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10 episodes with film academy
4 episodes with film academy
2 episodes with film academy
2 episodes with film academy
2 episodes with film academy
2 episodes with film academy
2 episodes with film academy
Picture this: Georgia, the Hollywood of the South, buzzing with film crews, booming soundstages, and the magic of moviemaking. As the Assistant Vice Chancellor for the University System of Georgia, Scott Votaw heads up the Georgia Film Academy – a powerhouse program that's turning out the next generation of filmmaking superstars. Think of it as Hogwarts for aspiring filmmakers, but instead of magic wands, they learn the secrets of cinematography, editing, and special effects. GFA doesn't just wave a magic wand and poof you're a director. They collaborate with top-notch colleges across the state, hooking students up with real-world experience and connecting them with industry giants. They offer courses that are more than just book learnin' – think hands-on workshops, industry internships, and even the chance to work on actual film sets! So, if you're dreaming of a career behind the camera, whether it's directing the next blockbuster or crafting the perfect soundtrack, Scott and his team at GFA are your ticket to Hollywood North. They're turning Georgia into a hub for cinematic excellence, one talented filmmaker at a time. Web: https://georgiafilmacademy.edu About GFA: Since the Georgia Film Academy began operations in 2015, economic activity generated by the film industry in Georgia continues to rise at exponential levels. The Georgia Department of Economic Development (GDEcD) announced that, during fiscal year 2021, the film and television industry set a new record with $4 billion in direct spending on productions in the state. The Georgia Film Academy's efforts in building a professional workforce able to meet increased production demand is widely regarded to be a primary driver in this sudden and dramatic rise in economic impact on the state. The GFA is widely recognized by the Motion Picture Association of America (MPAA), labor unions, and numerous competing states and countries as “the gold standard” in film and television production workforce training. The GFA offers industry certifications in Film & Television Production, Post-Production, Digital Entertainment, Esports & Game Development, and helps institutions to develop curriculum and training directly aligned to the high-demand careers that exist in the state. In partnership with IATSE 479 and major film and television production and digital entertainment companies like Disney, Netflix, HBO, Skillshot Media, Axis Replay, and others, professionally-qualified instructors, equipment, and training facilities prepare learners to be assets to the industry following completion of GFA's certification. Furthermore, with GFA's unique-in-the-nation internship/apprenticeship program, students have the opportunity to go straight to work in these industries, which offers a paid, once-in-a-lifetime experience. The Georgia Film Academy supports a collaboration of institutions of the University System of Georgia, Technical College System of Georgia, and Independent institutions that offer professional courses in film, television, digital entertainment, Esports, and game development. About the show: Ash Brown is a force to be reckoned with in the world of motivation and empowerment. This multi-talented American is a gifted producer, blogger, speaker, media personality, and event emcee. Her infectious energy and passion for helping others shine through in everything she does. Ash Said It, Ash Does It: * AshSaidit.com: This vibrant blog is your one-stop shop for a peek into Ash's world. Dive into exclusive event invites, insightful product reviews, and a whole lot more. It's a platform that keeps you informed and entertained. * The Ash Said It Show: Buckle up for a motivational ride with Ash's signature podcast. With over 2,000 episodesalready under her belt and a staggering half a million streams worldwide, this show is a testament to Ash's impact. Here, she chats with inspiring individuals and tackles topics that resonate deeply. What Makes Ash Special? Ash doesn't just preach motivation; she lives it. Her strength lies in her authenticity. She connects with her audience on a genuine level, offering real-talk advice and encouragement. She doesn't shy away from the challenges life throws our way, but instead, equips you with the tools to overcome them. Here's what sets Ash apart: * Unwavering Positivity: Ash Brown is a glass-half-full kind of person. Her infectious optimism is contagious, leaving you feeling empowered and ready to take on the world. * Real & Relatable: Ash doesn't sugarcoat things. She understands the struggles we face and offers relatable advice that resonates with listeners from all walks of life. * Actionable Strategies: This isn't just about empty inspirational quotes. Ash provides practical tips and strategies to help you translate motivation into action, turning your dreams into reality. So, if you're looking for a daily dose of inspiration, actionable advice, and a healthy dose of real talk, look no further than Ash Brown. With her infectious positivity and dedication to empowering others, she's sure to become your go-to source for making the most of life. ► Goli Gummy Discounts Link: https://go.goli.com/1loveash5 ► Luxury Women Handbag Discounts: https://www.theofficialathena.... ► Review Us: https://itunes.apple.com/us/po... ► Subscribe: http://www.youtube.com/c/AshSa... ► Instagram: https://www.instagram.com/1lov... ► Facebook: https://www.facebook.com/ashsa... ► Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®Become a supporter of this podcast: https://www.spreaker.com/podcast/the-ash-said-it-show--1213325/support.
Even if you've made 1 or 2 features already, you'll likely learn some great tips & strategies from this BONUS episode.
The U.S. Academy of Motion Picture Arts and Sciences, which organizes the annual Academy Awards, said Tuesday that it has invited actor Koji Yakusho and other Japanese people to join the organization.
We are going to the movies for today's hana hou! We shine the spotlight on Ryan Kawamoto, whose documentary highlights the overlooked history of Japanese Americans who were removed by force from their homes and businesses during World War II; Filmmaker Jean Shim talks about what went into making her feature film that screened at the 43rd Hawaiʻi International Film Festival; local resident Henk Rogers, who secured worldwide distribution rights to the Tetris game, shares the backstory as depicted in the new film "Tetris"; and Elliot Lucas talks about the Kauaʻi Film Academy producing its first feature film
Dusan Jocic is a videographer for the best 3v3 basketball player of all time Dusan Bulut. He's probably one of the first social media managers in Serbia. A job that probably didn't exist there until recently. Bulut and Dusan have been making and investing in content long before it was lucrative to do so. His story of how he got into this space is just as interesting as the person he makes content about! We talked about his love for telling stories, traveling with Bulut, 3v3 basketball and growing up in Serbia. Time stamps down below. Dusanov IG: https://www.instagram.com/dusan.jocic/ GooglePod/ApplePods/Spotify: https://anchor.fm/boredwithnelly 0:00 Intro 1:30 Personal Introduction 3:30 Serbian Football 4:50 Intro to Photography 6:30 Starting as Club Photographer at Vojvodina 9:24 Applying to Film Academy 14:23 Getting Experience 16:45 Stolen Content- Serbian news paper stealing photos 18:40 Winning the Cup 19:45 Annual StreetBall Tournament 23:15 Meeting Dusan / 600k YouTube Channel 26:31 Getting Into Sports Videography 29:20 Current Sports Video Quality 32:08 Officially Working With Dusan 40:58 First Social Media Manager In Serbia 46:00 Content In The Serbian Community 47:29 Getting In Trouble With FIBA 50:18 3v3 Trick Street 57:10 Building The Portfolio 1:01:33 Plans For The Future 1:05:50 Continuing With 3v3 Basketball 1:08:56 Unite Program For Underprivileged Kids 1:10:18 Free Time 1:12:40 Hard Times Don't Last Hard People Do 1:17:13 Outro
The FBI's Operation Cross Country has rescued 59 children, including 11 in Hawaiʻi; HPR's Catherine Cluett Pactol talks about Sustʻāinable Molokaʻi's new broiler chicken program; Kauaʻi Film Academy produces its first feature film
Mark Lloyd chats with Andre Timmins, the co-founder of The International Indian Film Academy Awards which will take place at the Etihad Arena. See omnystudio.com/listener for privacy information.
Ahead of Sunday's Oscars, the first person of Asian descent to lead Hollywood's most powerful organization reflects on connecting the American and Chinese film industries before shifting to producing films like 'The Joy Luck Club,' how racist jokes told at the Oscars in 2016 motivated her to become active in the Academy and how she feels about Chris Rock, Will Smith and accusations that Academy members are racist. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Academy apologized to her for the abuse she endured nearly 50 years after Sacheen Littlefeather stood on the Academy Awards stage.
AP correspondent Margie Szaroleta reports on Oscars-Apology.
We discussed: working on long term projects, the importance of advance planning, working collaboratively, dealing with stress, having a child during the pandemic https://info.liaf.no http://www.skovholt.net People + Places mentioned: UKS Young Artists' Society - https://www.uks.no Siri Aurdals - https://www.instagram.com/siriaurdal Kistefos Museum (the Twist) - https://www.kistefosmuseum.com NKFS Nordland Art and Film Academy - https://lofotenkunstfilm.no Music by Peat Biby Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no
We discussed: working on long term projects, the importance of advance planning, working collaboratively, dealing with stress, having a child during the pandemic http://www.skovholt.net Lofoten International Art Festival – (LIAF) – https://info.liaf.no People + Places mentioned: UKS Young Artists' Society - https://www.uks.no Siri Aurdals - https://www.instagram.com/siriaurdal Kistefos Museum (the Twist) - https://www.kistefosmuseum.com NKFS Nordland Art and Film Academy - https://lofotenkunstfilm.no Music by Peat Biby Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no
Today's episode features a conversation with Barbara Zecchi, a feminist film scholar, critic, festival curator, and video essayist. Barbara has published and lectured extensively on European and Latin American cinemas, women filmmakers, feminist film theory, adaptation theory, gender and aging studies, videographic criticism, and on the use of technology in the humanities. Since 2016 she has served as Associate Member of The Film Academy of Spain (Academia de las Artes y las Ciencias Cinematográficas de España). Will and Emily chat with Barbara about a number of topics, including her background and videographic origin story, the GynoCine Project, the "accented" video essay, and several of Barbara's own works. We focus specifically on Barbara's recent video, "Filling (Feeling) the Archival Void: the case of Helena Cortesina's Flor de España." Barbara, who is a professor at the University of Massachusetts Amherst, also discusses the upcoming conference, "Theory and Practice of the Video-Essay: an International Conference on Videographic Criticism." [2:03] - Barbara's Origin Story [4:55] - Artists and video essayists who influenced Barbara's own work [9:20] - Discussion of Barbara's early videographic and other moving image works [16:18] - The GynoCine Project [19:55] - Videographic Criticism at UMass [23:15] - The Accented Video Essay [37:25] - "Filling (Feeling) the Archival Void: the case of Helena Cortesina's Flor de España" [1:10:00] - A Videographic Book? [1:11:30] - ""Theory and Practice of the Video-Essay: an International Conference on Videographic Criticism." Support the podcast on Patreon. Follow the show on Twitter. Learn more at the pod's website. Get the free newsletter. Music access via Free Music Archive here and here.
Today's our special guest is Seba from Argentina! He is a Founder & CEO at Cineastas del Futuro and Smart Film Academy
Manasi Parekh was recently seen in Gujarati films “Dear Father” and “ Golkeri”. She debuted in Bollywood in the National award-winning Hindi film “URI” where she played Vicky Kaushal's sister. Her short film “Ladoo” also won the national award in a special mentions category. She has been the lead actor in tv shows like “Sumit Sambhal Lega”, “Gulaal” “India calling”, and web series like “SIT” and "Do Not Disturb”. She was the lead in the renowned Gujarati play "Maro Piyu Gayo Rangoon" which opened at the Globe Theatre London. She won the Indian Television Award for "Best Supporting Actor in a Comic Role" for her serial Sumit Sambhal Lega on Star Plus. Manasi is also the winner of the singing reality show "Star Ya Rockstar" on Zee RC. Her Tamil film "Leelai" is very popular and a sleeper hit. She has studied theatre and dramatics at the Lee Strasberg Theatre and Film Academy. She produces content under her production company "Soul Sutra". Listen to her amazing experiences only on Meri Kahani with Bhawana Somaaya You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries send you can send us an email at bonjour@eplog.media. If you like this show, please subscribe and leave us a review wherever you get your podcasts, so other people can find us. You can also find us on https://www.eplog.media See omnystudio.com/listener for privacy information.
Will Smith resigns from film academy over Chris Rock slap. Will Smith resigned Friday from the motion picture academy following his Oscars night slap of Chris Rock and said he would accept any further punishment the organization imposed. Smith in a statement released Friday afternoon said he will “fully accept any and all consequences for my conduct. My actions at the 94th Academy Awards presentation were shocking, painful, and inexcusable.” Film academy president David Rubin said Smith's resignation was accepted. “We will continue to move forward with our disciplinary proceedings against Mr. Smith for violations of the Academy's Standards of Conduct, in advance of our next scheduled board meeting on April 18.” Smith loses voting privileges with his resignation. But there are other, less tangible benefits to being part of the academy, Hollywood's most prestigious organization: It bestows industry credibility on its members. It's invitation only, and with a once-a-year membership review. “I betrayed the trust of the Academy. I deprived other nominees and winners of their opportunity to celebrate and be celebrated for their extraordinary work,” Smith's statement said. “I am heartbroken. I want to put the focus back on those who deserve attention for their achievements and allow the Academy to get back to the incredible work it does to support creativity and artistry in film. “Change takes time and I am committed to doing the work to ensure that I never again allow violence to overtake reason,” Smith concluded in the statement. The resignation came two days after the academy's leadership board met to initiate disciplinary proceedings against Smith for violations against the group's standards of conduct. Those proceedings could have resulted in suspension or expulsion, and it was not immediately clear what additional punishment he could face. --- Support this podcast: https://anchor.fm/Teddy-G/support
On This Episode: It's the beginning of another week! And what better way to start, than with a new Pod? On Episode 130, the guys head straight for straight albums by Fivio Foreign, Coi Leray, Vince Staples, EST Gee & 42 Dugg & more. After talking new album releases, the gang also discusses an assortment new singles as well, including tracks from Lil Baby, Jack Harlow, Bia, & Schoolboy Q. In news, Roderick & Cari talk SZA's album being finished, new Travis Scott on the way, Will Smith's recent ban from the Film Academy, NLE Choppa's health tips, Joe Budden & BTS, Gillie Da Kid & Wiz Khalifa + more! Roderick | Lil Wayne- Grown Man Cari | Lute- Eye to Eye (ft. Cozz)
Will Smith resigns from the Academy, What your coffee choice says about you, Tiger Woods wants to play in the Masters?
What's happening today: Remembering East L.A.'s Mexican harpist Francisco Gonzalez who died at 68; Local Ukrainians frustrated over lack of refugee planning; How L.A. tests its wastewater for COVID; Local immigration activists approve of Biden's plan to rescind Trump's 'Title 42' order; Snow levels confirm fears: another drought year is ahead; Will Smith resigns from film academy. This program is made possible in part by the Corporation for Public Broadcasting, a private corporation funded by the American people. Support the show: https://laist.com
This is the All Local for 1010 WINS on April 2nd, 2022. Brought to you by 1010 WINS Anchor Kathleen Marple Kalb.
Ronie Berggren och Björn Norström om det senaste i USA: Ron DeSantis ger föräldrar rätt att bestämma om barnundervisning om sex och könsbyte; Ron DeSantis ber Disney hålla sig på mattan; Will Smith lämnar Film Academy; Colin Kaepernick kallar NFL ”slavmarknad”; Disney-anställd avslöjar HBTQ-propagandan inom Disney; Stor entusiasm för republikanerna inför Mellanårsvalen; Andrew Cuomo funderar på att göra comeback; Sarah Palin kandiderar till kongressen; Arizona stiftar lag som kräver bevis för amerikanskt medborgarskap och boende i Arizona för att få rösta; Jen Psaki lämnar Vita Huset för MSNBC; Växande arbetsmarknad i USA; Biden lättar på oljereserven, men hjälper det?; Apple går emot anti-LGBTQ-delstater; Domare i Pennsylvania stoppar ansiktsmasktvång för barn; Meta/Facebook ändrar sig om booster-shots; A.O.C nobbar Amazons anställda; Bild avslöjar Lia Thomas övertag. ------ STÖD AMERIKANSKA NYHETSANALYSER: http://usapol.blogspot.com/p/stod-oss-support-us.html
What's happening today: Film Academy explores consequences for Will Smith attack on Chris Rock; Oscar Awards recap; Why do so few unhoused accept permanent housing?; Storm brings much-needed rain to L.A. area; Cambodian-born inmate at center of debate on how non-citizens are treated; Mandatory evacuation orders lifted in O.C.; Supermarket union workers to resume contract talks Wednesday; This program is made possible in part by the Corporation for Public Broadcasting, a private corporation funded by the American people. Support the show: https://laist.com
This episode comes to you today with thanks to our new friends at Plantiva. Learn more at http://www.plantiva.com/killercasting and use the promo code KC25 to get 25% off your next order ! ***************** Lisa, Dean and Paul continue their casting review of all the Best Picture nominees, counting down to the winner of the "Zammy" (Excellence in Casting) Since the Film Academy doesn't give out that award! Lisa thinks it is almost impossible to compare "apples to orangatans" but there is certain criteria to consider if one is going to quantify "Best Casting". You'd have to think about difficulty of roles, achievement of authenticity, outside of the box creativity, re-invention of an actor, chemistry of the cast, discovery of new actors, and casting well known actors in a totally different way. Let's see how the competitors fare!
This is the Big week for Hollywood. The Film Academy is celebrating its 94th ceremony to award the actors that have been doing their best during the year to keep us entertained taking us temporary to focus on their stories played in respective roles in the screen. Jorge and Fran do not want to miss this opportunity to share with you all some of the many Spanish actors they made it big in Hollywood. You will be surprised! Obviously, there is not time enough to mention all of them. This time, as an intro, some names are mentioned, and others will probably be in a second "Hollywood" episode in the future. Stay tuned! From Fran and Jorge, thanks so much for taking the time to listen. They hope you enjoy this very special chapter and subscribe to this podcast to be on the "Spanish Loop"!
This is the Big week for Hollywood. The Film Academy is celebrating its 94th ceremony to award the actors that have been doing their best during the year to keep us entertained taking us temporary to focus on their stories played in respective roles in the screen. Jorge and Fran do not want to miss this opportunity to share with you all some of the many Spanish actors they made it big in Hollywood. You will be surprised! Obviously, there is not time enough to mention all of them. This time, as an intro, some names are mentioned, and others will probably be in a second "Hollywood" episode in the future. Stay tuned! From Fran and Jorge, thanks so much for taking the time to listen. They hope you enjoy this very special chapter and subscribe to this podcast to be on the "Spanish Loop"!
Have you ever asked yourself the question "Has God Forgotten ME?" In this episode I share with you my theory behind CREATING YOUR DREAMS!! It may be time for you to step up and put your Faith on Film so you can start Making Money Online and living the life that you dream of. This is not a gimmick but rather a reality we can all grab together as a community... ℹ️ EPISODE REFERENCE MATERIAL → Proverbs 16:3 ESV Commit your work to the Lord, and your plans will be established.
Polyglots are great at communication, and it would seem that this talent also translates to the big screen! Sebastian Thaler is an Austrian cinematographer who shoots with a lucid immediacy that makes him a talent to watch, showcased when he lensed the feature film 7500 starring Joseph Gordon-Levitt. Thaler is based in Vienna, Austria, where he completed his Master in Cinematography at the Film Academy of Vienna in 2017 under the guidance of Walter Kindler and Michael Haneke. Thaler's post-academy work includes the documentary Glory To the Queen, a tribute to the Georgian queens of chess set against the backdrop of the Cold War. It tells the story of four legendary female chess players from Georgia who revolutionized women's chess across the globe and became Soviet icons of female emancipation. Thaler is next set to commence production on director Juri Rechinsky's latest arthouse feature, Utopia, in Ukraine, in fall 2021.Highlights:Sebastian says he grew up with filmmaker parents who sparked his interest in movies from a young age.European films usually have lower budgets, but they try to reach big-budget movie results through creativity.The main goal of a cinematographer is to be a good observer and get into the inner circle of the characters, making them feel comfortable.Sebastian says he likes stories whose characters face problems that ordinary people face.How in 7500 he could move freely and create the images he wanted.Cinematography in 7500; long scenes without interruptions that created a realistic feel.Sebastian loves Tarkovsky movies because he was a director who used to build the film very slowly to get you into the characters.To learn more about Sebastian, visit his website, and follow him on Instagram.Interested in knowing more about the show? Subscribe to our newsletter, and leave us your comments if you liked the show.Follow:Instagram: @kino_societyFacebook: @KinoSocietyWebsite: https://www.kinosociety.com/
In this episode, Khyati and Kody return with a special guest - Stoker Leopold (@stoked_to_be_here_) - to discuss the pros and cons of working in the media industry. They discuss their beginnings on the BFI film academy, and where it's lead them to at this current moment, as well as diving into the depths of the reality of what it's like to work on set. WE HOPE YOU ENJOY! ❤️
Destination Weddings!Für viele Hochzeitsvideograf*innen gehört es zu den großen Zielen und Träumen, das eigene Hochzeitsbusiness dahin zu bringen, Hochzeiten im Ausland und an spektakulären Orten dieser Welt begleiten zu können. Johannes Rausch von Weddings and Waves lebt zusammen mit seiner Freundin Salome diesen Traum!In dieser Episode des Hochzeitsvideografie Podcast sprechen wir mit ihm über seinen Werdegang, was ihn motiviert und was ihm vor allem geholfen hat, diesen Weg zu gehen.Er befindet sich außerdem gerade in der Pre-Launch Woche für seine Masterclass. Neben seiner kostenlosen Academy für alle Hochzeitsvideograf*innen hat er jetzt noch einen Kurs auf den Markt gebracht, der unter anderem darauf spezialisiert ist, einem das Cinematische Storytelling beizubringen!Es war die bisher spontanste Podcast Episode und ist vollgepackt mit guter Laune und vielen guten Tipps für euer Business. Viel Spaß beim hören!Folge Weddings and Waves auf Instagram: https://www.instagram.com/weddingsandwaves/Hier gehts zur kostenlosen Film Academy: https://filmacademy.weddingsandwaves.com/Hier gehts zur Masterclass: https://filmacademy.weddingsandwaves.com/Masterclass
'Jallikattu' - Review of the Official entry from India for the 93rd Film Academy awards, now streaming on Amazon Prime Welcome to Reviews by Movie Prizm, your dedicated Podcast channel for reviews in English on Multi-Language Movies, Web-Series & Trailers, today we are reviewing
THE MOVIE PODCAST is a film news and entertainment podcast that covers the week's biggest movie stories and a unique topic of the show. You can catch Daniel, Shahbaz and Anthony in a new episode every Monday! Please be sure to rate the show and subscribe.Got a topic request? Have a movie suggestion? Did we get something wrong? Let us know at ThisTimeWith.com/talk EPISODE #75: Tenet Box Office Troubles, Disney's Mulan Controversy, and Academy Inclusion Requirements - September 13, 2020 ANNOUNCEMENTSCOMMENTARIES: Game Night, Sicario, and Spider-Man (2002) NOW AVAILABLE ON THE MOVIE PODCAST FEED!CATCH UP: Black Lives Matter, Zack Snyder's Justice League ‘Snyder Cut' Coming to HBO Max in 2021 and Interview with Kevin Lima, Director of A Goofy Movie, Tarzan, and Enchanted and more!CHECK OUT: The Last of Us Part II Spoilercast AVAILABLE NOW! FOLLOW USFollow Daniel on Twitter, Instagram, and LetterboxdFollow Shahbaz on Twitter, Instagram, and LetterboxdFollow Anthony on Twitter, Instagram, and LetterboxdFollow The Movie Podcast on Twitter, Instagram, Discord, and YouTube NEWSDisney Admits Mulan Controversy Pileup Has Created a “Lot of Issues for Us” - Yohana Desta / Vanity FairFilm Academy Sets Inclusion Requirements for Oscars, Will Take Full Effect in 2024 - Scott Feinberg / The Hollywood ReporterWarner Bros Won't Share ‘Tenet' Box Office Data, Angering Rival Studios - Rebecca Rubin / Variety‘Borat 2' Has Already Been Shot and Screened by Sacha Baron Cohen - Jeff Sneider / Collider NEW DATESWonder Woman 1984 - December 25, 2020Candyman - Sometime in 2021 NEW TRAILERSNo Time to DieFreakyDuneHubie HalloweenConsole WarsRebeccaMagic of Disney's Animal KingdomNomadlandThe Comeback TrailThe GloriasSave Yourselves!The Trial of the Chicago 7Sneakerheads OUT THIS WEEKAntebellum - Sep 18The Devil All The Time - Sep 16Apple Event Sep 15PlayStation 5 Event - Sep 16 WHAT WE'RE WATCHINGAnthony: The Boys, Lovecraft Country, Raised By Wolves, Class Action Park, From Bedrooms to Billions: The PlayStation Revolution, Down to Earth with Zach Efron, NBA Playoffs, Luigi's Mansion 3, One Night In Miami…Daniel: Class Action Park, Ford v Ferrari, The Boys, Mulan, Tenet, You've Got Mail, Knives Out, From Bedrooms to Billions: The PlayStation Revolution, It Takes Two, Ted Lasso, One Night In Miami…Shahbaz: The Pelican Brief, 21 Jump Street, Class Action Park, The Stanford Prison Experiment, American Wedding, Tenet, The Boys, Mulan, Mulan (1998), 42, Ted Lasso, Red Eye, From Bedrooms to Billions: The PlayStation Revolution, Sausage Party, The Last Black Man in San Francisco, One Night In Miami… TRIVIADANIEL - 11SHAHBAZ - 6ANTHONY - 9
Jalen and his guest, filmmaker, writer, and film scholar, Brian Smith discuss the Film Academy’s new inductees, Pose’s Emmy nomination campaign, and Netflix’s Coffee and Kareem. Get ready for some film/tv industry history and a black queer film critique. Other films mentioned: Good Boys, The Hunt, Mandingo (Amazon) * Follow Go Black Boy Go on Twitter / IG @goblackboygo, the host on Twitter @jalenthompso, and Brian on Twitter/IG @THEAFROB. Listen on iTunes, Spotify, Google Play, and Podbean and wherever else you get your podcasts. DON'T FORGET to leave a review on iTunes and share the episodes on your social medias!
On this Episode Marx Okereke, Khalimah Gaston and Michael Ernest recaps moments from BET 2020 Awards, discusses The Film Academy invitations to 819 more members and also shared perspectives on August Alsina's past alleged relationship with Jada Pinkett Smith he recently addressed in an interview with Angela Yee! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/spurplay/message
Film: -Academy Awards delayed due to coronavirus -Court rules Midnight Runners to apologize to Chinese Korean community -Coronavirus prevention campaign at theaters -코로나19로 아카데미 시상식 연기 -법원 ‘청년경찰' 제작사 중국 동포에 사과 판결 -이번주 개봉작 & 극장가 “안전하다” 캠페인 Guest: Pierce Conran, film critic
Last week, we heard how Edinburgh Youth Theatre is managing to keep going online through the lockdown. The company often works with the Film Academy Edinburgh which is also based locally. The academy usually uses the television studios of Edinburgh College at Milton Road; but, like everything else, it’s currently closed. However, the teachers and students (around 60 of them) get together at weekly sessions through Zoom. These are held on a Wednesday and Friday and are split into different age groups. When Porty Podcast Producer David Calder joined them, he found out that the 9-12 years are very creative.https://www.filmacademyedinburgh.com/
Gary Chong is the filmmaker, the lecturer, and the enabler of content creators. He is the AntiFool.In this episode, we'll be diving into film!Gary is an award-winning filmmaker and founder of Gary Chong Studios, a production house that has produced over 560+ videos in the last decade for many different brands. Eg. Digi, Axiata, Sunway, Maybank, Allianz Bank, Kraken, Mindshare, and many more. He is a lecturer in the School of Liberal Arts of Taylor's University here in Malaysia, in the area of Film and Communications for 8 years, and that is how he is giving back to the community.His newest venture is Micro Film Academy, a disruptive education program that aims to revolutionize and empower content creation in the hands of an upcoming generation through SMEs, businesses, and children.We talked about:Gary's origin story, from becoming an award-winning filmmaker to teaching students about filmMicro Film Academy's mission: future-proofing businesses and children to create using the devices in their pocketsPreparing for IR4.0 through content creation and adapting to the digital ageEnjoy!Timestamp03:22 How Gary went from questioning film to winning 18 awards for short films08:41 Thinking outside the box at film school10:34 Solutions-based thinking and French new wave12:04 The methodology Gary uses to serve clients for six figures16:45 The barriers in teaching students how to connect the dots20:28 Future proofing children and SMEs: Micro Film Academy's mission30:13 How Micro Film tackles business-specific pain points36:06 How children will grow from learning about micro film, and benefits for parents42:23 Preparing for Industrial Revolution 4.0 and the digital age44:53 "The first thing we need to do is break our mindsets" How Gary views this opportunity47:15 Gary's memento48:10 Walkaway wisdom: Everybody's a filmmaker.LinksGary Chong StudiosGary Chong StudiosFacebook PageInstagramReach out to Gary:EmailLinkedInYouTube ChannelMicro Film AcademyMain WebsiteFacebook Page
Prognosis Negative isn't dead! But meanwhile Sean and Eric have embarked on a new movie podcastadventure in THE BEST PICTURE PODCAST. Why? What is it?? Each season of the pod we use a randomizer to select a year of the Film Academy's existence. Then we sit down and discuss each Best Picture nominee of that year in alphabetical order Stay tuned to this feed for Episode 1: Children of the Damned... thebestpicturepodcast.libsyn.com Link for iTunes and Apple Podcasts
Sandra graduated from the University of Sydney with a BA in Applied Science and has an MBA from LaSierra University. Her debut Novel, Cecilia, won a Literary Classics Gold Award for Best YA/Adventure and Silver Award for Best YA/Fantasy, and was a Finalist for the Wishing Shelf Book Awards. Sandra wrote and directed the short animation, The Adventures of Gilbert the Goofball, which was runner-up for Best Animation at the Action on Film Festival, and her short story, Lucky Quarter, was a finalist for the Rick DeMarinis Short Story Award. Selected to participate in the Australians in Film Writers Room, Sandra work-shopped the screenplay version of Cecilia which placed in the top 15% of the Film Academy’s Nicholls Screenwriting Competition. Join the Thorne & Cross newsletter for updates, book deals, specials, exclusives, and upcoming guests on Thorne & Cross: Haunted Nights LIVE! or visit Tamara and Alistair at their websites. This is a copyrighted, trademarked podcast owned solely by the Authors on the Air Global Radio.
Take a look at the industry through the eyes of a highly successful film distributor (theatrical and more), film financier André Boissier. Find out what it takes to get your project financed and distributed. Conversation with Gia Noortas. Founder, President Pasatiempo Pictures, Freeman Distribution, Revolutionary Releasing, ABLO Inc. Andre Boissier has been active in international distribution and financing of independent feature films for the past 30 years. Boissier is a co-founder and partner in the leading independent distribution platform in Eastern Europe, Unicorn Media (aka Freeman Film Trade & Finance); he also is the founder and president of Pasatiempo Pictures which distributes motion pictures across Latin America, Puerto Rico and the Caribbean. In addition Boissier is the sole proprietor and president of ABLO, Inc., a boutique consulting company catering to leading theatrical distributors overseas. Boissier has been involved with the distribution of more than 500 motion pictures including such notables as RUNAWAY BRIDE, HANNIBAL, WHAT WOMEN WANT, CRASH, MY BIG FAT GREEK WEDDING, MR. & MRS. SMITH, SLUMDOG MILLIONAIRE, FURY, LAST VEGAS, DALLAS BUYERS CLUB, BROOKLYN, DIRTY GRANDPA and ATOMIC BLOND, among others. http://HollywoodFilmAcademy.com Instagram: https://www.instagram.com/gia_noortas/ Facebook: https://www.facebook.com/gianoortas/
Discover the creative process and understand the inspiration of the Royal Painter of China, Zhou Xu. Find out why the famous painter opened up a new chapter in his career now in Hollywood. Conversation with Gia Noortas. Translated by Zhou Xu’s talented daughter Selinda. Zhou Xu, (pronounced Joe Shoe), is very famous in the group of contemporary Chinese artists in China. He painted a few oil paintings for the 2008 Olympic Games. The Chinese government also commission him for doing historically related artworks, portraits of governors officials and celebrities. Since 1996, Zhou Xu has been working on art related to the history of China in Beijing. He has held the exhibitions in Scotland, Japan, Singapore, the U.S, Canada, Philippines, Portugal, Taiwan, and Hong Kong. He has exhibited in mainland China 10 times. The theme of Zhou's artwork is based on important Chinese historical events and people. The artist's main objective is to illustrate Women and Mother Lover. His other artworks consist of dances in palaces, landscapes, portraits, and spirit of love. Zhou was named Chinese Contemporary Artist for the Royal Palace. His artwork has been collected by many art galleries and museums and is sold internationally. Zhou has contributed and donated to the charity of Tibet and poor areas in China. He is one of the most talented contemporary artists in China. Throughout many years of work Zhou Xu has exhibited his art in many different countries and has won numerous of very prestigious awards. That includes Lifetime Achievement Award (2018) from Daya Prize in Literature and Culture. The prize is named as Chinese Nobel Prize, as well as Global The Most Outstanding Artist Award in Culture and Arts during the past forty Years in the Chinese History (2019). Presently Zhou Xu is beginning to work with film production companies in Los Angeles, making a new impact onto cultural aspect of filmmaking. See more information and gallery of paintings at: https://www.zhouxuart.com/ Contact Gia and more information at: http://HollywoodFilmAcademy.com Instagram: https://www.instagram.com/gia_noortas/ Facebook: https://www.facebook.com/gianoortas/
Discover how to build a career as a talent agent or on the other hand find out how to get an agent. Conversation between Frank Balkin of WPA and Gia Noortas. Fran Balkin BIO: Frank Balkin has represented producers, directors, cinematographers, production designers, costume designers, and editors for the past 22 years. A graduate of the University of Southern California’s School of Cinema with a minor in Sociology, Balkin worked in story development, production, post-production, and foreign sales prior to becoming an agent. He states enthusiastically that “representing filmmakers for network and cable television provides me the most enjoyable, satisfying career of anyone I know.” Frank joined WPA in 2014 after over 12 years as Co-Head of Paradigm’s Physical Production Department. He is an active member of Families with Children from China, Temple Beth Hillel, and the Academy of Television Arts & Sciences. http://opasinski.com http://HollywoodFilmAcademy.com Instagram: https://www.instagram.com/gia_noortas/ Facebook: https://www.facebook.com/gianoortas/
They discuss his latest feature length documentary Wonders Of The Sea (3D), challenges of documentary filmmaking and environmental issues and solutions. Jean-Michel Cousteau BIO: Explorer. Environmentalist. Educator. Film Producer. For more than four decades, Jean-Michel Cousteau has dedicated himself and his vast experience to communicate to people of all nations and generations his love and concern for our water planet Cousteau is the son of Jacques-Yves Cousteau and Simone Melchior. Cousteau first dived with an aqua-lung in 1945 when he was 7 years old. Although he went to school to study architecture, he joined his father's Cousteau Society, serving for twenty years as executive vice president before striking out on his own in 1993 to produce environmental films. Jean-Michel founded the Ocean Futures Society in 1999, a marine conservation and education organization. In 2003, Francesca Sorrenti and Marisha Shibuya of the SKe GROUP project, in partnership with Jean-Michel Cousteau's Ocean Futures Society, collaborated to produce Water Culture, a Trolley Books publication featuring a wide variety of photographer's water-related imagery and interviews with prominent world personalities on the problems facing our water supply. Cousteau is also Chairman of Green Cross France. Cousteau advocates for a world free of nuclear weapons, and is a member of the Advisory Council of the Nuclear Age Peace Foundation. In 2012, he published the book My Father, The Captain: My Life with Jacques Cousteau. Jean-Michel Cousteau is the President of Green Cross France & Territoires, a NGO proposing keys for actions towards a better environment for an unburden future. Ocean Futures Society: http://oceanfutures.org http://HollywoodFilmAcademy.com Gia’s instagram: https://www.instagram.com/gia_noortas/ Facebook: https://www.facebook.com/gianoortas/
Tomasz is a successful Graphic Art and Design creative. He is currently a Creative Lead at Netflix. Learn how through challenging himself and stepping out of his comfort zone helped Tomasz create an impressive career and happy life. Tomasz Opasinski BIO: Hailing from humble beginnings in Bytom, Poland, Tomasz has risen though the competitive ranks of Graphic Art and Design, to become an award winning artist, possessing groundbreaking talent. His work is a tapestry of visually captivating aesthetics, woven with conceptual themes and proprietary styles. Tomasz is a seasoned Creative Director, whose world renowned work can easily be found throughout the manifold world of Arts and Entertainment. He has collaborated in successful commercial campaigns for the likes of many major studios and advertising agencies around the world. http://opasinski.com https://www.hollywoodreporter.com/vid... http://HollywoodFilmAcademy.com Instagram: https://www.instagram.com/gia_noortas/ Facebook: https://www.facebook.com/gianoortas/
They discuss THE WORLD'S BEST talent show where they are both are Judges Experts, they also discuss some of the biggest talents competing at the show like DIMASH KUDAIBERGEN and others. Arthur talks about his career, shares his life story, secrets of his success. Gia talks about acting on film and her feature film TOKAL, MY HUSBAND'S WIFE. ARTHUR'S BIO: Armenian born, Arthur launched his career in Belgium before moving to the United Kingdom to become one of regions most sought after dancers. Arthur has performed or toured with everyone from BANANARAMA, BEYONCE, PINK, PUSSYCAT DOLLS, GIRLS ALOUD, WILL YOUNG, and DUFFY to KYLIE MINOGUE, CHERYL COLE and LEONA LEWIS. It wasn't long before Arthur stepped out of the background as a dancer and into the principle role of Choreographer for established and emerging musical artists in the United Kingdom, Europe and United States. Recognized as the “Energized Expert”, Arthur takes a leading role in casting, coaching, movement directing and choreographing music videos, world tours, viral media campaigns, and trade/fashion shows. Clientele include renowned shoe designer Christian Louboutin, Diesel, Jean Paul Gaultier, Esprit, Mary Kay, Walker Crisps and Coca- Cola Corporation. As a media personality, Arthur has appeared on television and in motion pictures, fashion shows and advertising campaigns. Appeared in Britain's Got Talent, The 2010 Wella World-Wide Campaign, World Music Awards, television appearances include Children in Need, Celebrity X Factor, Brit Awards and The Royal Variety Show. Arthur also represents Armenia at The World's Best CBS show as Judge-Expert. http://HollywoodFilmAcademy.com Gia’s instagram: https://www.instagram.com/gia_noortas/ Arthur’s instagram: https://www.instagram.com/gourounlian/ Facebook: https://www.facebook.com/gianoortas/
Alexander is a successful filmmaker and an action star. He is also an accomplished bodybuilder. Get INSPIRED, get INFORMED by understanding his motivation for success and hearing valuable lessons he's learned during his journey. http://HollywoodFilmAcademy.com Instagram: https://www.instagram.com/gia_noortas/ Facebook: https://www.facebook.com/gianoortas/
RIKISHI opens up like never before about his life, career, future goals and the show The World's Best where both Rikishi and Gia are experts representing their countries SAMOA and KAZAKHSTAN RIKISHI (WWE), a one-time Intercontinental Champion, two-time World Tag Team Champion, and on-time WWE Tag Team Champion. He was iducted into the WWE Hall of Fame in 2015. https://knokxpro.com/ http://HollywoodFilmAcademy.com Instagram: https://www.instagram.com/gia_noortas/ Facebook: https://www.facebook.com/gianoortas/
Conversation between Neil Ames of Go Digital and Gia Noortas. Step by step instructions to sell your film to major streaming platforms like Netflix, Amazon, Hulu and more… http://hollywoodfilmacademy.com/ Instagram: https://www.instagram.com/gia_noortas/ Facebook: https://www.facebook.com/gianoortas/
Conversation between Adam Sigal and Gia Noortas. Adam is an accomplished screenwriter, producer and director. He shares valuable tips and tricks on finding and working successfully with film investors and distributors Instagram: Gia_Noortas instagram www.HollywoodFilmAcademy.com Facebook: Gia Noortas official facebook page
Coco de Bruycker ist Schauspielerin, Aktivistin, Storyteller und lebt in Los Angeles — Ihr Merkmal: Spastik. Eine Gehbehinderung, die der 22-jährigen schon früh gezeigt hat: Das Leben läuft nicht perfekt. Das Rampenlicht spendete Trost, baute sie auf. Mit zarten sieben Jahren stand sie zum ersten Mal auf der Bühne, 10 Jahre später folgte ihr Debüt im Jugendclub am Staatstheater Mainz. Von da an stand für sie fest: Sie will professionelle Schauspielerin werden. Ihre Eltern hatten Bedenken, zweifelten zwar nicht an ihrem Talent, aber an der beruflichen Zukunft ihrer Tochter als Schauspielerin mit einer Gehbehinderung. Nach dem Abitur zog sie nach London, arbeitete an Theatern aus nächster Nähe des Westends und sprach dort auch für ihre jetzige Schule vor: Die New York Film Academy. Die sprach ihr Mut zu: “Du hast so viel Energie, sie können dir Rollen auf den Leib schreiben.” Es folgte eine Zusage. Die Studiengebühren hat sie durch Crowdfunding 2017 mit der Aktion #NYCoco finanziert, die sie nach New York brachte und den Weg zu ihrem Abschluss ebnete, den sie gerade am Schwestercampus der Schule in Los Angeles anstrebt. Über 40.000 Dollar sind dafür bisher zusammengekommen. Ihr Ziel: #ActingChange. Sie spielt für Wandel, sodass sich jeder im Rampenlicht sieht — Menschen mit und ohne Behinderung. In dieser Folge geht es noch einmal um die interkulturen Erfahrungen von Coco. Sie spricht über ihr Erfahrungen in London, Los Angeles und New York. LINKS: Das Buch, über das wir gesprochen haben: https://www.amazon.com/Choose-Yourself-James-Altucher/dp/1490313370/ref=asc_df_1490313370/?tag=hyprod-20&linkCode=df0&hvadid=312407247347&hvpos=1o1&hvnetw=g&hvrand=12574344735367170331&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9031194&hvtargid=aud-466360936450:pla-333471392348&psc=1 Auf Cocos Website können Sie sie auch unterstützen und weitere Infos finden: www.cocodebruycker.com
Sam has a new segment in lieu of content and Tyler enjoys Lethal Weapon. Government shutdown Beer label missing info Flagships down? Grapefruit Blowjob
In this episode, we pay respect to the late, great literary icon V.S. Naipaul, mention actress Ruby Rose's sudden departure from Twitter and the recently-released HBO TV series "Random Acts of Flyness", and discuss Season 1 of the superhero series "Cloak and Dagger", the dark comedy/thriller "Thoroughbreds", the controversial "Best Picture Film" Academy Award category and the ridiculously absurd closer to the summer blockbuster season: "The Meg". TIMESTAMPS 02:43 - R.I.P. V.S. Naipaul 07:52 - Ruby Rose leaves Twitter 13:15 - Random Acts of Flyness (Season 1 THUS FAR) 17:44 - Cloak and Dagger (Season 1) 43:06 - Thoroughbreds 1:01:51 - Best Popular Film Academy Award 1:22:38 - The Meg BACKING TRACKS: Day Break (feat. Fushou.) - leaf beach BUY THE ALBUM HERE: https://levfbevch.bandcamp.com/album/arrival The Outcast - The Drumlord BUY THE ALBUM HERE: https://bluntshelter.bandcamp.com/album/sons-of-the-city
Website: IWForum Welcome to the second instalment of our special podcast series with IWF, the International Women's Forum. Our guest this week is Ann Medina, an Emmy Award winning broadcast journalist, in fact one of the world's most highly respected and renowned journalists, and an expert advisor in communications and technology. She began her TV career in Chicago, becoming a network producer at NBC, before moving to Canada, where she worked for the Canadian Broadcast Corporation. She then joined The Journal, and became its senior foreign correspondent, focusing on stories in the Middle East in particular. She was actually the Beirut Bureau's chief for CBC's The National during that really critical period in '83 and '84. She's moderated election debates, she was President of the Canadian TV and Film Academy. The list goes on and on. This is a really insightful and engaging podcast, and a challenging one at times too. We're going to pick up the Me Too and Time's Up conversation. We're going to focus on the lessons learned from time on the ground in war zones covering significant conflict. We're going to unpack the art of effective communication. We're going to talk about the importance of being open and not thinking that you know. Enjoy. Click here to read the transcript See omnystudio.com/listener for privacy information.
Thanks to Shari's Berries for sponsoring this episode. Visit http://berries.com and use promo code: KFMS Greg and Nick talk about Avengers, TJ Miller, Bill Cosby, and Tim. Time Stamps - -Box Office: Avengers infinity War crossing $1b in record time (22:42 mins) -Ryan Reynolds confirms TJ Miller will not return for X-Force (27:44 mins) -Film Academy expels Bill Cosby and Roman Ponalski from membership (32:45 mins) Thanks to https://Twitter.com/kumailh for our timestamps!
Celebrate the biggest night of the year with The 5th Annual Four Seasons of Film Academy Awards. Written, Directed, and Hosted by Crap Night’s Andydrogynous, with awards in EVERY CATEGORY including Best Picture, featuring appearances by Nathan Robert Blackburn, Scotty Brown, and Dr. Jules V. Tune in for all of the action! Plus, The Drodge performs a medley of the nominations for Best Original Song. Be a part of history in the making for the 5th Annual Four Seasons of Film Academy Awards. This episode is sponsored by Philz Coffee.
Spectrum 360 educator, David Di Ianni, has founded a youth media program for learners with Autism Spectrum Disorder. With help from former student, Vincent Lissandrello, now a budding media professional himself, the pair are spreading the tools and know-how to shoot and edit video among a population in need of every tool possible that might help them express themselves and make meaning of their world.In this episode, Marc tours the Spectrum 360 upper school before sitting down with David and Vincent to learn more about the program. Learn more about the benefits of youth media programming for learners on the spectrum beyond storytelling itself, and hear how one school makes it all work.If you like this episode, subscribe to No Such Thing on iTunes, Stitcher, and Google Play. If it's not available on your favorite player, let me know through our shownotes site, nosuchthingpodcast[dot]org. Already a subscriber? Please rate and review us, and tweet the showpage--https://shows.pippa.io/nosuchthing--to your network with #nosuchthingpodcast. See acast.com/privacy for privacy and opt-out information.
Phil returns to talk Paul Thomas Anderson’s Phantom Thread, featuring Daniel Day-Lewis’ potential last film role, and also gives his opinion on Alexander Payne’s Downsizing. What We’ve Been Watching makes a smashing comeback with Nancy Myers’ The Intern and Michael Keaton in The Founder, while Phil diverts Laurie & the listeners with his own personal … Continue reading Phantom Thread, The Founder, The Intern & Your Film Academy →
Hey kids! Thanks for stopping by. This week we have what might be the greatest episode of The TRU RPT of ALL THE TIMES~! The 2nd Annual IseeRobots Radio Film Academy Summer Movie Awards where we celebrate all the fantastic movies that come out this, the most wonderful time of the year for films..Summer. As our way of honoring all of the fine filmmakers who honored us with fine Summer Films tonight on the show we'll be giving awards out in 5 categories. Best Summer Comedy, Best Summer Horror Film, Best Supporting Actor, Best Actor and Best Summer Movie. Joining us live, via satellite are a few luminaries from the pod-casting universe, my good friends. Vic Sage and The Projectionist from The Saturday Frights Podcast, Zerb from Zerbinator Land and Ferg Ferguson from The Atari 2600 Game By Game Podcast, Gino Vega from Here on IseeRobots Radio as well as Carlos from Geekfest Rants! It's an all star cast and I was so happy to have their help and you, my dudes will be super happy to hear them! They all came correct and helped to make this a must listen to episode. It's a great show like always, Make sure to tell a friend and make sure to stop by SupportTheReport.com and check out how you can get the ISR Supertape VHS Tape! It's totally worth it! Just do it already! Also hop on over to VirtualDirtmall.com The ISR Superstore and take care of some of your Retro Junk Shopping needs while also supporting The Toys R Us Report.
Celebrate the biggest night of the year with everyone from the Four Seasons of Film podcast. Written, Directed, and Hosted by Crap Night’s Andydrogynous, with awards in EVERY CATEGORY including Best Picture and appearances by Nathan Robert Blackburn and Scotty Brown. Tune in for all the action! Plus, LIVE musical performances, comedy(?), celebrity gossip, and more. Be a part of history in the making for the 4th Annual Four Seasons of Film Academy Awards. This episode is sponsored by Philz Coffee.
Georgia Film Academy's Dan Kelly talks about the aims of the academy, how they've been implementing their systems in schools statewide, and tells us about his own career aspirations!
Celebrate the biggest night of the year with everyone from the Four Seasons of Film podcast. Hosted and written by Crap Night’s Andydrogynous, with awards in EVERY CATEGORY including Best Picture, with appearances by host Nathan Robert Blackburn, Scotty Brown, and Film Psychologist Dr. Jules V. Tune in for all the action! Plus, LIVE musical performances, comedy(?), celebrity gossip, and more. Be a part of history in the making for the 3rd Annual Four Seasons of Film Academy Awards. This episode is sponsored by Philz Coffee.
(Aired Feb 8, 2016) VLOG.com, Film.academy, 888733.com, QUIK.com - Get into the minds of the Sherpas with the DomainSherpa Review! In this show: The Sherpas share their recent purchases; An new investor's portfolio is reviewed and appraised; Domain names going to auction at NameJet are valued; the "Name That Price" game gets some surprising results.
Listen to with David Verbeek and actor Gregoire Colin talk about their new film Full Contact, our disconnect from reality, how silence can be instructive and PTSD.Film SynopsisTrailer hereIMDBA drone operator tries to deal with his guilt after an air strike gone wrong, in this enigmatic drama from Dutch director David Verbeek.The hypnotic new psychological thriller from director David Verbeek is a startling and extremely unsettling look at a modern man caught in a puzzle that may or may not be of his own making. Verbeek presents the audience with a veritable Rubik’s Cube of a movie that is destined to be the subject of much analysis due to its form of storytelling. Each viewer’s response is bound to be different.Full Contact drills into the world — and deep into the psyche — of a drone navigator who, from his base in the Nevada desert, conducts surgical missile strikes against targets in Afghanistan and Pakistan. Maintaining a distance from his targets that is psychological as well as geographic, Ivan (Grégoire Colin) walks away from these daily missions and spends his off-hours in strip clubs. Until, one day, he hits the wrong location, triggering within him a wave of guilt that sends him reeling into the arms of both a military psychologist and a Vegas stripper. But this is just the start of a psychic odyssey that is unpredictable, moving, and illuminating.There’s a force and authority to Full Contact: it’s wonderfully constructed, with vivid photography and impressive, Lynchian transitions that provoke new trains of thought. The filmmaker’s control is of the essence here. Verbeek captures the robotic, depersonalized behaviour of a man who kills people from the safety of a control centre 12,000 kilometres away, which is a challenge in itself. To deconstruct that character’s personality is an even bigger challenge, and Ivan’s mind, his very existence, is brilliantly broken down for us to reassemble in our interpretations. This is an ingenious, provocative work.BiographyGraduated in Directing from Amsterdam’s Film Academy, in 2005. During his second year there, he directed the feature film Beat with a budget of only 500 euro’s. It was selected for the International Film Festival Rotterdam, as well being released on DVD and nationwide in theatres. The following year, he was asked to direct a television film for the VPRO, resulting in the critically acclaimed Yu-Lan.After graduating he left for China, returning three years later with his second feature film Shanghai Trance; a cinematic portrait of Shanghai that depicts a generation of young Chinese, bedazzled by a city that is changing faster than they can grow up. The film was selected for the Tiger Award Competition at the International Film Festival Rotterdam as well as numerous international festivals. It was released in China in over 250 cinemas and in late 2008, David made the front page of the Volkskrant newspaper for being the first Dutch director to achieve this.He shot third feature film in Taiwan, a Dutch/French/co-production. “r u There” is a multi-dimensional experience that comprises 20% Second Life images. It is an exploration of the virtual world in which the younger generation is so deeply immersed. The film got selected to Un Certain Regard in Cannes. See acast.com/privacy for privacy and opt-out information.
INDIE FILM ACADEMY FOUNDER, JASON BUFF ON THE FILM TROOPER PODCAST In this episode, I interview Indie Film Academy founder, Jason Buff and get his perspective on the state of independent film as he’s interviewed several prominent players in the industry today. Get more from Jason Buff over at Indie Film Academy: http://www.indiefilmacademy.com/ Don’t go… The post 074: Indie Film Academy Perspective with Jason Buff appeared first on Film Trooper.
INDIE FILM ACADEMY FOUNDER, JASON BUFF ON THE FILM TROOPER PODCAST In this episode, I interview Indie Film Academy founder, Jason Buff and get his perspective on the state of independent film as he’s interviewed several prominent players in the industry today. Get more from Jason Buff over at Indie Film Academy: http://www.indiefilmacademy.com/ Don’t go…
We speak with the Greek partners of the 2015 EFA Young Audience Award. The post Giorgos Pyrpasopoulos – Hellenic Film Academy #YAA2015 appeared first on Fred Film Radio.
We speak with the Greek partners of the 2015 EFA Young Audience Award. The post Giorgos Pyrpasopoulos – Hellenic Film Academy #YAA2015 appeared first on Fred Film Radio.
We speak with the Greek partners of the 2015 EFA Young Audience Award. The post Giorgos Pyrpasopoulos – Hellenic Film Academy #YAA2015 appeared first on Fred Film Radio.
We speak with the Greek partners of the 2015 EFA Young Audience Award. The post Giorgos Pyrpasopoulos – Hellenic Film Academy #YAA2015 appeared first on Fred Film Radio.
We speak with the Greek partners of the 2015 EFA Young Audience Award. The post Giorgos Pyrpasopoulos – Hellenic Film Academy #YAA2015 appeared first on Fred Film Radio.
We speak with the Greek partners of the 2015 EFA Young Audience Award. The post Giorgos Pyrpasopoulos – Hellenic Film Academy #YAA2015 appeared first on Fred Film Radio.
Celebrate the biggest night of the year with everyone from the Four Seasons of Film podcast. Hosted and written by Andydrogynous, with over 18 categories including Best Picture, Best Independent Film, Best Comedy, and Best Crap Night, with special guests Dr. Jules V and film correspondent Josh Bell. Plus, musical performances, live comedy, celebrity acceptance speeches and shocking upsets. Be a part of history in the making for the 2nd Annual Four Seasons of Film Academy Awards. This episode is sponsored by Philz Coffee.
JONATHAN KRANE, PRODUCERListen at: http://indieville.net/podcasts/DS_20016mp3.mp3This new film school, Krane Academy, will teach aspiring professionals 'The New Art and Science of Filmmaking'. Not just another film school, but a truly unique educational and experiential opportunity. 17MB (18 min)Visit Indieville for more indie news!
Discuss this episode in the Muse community Follow @MuseAppHQ on Twitter Show notes 00:00:00 - Speaker 1: Also, in your field that you say, OK, I need this programmer with this designer and together with them and the right vision, we can build something. I think it’s very similar with film production. We all work at the end of what’s possible, and we want to go beyond. 00:00:23 - Speaker 2: Hello and welcome to Meta Muse. Muse is a tool for thought on iPad, but this podcast isn’t about Muse the product, it’s about Muse the company and the small team behind it. My name is Adam Wiggins. I’m here with my colleague Mark McGranaghan. Hey, Adam. And joined today by Maximilian Becht of Cosmovision. 00:00:41 - Speaker 1: Hi Adam. Nice to meet you. 00:00:43 - Speaker 2: And Max, I know you just got back from a pretty intense film shoot. Tell me about that. 00:00:47 - Speaker 1: Yeah, I’m just back in Berlin. I was shooting for 30 shooting days. That’s like a little bit more days all around it because we had 6 weeks of prep and 6 weeks of shooting and now 2 weeks of. Post production for my production team. I was a production manager, shooting theatrical movie in southern Germany and this was my rough summer and yeah, I’m looking forward to be back in Berlin and have a good conversation with you today. 00:01:20 - Speaker 2: Yeah, the intensity of these shooting schedules. I used to live in Los Angeles, and had a lot of friends that were in Hollywood, and I think sometimes it’s nice to have sort of an intense work period, but then maybe a longer break in between, but it often was quite surprising to me. Puts even the intense work schedules of Silicon Valley, gives it a run for its money, you might say. 00:01:41 - Speaker 1: Yeah. I think for the last weeks, my workdays had around 12 to 15 hours and the weekends were not really weekends. So it’s like a vacation camp. This filming feels sometimes like this sprint. Maybe you can compare it to the tech industry when you really have this one project, this one program you want to finish and you really give every effort and After it, you feel it drops sometimes in like an emotional hole because you’re way, there’s something missing. I have to be working right now, not, so you were always wondering, oh yeah, what’s happening. 00:02:20 - Speaker 2: Actually I have very strong memories of my first experience of exactly that drop, which was in the video game industry at the beginning of my career. And we were just working these, yeah, basically every waking moment for weeks on an E3 demo, so E3 was the big conference, you gotta have a great demo, and I remember when we finally, well, we shipped it because E3 happened, so there was no more time. After that, I just didn’t know what to do with myself for a day. I couldn’t remember what my life was like when it wasn’t just nonstop working, not a great place to be. But in a way, it had its moments, maybe because I was sort of young and had no other responsibilities in my life. 00:02:57 - Speaker 1: Yeah, I’m always reflecting on that part, whether how much energy and, yeah, you put into your work. And with film, it’s always because it’s a passion thing for most of the people I know, that way it’s hard to divide it strictly between your personal life and your professional life because you always do it out of a passion, out of the lust to really create awesome images, awesome films. 00:03:25 - Speaker 2: Yeah, definitely a problem we have in the software world as well. So Max, you’re a video producer or a film producer, I don’t know exactly how you title yourself, but tell us a little bit about your background, how you got into this field. 00:03:37 - Speaker 1: Yeah, I’m a film producer. I would specify it more as a creative producer because I like to create a content and develop content together with someone, but also have the production side in my head to know how to finance a product, how to organize the product, and how to really finish it in the end. But the part at the beginning where you develop a story where you imagine ideas, where you Look for a concept that’s the part I like most about filmmaking. I, after my A Levels, I had some years of internships with production companies and working on sets as a runner, set runner, you are on a film set and see that all the infrastructure is working well. You run from the set to the base to get a cable or something or to grab a coffee for some important person. But that way you learn the infrastructure, the how film work, how every department has its purpose on the set. And then I applied for film university in southern Germany at Film Academy, uh, Baden Wittenberg. It’s a very renowned film school and yeah, I studied 5 years of film there. I produced several short films, mid-length films. With different formats like starting with uh fiction, also documentary, but also I got glimpses into animation, visual effects, and interactive storytelling. And now I’m back in Berlin and I have my own company, my own office, and I work as a freelance producer for other companies, but also try to develop my own stories together with writers, directors, and I offer my services to companies who needs a sparing partner to produce and develop content. 00:05:40 - Speaker 2: And I’ll link folks to your portfolio, there’s quite a diversity, as you said, there’s, including these short fiction films, you could say maybe high concept or things that maybe submit to film festivals, that sort of thing, very artistic, maybe those are more labors of love, and then you also have things that are maybe more commercial in nature, so there’s quite a variety, although my feeling and maybe part of why I was drawn to it and we’ll talk soon about how it is that we came to work together, but it seemed like a lot of your work, whether it’s maybe fiction isn’t quite the right word, but a story versus documentary, it seemed like you really focused on the people, the characters, showing their lives, their environments. It feels like that’s a, it’s quite a theme, but at least I saw that across your portfolio, but. 00:06:26 - Speaker 1: Yeah, always people ask what kind of films you like to do, but this question is hard for me to answer because there’s no genre I would like to be in or just one field, like I’m just a commercial producer or I just do documentaries or nature films. My engine for motivation for filmmaking is always the story and what is behind it. Like, for me, a story has to make sense, has to have an impact and has to be of a topic I find of relevance. So there has to be some kind of political or I would say, the value which a film contributes or puts to the screen that has something I share. And at the same time, film can be an experimental way of pushing boundaries in fields you also find interesting or getting into topics you don’t know anything about, but you want to learn more about. So I give one example. For example, I am producing a documentary about prison television station in a German high security prison. So I don’t know anything about prison. I’m lucky to not have been in one yet, but I was really curious how criminals Live in German high security prisons and how is their view on media and how do they consume media and what it would be if they produce an on television channel. So, this changed my perspective. on how we in a society want to handle people who don’t follow the laws. And if you have been in a prison, you know what it’s like to be in there. So that’s a reflection I find very valuable for me. 00:08:19 - Speaker 2: So our topic today is filmmaking, perhaps obviously, and there’s two reasons for this. It might seem like a bit of a non sequitur compared to our usual world of product design and having ideas and so on, but There’s 2 layers here, 2 reasons to talk about this today. One is I’m really interested in the creative process. Generally, I read a book some years back called Making Movies. I’ll link that in the show notes. I’ve even mentioned here before maybe, and I was really struck by how much similarity there is, not on the practical level of what you do in terms of how films are made. Shooting and getting actors together and things versus writing code, but that there’s a lot of similarities between making great software products and making films, where they have this pragmatic aspect as well as this artistic aspect as well as this team aspect. And so I thought it would be really interesting to dig into the creative process there and find those parallels. But the other reason is that we are doing a little experimental, let’s say a little launch of a small film project. That you and I worked together on Max along with a couple other folks on our film crew, to create a sort of mini documentary series about the creative process. So, just to briefly speak to that, that’s called Create. And I’ll link the launch memo, as well as the pilot episode here, and you can read all about why we wanted to do that, why we think that’s really relevant to Muse and our mission, but I thought it would be great to talk a little bit about the experience of working together on that and how we ended up at this final result. 00:09:53 - Speaker 1: Yeah, I was kind of surprised to be contacted by you because you’re an American company and I’m here. Upcoming film producer, I just finished my study two years ago and building up my portfolio and I was not actively reaching out to people, but I’m open for, because I’m always also busy with other projects, but I find your reaching out to me very interesting because your product was something very cool because I use productivity apps myself as well and I’m not an iPad user, so I didn’t know Muse, but as I think I got a, a fast idea what it was about, and I was thinking to myself, OK, what kind of content would you want or need? Did you want something animated to like show what your app can do best? And I was Very happy to see that you wanted something bigger or wider than that. So that stands more for the core values or ask the question about what Muse stands for and how does branded content work? Because I share the idea that a good commercial is not always showing all the benefit of a specific product, but to Show what it stands for or what the idea is behind it. And I thought it was very powerful to search for creatives and people who have very unique ways of working and their own way of productivity and where do they have their source of, yeah, structure of energy, of creativity. 00:11:47 - Speaker 2: So it’s just a tad more context. I think what we wanted to do here, you mentioned the term branded content, which I think is kind of a film concept that I guess there’s what you would call traditional commercials, and so those are usually sleekly made, they’re usually 30 seconds, and they show, maybe there’s something clever or funny, but they show really directly. Here’s this product, it exists, here’s why you might want it, you know, linked to a place you can download it or buy it or whatever, and those are fine. Certainly for the Muse brand generally, but also for me personally, I saw a more interesting opportunity, or at least for me more compelling than a classic advertisement was instead to take what we had learned through interviewing with really hundreds of creative professionals in our research lab days and now thousands that we’ve interacted with, maybe tens of thousands through our support channels and try to tell their stories. Cause it really struck me that, I mean, use exists because of this research that we did, of going to people who make things, create, call them knowledge workers, I usually go with creative professionals, but think people who make things and inspiring things to me, and try to understand how they work, and in particular, we, we narrowed in on the ideation process, that early stage is something that’s not really well supported by computers, and this is why Muse exists. And so the contents of those interviews, those early interviews are things that are all now essentially baked into the product, all the insights we got from those interviews. But as I speak to people individually and feel inspired by that, again, now just kind of through supporting our product naturally, but even if I flip back through the old interviews and review them, and I think there’s some amazing stories here and some amazing creators, what’s another way that we can share that stuff and film seemed like the right media for that. 00:13:38 - Speaker 1: Yeah, I think we are also still on the journey with the product because at the beginning, we said, OK, let’s talk to one or two people and we find the right one and we’ll do one shooting day and then we have our product. Then on the way, we saw that we have to meet so much more people, have to prepare, like we have to get to know them a lot better before really deciding on. They are the protagonists for our shooting day because we have just one shooting day. That’s a budget wise restriction or also, I think for this format, 5 minutes, 1 shooting day should be enough. And we have to kind of know the script before we shoot. So the script and a documentary portrait may seem kind of OK. This does not make sense, but It makes sense in a way that we need to know before what kind of facets of a specific person we want to show, because I think everyone has so much interesting stuff to tell, but for us and for this product, we need to condense it and also we need to find visually compelling situations that are not just someone sitting in his flat and talking to the camera, but also doing something and That with, I think a lot of your users are not people who build something with their hands, but also are programmers and people who have very static work environments, but they have also sites in their lives which are visually interesting if they do sports to clean out their head or something like that. So we had to find that with the protagonists. 00:15:26 - Speaker 2: Yes, so for me it was surprising that how much of your time, and particularly how much of the director, that’s Marcus Hannaish, how much of his time, and the cameraman, how much of their time was this, I guess, scoping locations to shoot, they would have things that were visually interesting, so that we can better relevant to the story that we want to tell. So, clearly you got these protagonists, as we’re calling the subject of the film, they do inspiring work and you see that in the end result, but how they do that work doesn’t, I don’t know, if you’re filming athletes, for example, that’s a naturally very dynamic thing, or they’re out in nature or whatever, so how do we make visually interesting film out of this, and that was a big part of the film based or the visual storytelling that for me was totally new. 00:16:16 - Speaker 1: Yeah, I think this is a good bridge to tell something about, because I’m the producer of this product, but this film was made with a lot of effort of Marcus, the director, and Jasper, the cameraman. And we also had more with our sound designer and music composer. So I wanted maybe to share something about how this team came together because my process from starting at the beginning was to propose several directors to you because I thought it would be interesting to get Different ways of thinking how this format could work. So I looked in my bubble kind of what are the directors I know or I heard of which are interesting. 00:16:59 - Speaker 2: In the tech world we’d say your network. 00:17:00 - Speaker 1: Yeah, in my network. I just didn’t find the word but yeah network bubble, yeah, and I contacted them and I pitched the idea and then I wanted them to not know everything about our product, but to come up with something, a visual world, storytelling, a kind of a style. Even if it’s kind of similar, every director has its style and he has work he can show which reflects the style, but he also can look for skills for images which could go in the direction of what we want to produce and You liked what Marcus was doing and that was a very good coincidence for me because I worked with him before on a short film and also with the cameraman. So we were a good team already because that’s also a very big thing in film industry is the creative trust. That we know how the other works and what the other needs for his work, how much time and how much feedback and how much input a director and a cameraman need and how a producer can work with them. It’s always new to find out and every relationship is so different, but this was very good for me and I think for the product that we already knew each other and knew how to Work together. 00:18:25 - Speaker 2: Creative trust is absolutely something that’s necessary in making great software products as well. I mean, I think part of why certainly Mark and I are working together on this venture as well as Julia. We had all worked together before, we know we work well together and when we had a new product we wanted to pursue through a new venture, you could say we de-risked, but you’re just excited to work again with someone that you know you have that working chemistry with. One interesting piece of the story here as well is it should be noted that of course we’re not a venture funded startup with a lot of money to spend on some kind of slick production, so we were looking for something we could really do on a shoestring budget, and I had kind of assumed we’d be able to, or what I was looking for actually when I went searching was someone who was kind of all in one, right? Someone who could film and produce and do the software editing and I don’t know, we could talk about some of the software tools after effects and That sort of thing if we want, but that exists now, particularly with the YouTube world of things. There are people who are all in one, and of course, if you’re a generalist, you can’t be great at each individual thing, but you can make something pretty solid. And you, when I approached you and said, I like your work, and you pitched me on, look, we can get a crew, probably helps a lot that we’re here in Berlin, which increasingly does have a pretty impressive film scene, I think a lot of things like Queen’s Gambit was shot here, a lot of other Netflix films, some of the Apple stuff like the foundation series. was shot here, but also probably in general, just wages overall are sort of a bit lower than they would be in, I don’t know, let’s say California. And so all of that means that probably we can shoot. More cheaply than we would in other places. But you convinced me, look, I think you’ll be better off with the crew. I can get a crew together, we shoot it in one day, we can do it on a budget that’s within reach for us, and the quality and the professionalism and just the power of the story you can tell will be much better, and I was compelled by that, which is why we went forward with that. 00:20:19 - Speaker 1: Yeah, I think a big strength of mine is when I can tell it like that, that I have worked in so many different fields of work from a documentary style, really a one or two film team to a big set of up to 100 people. And each product in the end was good, but you have to find out what is necessary and what it means. And I think there’s a difference between the One guy who films, does the concept, edits, of course, he can do with a budget of something. For him, it’s so much more, but he does not have the reflection with someone else to really come up with a high concept and a high visual concept. And if you put together director and cameraman, even those two people, they work and discuss a visual style for this product. And if you put in A sound designer and music composer, you have someone really taking care of the sound level, which often is falling under the table. But for me, it was pretty clear, OK, we need someone like that to, because we have a small production crew, the sound will be kind of rough, recorded. We need someone who cleans it at the end and to just a little bit of sound design, mixing and composing. So we have audio that you really Like and which has a production value in the end. Film is doing art. Also, if it’s for a company or like for a brand, it still is an artistic way of working and of course, you could have find someone who really sees it as just the product, but for me, even so, it’s always searching for an artistic, unique piece and not something. Which repeats something already, which already exists. I like to really create and that’s also the title of this, create something new, which each piece I do produce and collaborate with others. 00:22:25 - Speaker 3: Yeah, and I think this idea of creative energy is really important, and it’s one of the reasons I was so excited about this series. We’ve talked on this podcast before about how creative or entrepreneurial act is so unnatural, and you really need some impetus and reason to do it. And obviously, you’re discussing how that’s the case for you, even for a project like this. But also with the series, my hope is that it causes a sort of creative contagion, where when you see someone Doing beautiful, inspirational work, you are more inclined to do it yourself. And I think we are sometimes reluctant to admit how big of a factor that is. And you can see this in practice because there are these huge creative clusters like San Francisco and Berlin, where if you are there, or increasingly the equivalent virtual ones, you’re just much more likely to be doing that sort of creative work. So I’m hoping we can get some of that contagion going with the series. 00:23:17 - Speaker 1: What really was a discovery for me, producing or researching the protagonist, we were sometimes going in the direction, OK, let’s search for the most renowned or most famous artist or programmer or whatever person we know, which could be an interesting protagonist. But on the way, we also thought, OK, let’s search for the more regular guy or regular women and We talked to so many different people and everyone seemed like kind of a small superhero when we got to know them. Even if they are not well known, they are at the beginning of their professional career, they are a freelancer, just earning their money by doing their job, but also they have such unique And interesting styles and way of working and how to re-energize themselves in their private life and how to balance themselves. These are also important questions for my own life because work-life balance always problematic in the film industry, but Besides that, I was just so compelled by what these people said, so that I thought, this is kind of the gold piece. If we can, in the series, get something to really get to know the guy or the women around the corner and search for their unique magic in their work. What’s so unique about their work and how they do it. And each episode shows a little different side, a little different angle of someone’s work. And that adds something to your own view on your own work and on your collaboration with your colleagues. And that would be something I would really love to achieve with a series like that. 00:25:12 - Speaker 3: This is one of the reasons why I love the maker biography genre, which is a term that at least Adam and I have given to these studies of individual creative lives, because when you look at an individual life, and you look not just at their eventual accomplishments and triumphs, but the whole process, it’s this incredible fractal, detailed, ultimately beautiful thing where there’s all these, you know, struggles and you know syncrasies and weird ups and downs and weird habits and stuff and That’s something you can only get if you look at an individual life. If you zoom out to all people who, you know, paint stuff, what are you gonna say, oh, you know, they study colors and they put stuff on a canvas and some of it’s good, you know, but if you look at the individual, you learn about their studio and their upbringing and how they got inspired and their individual subjects, it’s so rich. So I’m a big fan of this genre. 00:25:58 - Speaker 2: Yeah, Mark, I think you coined the term, or at least as far as I know, the Maker biography, but maybe it was when we were speaking about that I kind of had discovered this what felt like a genre of book, but I guess it’s just biographies about people who start companies or do science or make art, and it’s really not just about seeing that final piece that final result of their work, which you may already know if they are someone famous, but actually the process how they get there. So for example, I read a biography of Charles Darwin. Recently that kind of talked about his, you know, life journey. I’ve read a lot of famous scientists biographies, but there’s also entrepreneurs and product creators, so there’s something like there’s an autobiography by the Pixar founder and CEO, super interesting story there, or there’s a biography of Ruth Handler, who started Mattel, and basically invented the Barbie, has a really interesting entrepreneurial life and journey. So there’s a number of these, but to me it’s the behind the scenes. It’s the struggles they went through, the false starts, the uncertainty that they experienced along the way. It’s that journey, and that is so inspiring to me because I’ve been through that journey, obviously not on the scale of success of those folks I just mentioned, but they’re similar, right? And that’s part of what we’re hoping to get in this series is. You watch each of these individual ones and even if these folks do very different work from whatever your particular discipline is, you see something similar in their journey or as much of it as we can show in the 4 minutes or so we have budget to film. 00:27:33 - Speaker 1: What I would be curious because we kind of also want to find the similarities or differences between filmmaking and the tech industry and your software programming. I think a lot of your work is also to reflect the product and ask the people how do they find it, how you can make it better and You really always updated your product and with the film, it’s always or mostly a finished product and then you get the feedback. Sometimes you have the money and the effort to get a test screening and of course you have feedback loops before, but if we would proceed this series, I would very much be interested in what the viewers say about it and what would be protagonists or Jobs or what kind of fields of work people would like to dive into or what kind of facet they really love and what not to really like put these way of work from your field a little bit more into the filmmaking world and because that was really interesting in the The way you worked with me, it was so different with how I worked with clients or with, like, sometimes the client is more the director or other producer and you are the production team. And I really love to experience a different style of collaboration, always so easily technical, organized and very much on point and very structured. It’s something I really sometimes miss in my everyday work and talks and discussions, which sometimes get out of hand and never ends, you know. 00:29:20 - Speaker 3: It’s interesting that you have this inspiration from how software is built and technology firms operated. I think Adam and I have drawn a lot of inspiration from how film is produced. So typically with software, you would have a big standing firm that has a bunch of full-time staff who are hired for 2 to 4 years or whatever, and those people would build a series of products, and that’s one way you can do things, but I’ve always been fascinated by what Adam is termed the Hollywood model, which is you have these loose networks of people who each other to varying degrees because they’ve worked on projects together in the past. And then when you have a new project to work on, you bring together a team just in time around that particular product, and you work on it for some weeks or months, and then the team disbands, and you have some stronger or weaker connections based on that, but you will reform with different people for subsequent projects. And I’ve always thought that that’s a very interesting model to play with in the software world, and Adam in fact did some of that with the lab, but you can think of it more generally as a sort of continuum where on the one hand you have the fully salaried standing firm where people are there forever, and the other hand you have like whatever these gig sites are, where you hire people to do one hour of work, and playing with that continuum, you get different trade-offs, and I think it’d be worth people on software learning more from how the film industry operates more dynamically in terms of staffing. And also, by the way, in terms of hiring, the way you hire in film, as I understand it, is it’s based on your portfolio and then an audition or equivalent, right? Whereas the way typically you’re hired in tech is based on your resume. Can you imagine hiring someone for your film project based on like, I don’t know, where they went to school or something, it doesn’t make any sense. You would look at their portfolio and then you have them do an audition. And again, I think that’s something that we can and should learn from in software. 00:31:09 - Speaker 2: I’ll just add on to that that, you know, we mentioned the networks earlier and you see this often if you look at the film credits or even more dramatically famous directors like ah Christopher Nolan or something, you know, they often have many of the same actors will show up in subsequent films, even though those films don’t have anything to do with each other in the sense that they’re not sequels or part of the same. Cinematic universe, but that director likes to work with this actor, and you see that also if you go and look at the credits, you see they’ll often have the same camera people and producers and costume and lighting people because again they have that network, those people they’ve worked with in the past that they know they have a good relationship with, or they think this person would be great, you know, I know this camera person is really good at the kind of wide angle shots that I need for this film, so I’m going to call them in on this. And so you get these loose networks, but it’s not the, I’m signing a contract to be full time and work nowhere else at this one firm for the next 4 years, 10 years longer. It’s a very different model. 00:32:11 - Speaker 3: And by the way, I think it’s not just different or interesting cause it’s unique. I think you could argue it’s empirically more successful. So let’s go back to the world of software engineering management. You see people say, oh, you know, it’s a super creative project, it’s very risky, it involves all these different functions and by the way, a bunch of these people are total personalities, you can’t manage them. There’s no way you could bring together 5 or 10 people to build such a thing with any amount of certainty or predictability. But then you look at movies and they have these $100 million dollar things involving thousands of people, hundreds of different disciplines all the time. There’s something that they figured out there about how to bring together these incredibly complex and creative endeavors with some amount of predictable success, not obviously not all movies work out, but they mostly all ship at least, and then a lot of them do work out, and that’s much more than we can say for even much more moderately scoped software projects. So again, I think there’s something to be learned there. 00:33:03 - Speaker 1: It’s really awesome to listen to you because it’s so much reflects on what I’ve been through the last month with my future project because there were a lot of individuals and amazing film will come out of it, but it’s always a struggle and it’s always a risk and you need someone or more people than one. To bundle them together because a lot of creative potential is also everyone goes in their direction. Everyone wants to get out everything they see and want, but you all have to put it in one pro, come back to product, but into one film. And usually it’s the director who makes that creative choice and the producer who makes the choice financially, organizationally with that, but also on a creative level and For me, I’m kind of the manager of a lot of creative and disruptive people and I have to keep them together so that a film will come out which works and that’s such a complex. Thing to do, but I think if you find out what are the people, the players I need to put together to really get a dynamic here with the product, also in your field that you say, OK, I need this programmer with this designer and Together with them and the right vision, we can build something. I think it’s very similar with film production. We all work at the end of what’s possible, and we want to go beyond, and you have to have a big understanding. Of the creative vision of everyone in your team to really know how I can handle those people and if you can, then you can really do an awesome film. Otherwise, it’s just a mediocre product and it will maybe work. And I would not say I’ve accomplished that fully, but I think that’s something if you really can do that, put the right people together with the right vision and know how to put them together and when to say something and when to go to script development, the very beginning of like a, a feature film, for example, or a pitch paper with a commercial project. It’s always the question, how much more rounds you need to go, how much further you can push it. And then you need to know the other person of how far I can push him or he can push me back with what he wants for his realization of something. 00:35:39 - Speaker 3: Yeah, well, I don’t want to pull too much into the industrial organization of film versus software, but one other point I’ll make here is that I do think another thing software can learn from this multidisciplinary person who’s responsible for pulling together and synthesizing and software you obviously have that with founders at new companies, that’s their job by default, but it’s often missing in larger firms where you have The product person and the engineering person, the design person, but there’s really no one who’s necessarily responsible for pulling it all together, and I think that ends up typically being a mistake. And one thing I like about the world of film is that there is that director and producer role, obviously in the biggest films, but even in the smallest 234 person operations, you still expect such a person to be that synthesizer, and I just think it’s really important. 00:36:25 - Speaker 2: Yeah, so that’s to compare to our little kind of miniature crew here, that’s the role you have Max. You’re the producer, your job is to make sure everything fits together, it works. There’s obviously nuts and bolts elements like can we do this on time and on budget and does everyone show up at the right time and all that sort of thing, the herding of cats, sometimes we call it in the software industry. Whereas Marcus, the director, he’s more about the visual style and maybe some of the creative elements, the camera person is focused on maybe some of the particular shots and particular visuals, but I certainly would say, I mean, you talked before about describing yourself as a creative producer. It is a very creative role because I think making all those pieces fit together holistically. The trains run on time, hurting the cat stuff is how you get there, but the end result, like you said, if it’s something magical that fits together really well, that conveys a strong story versus being a grab bag of everyone’s weird ideas that don’t. Fit together well, which is very easy to happen when you get together a bunch of creative, opinionated people that all have their own agenda, their own ideas, maybe very good ideas, but if those ideas don’t fit together in a way that makes sense or in a way that’s practical, you don’t get a good end result. 00:37:37 - Speaker 1: Yeah, I think we should not talk small the organizational part because I just experienced it with my last project where I was working a lot in the organizational side as a production manager. To be detailed and to really have everything there you need for the film set, sometimes 40 people wait because you don’t have a shovel and you are in the forest and you need the shovel to dig a hole and everyone is there, everyone is on time. The creative vision is there and everyone functions, but the shovel is not there and you are in the remote location in the forest and Everyone gets crazy. People drive from the set to the next store to buy it. People from the office drive to the next store to buy it at the end, they shot something without a shovel because they came up with a new idea. You know what I mean? To be detailed, to be on point is. Also very important in film production. You can’t be lazy or forget something because if you forget to record something, to do it in post is not the easy sentence to say. Some people joke about it and say, oh, let’s do it in post. We didn’t manage to do it here, but the people who have to do it in post, it’s crazy, much effort to do something in the post-production. You really missed by an easy thing on set, on shoot. So, I think it’s really also important for film industry to be very detailed and the groundwork needs to function. 00:39:10 - Speaker 2: Let me return to a point you were making earlier there, Max, about learning from kind of how the software world works and how we brought a little bit into the Create series, and this is actually a bit of a call to action for the listeners here. So in the software world, we typically do betas. And certainly the way the muse does it, I try to do it on every product I work on, which is whenever you make a new thing, a new feature, a new capability that you treat it as an experiment with kind of the default is the null hypothesis. People won’t want or need this feature, and you should just remove it. And the best way to do that. If it’s kind of a beta that is not part of the shipped product that people can opt into, they can try it and then you find out pretty quickly, is this something really useful that becomes a key part of someone’s workflow and then you can and should roll it into the finished product, or sometimes it turns out it falls a little flat and you decide to change it, or maybe even just cut it out in the beta, for example. So that’s a little bit what we’re trying to do with create. So you can think of this pilot episode here as kind of a beta. And we wanna put it out to our audience here. I hope everyone listening will go watch it, as well as read the memo about some of the motivations, and tell us, is this something you’d like to see more episodes of. And I certainly hope the answer is yes, because not only because it was enjoyable to make, but also I think the power of the series actually would come from seeing multiple types of creators and seeing the similarities, seeing the patterns across them. That’s what we get through our user research, we’ve spoken to so many of these folks, and so seeing that even if there’s a brand designer and an architect and a writer, that they share a lot in terms of how they at least come up with their ideas. So I’m hoping that we will be able to continue, but we want to get folks feedback so you can think of this first pilot as kind of an early beta, and basically you should watch it and send us your feedback, as well as help us find new protagonists. So, the way that we looked for subjects for the film was largely through our own networks a little bit, as well as trying to keep it local here, just so we could not need to send the film crew anywhere far away. But now that we have this first episode out and you can kind of see what we’re trying to do here, we’d like to put the call out to our audience to say, who do you know that would be awesome to profile here? And they could be a muse user, we’d like some of them to be, they don’t necessarily have to be, and maybe we’ll do a mix, but whatever it is, they should do something inspiring and interesting. Maybe there’s something interesting about their personal story, and as you said, you know, we spoke to a number of folks to be protagonists for this first pilot, and every one of them, as you said, in their own way, they’re the hero of their own story, and they were inspiring to speak to and see not only the work they create, but how they create it. So we’re looking forward to finding more folks like that and so the calls to action for the audience here is not just, should we continue this series, but who else should we feature. Well, before we wrap up, I always like to be a little future facing. So Max, if we do get the chance to work on more episodes of this series together, what did you learn, what did we learn together on the pilot that you think we would do a little differently for future episodes? 00:42:22 - Speaker 1: Thanks for asking and I really hope that we have the opportunity to do more episodes. In the beginning, when you come up with the idea or you come with the idea to me, I calculate it, I try to schedule it, I try to schedule the time of everyone and how we produce it and now I would do it in a different way to have more time with the research, maybe to even have a person or someone who dedicates itself if we do 5 or 10 more episodes, so we can meet 20 to 40 people which are already pre-selected. And to do the interviews we did, I think this is very important to have the preparation time and to have enough time and space to plan and produce the script for it. I think. Also, I would like to work more on a unique theme for like a musical sound design theme for this kind of series which you can recognize it too, but this also needs more time and, yeah, more energy to work on. And that would be two things I would say spontaneously that we would do differently. What about you? 00:43:41 - Speaker 2: For me, a big surprise was definitely how much the protagonist search, not just the initial kind of coming up with people we could speak to and having those initial conversations, but really the process of explaining to them what we wanted to do, trying to suss out what their story was, which of course is, you know, for a stranger, near stranger to them. Then they’re exposing things about their personal life and how they work and so forth, so that we can then evaluate what sort of narrative arc would come out of that, and so there was sort of a trust building process that we were going to make something interesting and worthwhile to spend their time, and so, yeah, all of that ended up taking quite a lot of time. We spoke to some really great people and got pretty far in the process with many of them, but yeah, surprising amount of the time and energy was spent on that, but in a way, you see how it pays off, right, with a documentary piece, you know, we’re well literally documenting the life and the work of someone, and so they’re finding the right subject, finding the right protagonist is huge, right? That’s the center of it. If you have someone great, that’s your Source material and from there you can build a good narrative and you can make it visually interesting and so on. And so really giving some good time to that. But I feel like we learned better how to do it through this process. If we were doing more episodes, we could do them in parallel. I think we just learned a lot of the process of how you build that relationship, find the story, and then build up to that filming day, which is really asking quite a lot of the person who’s being featured. 00:45:17 - Speaker 1: What I just thought of while you were talking is that the core strength of it is that it’s authentic, that, that’s real people, even if we try to condense what we want to tell about their life, about their work, it’s real and they didn’t rehearse it with us. So the time we spend with getting to know them is also a key element to the success of it later. So they trust us. They trust us coming in their life, showing their children, showing their workspace, showing their raw, unfinished work. I think to build that kind of trust with the protagonists is very important and I think with Katherine, our first protagonist, we got that far. She really opened up to us. She told about her past, she showed her kids, she really opened up and I think that’s important to keep for future episodes. 00:46:14 - Speaker 2: Yeah, very well said, and of course a huge thanks to Katherine for going out a limb on us a little bit, especially now at least we have a pilot episode, we could show future protagonists and they know sort of what they’re getting into, but she showed a lot of trust and spent a lot of time with us for something quite unknown, and yeah, absolutely, building that relationship, it’s a partnership between the protagonist, you and your film crew, and the Muse team and me who, you know, have something we want to express through this medium. 00:46:43 - Speaker 1: And I think the best case would be that the protagonist as an, I don’t know, artist and a programmer, I don’t know what kind of work he does, but gets something out of this video production as well, that he thinks he is portrayed well and he’s respected well and that he’s eager to show it to his friends or even put it on his website as, hey, that’s how I work and That would be the best case scenario. I don’t think we will achieve it with all protagonists, but that’s something I would really like that they are proud to share it and feel respected with it and their work is respectfully shown. 00:47:25 - Speaker 2: Well, let’s wrap it there. Thanks everyone for listening. If you have feedback, you can write us on Twitter at UAHQ or via email hello and Musapp.com. Help us out by leaving a review on Apple Podcasts, and Max, it was a real pleasure to work with you, get an inside view on how film was made, particularly for a person with prodigious talents such as yourself, and I very much hope we get the opportunity to continue the series and continue to document the lives of inspiring makers. 00:47:56 - Speaker 1: Thank you, Adam. Thank you, Mark.
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