately as possible—because that's the nature of books. They're miraculous. I'll just make one last point, which is that Śrīla Prabhupāda also wanted us to write. He wrote his books based on the tradition of all the ācāryas, and we're a sampradāya of the book. All ācāryas generally have written and left some literary contribution behind. Sometimes people feel reticent about writing, because they say, “Well, Prabhupāda wrote everything, so we shouldn't write anything.” But you could look at it a different way—and that is, if we don't write, how can we prove what we got from Prabhupāda? At one time, Prabhupāda criticized his colleagues from the other institution he was part of for some time, and asked, “Where are their books?” As Prabhupāda was producing more and more books, he asked, “Where are their books?” Maybe it's not well known, but Prabhupāda strenuously advocated that all of his followers should write. Did you know that? I'll just read you a quote and let Prabhupāda speak for himself. Are you up for this? There's a few here. I took out a few out of many more, just to give a taste. "Formally, all activities were performed in connection with Viṣṇu, but after Satya-yuga, there were symptoms of disrespectful dealings among Vaiṣṇavas. Śrīla Bhaktivinoda Ṭhākura has said that a Vaiṣṇava is he who has helped others become Vaiṣṇavas. An example of one who has converted many others into Vaiṣṇavas is Nārada Muni—a powerful Vaiṣṇava who has converted others into Vaiṣṇavas is to be worshiped. But because of material contamination, sometimes an exalted Vaiṣṇava is disrespected by other minor Vaiṣṇavas. When great saintly persons saw this contamination, they introduced worship of the Deity in the temple. This began in Tretā-yuga and was especially predominant in Dvāpara-yuga. But in Kali-yuga, worship of the Deity is being neglected. Therefore, chanting of the Hare Kṛṣṇa mantra is more powerful than Deity worship. Śrī Caitanya Mahāprabhu set a practical example in that He did not establish any temples or Deities, but He profusely introduced the saṅkīrtana movement. Therefore, Kṛṣṇa consciousness preachers should give more stress to the saṅkīrtana movement—especially by distributing transcendental literature more and more. This helps the saṅkīrtana movement. Whenever there is a possibility to worship the Deity, we may establish many centers. But generally, we should give more stress to the distribution of transcendental literature, for this will be more effective in converting people to Kṛṣṇa consciousness." Okay, that's the preface. And now it gets to something more specific about writing. "It is certainly not good to write literature for money or reputation, but to write books and publish them for the enlightenment of the general populace is real service to the Lord. That was Śrīla Bhaktisiddhānta Sarasvatī's opinion, and he specifically told his disciples to write books. He actually preferred to publish books rather than establish temples. Temple construction is meant for the general populace and neophyte devotees, but the business of advanced and empowered devotees is to write books... ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------

On Today’s Show: Tim delivers a packed midweek show filled with vengeance, vile curses, AI abortions, and bowel emergencies. Sponsored by “Freeloading Fucktard,” today's DV opens with a dramatic, Shakespearean-style monologue addressed to “Aaron,” a former friend who betrayed a fellow listener — ending with a literal shit curse. From there, the show spirals into […] The post Wikipedia Pedo Panic and the Auschwitz Halloween Parade Float Oopsie first appeared on Distorted View Daily.

SnellZilla talks to DV on the parade bus celebrating back-to-back World Series Championships. 

Justin talks to DV on the field at Dodger Stadium after celebrating back-to-back World Series Championships. 

Emmet talks to DV on the parade bus celebrating back-to-back World Series Championships. 

The President of Baseball Operations talks to DV on the field at Dodger Stadium after celebrating back-to-back World Series Championships. 

Golden Globe award-winning actor, Edward James Olmos talks to DV on the field at Dodger Stadium after the team celebrates back-to-back World Series Championships. 

Freddie talks to DV on the field at Dodger Stadium after celebrating back-to-back World Series Championships.

The future Hall of Famer talks to DV after addressing the crowd at Dodger Stadium one final time, and finishing his career celebrating back-to-back World Series Championships. 

Mr. November talks to DV on the parade bus celebrating back-to-back World Series Championships. 

Teoscar talks to DV on the parade bus celebrating back-to-back World Series Championships. 

Tommy talks to DV on the parade bus celebrating back-to-back World Series Championships. 

Tyler talks to DV on the parade bus celebrating back-to-back World Series Championships. 

Justin talks to DV on the parade bus celebrating back-to-back World Series Championships.

Max talks to DV on the field at Dodger Stadium after celebrating back-to-back World Series Championships. 

Blake talks to DV after winning his first World Series Championship, and the Dodgers becoming the first team to repeat in 25 years. 

Tim Cates takes your calls on a special edition of pregame Dodger Talk before Game 7 of the World Series. Steve Sax joins the show to talk about last nights wild finish and today's massive game. DV joins Cates to set the scene from Toronto. 

The President of Baseball Operations talks to DV after the Dodgers become the first team to win back-to-back World Series Championships in 25 years. 

Teoscar talks to DV after the Dodgers become the first team to win back-to-back World Series Championships in 25 years. 

Tommy talks to DV after the Dodgers become the first team to win back-to-back World Series Championships in 25 years. 

Mookie talks to DV after turning a game-ending double play in Game 7 of the World Series and winning back-to-back World Series Championships. 

Kiké talks to DV after the Dodgers become the first team to win back-to-back World Series Championships in 25 years. 

Max talks to DV after hitting a clutch HR in the 8th to help the Dodgers win the 2025 World Series and become the first team to repeat in 25 years. 

Will talks to DV after hitting the first extra-inning home run in a winner-take-all game in World Series history. The Dodgers become the first team to win back-to-back World Series Championships in 25 years.

Miggy Ro talks to DV after hitting the first ever game-tying HR in the 9th inning of a World Series winner-take-all game to help the Dodgers become the first team to win back-to-back World Series Championships in 25 years. 

Clayton talks to DV one final time as a player before Game 7 of the World Series. 

Tim Cates gets you ready for Game 7 of the World Series between the Dodgers and Blue Jays. Dave Roberts talks about tonight's pitching plan. Charlie Steiner and Rick Monday discuss this special World Series. Clayton Kershaw talks to DV one final time as a player. 

On Today’s Show: Presented by https://www.oldglory.com— Over 300,000 items for music, sports, entertainment, and pop-culture fans. Use promo code FREAK for 15% off (exclusive to DV listeners). Episode Summary Tim kicks off the week with a fresh Mead Skelton meltdown (now blaming “lemon water” and demons for his colitis and rapid weight loss), a substitute […] The post Strip-Club Skeletons And Malaria Water With A Lemon Twist first appeared on Distorted View Daily.