Podcasts about edinburgh film festival

Bart Simpson joins 22 panels to discuss his film The Mad World of Harvey Kurtzman which recently debuted at the Edinburgh Film Festival. -353- -931- -67- -30-

During this year's Edinburgh International Film Festival we sat down with veteran Scottish actor John Hannah to discuss his uninhibited performance in the wild first-person POV action-comedy Bad Day at the Office. In the film, Hannah plays the mysterious Karl Davis, a man who wakes up in a London hotel with a dead man in his bathtub. Karl has no memory of who he is or how he got there, and he has little time to work it out as men are coming to the hotel to kill him. What ensues is an absolutely relentless action flick that's full of wild fight scenes and daft humour.  We sat down with Hannah on the morning after Bad Day at the Office's world premiere at Edinburgh Film Festival to have a chat about how he got into acting in the first place. We also talk through some of the highlights of Hannah's career and his go-for-broke performance in this absolutely bonkers action film. Take a listen. Bad Day at the Office is scheduled for theatrical release in UK on 30 October from Signature Entertainment. Interview recorded at Edinburgh International Film Festival 2026. If you like The Cineskinny, tell your pals! Leave us a five-star review! Share the episode on socials! Follow us on Instagram @thecineskinny, email us at cineskinny@theskinny.co.uk

EOH will be back at the Edinburgh Film Festival this August! This year the festival is chock full of horror and genre movies, paritcularly in the Midnight Mass strand of the fest. Mike is joined on the podcast by festival directors Paul Ridd and Emma Boa to talk through the line-up of horror and genre movies! Mike will be hosting the midnight world premiere of Joby Stephens' Abandoned on the 14th August. Join us!  Grab all other tickets at https://www.edfilmfest.org/strands/midnight-madness/

Reed Birney has been working in film, television and theater for decades. Among his earliest credits are Albert Innaurato's Broadway comedy GEMINI in 1974 and Arthur Penn's FOUR FRIENDS in 1981. A celebrated member of the New York theatre community, Reed has won a Tony and numerous other awards and nominations for plays including THE HUMANS, CASA VALENTINA, MAN FROM NEBRASKA, UNCLE VANYA, BLASTED, and CIRCLE MIRROR TRANSFORMATION. Most recently he starred opposite his son Ephraim Birney in CHESTER BAILEY at Irish Rep, and in the highly successful run of Donald Margulies's LUNAR ECLIPSE at Second Stage, following a sold out run at Shakespeare & Company. On television, he was recently seen recurring opposite Kim Kardashian in the most recent season of "American Horror Story". He was also recently seen in Peacock's "Poker Face", and "Star Trek: Strange New Worlds." Other TV credits include HBO's "Succession" and Hulu's "The Handmaid's Tale", as well as the Apple TV+ series "Home Before Dark". He is also well known for his performance as Vice President Donald Blythe in the Netflix series "House of Cards". Next he will be seen in a series regular role on the upcoming season of "Silo" on Apple TV+, and also recently joined the cast of the limited series "Rabbit, Rabbit" for Netflix. In film, Reed received a Gotham Award nomination for his performance in the Bleecker Street feature MASS opposite Ann Dowd, Jason Isaacs and Martha Plimpton. The film's cast was also honored with the Robert Altman Award at the Independent Spirit Awards. Other recent film credits include THE MENU opposite Ralph Fiennes and Anya Taylor-Joy, the Universal/Blumhouse thriller THE HUNT, and Netflix's THE FORTY-YEAR-OLD VERSION and LOST GIRLS. Reed recently shot an independent feature THE STEEL HARP with Lois Smith and Cherry Jones, as well as BLUE FILM which debuted at Edinburgh Film Festival in August.  We chat about almost quitting 3 times, regrets, 35 bad years & breakout roles 'later in life', embracing fear, being a LIFER, rejection & nasty things people say, spreading the ashes of one of his teachers, terrible plays, His Tony speech, good and bad agents, not working for a year + more! Check out BLUE FILM (tickets currently out) https://obscuredreleasing.com/films/blue-film ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/    

Katie Wimpenny is an actor and writer who's just finished a two year run in the West End in Harry Potter and The Cursed Child. She's also been in Doctors, Emmerdale, Holby City, Marchlands, The Bill, Shameless, Hustle, North and South and Wire in the Blood. Katie is in the new short film Joke by Bob Cryer, a tribute to the jokes of his dad, Barry Cryer, alongside Rebecca Front, Sophie Duker, Justin Edwards, Ashley Taylor Dawson, Les Dennis, Judi Dench, Miles Jupp, Stephen Fry, Michael Palin, Jack Docherty, Harry Hill, Alison Steadman and Michael Fenton Stevens. Katie's first short film, Time Away was funded by The BFI, produced by Adrian Bate at Vox Pictures and directed by Maxine Peake. The film premiered at Edinburgh Film Festival, 2018. It also screened at Bolton Film Festival, BFI, London Short Film Festival, Hebden Bridge and The Underwire Festival at which she was nominated for best screenwriter .Katie Wimpenny is our guest in episode 573 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .Follow Katie Wimpenny on Instagram: @katieleewimpenny .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people .To support this podcast, get all episodes ad-free and a bonus episode every Wednesday of "My Time Capsule The Debrief', please sign up here - https://mytimecapsule.supercast.com. All money goes straight into the making of the podcast. Hosted on Acast. See acast.com/privacy for more information.

Episode 100 of Messy Jesus Business podcast, with Sister Julia Walsh. In this, our final episode of Messy Jesus Business podcast, Sister Julia Walsh, FSPA talks with several previous guests and show producer Colin Wambsgans. You'll hear clips from some of our guests, such as Father Greg Boyle, Sister Helen Prejean, and Padraig O'Tuama, and new check-in interviews with Dr C Vanessa White, Father Justin Claravall, and Sister Sarah Hennessy. To conclude, Colin and Sister Julia reflect on the ways the podcast affected them through the years. We're truly honored to have you as a listener. Peace, and all good. To hear full previous episodes of prior guests, click on their name below: Father Greg Boyle Sister Helen Prejean Padraig O'Tuama Dr C Vanessa White Father Justin Claravall Sister Sarah Hennessy Podcast: Play in new window | Download Subscribe:  Email | RSS | More A transcript of the show is available. "Love is the messiest human thing there is." ~ Sr. Julia Walsh, FSPA ABOUT THE TEAM Julia Walsh is a Franciscan Sister of Perpetual Adoration based in Wisconsin. A storyteller, poet, and community-builder, her ministry experience includes teaching, retreat facilitation, preaching, spiritual accompaniment, justice advocacy, and caring for people who are unhoused and incarcerated. Sister Julia is the author of two books including For Love of the Broken Body: A Spiritual Memoir and is the founder of Messy Jesus Business, a website and podcast that explores the messiness of modern Christianity. The author of numerous articles, her work has been featured on the BBC, Relevant Radio, U.S. Catholic, America, and National Catholic Reporter. In 2017 she received a Master's in Pastoral Studies from Catholic Theological Union, Chicago. Today she serves her Franciscan community as a vocation director and speaks to a variety of groups about topics such as creativity, contemplation, and Gospel living.  Colin Wambsgans is a composer and sound designer living in Los Angeles. His original music often uses field recordings as a basis, and has been presented at Cafe Oto (London), exMus (Dallas), and several venues around Los Angeles, including The Hammer Museum, Music @ Boston Court, the wulf., and Dog Star Orchestra. For the theater, Colin was the sound designer for productions with LaMama (NYC), Chalk Rep (LA), Rogue Machine (LA), and Center Rep (Walnut Creek, CA). His film work includes original music for All Exchanges Final (2016) and Spoons (2024)and sound design for River Mama (2024) and While the Trees Sleep (2017), which was selected for the Edinburgh Film Festival and Canne's Short Film Corner. He has worked on numerous podcasts, including original music for NPR's “Embedded” and production and editing for “Messy Jesus Business”. He lives in Burbank, CA with his wife and kids. Mary Chuey Bishop writes spiritual nonfiction and speculative fiction and works as an editor, including for Messy Jesus Business. She lives, loves, writes, works, and worries from her home in Annapolis, MD. You can find her at marycbishop.com. MESSY JESUS BUSINESS is hosted by Sister Julia Walsh.  Produced and edited by Colin Wambsgans. Email us at messyjesusbusiness@gmail.com BE SOCIAL: https://www.facebook.com/MessyJesusBusiness Facebook: https://www.facebook.com/MessyJesusBusiness Twitter: @messyjesusbiz Instagram: https://www.instagram.com/messyjesusbusiness

Episode 100 of Messy Jesus Business podcast, with Sister Julia Walsh. In this, our final episode of Messy Jesus Business podcast, Sister Julia Walsh, FSPA talks with several previous guests and show producer Colin Wambsgans. You'll hear clips from some of our guests, such as Father Greg Boyle, Sister Helen Prejean, and Padraig O'Tuama, and new check-in interviews with Dr C Vanessa White, Father Justin Claravall, and Sister Sarah Hennessy. To conclude, Colin and Sister Julia reflect on the ways the podcast affected them through the years. We're truly honored to have you as a listener. Peace, and all good. To hear full previous episodes of prior guests, click on their name below: Father Greg Boyle Sister Helen Prejean Padraig O'Tuama Dr C Vanessa White Father Justin Claravall Sister Sarah Hennessy Podcast: Play in new window | Download Subscribe:  Email | RSS | More A transcript of the show is available. "Love is the messiest human thing there is." ~ Sr. Julia Walsh, FSPA ABOUT THE TEAM Julia Walsh is a Franciscan Sister of Perpetual Adoration based in Wisconsin. A storyteller, poet, and community-builder, her ministry experience includes teaching, retreat facilitation, preaching, spiritual accompaniment, justice advocacy, and caring for people who are unhoused and incarcerated. Sister Julia is the author of two books including For Love of the Broken Body: A Spiritual Memoir and is the founder of Messy Jesus Business, a website and podcast that explores the messiness of modern Christianity. The author of numerous articles, her work has been featured on the BBC, Relevant Radio, U.S. Catholic, America, and National Catholic Reporter. In 2017 she received a Master's in Pastoral Studies from Catholic Theological Union, Chicago. Today she serves her Franciscan community as a vocation director and speaks to a variety of groups about topics such as creativity, contemplation, and Gospel living.  Colin Wambsgans is a composer and sound designer living in Los Angeles. His original music often uses field recordings as a basis, and has been presented at Cafe Oto (London), exMus (Dallas), and several venues around Los Angeles, including The Hammer Museum, Music @ Boston Court, the wulf., and Dog Star Orchestra. For the theater, Colin was the sound designer for productions with LaMama (NYC), Chalk Rep (LA), Rogue Machine (LA), and Center Rep (Walnut Creek, CA). His film work includes original music for All Exchanges Final (2016) and Spoons (2024)and sound design for River Mama (2024) and While the Trees Sleep (2017), which was selected for the Edinburgh Film Festival and Canne's Short Film Corner. He has worked on numerous podcasts, including original music for NPR's “Embedded” and production and editing for “Messy Jesus Business”. He lives in Burbank, CA with his wife and kids. Mary Chuey Bishop writes spiritual nonfiction and speculative fiction and works as an editor, including for Messy Jesus Business. She lives, loves, writes, works, and worries from her home in Annapolis, MD. You can find her at marycbishop.com. MESSY JESUS BUSINESS is hosted by Sister Julia Walsh.  Produced and edited by Colin Wambsgans. Email us at messyjesusbusiness@gmail.com BE SOCIAL: https://www.facebook.com/MessyJesusBusiness Facebook: https://www.facebook.com/MessyJesusBusiness Twitter: @messyjesusbiz Instagram: https://www.instagram.com/messyjesusbusiness

While Peter, Anahit and Ellie are off covering the various other festivals happening across Edinburgh this August, Jamie has been attending the Edinburgh International Film Festival, which kicked off in wonderful style on 14 August with Sorry, Baby, the debut feature from Eva Victor, who writes, directs and stars in the film. Sorry, Baby seemed to go down tremendously well with everyone at the opening. On the day after that opening, we sat down with Eva Victor to discuss the film. Have a listen below. TIMESTAMP How it felt opening the Edinburgh Film Festival (2:40) The initial idea for Sorry, Baby (5:40) The female friendship at the heart of the film and working with Naomi Ackie (7:25) How online comedy videos prepared Victor for her first feature (9:02) On choosing the film's non-chronological structure (10:51) Choosing to leave Agnes's assault off-screen (17:31) If you like The Cineskinny, tell your pals! Leave us a five-star review! Share the episode on socials! Follow the team on Twitter @ptrsmpsn @anahitrooz @jamiedunnesq @lew_rob_, get us on TikTok @thecineskinny, email us at cineskinny@theskinny.co.uk Recorded on location at Edinburgh International Film Festival. Music: Too Cool by Kevin MacLeod  (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license

Today! The Edinburgh International Film Festival starts today (if you're listening to this podcast the day it comes out, which you should), so Peter, Jamie and Ellie take a closer look at three films from the programme. We've got Canary Islands-based family mystery Islands, Charlie Shackleton's new metadoc Zodiac Killer Project, and The Golden Spurtle, 75 delightful minutes following the World Porridge Championships. All that, and a few more picks and tips from your extremely warm friends in the studio... CHAPTERS: Islands review (4:20) Zodiac Killer Project review (20:05) The Golden Spurtle review (36:35) More EIFF picks (50:35) Edinburgh International Film Festival, 14-20 Aug, edfilmfest.org Recorded on location in the Codebase meeting room with the lovely chairs. Get us on Twitter, Bluesky, Instagram and Letterboxd  @thecineskinny, email us at cineskinny@theskinny.co.uk Intro and interstitial music: Too Cool by Kevin MacLeod (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license

On this week's show, the Edinburgh Filmhouse is back, bay-bee! Peter, Jamie and Anahit offer their thoughts and well-wishes after each visiting it on opening weekend. If you've ever wanted to hear us talk about legroom and patina, you're in luck. Film-wise, we review Pavements, Alex Ross Perry's multi-stranded doc/biopic/musical of Peter's favourite 90s slacker indie band, and 28 Years Later, Danny Boyle's return to the land of iPhone cameras, violent zombies and haunting depictions of faux-50s provincialism (they're calling it 'The UK', etc etc). Oh, and there's time for a first look at the Edinburgh Film Festival programme. Early notes: looks not bad. Interesting stuff, good venues, intriguing times ahead. TIMESTAMPS: Thoughts on the Filmhouse, ft Local Hero, The Brutalist (2:00) Pavements review (14:30) 28 Years Later review (31:30) Edinburgh International Film Festival first look (49:10) Get us on Twitter, Bluesky, Instagram and Letterboxd  @thecineskinny, email us at cineskinny@theskinny.co.uk Intro and interstitial music: Too Cool by Kevin MacLeod (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license  

Naomi Waring started out writing for the theatre and was part of the young writer's program at the Royal Court, an invite-only group with Stacy Gregg and Alice Birch with her first play showing at London's BAC. Her first film Little Ones, an autobiographical documentary was supported by Film London and the Kevin Spacey Foundation and went to various international festivals. She holds an MA degree from the London Film School and her graduation film won best short film and screened at top BAFTA and Oscar qualifying festivals. Her work is usually set in working-class communities and is influenced by social realism, with a particular interest in youth culture and the female perspective. In 2019 Naomi was selected for Bela Tarr's directing workshop, where she developed and shot the film Ascend, The film got screened at Locarno Film Festival as part of the anthology Under the God. She was also selected for the Encounters Widening the Lens and Go Shorts writing program as well as mentoring by Raising Films in 2016 at The Edinburgh Film Festival. In 2020 Naomi was commissioned by BBC N.I and Screen N.I to shoot a short film, Ode, which was screened on BBC Arts, BBC Iplayer, and various international film festivals, such as Aesthetica, Dublin Film Festival, Uppsala, and Underwire. She is currently shadowing director, Alex Winkler on the HETV series Mary and George. Naomi is currently developing her debut feature film: which was shortlisted for the Torino Script Lab and LIM. Naomi is a visiting lecturer at the Royal Central School of Speech and Drama, and GSA teaching screen Acting on the BA acting course. Other clients include Hatch Films, The Paper Birds, The Round House, The Lyric Hammersmith, and ISSA. Her Films have screened at BBC I Player, Dublin Film Festival, Cork International Film Festival, Galway Film Festival, Belfast Film Festival, Manchester International Film Festival, Underwire, Aesthetica, Locarno Film Festival, Kerry International Film Festival, Richard Harris International Film Festival, Shiny winner, Off Line Best International Short, Finalist European Cinematography Awards.

The independent filmmaker based in Salt Lake City, Utah has created his own very distinct and unique style of filmmaking. In 2013, Indiewire proclaimed Harris "The Best Underground Filmmaker You Don't Know — But Should."[5] Harris' films have been featured at various festivals and museums worldwide, including renowned venues like Sundance, the San Francisco Museum of Modern Art, the British Film Institute in London, the Edinburgh Film Festival, the Museum of Modern Art in Vienna Austria, Les Laboratories in Aubervilliers France, The Yerba Buena Center for the Arts in San Francisco, and the Pacific Film Archive in Berkeley.[6] Harris taught film and screenwriting classes at the University of Utah and worked as a documentarian and television journalist. He wrote and directed six feature films, many experimental movies, and more than one-hundred documentaries for PBS, National Geographic, NBC, and others.[6] In 1991, he wrote and directed the comedy Rubin and Ed, in which Crispin Glover and Howard Hesseman wander the desert looking for a suitable place to bury a frozen cat.  In 2001 he released The Beaver Trilogy,  The Movie he has received the most critical acclaim and world wide attention. Harris has  also written three books: The Wild Goose Chronicles, Fate Is A Hairy Rodent, and Mondo Utah.[10]

Anna Bogutskaya has studied thousands of horror films and books.  In this interview we talk to Anna about the role of the monster and how writers can harness primal emotions to tell captivating stories. We also dive into her process for pitching and writing nonfiction books.*ABOUT ANNA BOGUTSKAYA Anna Bogutskaya is a freelance critic, author, film programmer and creative producer. She writes for BBC Culture, Guardian, MUBI, the Face and TimeOut, amongst others, and programmes films for BFI, Edinburgh Film Festival and Fantastic Fest. She produces and hosts The Final Girls podcast. She's the author of Unlikeable Female Characters: The Women Pop Culture Wants You to Hate and Feeding the Monster: Why Horror Has a Hold On Us.*RESOURCES & LINKSUnlikeable Female CharactersFeeding the MonsterThe Final Girls: A Horror Film PodcastThe BabadookIn the Dream House by Carmen Maria MachadoAdmit OneDanse Macabre by Stephen KingHouse of Psychotic Women by Kier-La Janisse For show notes, transcripts and to attend our live podcasts visit: podcast.londonwriterssalon.com.For free writing sessions, join free Writers' Hours: writershour.com.*FOLLOW LONDON WRITERS' SALONTwitter: twitter.com/​​WritersSalonInstagram: instagram.com/londonwriterssalonFacebook: facebook.com/LondonWritersSalonIf you're enjoying this show, please rate and review this show!

Sherwood writer James Graham argues that TV has a problem with working class representation, both in front of and behind the screen, as he delivers this year's MacTaggart lecture at the Edinburgh TV Festival. Sherwood Series 2 starts on BBC1 on Sunday. Alexander McCall Smith, best-selling author of The No. 1 Ladies Detective Agency, on his new stand alone novel set in Edinburgh, The Winds from Further West.Kirsty looks at the growing interest in the Scottish artist Wilhemina Barns Graham. She is joined by Scottish art expert Alice Strang and film-maker Mark Cousins, whose documentary about the modernist pioneer, A Sudden Glimpse to Deeper Things, is at the Edinburgh Film Festival before nationwide release. A new children's book is also published this week: Wilhemina Barns-Graham, written by Kate Temple and illustrated by Annabel Wright. Presenter: Kirsty Wark Producer: Timothy Prosser

On the latest episode of The CineSkinny, we take a look at the blistering Kneecap, an irresistible piece of myth-making from the firebrand Belfast rap trio of the same name. The film follows best friends, drug dealers and wannabe rappers Liam and Naoise (also known as Mo Chara and Móglaí Bap) as they avoid the Belfast ‘peelers' and a group of ex-paramilitaries out to get them before teaming up with local music teacher JJ, who helps hone their sound as their producer, DJ Próvai. The film's got wildly inventive visuals, a razor-sharp political message and enough drug-fulled energy to power the sun.  Elsewhere on the show, we hear about Alien: Romulus, the 79th film in the Alien franchise (at least it feels like it), which helped kick off this year's Edinburgh Film Festival. And inspired by the rebellious antics of Kneecap, we discuss our favourite rebels in cinema, from Nae Pasaran to the hot fox in Disney's Robin Hood. TIMESTAMPS: What we've been watching: Longlegs and lots of Fringe shows (1:57) Alien: Romulus review (12:00) Kneecap review (19:41) Our favourite rebellions in film: Nae Pasaran, School of Rock, A Fistful of Dynamite, Robin Hood and Andor (45:55) Recorded at EHFM's Ground Floor HQ in Leith. Go there, get a coffee and see radio/audio in action, @groundfloor__ Follow the team on Twitter @ptrsmpsn @anahitrooz @jamiedunnesq @lew_rob_, get us on Twitter, Instagram, Letterboxd and TikTok @thecineskinny, email us at cineskinny@theskinny.co.uk Intro/outro music: Too Cool by Kevin MacLeod (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license

Kirsty Wark reviews highlights from the Edinburgh Festival, joined by critics Ian Rankin, Chitra Ramaswamy and Dominic Maxwell. They discuss two adaptations of Amy Liptrot's bestselling memoir about addiction, The Outrun. The film version opens the Edinburgh Film Festival tonight and stars Saoirse Ronan in the lead. The stage play The Outrun is a Royal Lyceum Theatre production for the Edinburgh International Festival. Gwyneth Paltrow's skiing incident and subsequent trial has been turned into two different musicals - I Wish You Well, starring Diana Vickers as the Hollywood star, and Gwyneth Goes Skiing. Dominic Maxwell, The Times theatre and comedy critic, gives his verdict on the funniest comedians at this year's Edinburgh Fringe. And they discuss Rebels and Patriots, a play about young soldiers in the IDF, a British Israeli Palestinian co-production. Presenter: Kirsty Wark Producer: Timothy Prosser

The Edinburgh Festivals are back, baby, and there's none more relevant to this podcast than the Edinburgh International Film Festival. Ahead of opening night, Peter, Ellie, Anahit and Jamie discuss Nathan Silver's Between The Temples, Alice Lowe's Timestalker, and Maryam Moqadam and Behtash Sanaeeha's My Favourite Cake.  Because it's Festival time, we also make some Fringe recommendations, forget people's names repeatedly (pre-emptive apologies to Carol Kane) and come up with daring new ways of counting up to five. It's wild, it's feral, and it's only getting hotter, it's The Cineskinny. TIMESTAMPS: Edinburgh Film Festival first thoughts (1:35) Between The Temples review (6:45) Timestalker review (23:00) My Favourite Cake review (33:20) Our Edinburgh Fringe picks (45:55) EIFF, 15-21 Aug, programme and tickets: https://www.edfilmfest.org/ Recorded at Codebase, Peter's apologies for any weirdness on the audio. EHFM's Ground Floor HQ is now open, go get a coffee and see radio/audio in action, @groundfloor__ Follow the team on Twitter @ptrsmpsn @anahitrooz @jamiedunnesq @lew_rob_, get us on Twitter, Instagram, Letterboxd and TikTok @thecineskinny, email us at cineskinny@theskinny.co.uk Intro/outro music: Too Cool by Kevin MacLeod (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license

This summer, EOH is heading to the Edinburgh Film Festival! In this bonus episode, Mike chats to festival director Paul Ridd and producer Emma Boa about the line-up of horror movie premieres, including ALIEN ROMULUS, Damien Mc Carthy's ODDITY, Alice Lowe's TIMESTALKER and more... MIDNIGHT CATEGORY LINE-UP: Thursday 15 Aug - ALIEN: ROMULUS (Fede Alvarez, US 126') UK Premiere *Opening Night Friday 16 Aug - ODDITY (Damian McCarthy, Ireland 98') UK Premiere + ONE MORE ROUND (Zach Magid, Andrew Tyrell, US 12') UK Premiere  Sat 17 Aug - SUNRAY (James Clarke, Daniel Shephard, UK 115') World Premiere + MEAT PUPPET (Eros V, UK 12') UK Premiere  Sun 18 Aug - BIRDEATER (Jack Clark, Jim Weir, Australia 113') UK Premiere + MAKE ME A PIZZA (Talia Shea Levin, US 12') UK Premiere  Mon 19 Aug - KING BABY (Kit Redstone, Arran Shearing, UK 88') UK Premiere + DUCK (Rachel Maclean, Scotland 17')  Tues 20 Aug - THE SUBSTANCE (Coralie Fargeat, US 140') UK Premiere *Closing Night    OTHERS RECOMMENDATIONS:    Gaspar Noe presents SUSPIRIA (1977)    Alice Lowe's TIMESTALKER - UK PREMIERE 

On this week's podcast, the gang review two great new films with very different perspectives on the trans experience – Levan Akin's Crossing, and Jane Schonebrun's I Saw The TV Glow. Jamie gives his first thoughts on the EIFF programme, we all pitch in on The Bear season three (crossfade one more time, I dare you, I double dare you mother-), plus a few more bits and bobs. Massive shout-out to EHFM, on our final visit to their venerable Summerhall studio. Next time you hear us, we'll be in another studio (probably the new EHFM one, timelines permitting). ehfm.live, the only good radio station. GFT's CROSSING COFFEE AFTERNOON WITH OTTOMAN COFFEEHOUSE: https://www.glasgowfilm.org/movie/crossing TIMESTAMPS: What We've Been Watching - The Bear, Maxxxine, Problemista (1:20) Crossing review (13:20) I Saw The TV Glow review (25:10) Edinburgh Film Festival first thoughts (44:30) Follow the team on Twitter @ptrsmpsn @anahitrooz @jamiedunnesq @lew_rob_, get us on Twitter, Instagram, Letterboxd and TikTok @thecineskinny, email us at cineskinny@theskinny.co.uk; recorded at EHFM, Summerhall – ehfm.live Music: Too Cool by Kevin MacLeod (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license

Ayesha Hazarika sits in for Jane today and she pulls back the curtain on the House of Lords - much to Fi's delight. They also chat abattoirs (again), online dating and the joys of Coatbridge. Plus, Jane speaks to comedian and ventriloquist Nina Conti. 'Whose Face Is It Anyway' will be at Edinburgh Fringe Festival next month and her film 'Sunlight' will premiere at the Edinburgh Film Festival on the 17th of August. Our next book club pick has been announced! 'Missing, Presumed' is by Susie Steiner. If you want to contact the show to ask a question and get involved in the conversation then please email us: janeandfi@times.radio.Follow us on Instagram! @janeandfiPodcast Producer: Eve SalusburyExecutive Producer: Rosie Cutler Hosted on Acast. See acast.com/privacy for more information.

Edward Dick trained as a theatre director with Cheek by Jowl, and has directed acclaimed theatre and opera productions across the UK and abroad. Edward's first short film, An Act of Love, starring Stephen Mangan and Gina McKee, premiered at the Edinburgh Film Festival in 2010 and has played at festivals around the world. His second short That Woman was also successful on the festival circuit and led to his first project for television, A Little Cracker for Hillbilly / Sky 1. In 2016 he was invited to take part in the BBC's continuing drama training scheme, which has seen him direct multiple episodes of BBC One dramas Holby City and Doctors, receiving an RTS nomination for outstanding new talent for his work on the latter.  He is a member of BFI NETWORK x BAFTA Crew 2021 and was recently named by the BBC as one of its ‘broadcasting stars of the future.'In 2020 he took part in the Directors UK High End Drama training programme on Silent Witness, directing 2nd Unit and working across all aspects of the production on multiple blocks and on the development of the 25th anniversary series. He is presently in Australia directing an acclaimed production of Giacomo Puccini's TOSCA. The production recently played the Margaret Court Arena in Melbourne and soon takes to the stage in the Joan Sutherland Theatre at the Sydney Opera House.In this acclaimed, five-star production from Opera North, director Edward Dick writes the tension large upon the stage.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Barbara Hall - Director/Producer President at Clear Cut Inc, Documentary/TV Production Emmy Nominated and Founding partner at TH Entertainment LLC. Producer/Director Bridget Murnane is a former Professor of Television, Film and Media Studies at California State University, Los Angeles. Bridget produced the feature film Odile and Yvette at the Edge of the World which premiered at the Edinburgh Film Festival, and was theatrically released in the US.Movie Reviews and More is broadcast live Tuesdays at 5PM PT.Movie Reviews and More TV Show is viewed on Talk 4 TV (www.talk4tv.com).Movie Reviews and More Radio Show is broadcast on K4HD Radio - Hollywood Talk Radio (www.k4hd.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com). Movie Reviews and More Podcast is also available on Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.

Catch Shannon's podcast https://oz-9.com/ & https://podcasts.apple.com/us/podcast/oz-9/id1446814974Grab the illustration on a whole bunch of different merch https://www.redbubble.com/shop/ap/155691852?ref=studio-promoteSpace fight only graphic https://www.redbubble.com/shop/ap/155692496?asc=uCatch this illustration and more at www.mattymitchell.comStep into the vibrant world of Shannon, the creative force behind the incredible podcast Oz.9, boasting over 1.5 million downloads and counting. Join us as Shannon unfolds her journey into the realm of digital media, sharing insights into running a podcast production studio and her deep passion for storytelling. Discover her adventures teaching English overseas, the comforting allure of popcorn, and the joy of having wildly talented friends. Shannon's dream is to get her show featured in the Edinburgh Film Festival, and the custom illustration made for this episode is super fun, capturing the essence of her aspirations. Check it out on www.mattymitchell.com. Get ready for an inspiring conversation with a podcast pioneer!Thanks for listening and if you read this comment below answering this question and I'll create an sketch for this legit answer. What 3 animals would you combine together?

This week's guest is producer Helen Gladders. I became aware of Helen's work through the 2016 short film RHONNA & DONNA, directed by Daina O. Pusic, and then I kept seeing her name popping up everywhere and knew she was a producer to watch.  More things you might want to know about Helen:   She is a graduate of the National Film and Television School having done their MA in Producing for Film & Television. She set up her own company Gingerbread Pictures in October 2016 and was nominated for the “Best Producer” award at Underwire for her short THE WYRD written and directed by Chloë Wicks, in 2017. She is an alumni of the BFI NETWORK'S Producer weekender, Edinburgh Film Festival talent lab, and NETWORK@LFF. Her recent short films include NIGHT BUS directed by former podcast guests Jessica & Henrietta Ashworth and the Film4 & BFI Network backed RUN written & directed by former podcast guest Ruth Greenberg and starring Niamh Algar.  At the time of recording, she was in post-production on her first feature TUESDAY, written and directed by Daina O. Pusic, starring Julia Louis-Dreyfus and Lola Petticrew and backed by A24, BBC Films, BFI, and Cinereach. And excitingly, the film has since had two festival appearances confirmed. It will premiere at this year's Telluride festival in the US, followed shortly after by the BFI London Film Festival, where it will screen in the First Feature Competition.  Elsewhere, Helen is busy working on several projects including debut features from filmmakers Jessica & Henrietta Ashworth, Astrid Thorvaldsen, Morayo Akande and Zoe Alker. We talk about how Helen discovered a knack for producing, her experience studying at NFTS, establishing a vision and a voice for her production company, the short film funding landscape, what it means to package a project, the differences between producing shorts and features, and how Titanic kickstarted both of our fascinations with the film industry…   SHOW NOTES: Watch Helen's shorts RHONNA & DONNA, RUN and NIGHT BUS. Listen to my episodes of Best Girl Grip with filmmakers Ruth Greenberg and Jessica & Henrietta Ashworth.   Read Deadline's review for the feature TUESDAY, starring Julia Louis-Dreyfus. Buy tickets for TUESDAY at the BFI London Film Festival.  Find out where you can watch Helen's film recommendation: JUMBO.  For more conversations with producers, listen to episodes of Best Girl Grip with Jeanie Igoe, Chi Thai, Sarah Brocklehurst, Emily Morgan and Elhum Shakerifar.     

On Truth & Movies this week, DC launches a new superhero in the form of Blue Beetle. Host Leila Latif spoke to the team behind the Edinburgh Film Festival about their incredible line-up that runs from the 18th-23rd of August, and bringing the festival back after events in 2022 put its in jeopardy. We'll also be reviewing French literary adaptation, Lie With Me and for Film Club, revisiting Merchant Ivory's Maurice.Joining host Leila Latif are LWLies Editor David Jenkins and film critic Monica Castillo.Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.Email: truthandmovies@tcolondon.comTwitter and Instagram: @LWLiesProduced by TCO Hosted on Acast. See acast.com/privacy for more information.

Kwame Kwei-Armah discusses his play Beneatha's Place, which imagines a future for Beneatha Younger, a character from Lorraine Hansberry's ground-breaking 1959 play A Raisin in the Sun. He talks to Samira Ahmed about the themes of race and politics in the play, which is set in 1950s Nigeria and the present day. Samira is joined by critics Leila Latif and Ekow Eshun to review some of the cultural highlights of the week: A World in Common, an exhibition of contemporary African photography at Tate Modern in London and Disney Pixar film Elemental, which imagines a world where the inhabitants are all elements. The Edinburgh Film Festival re-launches today, following its forced closure in 2022 when the charity that ran it went into administration. The festival's director Kate Taylor joins Samira to outline the plans for the re-vamped festival. Presenter: Samira Ahmed Producer: Corinna Jones

Film Editor Jim Page Full Interview! Matriarch | Shepherd | ThePugilist! Kathy and Mark chat with Jim Page, a film editor who worked on Ben Steiner's Martriarch, Shepherd and The Pugilist, nominated for Best British Film at the Edinburgh Film Festival. Fascinating look behind the scenes of filmmaking. Check out Jim's website for more info: https://jimpage.co.uk/about/Join this channel to get access to fun perks like exclusive content and private Discord channel!:https://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA/join#jimpage #filmeditor #matriarch New videos daily!!Official Swag https://shop.spreadshirt.com/cinemondoSubscribe for the latest movie reviewshttps://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA?sub_confirmation=1

Life After Winning Sundance with Diane BellI always talk about not counting on the "lottery ticket" mentality that so many filmmakers today count on. Winning Sundance is not a distribution plan. Well I was involved in a project, written and directed by Diane Bell, that did just that. It won not one but two awards at Sundance. She didn't count on winning, hell she didn't think in her wildest dreams that she would even be accepted. Here's the story.In 2010, 16 feature films were selected out of 1,058 submissions to be screened in the US Dramatic Competition at the Sundance Film Festival. Diane Bell's OBSELIDIA was one of them. It was made for less than $140,000, it had no movie stars in it, and none of the cast or crew had connections to Sundance. And yet it was picked out of the slush pile, and selected to premier on this world stage, alongside movies that had cost 100 times as much with big name movie stars and recognized directors.OBSELIDIA, premiered in the US Dramatic Competition at the Sundance Film Festival 2010, where it won the Alfred P. Sloan Award and the award for Excellence in Cinematography. It was nominated for two Independent Spirit Awards 2011, including one for Best First Screenplay. It won acclaim at festivals around the world, including being named as Best of Fest at the Edinburgh Film Festival, Best Narrative Feature at Ashland Independent Film Festival, and winning the Youth Jury Prize for Best Film at the Valladolid Festival, Spain.If you ever wanted to know what it was like to be accepted and win awards at the Sundance Film Festival sit back and enjoy on conversation with Diane Bell.

Dallas and Lee return to discuss the sudden news that the Belmont and Filmhouse cinemas alongside the Edinburgh International Film Festival have gone into administration.

Dallas and Lee return to discuss the sudden news that the Belmont and Filmhouse cinemas alongside the Edinburgh International Film Festival have gone into administration.

Gary Sinyor is an award winning film-maker. His first feature film, Leon the Pig Farmer, won numerous awards, including the International Critics Prize at the Venice Film Festival, the London Critics Circle and Evening Standard Awards and the Chaplin Award at the Edinburgh Film Festival. His next 2 British films were Solitaire for 2 and Stiff Upper Lips before moving to the US to direct The Bachelor with Chris O'Donnell and Renée Zellweger. He subsequently returned to the UK and set up Magnet Films with Sir David Frost. After making family comedy Bob The Butler with Tom Greene and Brooke Shields, he made In Your Dreams with Dexter Fletcher and Linda Hamilton. He trained at the National Film and TV School and graduated with BAFTA nominated short The Unkindest Cut. His latest work is the sitcom Hapless on Netflix. Series 1 is available now and Series 2 was shot in 2022 starring Tim Downie, Jeany Spark, Sally Philips, Ronni Ancona, Josh Howie and our very own Mike Fenton Stevens. Gary Sinyor is guest number 234 on My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Follow Gary Sinyor on Twitter: @garysinyor .Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens and Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people. Hosted on Acast. See acast.com/privacy for more information.

It was the best of times, it was the worst of times. We look forward to three of the buzziest titles from this summer's festival circuit coming to cinemas over the next two weeks. There's Triangle of Sadness from Swedish director Ruben Östlund, which won the Palme d'Or at Cannes; Decision to Leave, a silky piece of neo-noir from Korean director Park Chan-wook, which won Park the Best Director award at Cannes; And The Banshees of Inisherin, which sees Martin McDonagh reunited with ​​Colin Farrell and Brenden Gleeson; Farrell won Best Actor when the film played at Venice Film Festival. All this great cinema coming out is soured, however, by the brutal closure of the Edinburgh Film Festival, the Filmhouse in Edinburgh and the Belmont in Aberdeen, which all closed their doors two weeks ago, seemingly for good, when the organisation in charge of them, the Centre for the Moving Image, collapsed due to insolvency. We discuss the devastating effect this will have on the Scottish film community. TICKETS FOR BRYAN M FERGUSON SCREENINGS -  GLASGOW: https://www.cca-glasgow.com/programme/the-cineskinny-film-club-bryan-m-ferguson-retrospective  TIMESTAMPS What We've Been Watching (1:45) Closure of EIFF and Filmhouse (11:29) Triangle of Sadness (27:45) Decision to Leave (36:32) The Banshees of Inisherin (43:29) Leave us a five-star review, tell your pals, follow us on @ptrsmpsn @anahitrooz @jamiedunnesq + @lew_rob_ Music: Too Cool by Kevin MacLeod    

This week on Truth & Movies we're taking a look to see if Halloween Ends is better or worse than its (very naff) predecessors, whether Javier Bardem is a song and dance man at heart in Lyle, Lyle, Crocodile, plus we're revisiting '80s vampire cult item The Lost Boys. We're also discussing some top viewing experiences at this year's London Film Festival, and raking over the coals of the recently shuttered Edinburgh Film Festival. Joining our host Leila Latif are LWLies Editor David Jenkins and freelance journalist Josh Slater-Williams.Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.Email: truthandmovies@tcolondon.comTwitter and Instagram: @LWLiesProduced by TCO Hosted on Acast. See acast.com/privacy for more information.

Dallas and Lee share their experience and highlights from the 75th Edinburgh International Film Festival.

Dallas and Lee share their experience and highlights from the 75th Edinburgh International Film Festival.

This week, The Cineskinny gets that festival fever in an edition recorded live at Edinburgh International Film Festival 2022. We discuss opening film Aftersun, Korean car chase caper Special Delivery, and Peter Strickland's Flux Gourmet, plus Jamie chats to the lovely Will Anderson about his debut feature, A Cat Called Dom (which plays at EIFF on Fri 19 Aug at 7pm, so you should go and see that...) We have guests! We have laughs! We had some gin! Listen along, and remember... The Cineskinny was recorded in front of a live studio audience. TIMESTAMPS: Aftersun, with Xuanlin Tham (2:10) Special Delivery, with Rory Doherty (18:00) Will Anderson interview (30:25) Flux Gourmet, with Carmen Paddock (43:50) Recorded at Codebase; huge thanks to Hamish at Sound Sound for the tech help! If you like this podcast, subscribe! Also, leave us a five-star review, tell your pals, and follow us on @ptrsmpsn @anahitrooz @jamiedunnesq + @lew_rob_ Music: Too Cool by Kevin MacLeod (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license

Paul Middleditch has directed four feature films and is regarded as one of the top performance/action TV Commercial Directors in the world. He is Australasia's most awarded commercials Director, having over 300, with 8 Cannes Lions, 4 of which are gold, and numerous International and National awards to his credit. He was recently ranked 8th Best Commercial Director of all time, based on Lüzer's Archive. He has continually upheld a Number One Director World Ranking on Best Ads on TV, with Carlton Draught's 'Big Ad' being awarded the Best Beer Ad of All Time. His work has featured at the Super Bowl for 6 consecutive years and he is one of the few Australian creatives to have appeared on the cover of Shots Magazine. At the age of 19, Middleditch's first short film 'Light of the Blade' won Best Direction at the Clermont-Ferrand International Film Festival. His first feature film, Terra Nova, won the first film prize in Montreal in 1999, won Best of Festival at the Edinburgh Film Festival and went on to screen at over thirty festivals worldwide. His second feature, A Cold Summer, premiered in competition at the Rotterdam Film Festival, and earned him an Australian Film Institute nomination for Best Director. In 2009, Middleditch completed his third feature, Separation City, a dramatic comedy starring Joel Edgerton, Rhona Mitra and Thomas Kretschmann, which was nominated for 4 QANTAS Awards. His first American feature film for Lionsgate titled Rapture Palooza was released in 2013, starring Anna Kendrick and Craig Robinson. Paul is the first guest on The Imposterous whose bio has been directly lifted from IMDb. This is something we're sure he'll never mention but we will be a #humblebrag in social posts of ours to come.

The Edinburgh Film Festival returns for its 75th anniversary!Dallas and Lee preview the upcoming festival which runs between August 12th and 20th and share their highlights from the 87 new features.

The Edinburgh Film Festival returns for its 75th anniversary! Dallas and Lee preview the upcoming festival which runs between August 12th and 20th and share their highlights from the 87 new features.

Welcome to episode #003 of the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details. The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.This week Wayne Ashley interviews Liz Rosenthal, curator of Venice Biennale's International Film Festival's Official Selection and Competition program Venice VR.We first met online back in 2020 when we participated as international jurors for the TAICCA immersive grant. And since then I've been following you and impressed with how fully you participate in this expanding field of VR and immersive content production. You're a curator, executive producer, mentor, incubator, CEO, and an international speaker, but you actually started out in film. How did you arrive at VR from your experimental practice in filmmaking?Liz Rosenthal: I got involved in cinema in my late twenties. I started making short films with an ex-partner. Then I lived in Edinburgh, Scotland where the most important film festival in the UK used to be, the Edinburgh Film Festival. And I got a job running the project finance market for the festival and I had to learn everything about the film business. At that time I was watching screeners of British films to include in the marketplace I was running and I found a film by a director called Christopher Nolan that had been made on no budget, and it was brilliant. No one knew about it. I then met somebody who was working with ultra low budget filmmakers in the US as a part of the independent film channel. He'd just met Chris [Nolan], literally hadn't seen the film and was asking me what great films are you seeing? He was running a finishing fund helping first-time and second-time filmmakers to make their first features. His big thing was talking about using digital video instead of using super 16. And thinking about how we could use available tools like these new prosumer cameras and later editing systems, which people weren't using at the time, like Final Cut Pro and Premiere. So I got involved in working with them and we hit it off obviously. We bonded over Chris' first film and we were very much at the forefront of using digital production tools. Then in the beginning of the 2000s, we got interested in what the internet and digital tools were going to do in terms of engagement, distribution, and new forms of creativity. And that's where I took off. When the company got shut down by the film channel we had done 13 feature films. I was excited about this area, because I thought, wow this was the place where it's going to get exciting.You and I talked about how important the internet was to both of our practices. The internet for me changed my whole trajectory. What effect did the emergence of the internet as a public media space have specifically on your practice?LR: Well, I think you'll probably get a clue from the name of my company, which I set up in 2006, called Power to the Pixel. I've always been someone who's interested in working with producers and artists and how they can get their work supported and out into the world and use the best tools, and the best ways to do that from a creative and a sustainability perspective. I was seeing the film business, like many businesses and sectors as they develop, get more and more fragmented and you get people siloed into different parts of these sectors doing different jobs. The relationship between the maker, the producer and the audience is completely distanced. And that's a real problem, both in terms of return-on-investment or impact for the producers, and also in terms of how the form develops. You've got to be in touch with the user and the user experience, or art forms kind of slow down or become irrelevant. So that really changed my practice. Suddenly you've got all these available tools, prosumer then, and now consumer tools. And I was thinking, how is this going to change the way that we make things and engage with audiences? Of course, being someone who's very much a producer and artist focused, I'm always looking at how new ecosystems have to be developed around these things. I take my hat off to people who start experimenting in this area and are curious.In the past, you've discussed VR as the result of a complex stream of influences, most specifically film, theater and video games. How do you see these influences come together in VR?LR: VR and immersive content or XR is the area that I'm now working on that completely consumes me and I don't have enough time to follow all the developments. VR has the cinematic qualities of a big screen in certain circumstances, and that can be both live-action shot 360 video, or it could be animation. The immensity of being in a whole space relates in some way to film. Filmmakers in the film community say: you've gotta see a film on a big screen. With VR it's way beyond that.And then there's a participatory, spatial, and free roam aspect of immersive theater. When you're in a virtual world and characters can interact with you in realtime. If you're designing realtime characters that are going to be interactive in terms of what you do as a player or a user then you're going to have to understand that realtime interactivity. There's also the influence of the interactivity and agency of games, and of course there are people from the visual arts, sound, and all types of interactive designers and UX experts.I'm conflating VR and XR. And I know that VR is only one set of technologies and creative practices within a much larger field. Can you briefly lay out what XR is so that our audiences understand that this is actually quite a complex range of technologies and practices?LR: XR, which often gets mistaken for the environmental movement [Extinction Rebellion], stands for extended reality. I would break XR into three different types of realities. The first type is AR or augmented reality, which you experience on a flat screen like phone or a tablet. This is 2D digital information that's layered over the real world. The second type is MR or mixed reality, that's 3D holographic information that has to be viewed on special mixed reality glasses. So for MR it's really only B2B solutions or enterprise, there's the HoloLens by Microsoft and the Magic Leap, both are very difficult and expensive devices. I've seen beautiful MR projects shown at festivals. With MR you have 3D information that you can move around and interact with, with your hands, and pick things up. It's very exciting, but you need a controlled environment to make it work. New smart glasses are starting to come out, the first big company that are a kind forerunner is Nreal who are doing deals with telco companies. I don't know if it's in the US or Canada yet, but it's in the UK and launched in Germany, Spain, Korea, and Japan. Those are consumer versions of the HoloLens, they're about $500 as opposed to about $2,500 or $3,000. And then the final type is VR or virtual reality, which completely dislocates you from the real world.Many people are going to assume that VR is confined only to a headset and involves a mostly private and singular experience, but you have really opened up quite an expansive range of ways that audiences can encounter this new medium. Layout for us the many forms and contexts that audiences might encounter VR at, for example, the Venice Biennale.LR: Amongst the other things I do, one of my main roles is curating Venice Immersive together with with a dear friend and colleague Michel Reilhac. We handle the immersive content competition section and official selection for the Venice International Film Festival, which is one of the four or five A-list film festivals. We are very lucky that the Venice Biennale, who also run the art and architecture events, but also the film festival, are very excited about embracing the medium. We have our own section and our own island where we can build up an exhibition and show all types of immersive experiences.I'll run through what that means, because I think a lot of people get a chance to see one VR project and they go, that's VR. We are talking about a set of many tools and technologies where you can create all kinds experiences and worlds. VR can be put into kind of two different categories, there's three degrees of freedom (3DOF) and six degrees of freedom (6DOF). In 3DOF, you're basically contained in a sphere. So you put on a headset and you can look around, but the field of distance between your eye and that sphere doesn't change. You kind of have no agency. Sometimes there's a bit of gaze interactivity with eye tracking or head tracking, but let's say you have no agency to change the world. You can't really interact with the what's happening. It plays out in the same way a film would. You have a subsection of 3DOF experiences that are live action. The creator shoots with a 360 camera that's fixed and you stitch together the images in postproduction.We've had some amazing 360 documentaries shown in Venice. For example, one work that's a big hit on the Meta Quest store is called Space Explorers: The ISS Experience by Felix and Paul. They make a beautiful live action documentary that's shot in the International Space Station. It's the biggest media project ever in space, it's quite remarkable. There are four episodes and it is extraordinary. It's 360 video, amazing quality and a moving experience. Moving on to 6DOF because a lot of people say 3DOF is not real VR. With 6DOF you are in a space where you have agency, you can move around the world, interact with things in the world, and be with other people in that world. You feel immersed and have a sense of presence. This is the most powerful thing about this medium is the sense of embodiment and presence. There's a wide range of different kinds of 6DOF experiences. You have single person experiences that have very little interactivity or agency, but you're in a spatial world, like the project Gloomy Eyes. This features beautiful animations and a kind of Tim Burton-esque type story between a zombie and a little girl in an incredible sort of diorama world. There's no agency, your eye is led around and you're in a spatial environment.Then you have things that are very complex, long hybrid kind of narrative games that feature hours and hours of gameplay. One of my favorite projects is Down the Rabbit Hole, which is made by a Swedish studio called Cortopia Studios. It's kind of a prequel to Alice in Wonderland and you're in this unbelievable animated world where you are moving this girl through the environment and she's meeting characters and it's just so much fun. It's puzzle game and it's so beautifully designed.Then the final category I'll go into is multiplayer social VR. This is what I've been doing over the last couple years and for Venice we had to make a completely virtual edition. My favorite platform is VRChat because it's closest to where people imagine the metaverse or this next spatial version of the internet is going. There's live theater performances and live music performances where you're there as an avatar with other people. And there are games, extraordinary art worlds, and performance worlds that can exist on social platforms or you can make a multiplayer standalone app where you can have multiple people in an experience. That's where I'm really excited about VR. When people say, especially cinema people, but it's a singular experience, you're trapped, and dislocated from the world and it's a solitary experience. I always find that weird. I think watching any piece of media that's not interactive is a solitary experience because it's you engaging with the medium. When I go to the cinema I'm not talking to someone asking what are you feeling? What are you doing? What are you feeling now? It's a solitary experience, I happen to be with other people. But in these virtual worlds you are with other people, exploring with them, collaborating, doing incredible things together in amazing avatars of your choice. Can you talk a bit about two other contexts: installation experiences and live motion capture for a virtual audience.LR: In Venice, the great thing is we're showing works that can only be shown on location. They can't be shown through a remote virtual platform. We've shown a number of these types of works that involve building complex sets and having complex technology where people can go into experiences together on site. The way this works is you have a VR headset connected to a backpack which is its own computer. This referred to as free roam, meaning you're free to move around the space and can see other people and interact with them including maybe actors, dancers, and performers. In Venice, I'll give you some examples of the kind of thing I'm talking about.Our biggest production was called The Horrifically Real Virtuality by a French group called DVgroup. They make these incredible experiences which involve actors and haptics and sets. The first experience by DVgroup we showed was called Alice, The Virtual Reality Play. DVgroup invited me to see the work at Cannes Film Festival and didn't tell me anything about. I went to this beautiful park and went through these red curtains into this beautiful room and put on a headset and few minutes into the experience I realized I wasn't talking to an animated character. I was talking to a real person who was represented by an avatar. What's happening is they are being realtime motion captured into a virtual environment that I'm in at the same time. And I'm realtime as well, you can full body track your participants.The second work was The Horrifically Real Virtuality where they led you into the world of American black and white B-movies where you met Ed Wood and Bela Lugosi shooting the last movie they did together. And it was a crazy descent that started in the real beautiful set and they captured images that you were capturing that you then went into through into a theater. We had three physical sets and we put on the VR headsets and then we went crazy down the rabbit hole into these different layers. There were six audience members and three to four actors. It was an hour long and was pretty astonishing.There's another experience I can tell you about called VR_I, it's a dance experience by a Swiss choreographer called Cie Gilles Jobin and Artanim. It was actually the first multiplayer live motion capture experience I tried and he is exceptional about experimenting with this medium. He motion captures his dancers and then there are avatars for six audience members. So what happens is you go into the experience with with a backpack that's connected to a VR headset. You realize you have your own avatar and there are dancers that are not in the same space, but you're not quite sure. You're in the same space with the other audience members and he's playing with scale and embodiment and it's incredible seeing what different audiences do.The dancers are in environments where they're the same height as you then there's moments when they're giants. And they're kind of almost playing with you. And it's an incredible experience. Suddenly being embodied and seeing other people you can interact with. People start dancing together in the scene. He has even the avatar for wheelchair users. The best way to explain these experiences is having a split screen where you've got footage of the person with the headset on and footage of what they see in the headset.In our previous conversations you've mentioned at least two critical reasons why VR and in particular world building is so important to you. One, it's potential for turning taken-for-granted narratives upside down and disrupting commonly held perceptions of our world. And two, the ability to embrace a kind of in-betweenness, this magnet for drawing together practitioners who just don't fit into any single category or role or skillset. Can you say more about this?LR: I came kind of late to this business and it seemed kind of crazy and dysfunctional and was kind of locked in. I could see these [digital] changes happening and how it was gonna blow apart how we engage with each other and how we communicate. So my natural inclination was to say hey everyone, look, this is coming, how can we adapt what we're doing to this? I have always been somebody who gets excited about the new and how it's gonna change and some people aren't. It took me a long while to realize this, that I like things that change. And change is kind of terrifying for some people. I'm not like that. I love the idea that we can adapt as human beings and change. And that's what makes me curious.I feel knowledge is fragmented into silos. And in a way we have loads of things that we can find out now because they're supposedly all online. But in way I sometimes think we've become dumber as human beings because our knowledge is fragmented. When you study now, it tends to be very specific and narrow. You can see that in computer science and also in medicine. When you look at medicine, you go to a doctor and they look at one part of your body. We are a system and we are connected to the outside and everything we do connects. And depending on your philosophy, some people will think, and I very much think this, we are connected to the universe.With world building, we're starting to build spatial environments that we can exist in, and embody, and be present in. We need all kinds of skills to do that. We talked about cinema, immersive theater and games being the three pillars. But we also want to think about how does this affect us? What is it gonna do to us? There are neuroscientists, psychologists, and people thinking about quantum physics, and there's people in healthcare and therapeutics.When you step out of your sector, you get labeled as somebody that doesn't really fit anywhere. I've seen it in people. The digital person at a TV company, or the digital person an arts organization or cultural organization or a big media company or studio, they're always the person who nobody really understands what they do. And they generally aren't given the IT and the operations to do anything creative. When there's a staffing cut or there's a strategy change, they are the first people to go. Or they get so fed up with having to explain things or find a reason to be in a company that they leave. Those in-between people are really needed. Because they help us adapt and view things in a bigger perspective. There are incredible disciplines that have been developed over decades and centuries that we need to respect and lines of thought and social and cultural commentary that is really important that needs to come into this environment. But it's about not seeing these people as peripheral people, but seeing that they are key to any practice or business.20 years ago, I began working with a variety of cultural institutions in the US who were seeking to expand their audiences through selective integration of new technologies into their programs. I experienced a profound resistance, almost a resentment, toward having to contend with these new technologies and creative processes. Have things changed? What are the points of contention that continue to circulate after all this time?LR: I think there's always this fear, fear is one of the things that drives people to do unfortunately, desperate things in the world. Fear of change is always difficult. We don't put these in-between people and really deep and strategic people who have an overview on where things are going culturally, technologically and socially, in the forefront of organizations and support them. It's still not happening because people are still in their media silos. And often what happens is people ask “what's the business model?” And you go, come on, this is the point! What you're doing is going to be severely hampered by not having the foresight and the strategy to develop your organization and practice. They're going to help you define that.I ran a big conference event that was a project finance market, a think tank for commissioners and financiers with leading artists and speakers, and people used to go, why should we fund that? What's the business model? I used to go, well, what's your business model? Because I came from film, I said, that's a destroyed business model. You cannot tell me that it's not. And you know, I'm not going to tell you what the business model is or you'll pay me loads of money, because people always expect you to just, in a networking event, suddenly explain the business model.What happens is obviously things crumble and people get scared. Then when there's money put into something, they generally rush towards it. There's always these hype curves of things and then suddenly traditional sectors go, oh god, we should be doing that. And then they may, but then it's usually a hype for a while and then they go, oh, well that was the load of rubbish, and let's forget about it. So that's what happens, they never give enough longevity or support.Are you experiencing these kind of challenges at the Venice Biennale?LR: The Biennale was amazing to support us in the first place. And that was the president who left a couple of years ago, Paolo Barata, he's a visionary in a way. And Alberto Barbera, who's the director of the film festival, who really listened to Michel and I about where this was going. And Paolo really understood philosophically what this meant and he wanted to be the person getting behind this new exciting art form. At the same point, the Biennale is an incredible organization, but divided into silos as well. I think in every organization it's really hard to do the new thing that kind of fits in-between so many things. We're in the film festival, so a lot of it rotates around the cinema industry. I've worked with a lot of film institutions, and it's always been hard. Outside of the US, in countries that have subsidy (government or soft subsidy for culture and media), it tends to be the film institutes who hold the purse strings. The government gives them their ministry of culture, gives the money to them, and some of them are further along than others, but most of them are thinking in film still, so it's quite hard.Can you discuss any projects, ideas or development that our audiences need to know. Can you tell me about any projects on the horizon that will be critical to this field?LR: It's incredible looking at these studios and artists who are making work, they're using new technologies, which are evolving the whole time. There's no standard business model for them to get financed or distributed or exhibited. And they're working so hard on all these different fronts and it's new creative practice they're developing. You know, it's hard enough making a film. And getting money for it. It's tough because you are putting together support from different sectors.So I'll talk about some areas where there have been some interesting things. I'm mad about social VR and VRChat. And I think it's an incredibly exciting space for people to get involved in. I know this is a very weird analogy because it sounds a bit basic, it's kind of like the YouTube of VR in a way, or the social of VR I should say, because you're on a platform where you can upload a world that you've designed in Unity. Or you can start building your avatars in a selection of different software and there's so much information in groups and the community. You can start by just visiting and getting into it because if you have PC you can go on desktop, but if you have a headset, obviously it's better. And a headset connect to a PC is even better. The world builders are kind of people who wouldn't consider themselves artists, but are doing these spectacular adventures. So now, pioneering artists are watching or starting to work with these mediums. So I'd say the live performance projects in the club scene in VRChat are amazing.Can you tell me about some of the live performances that we should look at or be aware of?LR: There was a work that won one of our main awards, our Lions back in 2020, it was called Finding Pandora X by Kiira Benzing, an amazing pioneering director based out of New York. This was pandemic led, so she'd done some amazing experiments and the year before we had something called Loveseat, it was a live performance for 50 people watching actors who were motion captured into a virtual world that was screened around us. So it was already combining live performance and virtual words. She went a step further with Finding Pandora X, it was a reworking of the myth of Pandora in VRChat in worlds they created. I think there's about 15 audience members and 3 actors who play the gods, so there's Zeus, Hera, and Pandora, and it was just exceptional. I tried it at the beginning of the pandemic and you learn to fly, they have a mechanism for flying. Because there's all kinds of things you can do in VRChat and they have all these plugins that people design and release into the community. So I was stuck in my flat, it was the first awful months in April 2020, and I was flying in VRChat above this amazing world. So we showed that and it was brilliant and won an award. Then something you may be able to see again because it's replaying, is one of the actresses who was in Finding Pandora X, Deirdre Lyons and her partner Stephen Butchko, did this project called Welcome to Respite. It's another performance set in VRChat that may have different runs still. We showed it in Venice last year, it's another beautifully designed world in VRChat.I want to talk about another thing that I love that we had in our events program last year, it was called Mycelia, and it is an incredible performance by a Canadian artist Nanotopia who makes music with mycelia or mushrooms in her studio in Canada. She was performing live into a VRChat world that was designed by an amazing community, it was five people from that community, the Meta Crew South Africa, who designed this incredible crystal light mushroom cave world. And she's performing in this incredible stage in the middle of this cave. They give you mycelia avatars and when you come in the she's performing live in an avatar with her mushrooms and mycelia through a very special MIDI system. And you're there in your mycelia bathing in this incredible world and it's one of my favorite things I've ever seen in VRChat.We talked about world building and I didn't answer that question about how this is really important. What kind of worlds are we going to build? And obviously a lot of what happens in these spaces is driven by dystopic visions from science fiction books and movies. And so many people who are in VR are, you know, huge fans of Snow Crash or Ready Player One. Or there's many dystopic visions we've seen of what's happening in the media, and they're so negative, the views of who we are as humanity. And I sometimes wonder, is our dystopia, the way we are now, have they been designed by artists [laughs]? Have people created them because they've seen them in books and movies? And in a way the architecture that's built, what's happening in the world, the pandemics, all these things, we've seen all these things. I think, why can't you have it a different way? The importance of what kind of worlds you build is so essential, that we think about what kind of virtual spaces we're going to be in. I'm not a technologist at all, my main reason for going into this area is because I was thinking, wow we're going to engage and communicate in such different ways. And it's really important to think ethically, environmentally, aesthetically and therapeutically how that's going to affect us as humans. These spaces are going to be really important. And there's spaces where they have all kinds of uses that help us think out ideas in spatial settings, solve problems, and embody to a certain extent, what it feels like to be in a situation, and give you some kind of insight, or they have therapeutic benefits that are really powerful. And so this is a really exciting space, the space between art and technology, our minds and bodies and the wellbeing of our minds and bodies and the world is really important.I think this is a great place to stop, with some very hopeful words. And Liz, thank you so much for meeting with us and I look forward to a lot more conversation with you.LR: It's a total pleasure. Thank you so much for the great conversation and looking forward to more, this is the beginning of many. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com

Charles and Graham ponder if the Oscars have lost the plot and look forward to Live at Leeds embracing the open air.  Graham can't let go of Ed Sheeran and the concept of pop plagiarism, which sends him back to a certain Moody Blues song. The duo reflect on the untimely demise of Foo Fighters' drummer, Taylor Hawkins. Charles wonders if Paul McCartney is now loved as the key Beatle as his eightieth birthday approaches. Following on from last week's discussion about where Bono is, well he's busy being a poet, it seems. Graham and Charles end with news about the future direction of the Edinburgh Film Festival..

What is it like to give up everything for a dream and what can a tragic Hollywood production teach us? Today we will put headlines aside and pay a tribute to a woman, mother, wife and a cinematographer - Halyna Hutchins. Originally from Ukraine, member of ICG: International Cinematographers Guild (IATSE Local 600), she graduated from American Film Institute in 2015. Her graduation project “Hidden”, co-filmed with director Ryan Farzad, was shown at the Camerimage International Film Festival in Poland. In 2018, she became one of the first eight female filmmakers to participate in the Fox DP Lab, which was created to empower female filmmakers. In 2019, American Cinematographer magazine named her a "rising star" of cinema as a Director of Photography. "Darlin'", a horror feature lensed by Hutchins and directed by Pollyanna McIntosh (The Walking Dead), has premiered at the SXSW film festival 2019 playing internationally at the Edinburgh Film Festival and received several international film awards. Her work on Adam Egypt Mortimer's art house superhero action film "Archenemy", starring Joe Manganiello, premiered at Beyond Fest 2020 and was in official competition at the Sitges International Film Festival, receiving a nomination for Best Motion Picture. Halyna's recent work also includes "Blindfire", a feature film written and directed by Mike Nell received Best Crime Drama at the Houston International Film Festival, 2020. Halyna Hutchins shot 30 films (short, features, TV series). On Thursday October 21st 2021 while working on the latest feature western film #Rust at Bonanza Creek Ranch in Santa Fe, New Mexico she received a deadly wound from a shot fired by an award winning #AlecBaldwin (main actor and producer of the film ) with a prop gun that turned out to be loaded with real ammo just before the next take of a film. According to Los Angeles Times the same day a few hours before the incident a group of cinematography union crew members walked away from the set, to protest the working conditions of a low-budget film production. It was also reported that a few days before, the stunt double of Alec Baldwin accidentally fired 2 real rounds, from a prop gun which raised a number of concerns within the crew members, however these concerns were not addressed and production was rushed to continue. Safety protocols standard in the industry, including gun inspections, were not strictly followed (according to the witnesses). Investigation is ongoing with no charges filed as of now. A mother and a wife, Halyna was only 42 at the time. Her story proved that hard work and passion for your craft can make wonders and open many doors in life regardless of where you start from. My heart goes out to her family, friends and co-workers as well as all film industry workers who have suffered major injuries and lost their lives to their profession and a “The Great Silent”.

Dallas and Lee pick their highlights of the recent 2021 Edinburgh Film Festival. We also review and celebrate 'Our Ladies' which finally lands in cinemas this Friday. In 1996, a group of Catholic school girls from the Scottish Highlands town of Fort William get an opportunity to go into Edinburgh for a choir competition, but they are more interested in drinking, partying and hooking up than winning the competition.We dive into the archives this week and share our interview with 'Our Ladies' star Marli Siu who talks about the making of the film with Lee.

Back for a third time this week, and I'm talking ghost stories, but very much like The Devils Backbone, there's a mystery to solve along the way.  Certainly more Supernatural Thriller then horror, but not in a The Conjuring type way.  However in a very Conjuring 2 / Annabell Creation way, this film has great performances by the two young girls (Kiera Thompson & Sienna Sayer) as both the ghost and the daughter solving the mystery.Hat's off to Ruth Platt for a having a really interesting and original ending - I didn't see it coming, but then I'm thick.  Don't worry though, its not spoiled, so go watch the movie first, then come back here and listen to the show.If you enjoyed the show please leave a review here, it helps us grow.Podchaser - https://www.podchaser.com/podcasts/kids-what-are-we-watching-toni-1324747You can also find us in the following places.  Subscribe and join the conversation with our community.Twitter - https://twitter.com/KidsWatching?s=09Instagram - https://www.instagram.com/kidswhatarewewatchingtonight/?hl=enLeterboxd - https://letterboxd.com/kwawwtpodcast/YouTube - https://www.youtube.com/channel/UCpy3Kz3x-EpsDqKgtGha88AThe Edinburgh Film Festival series:-Absolute Denial LinkPig LinkThe Conjuring Universe Podcast LinkWe hope you have an awesome day wherever you are, and whatever your doing.Andrew, Isla & NieveSupport the show (https://www.buymeacoffee.com/kwawwpodcast)

Dallas and Lee pick their highlights of the recent 2021 Edinburgh Film Festival. We also review and celebrate 'Our Ladies' which finally lands in cinemas this Friday. In 1996, a group of Catholic school girls from the Scottish Highlands town of Fort William get an opportunity to go into Edinburgh for a choir competition, but they are more interested in drinking, partying and hooking up than winning the competition. We dive into the archives this week and share our interview with 'Our Ladies' star Marli Siu who talks about the making of the film with Lee.

Another Edinburgh Film festival premier.  I had to stream this one though, using the Film House At Home (Link Below) because I couldn't make the time and the showing had sold out, however I'm very excited to talk about this A.I. goes wrong animation by Ryan Braund.Is it AI goes wrong?  Is it obsession?.  I mean, I love sci-fi, and this covers a whole load of topics, and ideas that appeal to me, and includes a few nods to previous AI's and sci-fi greats.  I talk about the animation and Ryan's work during lock down, as well as Iain M Banks, Pi, Aphex Twins, I fawn over twitter interactions, "Love, Death and Robots" gets a shout out, going mad and that the presence of clarity (that one's a bit deep for me!!)You can find the Filmhouse at home here - https://www.filmhouseathome.com/ - always worth keeping an eye on.If you enjoyed the show please leave a review here, it helps us grow.Podchaser - https://www.podchaser.com/podcasts/kids-what-are-we-watching-toni-1324747You can also find us in the following places.  Subscribe and join the conversation with our community.Twitter - https://twitter.com/KidsWatching?s=09Instagram - https://www.instagram.com/kidswhatarewewatchingtonight/?hl=enLeterboxd - https://letterboxd.com/kwawwtpodcast/YouTube - https://www.youtube.com/channel/UCpy3Kz3x-EpsDqKgtGha88AWe hope you have an awesome day wherever you are, and whatever your doing.Andrew, Isla & NieveSupport the show (https://www.buymeacoffee.com/kwawwpodcast)

Ladies and Gentlemen, Nicolas Kim Coppola, aka, Nic Cage, has returned and he's riding into Tinsel Town on a Pig.While this, on paper, could be seen as a cheap John Wick rip off, it's far removed from the hyper action bullet fest franchise.  Actually it's probably at the opposite end of the spectrum, because not only is it about a man and his pig, its about fathers and son's, happiness, food and cooking.  You never saw John Wick make French Toast, did you?On this episode I'm talking the European Premiere and opening night of the Edinburgh Film Festival 2021.  I try to act all 'established' amongst film high society, my failed attempts to get a press pass, the meaning of success and what Pig is all about.I also think Nic will get an Oscar nomination for this.  Just saying.If you enjoyed the show please leave a review here, it helps us grow.Podchaser - https://www.podchaser.com/podcasts/kids-what-are-we-watching-toni-1324747You can also find us in the following places.  Subscribe and join the conversation with our community.Twitter - https://twitter.com/KidsWatching?s=09Instagram - https://www.instagram.com/kidswhatarewewatchingtonight/?hl=enLeterboxd - https://letterboxd.com/kwawwtpodcast/YouTube - https://www.youtube.com/channel/UCpy3Kz3x-EpsDqKgtGha88AWe hope you have an awesome day wherever you are, and whatever your doing.Andrew, Isla & NieveSupport the show (https://www.buymeacoffee.com/kwawwpodcast)

Much loved Irish actor, voice over artist and entrepreneur, Victor Burke, joins husband and wife duo, Alison Pothier and Jules Williams for this episode of IBULIEVE.  Victor shares the beliefs that have inspired his life and career - from growing up in Dublin through to his lifelong love of acting and many successful business ventures. Victor has been a viewer's favorite during his 25 year tenure in the Irish soap opera, Fair City, where he plays the character, Wayne Malloy.  He has acted in numerous theater productions and received the Award for Best Actor in a Short Film at the Edinburgh Film Festival for his critically acclaimed role in Turnaround. Links referenced in this episode:https://www.ibulieve.com/https://www.alisonpothier.com/https://www.juleswilliams.com/Guest Links:Victor IMDbIBULIEVE Theme Song:Excerpt from the composition by Deepak RamapryianSupport the show (https://www.buymeacoffee.com/IBULIEVE)

Jennifer Steinman is a critically acclaimed Award Winning filmmaker with over 20 years experience. She is drawn to social documentaries (e.g. DESERT RUNNERS, MOTHERLAND & SHELIA E) and has a powerful ability to tap into the heart and emotion of a story. We explore what characters & stories she is drawn to; how she chooses her projects - examining her notion of 'ease versus pushing a boulder up a hill' and why she got into the film making industry. She shares her personal journey of motherhood - which includes falling pregnant with a sperm donor only 7 days after her first attempt! As well as the impossibility of staying in NYC as a single working Mum, and her return back to her family roots in Berkeley. There's lots in this episode from the process of shedding materialism to pursuing the career you want. Jen began her career as a staff Editor at CBS, both in New York and San Francisco. Her work has aired nationally on ABC, PBS, Discovery, National Geographic, Sundance Channel and many other television networks. Her films have been accepted into many major film festivals including Tribeca, Rotterdam, and Sundance. She won a Telly Award and has been nominated for an Emmy® Award for Outstanding Achievement in Editing. This conversation also celebrates a decade since she filmed DESERT RUNNERS. We go behind the scenes into the film - from a filmmaker perspective - of what it was like to follow & film four everyday runners (including myself) as they cover 1000kms across the driest, windiest, hottest and coldest deserts on earth. Desert Runners was named by the Huffington Post as one of "The Top 10 Documentaries of 2013." The film screened to sold-out audiences at IDFA and was selected "Best of the Fest" at the Edinburgh Film Festival. It won the Audience Award for Best Documentary at both the Vancouver International and The Hamptons International Film Festivals, and Best Cinematography at the Woods Hole Film Festival. We discuss Jennifer's feature directorial debut 'Motherland' - which explores the timeless subjects of grief and healing. When six women from the US - all of whom have experienced a devastating loss - and travel together to volunteer with children in need in South Africa. This film had its world premiere at the South by Southwest (SXSW) Film Festival, winning the prestigious Emerging Visions Audience Award. The film went on to win several other best-of-festival awards and was voted by fans to return to SXSW in 2012 for an Encore Screening. TO WATCH DESERT RUNNERS MOVIE: https://vimeo.com/ondemand/desertrunners/ (CODE: StuckInside2020)

iTalk movies is a long-form interview series featuring leading members of the film community. In this episode, our host Blake V. interviews Marianna Palka on the Popcorn Talk Network.   Marianna Palka is a Scottish producer, director, writer, and actress. She is the writer, director and star of the film Good Dick, which screened at the Sundance Film Festival. Palka produced, wrote, directed, and starred in the movie Good Dick opposite her longtime boyfriend at the time, Jason Ritter. The film also featured Martin Starr, Mark Webber, Charles Durning, and Tom Arnold. The film was shot on digital video in the fall of 2006 and had a budget of approximately US$200,000. It premiered at the 2008 Sundance Film Festival and at the 2008 Edinburgh Film Festival and was released in the United States in 2009. At the 2010 Sundance Film Festival, Palka was a Sloan Juror with the Alfred P. Sloan Foundation. In 2001, Palka appeared in Pet --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Learn more about your ad choices. Visit megaphone.fm/adchoices