Podcasts about film editor

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.Well, we have come to the end of 2025, and what a year it was for DC, as we celebrated our theme of World's Finest with many episodes dedicated to the Man of Steel.As big as 2025 was though, 2026 for DC is shaping up to be massive!  We couldn't think of a better way to close out 2025 than by looking ahead to 2026.  It's just Daniel and Kris in the Batcave today, as they break down many exciting projects for DC in 2026, as well as 2027.  You know we had to close it out with some of the Matt Reeves The Batman: Part II news.Aside from Batman, the bat crew break down what to expect with Supergirl, Lanterns, Clayface, and what's next for Superman in the 2027 announced sequel, Man of Tomorrow!Oh.  They also open the show giving their thoughts on that whole WB-Netflix news, as well as some of the Paramount developments in conjunction with this.  It does involve DC, after all.  We got to talk about it!Also, please keep in mind, this was recorded before the Supergirl and Lanterns trailers were dropped.And…at the end of the show, the duo TEASE next year's Batman by the Numbers theme!  You don't want to miss it!

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

Jim weighs in on a viral video Plus – Introducing Christmas Movie Madness GUESTS: Barry Hertz - Deputy Arts Editor and Film Editor for The Globe and Mail

Kann man Montage unterrichten? Kann man Intuition und Kreativität in einem Seminarraum weitergeben? Oder ist der Schneideraum ein mystischer Ort, dessen Gesetze man nur durch jahrelanges, einsames Schneiden erlernt? Diese Fragen sind so alt wie die Filmschulen selbst. Doch wenn jemand vom Schauspiel vor die Kamera stolpert, um dann dahinter seine wahre Berufung zu finden, lohnt es sich, genau zuzuhören. Heute geht es im „Credit to the Edit Podcast" um genau diesen Spagat zwischen Theorie und Praxis. Wir sprechen darüber, wie man Studierenden die Angst vor dem leeren Timeline-Fenster nimmt und warum das Drehbuch manchmal nur eine höfliche Empfehlung ist. Zu Gast ist der Filmeditor Kaya Inan, der nicht nur preisgekrönte Filme  montiert, sondern sein Wissen auch u.a. an der Filmakademie Baden-Württemberg weitergibt. Dabei geht es weniger um den erhobenen Zeigefinger, als vielmehr um das „Hosen runterlassen": Kaya berichtet entwaffnend ehrlich, warum er seinen Studierenden auch mal seine misslungenen Rohschnitt-Fassungen zeigt und weshalb ein „Safe Space" im Schneideraum wichtiger ist als jedes Tastaturkürzel. Kaya Inans Weg zur Montage war dabei alles andere als geradlinig. Ursprünglich wollte er Schauspieler werden und landete über ein Casting in einer Gratiszeitung sogar in einem Kinofilm. Doch am Set faszinierte ihn nicht das Rampenlicht, sondern das, was danach passierte. Der Besuch im Schneideraum wurde zur Initialzündung. Heute vermittelt er genau diese Faszination in Seminaren. Zu Gast Kaya Inan, 1983 im schweizerischen Muri als Sohn türkischer Gastarbeiter geboren, ist ein vielfach ausgezeichneter Filmeditor, der zwischen Schweiz und Deutschland arbeitet. Über ein Streetcasting landete er als Neunzehnjähriger zunächst als Schauspieler in der Schweizer Komödie „Achtung, fertig, Charlie!", entdeckte dort aber seine Leidenschaft für den Schnitt und studierte von 2006 bis 2011 Montage an der Filmakademie Baden-Württemberg, inklusive eines Auslandsjahres an der Ryerson University in Toronto. Heute montiert Kaya Spiel- und Dokumentarfilme wie „Above and Below", „Cahier Africain", „In den Gängen", „Wanda, mein Wunder", „Papa Moll und die Entführung des fliegenden Hundes" oder die Serie „Hausen" und wurde u. a. zweimal mit dem Schweizer Filmpreis für die beste Montage sowie dem Bild-Kunst Schnitt Preis ausgezeichnet. Er ist Mitglied der Schweizer, der Deutschen und der Europäischen Filmakademie und gibt seine Erfahrung als Lehrender an Filmhochschulen wie der Filmakademie Baden-Württemberg und der Zürcher Hochschule der Künste weiter, wo er mit Seminaren zu szenischer und musikalischer Montage die nächste Generation von Filmeditor:innen begleitet.  Hört rein, wenn ihr wissen wollt, warum man Filme manchmal am besten lernt, wenn man sie komplett neu erfindet – und warum selbst erfahrene Editoren manchmal nicht weiterwissen (und das völlig okay ist).   Timeline-Shortcuts 00:00 Anmoderation 03:20 Kann man Montage lehren? 05:55 Vom Schauspieler zum Editor: Kayas Werdegang 15:34 „Entschleunigung": Die Kunst des Sichtens 18:40 Dozent oder Editor? Über Ehrlichkeit im Unterricht 28:00 In die Figur hineinversetzen: Empathie als Schnittwerkzeug 38:30 Musikalische Montage & „Above and Below" 43:10 Seminar „Reinventing the Scene": Das Drehbuch als Option 52:56 Kategorien feat. Liv, Jolle, Revan und Viola ❤️ 01:05:41 Abmoderation Weiterführende Links Kaya Inan – Wikipedia Filmakademie Baden-Württemberg

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.It's been quite the ride in 2025 as we conclude our yearlong theme of World's Finest, as this will be the last (at least for now!) podcast dedicated to the Man of Steel.As we all sit around the Thanksgiving table with our families, it's time we honor Superman's SUPER Family – yes, we are ranking Superman's superpowered allies! Mon-El.  Power Girl.  Streaky the Super Cat!?They are all involved in this ranking!  We had to close out the year of Superman in style, and for a list like this, we brought in the experts.  Joining Daniel and Kris this month, and making his return, it's Perry Constantine of the Superhero Cinephiles Podcast!  AND making his debut on the podcast, Anthony Desiato, Host of the Digging for Kryptonite Podcast!Enjoy this fantastic final Superman rankings topic and discussion!

A platinum beauty with an ugly secret; a tall, dark, and handsome husband with murder in his eyes; starkly lit interiors that may or may not include the silhouette of a rotund British gentleman…. This may sound like a catalog of images from the films of Alfred Hitchcock, but it is just as much an encapsulation of the works of Joan Harrison, a studio-era producer, a prolific cinematic storyteller, and a pioneer of female-centered suspense media at mid-century. Harrison remains best known as Alfred Hitchcock's right-hand woman—that is, to the extent that she is known at all. Christina Lane has written the first-ever book dedicated to the life and art of Joan Harrison, entitled Phantom Lady: Hollywood Producer Joan Harrison, The Forgotten Woman Behind Hitchcock (Chicago Review Press, February 2020). Born into a middle-class family in Surrey, Harrison took a secretarial job with Alfred Hitchcock as an aimless twenty-something, only to become a producer on films including Foreign Correspondent (1940), Rebecca (1940), and Suspicion (1941). In the 1940s, Harrison branched out, building a solo career producing movies for RKO and Universal Studios, only to return to the Hitchcock fold to run TV's Alfred Hitchcock Presents (1955-1962). In this discussion, Lane shares how she uncovered this obscure history, placing this “phantom lady” at the center of her own story. She also discusses the trajectory of Harrison's career and how she adapted her research for a broader readership. Christina Lane is Professor in the Cinematic Arts Department at the University of Miami and Edgar®-Award winning author of Phantom Lady: Joan Harrison, the Forgotten Woman Behind Hitchcock. She provides commentary for such outlets as the Daily Mail, CrimeReads and AirMail, and has been a featured guest speaker at the Film Forum, and on NPR and Turner Classic Movies. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A platinum beauty with an ugly secret; a tall, dark, and handsome husband with murder in his eyes; starkly lit interiors that may or may not include the silhouette of a rotund British gentleman…. This may sound like a catalog of images from the films of Alfred Hitchcock, but it is just as much an encapsulation of the works of Joan Harrison, a studio-era producer, a prolific cinematic storyteller, and a pioneer of female-centered suspense media at mid-century. Harrison remains best known as Alfred Hitchcock's right-hand woman—that is, to the extent that she is known at all. Christina Lane has written the first-ever book dedicated to the life and art of Joan Harrison, entitled Phantom Lady: Hollywood Producer Joan Harrison, The Forgotten Woman Behind Hitchcock (Chicago Review Press, February 2020). Born into a middle-class family in Surrey, Harrison took a secretarial job with Alfred Hitchcock as an aimless twenty-something, only to become a producer on films including Foreign Correspondent (1940), Rebecca (1940), and Suspicion (1941). In the 1940s, Harrison branched out, building a solo career producing movies for RKO and Universal Studios, only to return to the Hitchcock fold to run TV's Alfred Hitchcock Presents (1955-1962). In this discussion, Lane shares how she uncovered this obscure history, placing this “phantom lady” at the center of her own story. She also discusses the trajectory of Harrison's career and how she adapted her research for a broader readership. Christina Lane is Professor in the Cinematic Arts Department at the University of Miami and Edgar®-Award winning author of Phantom Lady: Joan Harrison, the Forgotten Woman Behind Hitchcock. She provides commentary for such outlets as the Daily Mail, CrimeReads and AirMail, and has been a featured guest speaker at the Film Forum, and on NPR and Turner Classic Movies. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

A platinum beauty with an ugly secret; a tall, dark, and handsome husband with murder in his eyes; starkly lit interiors that may or may not include the silhouette of a rotund British gentleman…. This may sound like a catalog of images from the films of Alfred Hitchcock, but it is just as much an encapsulation of the works of Joan Harrison, a studio-era producer, a prolific cinematic storyteller, and a pioneer of female-centered suspense media at mid-century. Harrison remains best known as Alfred Hitchcock's right-hand woman—that is, to the extent that she is known at all. Christina Lane has written the first-ever book dedicated to the life and art of Joan Harrison, entitled Phantom Lady: Hollywood Producer Joan Harrison, The Forgotten Woman Behind Hitchcock (Chicago Review Press, February 2020). Born into a middle-class family in Surrey, Harrison took a secretarial job with Alfred Hitchcock as an aimless twenty-something, only to become a producer on films including Foreign Correspondent (1940), Rebecca (1940), and Suspicion (1941). In the 1940s, Harrison branched out, building a solo career producing movies for RKO and Universal Studios, only to return to the Hitchcock fold to run TV's Alfred Hitchcock Presents (1955-1962). In this discussion, Lane shares how she uncovered this obscure history, placing this “phantom lady” at the center of her own story. She also discusses the trajectory of Harrison's career and how she adapted her research for a broader readership. Christina Lane is Professor in the Cinematic Arts Department at the University of Miami and Edgar®-Award winning author of Phantom Lady: Joan Harrison, the Forgotten Woman Behind Hitchcock. She provides commentary for such outlets as the Daily Mail, CrimeReads and AirMail, and has been a featured guest speaker at the Film Forum, and on NPR and Turner Classic Movies. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

A platinum beauty with an ugly secret; a tall, dark, and handsome husband with murder in his eyes; starkly lit interiors that may or may not include the silhouette of a rotund British gentleman…. This may sound like a catalog of images from the films of Alfred Hitchcock, but it is just as much an encapsulation of the works of Joan Harrison, a studio-era producer, a prolific cinematic storyteller, and a pioneer of female-centered suspense media at mid-century. Harrison remains best known as Alfred Hitchcock's right-hand woman—that is, to the extent that she is known at all. Christina Lane has written the first-ever book dedicated to the life and art of Joan Harrison, entitled Phantom Lady: Hollywood Producer Joan Harrison, The Forgotten Woman Behind Hitchcock (Chicago Review Press, February 2020). Born into a middle-class family in Surrey, Harrison took a secretarial job with Alfred Hitchcock as an aimless twenty-something, only to become a producer on films including Foreign Correspondent (1940), Rebecca (1940), and Suspicion (1941). In the 1940s, Harrison branched out, building a solo career producing movies for RKO and Universal Studios, only to return to the Hitchcock fold to run TV's Alfred Hitchcock Presents (1955-1962). In this discussion, Lane shares how she uncovered this obscure history, placing this “phantom lady” at the center of her own story. She also discusses the trajectory of Harrison's career and how she adapted her research for a broader readership. Christina Lane is Professor in the Cinematic Arts Department at the University of Miami and Edgar®-Award winning author of Phantom Lady: Joan Harrison, the Forgotten Woman Behind Hitchcock. She provides commentary for such outlets as the Daily Mail, CrimeReads and AirMail, and has been a featured guest speaker at the Film Forum, and on NPR and Turner Classic Movies. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

A platinum beauty with an ugly secret; a tall, dark, and handsome husband with murder in his eyes; starkly lit interiors that may or may not include the silhouette of a rotund British gentleman…. This may sound like a catalog of images from the films of Alfred Hitchcock, but it is just as much an encapsulation of the works of Joan Harrison, a studio-era producer, a prolific cinematic storyteller, and a pioneer of female-centered suspense media at mid-century. Harrison remains best known as Alfred Hitchcock's right-hand woman—that is, to the extent that she is known at all. Christina Lane has written the first-ever book dedicated to the life and art of Joan Harrison, entitled Phantom Lady: Hollywood Producer Joan Harrison, The Forgotten Woman Behind Hitchcock (Chicago Review Press, February 2020). Born into a middle-class family in Surrey, Harrison took a secretarial job with Alfred Hitchcock as an aimless twenty-something, only to become a producer on films including Foreign Correspondent (1940), Rebecca (1940), and Suspicion (1941). In the 1940s, Harrison branched out, building a solo career producing movies for RKO and Universal Studios, only to return to the Hitchcock fold to run TV's Alfred Hitchcock Presents (1955-1962). In this discussion, Lane shares how she uncovered this obscure history, placing this “phantom lady” at the center of her own story. She also discusses the trajectory of Harrison's career and how she adapted her research for a broader readership. Christina Lane is Professor in the Cinematic Arts Department at the University of Miami and Edgar®-Award winning author of Phantom Lady: Joan Harrison, the Forgotten Woman Behind Hitchcock. She provides commentary for such outlets as the Daily Mail, CrimeReads and AirMail, and has been a featured guest speaker at the Film Forum, and on NPR and Turner Classic Movies. Annie Berke is the Film Editor at the Los Angeles Review of Books and author of Their Own Best Creations: Women Writers in Postwar Television (University of California Press, 2022). Her scholarship and criticism has been published in Feminist Media Histories, Public Books, Literary Hub, and Ms. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this 1798th episode of Toronto Mike'd, Mike chats with Barry Hertz, the Deputy Arts Editor and Film Editor for The Globe and Mail, about his life writing about movies, particularly the Fast and the Furious franchise, documented in his new book Welcome to the Family: The Explosive Story Behind Fast & Furious, the Blockbusters that Supercharged the World. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Ridley Funeral Home, Nick Ainis, Blue Sky Agency, Kindling, RetroFestive.ca and RecycleMyElectronics.ca. If you would like to support the show, we do have partner opportunities available. Please email Toronto Mike at mike@torontomike.com.

With over thirty years' experience in the film industry, Matt has collaborated on some of the finest Australian and International film productions. Matt's feature film work includes: Daybreakers, The Great Gatsby, Predestination, The Water Diviner, Elvis, Eden, Sleeping Dogs, and Christy. 

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.As 2025 nears the end, so does the year of World's Finest, our yearlong celebration of Superman!  But don't worry, we have two big Superman rankings episodes left, including this one.  It's time we pay respect to Superman's foes – it's our ranking of the Superman cinematic villains!While not as robust as Batman's rogue gallery of film villains, no doubt there have been plenty of iconic Superman villain performances throughout the years.  To help Daniel and Kris count down this super villain list are return guests Aaron Sarnecky of the Anniversary Brothers Podcast, and fresh off our last episode taking Peacemaker, Bill George, host of the Should I Go See It Podcast.The crew discuss a plethora of Lex Luthors, General Zods, and of course, Ross Webster!  Speaking of Ross Webster, listen to Daniel speak glowingly about…Superman III?!?!  Yup.  It happened.  You'll find all this and more on another GREAT rankings episode! 

Sarah Beth's precise yet intuitive editing style, blending raw vulnerability with rhythmic storytelling, has made her a sought-after collaborator for visionary directors tackling bold, human-centered tales. Sarah Beth's feature film work includes: Faults, The View from Tall, Flower, The Art of Self-Defense, I Blame Society, Pink Skies Ahead, Dual, and I Wish You All The Best.

Willkommen zu einer neuen Episode des Credit to the Edit Podcasts! In dieser Sonderausgabe präsentieren wir erneut ein Crossover mit dem Podcast „Hinter der Kamera“ und tauchen ein in die Welt des Filmschnitts, fokussiert auf den Film “Amrum” von Fatih Akinn ach einem Drehbuch von Hark Bohm, der am 9. Oktober in Deutschland in die Kinos kommt. Rainer Nigrelli und Timo Landsiedel begrüßen dazu Filmeditor Andrew Bird und parallel beleuchtet die Episode des Podcasts „Hinter der Kamera“ die Bildgestaltung von “Amrum” mit dem DoP Karl Walter Lindenlaub. Es gibt Geschichten, die schneiden sich selbst, und solche, die man Schicht für Schicht freilegen muss. “Amrum” gehört zur zweiten Sorte. In der neuen Folge des Credit to the Edit Podcasts tauchen wir gemeinsam mit Editor Andrew Bird tief in den kreativen Prozess hinter diesem Film ein: ein Werk über eine deutsche Kindheit während des Zweiten Weltkriegs und die Suche nach Zugehörigkeit. Andrew, der seit fast dreißig Jahren mit Fatih Akin zusammenarbeitet, öffnet den Schneideraum und erzählt, wie sich aus einem 240-seitigen Drehbuch ein konzentrierter, emotional präziser Film entwickelte. Dabei wird deutlich: Schnitt ist hier kein nachträglicher Eingriff, sondern Teil des Erzählens selbst. Schon in der Drehbuchphase liest Andrew Fassungen, gibt Feedback, diskutiert Strukturen und hilft mit, das Tempo und die Perspektive des Films zu formen. „Manchmal entdeckt man erst im Schnitt, worum es wirklich geht“, sagt Bird. Und spricht damit nicht nur über Amrum, sondern über die Essenz der Arbeit von Filmeditor:innen. Zwischen Lesungen im Büro, täglichen Telefonaten während des Drehs und Testscreenings entstand eine intime Zusammenarbeit, die weit über technische Montage hinausgeht. Andrew beschreibt, wie er und Akin in stiller Verständigung Entscheidungen treffen, Szenen kürzen, Strukturen verschieben. Und wie das Vertrauen aus jahrzehntelanger Arbeit ihnen erlaubt, filmisches Neuland zu betreten. Andrew Bird ist ein in London geborener Filmeditor, der überwiegend im deutschen bzw. europäischen Arthouse-Kino arbeitet. Er schnitt unter anderem Gegen die Wand, Auf der anderen Seite und Soul Kitchen und gewann 2008 den Deutschen Filmpreis („Lola“) für Auf der anderen Seite. Zu seinen weiteren Arbeiten zählen Absolute Giganten, Gut gegen Nordwind, A Symphony of Noise sowie Mohammad Rasoulofs Oscar®-nominierter Film Die Saat des heiligen Feigenbaums (2024), der ihm erneut eine Lola-Nominierung einbrachte sowie eine Nominierung für den Besten Schnitt beim Montagefestival “Edimotion”. Andrew lebt in Hamburg, Bird ist Mitglied der Deutschen und der Europäischen Filmakademie sowie der Academy of Motion Picture Arts and Sciences. In dieser Folge geht es um Vertrauen, um das richtige Tempo und um die Kunst, einen Film durch Weglassen größer zu machen.   Timeline-Shortcuts 00:06  Anmoderation 01:22  Gesprächsstart / Wie Andrew zum Projekt Amrum kam 06:51  Drehbuchprozess und frühe Zusammenarbeit 16:40  Die besondere Arbeitsbeziehung zu Fatih Akin 25:20  Erste Schnittfassungen und was gestrichen wurde 36:00  Kinderperformance schneiden & Herausforderungen im Detail 46:10  Testscreenings und die Rolle der Frauenfiguren 60:55  Kategorien 69:00  Abmoderation   Weiterführender Link Podcast-Crossover mit Hinter der Kamera: Timo Landsiedel und Rainer Nigrelli im Gespräch mit DoP Karl Walter Lindenlaub Links Amrum – Wikipedia Amrum – Festival de Cannes (Press Kit & Credits) Amrum – Beta Cinema (Produzentenseite) Amrum – Variety Review (Cannes-Premiere) Amrum – ScreenDaily Review Artikel über Dreharbeiten & Projektankündigung Andrew Bird (Filmeditor) – Wikipedia Andrew Bird – IMDb Head-On – Wikipedia Soul Kitchen – Wikipedia

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.The DCU continues to roll on, as the bat crew turns to TV this month to discuss the return of PEACEMAKER for Season 2!  This is a unique one, as the show still had ties to the old DCEU, or does it???  Yes, we discuss all that, as we break down all first six episodes of this phenomenal show.  FULL SPOILERS!Daniel and Kris are joined by first time guest, Bill George, host of the Should I Go See It Podcast.  They discuss that first episode recap, obviously the new dance sequence, favorite moments, praise John Cena's performance, and where the show goes from here with two episodes left at the time of recording.The crew also go on plenty of tangents, discussing all things James Gunn and the DCU, and the momentum this universe has right now as a whole.If you're a fan of this show and need more hype going into the last two episodes, this is the perfect conversation!

The 1995 film Hackers celebrates its 30th anniversary in 2025. To mark the occasion, host Max Havey sat down for a chat with guests Neil Thacker, Netskope's Global Privacy and Data Protection Officer, and Abby Olcese, Film Editor at The Pitch, to talk about the film and their relationship to it over the intervening three decades. Together they discuss why Hackers remains a cult classic, how Hollywood's depiction of cybercrime, cybersecurity, and cyberspace has evolved, and what modern depictions tell us about the world we live in. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Wer über „Der Schuh des Manitu“ spricht, sagt meist auch Michael „Bully“ Herbig, Rick Kavanian und Christian Tramitz. Man denkt an über 11 Millionen Kinozuschauer, einen der größten deutschen Kinoerfolge. Aber kaum jemand nennt Alexander Dittner, den Editor, der „Schuh“ geschnitten hat (und überhaupt alle Projekte von Bully begleitet). Diese Folge ändert das. Aus Anlass des Kinostarts der Fortsetzung „Das Kanu des Manitu“ geht es im Credit to the Edit Podcast um Alexanders Arbeit am Klassiker, wie auch um das neue Kapitel. Vor allem um den schmalen Grat, Humor präzise zu schneiden und dennoch Raum für den Flow der Story zu lassen. Und darum, wie man eine erfolgreiche Marke für heutige Sehgewohnheiten aktualisiert, ohne die eigene filmische DNA zu verlieren. Alexander Dittner erzählt, wie aus einem episch gedachten Einstieg beim „Schuh“ eine dynamische Flashback-Eröffnung wurde, warum Produzent Bernd Eichinger zusätzliche Action forderte, und wie man Continuity-Unmöglichkeiten mit Karten auf dem Tisch und handwerklicher Eleganz überlistet. Es geht um Mikro-Timing in Gags, Makro-Bögen in der Dramaturgie und die Frage, wann Slapstick trägt, und wann er ohne Emotion zur reinen Benny-Hill-Nummer verpufft.   Zu Gast: Alexander  Dittner, Jahrgang 1967, ist ein deutscher Filmeditor, der seit den späten 1990ern arbeitet und mit Michael „Bully“ Herbig nahezu alle großen Kinoarbeiten realisierte. Von „Erkan & Stefan“ über „Der Schuh des Manitu“ bis „Ballon“ und „Tausend Zeilen“. Für „Elser – Er hätte die Welt verändert“ war er für den Deutschen Filmpreis nominiert.   Ein Plädoyer für den „Safe Space“ im Schneideraum, in dem jede Idee erlaubt ist, solange sie dem Film dient. Und für alle, die wissen wollen, wie Nostalgie und Neuerfindung im Schnitt zusammenfinden: jetzt einfach Play drücken.   Timeline-Shortcuts 00:00  Anmoderation 03:10  Gesprächsstart 05:03  Vita 12:16  Bullyparade: „Learning by doing“ 16:17  „Der Schuh des Manitu“ 19:34  Nachdrehs mit Bernd Eichinger: Lorenfahrt & Zug-Crash – Slapstick als Kino-Motor 25:31  „Das Kanu des Manitu“ 43:13  Kategorien 61:43  Safe Space Schneideraum 66:15  Abmoderation   Links Das Kanu des Manitu – Offizielle Filmseite (Constantin Film) Der Schuh des Manitu – Offizielle Filmseite (Constantin Film) Alexander Dittner – Profil beim BFS Michael „Bully“ Herbig – Offizielle Website Bullyparade – Hintergründe (Wikipedia, EN) Ralf Wengenmayr – Offizielle Seite „Mumien, Monstren, Mutationen“ (NDR-Reihe) – Überblick

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.The World's Finest theme continues with our biggest Superman episode yet; the Definitive Superman Draft!  That's right, we're going back to the Draft room!  Much like our Definitive Batman Draft we did last year, we'll be scouring everything related to the Man of Steel, leaving no Kryptonian stone unturned.  Best Movie.  Best Series.  Best Clark Kent.  Best Lois Lane.  Best Villain.  And much more!The Draft room is PACKED, as seven other drafters join Daniel and Kris, making nine teams total!  Joining the Bat Cave, or the Fortress rather, is Alex Marcus, the Director of Podcasting at the Pop Break, and the architect of this draft.  Aside from Alex, we have a plethora of return guests, some of which were on previous Superman themed episodes earlier this year!  We went big for this one, as competing in this draft is none other than Editor-in-Chief of the Pop Break, Bill Bodkin, as well as his co-host of the Socially Distanced Podcast, Amanda Rivas!  Also making his return is Josh Sarnecky, co-host with Amanda on the Anime x Pop Podcast.  Also, he was on our Joker Rankings episode last year, Branden Vice returns, as well as Daniel's Draft nemesis, and Kris's co-host from Media/Lit, and co-host of the Pod of Doom Podcast on the Pop Break, Randy Allain!Also making his debut to the Podcast, the host of the Underrated and Midnight Film Society Podcasts, Derick McDuff!If you still got Superman on the brain, (and why wouldn't you), this is the perfect episode.

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.The new Superman movie has finally arrived, and it's no doubt the talk of not only the superhero genre right now, but the film world in general.  Alex Marcus, the Director of Podcasting at the Pop Break, joins the Bat Crew once again, along with his former Cinema Joes co-hosts and return guests Justin Mancini and Noah Franc.Can't get enough of this movie?  You're in the right place.  We break it all down: The performances.  The Justice Gang.  And Krypto (obviously).This is a great discussion on the latest iteration of Superman, check it out! 

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.We're one month away from a new Superman film, and the first theatrical release of the new DC Universe.  Before a new Superman graces the screen though, it's time once and for all we honor what came before, and rank every single theatrically released Superman film!We continue our yearlong theme of World's Finest by going back all the way to 1978 with the iconic first Christopher Reeve Superman movie directed by Richard Donner, all the way to 2016's Batman v Superman: Dawn of Justice, and everything in between.  In this monster episode, we rank seven Superman films, which include (in chronological order); Superman.  Superman II.  Superman III.  Superman IV: The Quest for Peace.  Superman Returns.  Man of Steel.  And Batman v Superman: Dawn of Justice.  With this being such a big episode, we had to bring in a massive panel of returning guests, starting of course with the podcasting director of the Pop Break, Alex Marcus.  Also joining us, it's Alex's cohost on the new It's Tom-plicated Podcast, and he was a guest on the epic Christopher Nolan movie rankings episode, Manish Mathur.Also making their returns, he was on our recent Batman Allies Draft episode, it's pop break contributor, Ben Murchison.  And cohost of the flagship podcast of the Pop Break, the Socially Distanced Podcast, and the Anime X Pop podcast, it's Amanda Rivas.These six temporary Kryptonians come together to break down everything you could possibly want analyzed in a Superman movie.  It is a true nostalgic history lesson of all these movies.  We cover it all; the good, the bad, and the Nuclear Man.For Superman fans, this is a perfect precursor to next month's Superman movie!

Mohamed El Manasterly is an Emmy Award-winning bilingual video editor known for his work in documentaries, narratives, commercials, and talk shows. Originally from Cairo, he moved to Los Angeles after winning an Emmy for Best Picture Editing for The Square, an Oscar-nominated documentary. His films have earned accolades at prestigious festivals such as Sundance, Toronto, and Dubai. El Manasterly has also worked on projects with Legendary Pictures and the Konwiser Brothers, contributing to a docu-series aimed at promoting innovation and STEM in America. His editing style blends cultures, making his work accessible to diverse audiences.

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.As this year marks the theatrical introduction of James Gunn's new DC shared Universe, we take a look back at another DC universe, that of the CW, and their five-part series that aired in 2019-2020; Crisis on Infinite Earths.  Spanning five shows, and an endless roll call of DC characters, we got a lot to cover!As this was the ultimate CW endeavor, we couldn't do this month's episode without Podcasting Director of the Pop Break, Alex Marcus, as the CW expert shares his knowledge and wisdom on what worked, didn't work, and everything in between.While old hat to Alex, this was Daniel's first viewing of the full event.  Did he like it??  Well, you'll have to listen to find out.The duo also discuss the cameos, who their MVPs of the series were, and does Daniel re-evaluate his take on Brandon Routh's Superman after this Crisis performance?  If you're a diehard CW fan who followed these series as closely as Alex did, this is a must listen episode!

Listen to Editor Shafeeque V B speaks about his experience working with the legendary actor Mohanlal in the latest movie 'Thudarum'.#ShafeequeVB #FilmEditor #thudarum #clubfm

Nick's feature film work includes: The Arbor, The Selfish Giant, The Double, Life, On Chesil Beach, Dark River, A Private War, American Animals, True History Of The Kelly Gang, Nitram, The Order, and the upcoming Wizards. Nick's documentary features include: Taking Liberties, On A Knife Edge, and All Tomorrow's Parties.

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.Robins and Alfreds and Gordons…Oh my!  Oh yes, it's our third ever Draft episode!  In our last draft, it was villains.  This time, it's allies.  Welcome to the Ultimate Batman Allies Draft!  Along with Daniel and Kris, the Director of Podcasting for the Pop Break, Alex Marcus, is here to once again devise another spectacular, gut-wrenching Batman draft.  In this one, we're perusing all of Batman's most trusted partners in his war against crime.  Whether it's the Bat Family, Justice League, or even a former foe turned ally, we're covering all the bases, spanning allies from film, TV, and comic books.As this is a huge Draft episode, the Bat Cave is once again expanded.  The trio is joined by return guests Perry Constantine of the Superhero Cinephiles Podcasts, and Kris's co-host from the Media/Lit Podcast, as well as the Pod of Doom podcast on Black Sabbath at the pop break, and notorious Draft villain, Randy Allain!  And making his debut on the podcast is pop break contributor, Ben Murchison!It's another emotional and draining draft as everyone tries to navigate some particularly tough categories, as we go deeper into the comic book world for some true deep cuts.  If you're a diehard Batman comics fan, you'll love this episode!  There's plenty of draft heart break in this one.  Will Randy play the role of draft villain once again?  Will The Dark Knight Rises be dissected for the 900th time on this podcast?  Who goes #1?  Who doesn't get drafted?Just like our other drafts, this is required listening for Batman fans!

David and David are back to chew on some movies. David reviews Minecraft and then the nasty little horror Leatherface. How many choc ices this week? David Edwards alsohas a lovely chat with film editor Barrett Heathcotte If you would like to receive this podcast earlier, get longer episodes as well as exclusive episodes and get the chance to ask David Edwards movie questions LIVE every Saturday - then head over to patreon.com/davidearl Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kaya's documentary work includes: Paul Bowles: The Cage Door Is Always Open, Above and Below, African Notebook, and Stand Up My Beauty. Kaya's narrative feature editing work includes: In The Aisles, Zone Rouge, My Wonderful Wanda, Borga, Dark Satellites, and Haunted Under The Ferris Wheel.

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.It's time to break out the crystals this month for a SUPERMAN BY THE NUMBERS podcast!  That's right, pack your parkas, because we're going to the Fortress of Solitude.  As we all know, DC's other big superhero has a big movie coming out this summer.  As this is the year of World's Finest, it's time to ramp up our coverage, and what better way to do our first ever Superman centric episode then by ranking the actors who have played the iconic Man of Steel.With Superman, we couldn't relegate this to just film.  While Superman has some big movies for sure, his presence in live action television is just as prevalent, as these shows span multiple decades, and cover different periods of Kal-El's life.  Don't worry – all the big TV appearances are covered!  From the 1950s, to this decade, and all across film and television, this is the Superman rankings you need to hear!Making their return for this epic ranking episode is the co-host of the Anniversary Brothers Podcast and Anime X Pop, Josh Sarnecky, and podcasting director of the pop break, Alex Marcus.  And per usual, Alex has his obligatory General Zod moment against Dan.  Find out which ranking got Dan's blood boiling this time.  If you're a Superman fan, this is a spectacular trip down memory lane, and all divisive Superman takes are spiritedly debated, including what is one of the most epic ranking ties in the history of this podcast. You'll have to listen to find out why!

In the latest edition of Behind the Scenes, we meet Nick J.Webb, the award-winning, ultra-versatile television and filmeditor who, over the past 15 years, has worked on a vast arrayof critically acclaimed music videos, comedy specials andentertainment biographical documentaries including Sammy Davis Jnr., Sparks, Bob Monkhouse and Tommy Cooper.In his own right he's also an accomplished musician andrecording artist with his band “Colourspace Engineering”.To listen to samples from the forthcoming album, here's thelink:https://www.colourspaceengineering.com/https://www.nickjwebb.co.uk/Support the podcast by becoming a Patron: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/BEHINDTHESCENESWITHCOLINEDMONDS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Colin Edmonds socials⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: colin.edmonds.73⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: colinedmondsssm⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter:@ColinEdmondsSSM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website: https://www.steamsmokeandmirrors.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Listen to all episodes of the podcast available on;⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon Music⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Audible⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BOOKSBuy Steam, Smoke and Mirrors⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Caffeine Nights⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available on Audible⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy The Lazarus Curiosity: Steam, Smoke and Mirrors 2⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Caffeine Nights⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available on Audible⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy The Nostradamus Curiosity: Steam, Smoke and Mirrors 3⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Caffeine Nights⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Available at Amazon⁠

This week on Rookie Pirate Radio, Jon Negroni and Travis Hymas discuss the latest chapter of the One Piece manga, titled "What I'm Afraid Of.” One Piece 1141 is currently available to read for free on Viz. We want your feedback! If you have any questions, corrections, or your own theories and speculation, you can either email us (rookiepirateradio@gmail.com) or join our Discord, where we have a special channel devoted to all things One Piece spoilers. We’ll be back to discuss the next chapter after it comes out, but in the meantime, be sure to subscribe to Rookie Pirate Radio on your favorite podcast app, so you can stay up to date on all our releases. Extra Credits: Our intro music is a remix version of “Overtaken” from the One Piece anime, cut together by Jon Negroni. Our podcast artwork is by Jon Negroni. Travis Hymas is the Anime & Manga editor of InBetweenDrafts, and Jon Negroni is the Film Editor of InBetweenDrafts. Our recap of One Piece 1142 is based on the English translation of the manga, courtesy of Viz. In case you didn’t know already, Eiichiro Oda is the creator of One Piece. Plus, we’re not just a One Piece podcast by the way! If you have a manga or anime you’d like us to cover or mention on the show, definitely reach out.See omnystudio.com/listener for privacy information.

This week on Rookie Pirate Radio, Jon Negroni and Travis Hymas discuss the latest chapter of the One Piece manga, titled "An Older Woman.” One Piece 1141 is currently available to read for free on Viz. We want your feedback! If you have any questions, corrections, or your own theories and speculation, you can either email us (rookiepirateradio@gmail.com) or join our Discord, where we have a special channel devoted to all things One Piece spoilers. We’ll be back to discuss the next chapter after it comes out, but in the meantime, be sure to subscribe to Rookie Pirate Radio on your favorite podcast app, so you can stay up to date on all our releases. Extra Credits: Our intro music is a remix version of “Overtaken” from the One Piece anime, cut together by Jon Negroni. Our podcast artwork is by Jon Negroni. Travis Hymas is the Anime & Manga editor of InBetweenDrafts, and Jon Negroni is the Film Editor of InBetweenDrafts. Our recap of One Piece 1141 is based on the English translation of the manga, courtesy of Viz. In case you didn’t know already, Eiichiro Oda is the creator of One Piece. Plus, we’re not just a One Piece podcast by the way! If you have a manga or anime you’d like us to cover or mention on the show, definitely reach out.See omnystudio.com/listener for privacy information.

Taylor's work as Lead Film Editor includes the feature films: Night Comes On, Yellow Rose, Drunk Bus, Prisoners of the Ghostland, Mona Lisa and the Blood Moon, and Bodies Bodies Bodies. More recently, Taylor has edited the award-winning A Different Man, as well as the upcoming The Last Day and Faces of Death.

This week on Rookie Pirate Radio, Jon Negroni and Travis Hymas discuss the latest chapter of the One Piece manga, titled “Scopper Gaban.” One Piece 1140 is currently available to read for free on Viz. We want your feedback! If you have any questions, corrections, or your own theories and speculation, you can either email us (rookiepirateradio@gmail.com) or join our Discord, where we have a special channel devoted to all things One Piece spoilers. We’ll be back to discuss the next chapter after it comes out, but in the meantime, be sure to subscribe to Rookie Pirate Radio on your favorite podcast app, so you can stay up to date on all our releases. Extra Credits: Our intro music is a remix version of “Overtaken” from the One Piece anime, cut together by Jon Negroni. Our podcast artwork is by Jon Negroni. Travis Hymas is the Anime & Manga editor of InBetweenDrafts, and Jon Negroni is the Film Editor of InBetweenDrafts. Our recap of One Piece 1140 is based on the English translation of the manga, courtesy of Viz. In case you didn’t know already, Eiichiro Oda is the creator of One Piece. Plus, we’re not just a One Piece podcast by the way! If you have a manga or anime you’d like us to cover or mention on the show, definitely reach out.See omnystudio.com/listener for privacy information.

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters.Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening.Love is in the air!  On the heels of Valentine's Day, it's time to rank the women who've stolen the Dark Knight's heart, as we rank every cinematic Batman love interest!  What other podcast has a rankings list that includes Talia Al Ghul, three Catwomen, Miss Kitka, and Dr. Chase Meridian.As this is a Valentine's Day themed list, we had to bring in a pop break power couple.  You know them from the Blerd Watchers podcast –Marshall Stevenson makes his third appearance, and making her debut, it's Courtney Stevenson!The panelists discuss and debate everyone from Miss Kitka, played by Lee Meriwether in the 1960s, all the way to Zoe Kravitz in 2022's The Batman.  We break it all down.  All the Catwomen.  Vicki Vale.  And of course, it wouldn't be a Batman by the Numbers rankings episode without Daniel getting bent out of shape on at least one ranking.This is one you don't want to miss, as the conversations on all these characters spiral into great discussions about these movies, and the overall world of Batman, which is what this podcast is all about! 

This week on the podcast, Jon Negroni and Travis Hymas discuss the three most recent chapters of the One Piece manga, titled “Introducing Shamrock,” “The Harley,” and “Mountain-Eater.” One Piece 1137-1139 are currently available to read for free on Viz. And you can also read an edited transcript of our conversation below! We want your feedback! If you have any questions, corrections, or your own theories and speculation, you can either email us (rookiepirateradio@gmail.com) or join our Discord, where we have a special channel devoted to all things One Piece spoilers! We’ll be back to discuss the next chapter after it comes out, but in the meantime, be sure to subscribe to Rookie Pirate Radio on your favorite podcast app, so you can stay up to date on all our releases. Extra Credits: Our intro music is a remix version of “Overtaken” from the One Piece anime, cut together by Jon Negroni. Our podcast artwork is by Jon Negroni. Travis Hymas is the Anime & Manga editor of InBetweenDrafts, and Jon Negroni is the Film Editor of InBetweenDrafts. Our recap of One Piece 1137-1139 is based on the English translation of the manga, courtesy of Viz. In case you didn’t know already, Eiichiro Oda is the creator of One Piece. Plus, we’re not just a One Piece podcast by the way! If you have a manga or anime you’d like us to cover or mention on the show, definitely reach out.See omnystudio.com/listener for privacy information.

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters. Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening. It's the beginning of a new year, which also means the beginning of this year's theme on the Batman by the Numbers podcast; World's Finest.  Yes, this year we celebrate the other big DC superhero, the one and only Man of Steel, Superman!  As this year will not only bring a new DC Universe to film, but another massive Superman film from James Gunn, so we got to give everyone's favorite Kryptonian his due. As this is a Batman podcast though, we'll also be focusing on how Batman and Superman work, or don't work together.  As we all know, they have differing philosophies on how to fight crime and corruption.  In kicking off this year's theme, we dug up a gem from the late 90s that explores this theme rather well; The Batman/Superman Movie, otherwise known as the three-episode arc entitled “World's Finest.”   This first meeting of the animated series versions of Batman and Superman gives us everything; The Joker.  Lex Luthor.  Conflict between the heroes.  Harley Quinn.  Giant robots.  What else do you need? Daniel and Kris are joined once again by podcasting director of the pop break, Alex Marcus, as they dive into every detail imaginable with this movie, including the eternal question every DC fan has asked?  Who comes out on top – Batman or Superman. If you're in need of not only a Batman animated series throwback, but a Superman one as well, this is the episode for you. Also…find out why Alex Marcus has a childhood grudge with this movie that still hasn't healed!

This week on Rookie Pirate Radio, Jon Negroni and Travis Hymas discuss the latest chapter of the One Piece manga, titled “The Land that Awaits the Sun.” One Piece 1136 is currently available to read for free on Viz.We want your feedback! If you have any questions, corrections, or your own theories and speculation, you can either email us (rookiepirateradio@gmail.com) or join our Discord, where we have a special channel devoted to all things One Piece spoilers. Extra Credits: Our intro music is a remix version of “Overtaken” from the One Piece anime, cut together by Jon Negroni. Our podcast artwork is by Jon Negroni. Travis Hymas is the Anime & Manga editor of InBetweenDrafts, and Jon Negroni is the Film Editor of InBetweenDrafts. Our recap of One Piece 1136 is based on the English translation of the manga, courtesy of Viz. In case you didn’t know already, Eiichiro Oda is the creator of One Piece. Plus, we’re not just a One Piece podcast by the way! If you have a manga or anime you’d like us to cover or mention on the show, definitely reach out.See omnystudio.com/listener for privacy information.

This week, Jon Negroni (me) and Travis Hymas discuss the three most recent chapters of the One Piece manga, titled “Nice Things,” “The Owl Library,” and "Friends' Cups." One Piece 1133-1135 are currently available to read for free on Viz. And you can read an edited transcript of our conversation right here! We want your feedback! If you have any questions, corrections, or your own theories and speculation, you can either email us (rookiepirateradio@gmail.com) or join our Discord, where we have a special channel devoted to all things One Piece spoilers! We’ll be back to discuss the next chapter after it comes out, but in the meantime, be sure to subscribe to Rookie Pirate Radio on your favorite podcast app, so you can stay up to date on all our releases. Extra Credits: Our intro music is a remix version of “Overtaken” from the One Piece anime, cut together by Jon Negroni. Our podcast artwork is by Jon Negroni. Travis Hymas is the Anime & Manga editor of InBetweenDrafts, and Jon Negroni is the Film Editor of InBetweenDrafts. Our recap of One Piece 1133-1135 is based on the English translation of the manga, courtesy of Viz. In case you didn’t know already, Eiichiro Oda is the creator of One Piece. Plus, we’re not just a One Piece podcast by the way! If you have a manga or anime you’d like us to cover or mention on the show, definitely reach out.See omnystudio.com/listener for privacy information.

There's arguably no superhero in existence that has been reimagined, redefined, or reinterpreted more than Batman.  No matter how many times he's been rebooted, audiences are always willing to come back to Gotham City's greatest defender.  With so much Bat content out there, there's plenty to dissect, analyze, and of course, rank!  This podcast is dedicated to a surgical evaluation of Batman's history, with a focus on ranking several topics in the world of Batman, among other classic Bat themes and characters. Join hosts Daniel Cohen, Pop Break's former Film Editor, and Kris Ingersoll, co-host of the Media/Lit podcast, as they bring on several guests every month to share their passion for the one and only Dark Knight.  From Adam West to Robert Pattinson, no bat stone will be left unturned.  Bottom-line: If you're a Batman fan, this is required listening. In 2024, we brought you the year of villains.  We ranked the animated series villains, all the Joker actors, and most recently, Batman villains who've yet to make their live action film debut.  All these episodes are proof that more than any other superhero, Batman has the deepest roster of great villains.  We talked about Professor Pyg for crying out loud. In our last episode of 2024, it's time bring this theme home in style. We're drafting again, and this time, it's all VILLAIN THEMED. While villains were a category in last summer's Definitive Batman Draft, this draft takes the concept of a Batman villain even further, as we now draft specific iterations of villains spanning multiple movies, TV shows, comic arcs, and much more.  To mimic one of the great Jokers, “wait till they get a load of these categories.” Trust us when we tell you, we've come up with the definitive list of Batman villain categories. Returning to draft with Daniel and Kris are Alex Marcus, Podcasting Director of the Pop Break, and Randy Allain, co-host of the Pop Break's Pod of Doom, as well as Kris's co-host of the Media/Lit Podcast.  Also making his return to the podcast, it's co-host of the Anniversary Brothers podcast, and Pop Break's Anime podcast, Anime x Pop, Josh Sarnecky. Without spoiling too much, we'll just tell you the first two rounds of this draft are completely chaotic.  We can't stress this enough; you will be surprised early at some of these picks.   We present to you the DEFINITIVE BATMAN VILLAINS DRAFT!

Acclaimed film editor Jeffrey Ford joins IT2 in studio as he makes a stop in Fargo, ND. Best known for editing iconic Marvel films like The Avengers, Iron Man Three, Captain America: Civil War, and Spider-Man: No Way Home, Ford has also worked on critically acclaimed projects such as Shattered Glass and Public Enemies. Most recently, he edited Marvel's Werewolf by Night and is currently collaborating with the Russo brothers on Netflix's highly anticipated The Electric State. See omnystudio.com/listener for privacy information.

The highest grossing documentary in 2024 was “Am I Racist?” from The Daily Wire's Matt Walsh, and it's not the only avowedly right-wing movie that's enjoyed success at the box office this year. Is Hollywood going the way of the White House? Guest: Barry Hertz, Deputy Arts Editor and Film Editor for The Globe and Mail Want more What Next? Join Slate Plus to unlock full, ad-free access to What Next and all your other favorite Slate podcasts. You can subscribe directly from the What Next show page on Apple Podcasts and Spotify. Or, visit slate.com/whatnextplus to get access wherever you listen. Podcast production by Elena Schwartz, Paige Osburn, Anna Phillips, Madeline Ducharme, Rob Gunther and Ethan Oberman. Learn more about your ad choices. Visit megaphone.fm/adchoices

The highest grossing documentary in 2024 was “Am I Racist?” from The Daily Wire's Matt Walsh, and it's not the only avowedly right-wing movie that's enjoyed success at the box office this year. Is Hollywood going the way of the White House? Guest: Barry Hertz, Deputy Arts Editor and Film Editor for The Globe and Mail Want more What Next? Join Slate Plus to unlock full, ad-free access to What Next and all your other favorite Slate podcasts. You can subscribe directly from the What Next show page on Apple Podcasts and Spotify. Or, visit slate.com/whatnextplus to get access wherever you listen. Podcast production by Elena Schwartz, Paige Osburn, Anna Phillips, Madeline Ducharme, Rob Gunther and Ethan Oberman. Learn more about your ad choices. Visit megaphone.fm/adchoices

The highest grossing documentary in 2024 was “Am I Racist?” from The Daily Wire's Matt Walsh, and it's not the only avowedly right-wing movie that's enjoyed success at the box office this year. Is Hollywood going the way of the White House? Guest: Barry Hertz, Deputy Arts Editor and Film Editor for The Globe and Mail Want more What Next? Join Slate Plus to unlock full, ad-free access to What Next and all your other favorite Slate podcasts. You can subscribe directly from the What Next show page on Apple Podcasts and Spotify. Or, visit slate.com/whatnextplus to get access wherever you listen. Podcast production by Elena Schwartz, Paige Osburn, Anna Phillips, Madeline Ducharme, Rob Gunther and Ethan Oberman. Learn more about your ad choices. Visit megaphone.fm/adchoices

The highest grossing documentary in 2024 was “Am I Racist?” from The Daily Wire's Matt Walsh, and it's not the only avowedly right-wing movie that's enjoyed success at the box office this year. Is Hollywood going the way of the White House? Guest: Barry Hertz, Deputy Arts Editor and Film Editor for The Globe and Mail Want more What Next? Join Slate Plus to unlock full, ad-free access to What Next and all your other favorite Slate podcasts. You can subscribe directly from the What Next show page on Apple Podcasts and Spotify. Or, visit slate.com/whatnextplus to get access wherever you listen. Podcast production by Elena Schwartz, Paige Osburn, Anna Phillips, Madeline Ducharme, Rob Gunther and Ethan Oberman. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Rookie Pirate Radio, Jon Negroni and Travis Hymas discuss the latest chapter of the One Piece manga, titled “Adventure in Elbaph.” One Piece 1132 is currently available to read for free on Viz. And you can read an edited transcript of our conversation right here! We want your feedback! If you have any questions, corrections, or your own theories and speculation, you can either email us (rookiepirateradio@gmail.com) or join our Discord, where we have a special channel devoted to all things One Piece spoilers. Extra Credits: Our intro music is a remix version of “Overtaken” from the One Piece anime, cut together by Jon Negroni. Our podcast artwork is by Jon Negroni. Travis Hymas is the Anime & Manga editor of InBetweenDrafts, and Jon Negroni is the Film Editor of InBetweenDrafts. Our recap of One Piece 1132 is based on the English translation of the manga, courtesy of Viz. In case you didn't know already, Eiichiro Oda is the creator of One Piece. Plus, we're not just a One Piece podcast by the way! If you have a manga or anime you'd like us to cover or mention on the show, definitely reach out.See omnystudio.com/listener for privacy information.

This week, Jon Negroni and Travis Hymas discuss the latest chapter of the One Piece manga, titled “Loki in the Underworld.” One Piece 1131 is currently available to read for free on Viz. We want your feedback! If you have any questions, corrections, or your own theories and speculation, you can either email us (rookiepirateradio@gmail.com) or join our Discord, where we have a special channel devoted to all things One Piece spoilers.  Extra Credits: Our intro music is a remix version of “Overtaken” from the One Piece anime, cut together by Jon Negroni. Our podcast artwork is by Jon Negroni. Travis Hymas is the Anime & Manga editor of InBetweenDrafts, and Jon Negroni is the Film Editor of InBetweenDrafts. Our recap of One Piece 1131 is based on the English translation of the manga, courtesy of Viz. In case you didn't know already, Eiichiro Oda is the creator of One Piece. Plus, we're not just a One Piece podcast by the way! If you have a manga or anime you'd like us to cover or mention on the show, definitely reach out.See omnystudio.com/listener for privacy information.

Send Kevin a Text MessageIn this episode of "Don't Kill the Messenger," host Kevin Goetz sits down with George Folsey Jr., the legendary film editor and producer whose illustrious career spans over five decades. Folsey Jr. has collaborated with acclaimed directors like John Landis, Eli Roth, and Paul Feig and is known for his work on films including Trading Places, An American Werewolf in London, The Blues Brothers, and Michael Jackson's groundbreaking music video, Thriller. Growing Up in Hollywood's Golden Age (02:00)George recalls his childhood experiences at MGM Studios, including encounters with stars like Judy Garland, Mickey Rooney, and Esther Williams.Learning the Craft (05:36)George discusses his entry into film editing, starting at KABC and learning from mentor Henry Berman at MGM. The Making of Trading Places (10:07)The conversation turns to Trading Places, which George considers one of his favorite projects. He discusses the challenging relationship with producer Aaron Russo and filming in Philadelphia.The Twilight Zone Tragedy (11:53)George and Kevin discuss the tragic accident on The Twilight Zone set and its impact on George's life and career.The Art of the "Fix" (15:42)George explains his approach to "fixing" troubled films, emphasizing the importance of collaboration rather than alienating the original filmmakers.The Animal House Experience (20:44)In a fascinating revelation about one of comedy's most beloved films, George discusses how Animal House was made without traditional test screenings.On Test Screenings and Audience Feedback (26:22)George strongly advocates for the test screening process, arguing that understanding audience reactions is crucial given the massive investments in both money and careers at stake. He demonstrates this philosophy in his work on Cheaper by the Dozen.Working with Michael Jackson on Thriller (37:18)George shares personal stories about working with Michael Jackson, including anecdotes about their time together during the editing of Thriller and family visits to Jackson's home.George Folsey Jr. offers a masterclass in film editing and production. His candid insights into working with directors like John Landis and Paul Feig, collaborating with Michael Jackson on Thriller, and helping shape classics like Trading Places and Animal House offer listeners a glimpse into the craft of film editing. His honest discussion of career challenges, including the Twilight Zone tragedy, and his philosophy on film editing and test screenings reveals not only his technical expertise but also his passion for storytelling and audience engagement. Host: Kevin GoetzGuest: George Folsey Jr.Producer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more info about George Folsey Jr.:Wikipedia: https://en.wikipedia.org/wiki/George_Folsey_Jr.IMDB: https://www.imdb.com/name/nm0284390/LinkedIn: https://www.linkedin.com/in/george-folsey-jr-93951283For more info about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audi

This week on the show, Jon Negroni and Travis Hymas discuss the latest chapter of the One Piece manga, titled “The Accursed Prince." One Piece 1130 is currently available to read for free on Viz. We want your feedback! If you have any questions, corrections, or your own theories and speculation, you can either email us (rookiepirateradio@gmail.com) or join our Discord, where we have a special channel devoted to all things One Piece spoilers.  Extra Credits: Our intro music is a remix version of “Overtaken” from the One Piece anime, cut together by Jon Negroni. Our podcast artwork is by Jon Negroni. Travis Hymas is the Anime & Manga editor of InBetweenDrafts, and Jon Negroni is the Film Editor of InBetweenDrafts. Our recap of One Piece 1130 is based on the English translation of the manga, courtesy of Viz. In case you didn't know already, Eiichiro Oda is the creator of One Piece. Plus, we're not just a One Piece podcast by the way! If you have a manga or anime you'd like us to cover or mention on the show, definitely reach out.See omnystudio.com/listener for privacy information.

EPISODE 56 - “MARJORIE REYNOLDS: CLASSIC CINEMA STAR OF THE MONTH” - 10/07/2024 Most film fanatics agree that after the Paramount Picture's holiday classic “Holiday Inn” (1942), actress MARJORIE REYNOLDS, who gave a star-turn as struggling actress Linda Mason who gets a break singing and dancing in the seasonal nightclub run by BING CROSBY, should have been a big star. However, for reasons not quite clear, she didn't rise into the stratosphere. While she had a very respectable and long career, she just didn't soar to the top, as expected. As our Star of the Month, we will take a look into Marjorie Reynolds' life and career and explore our theories on why “Holiday Inn” did not make her a major star.  SHOW NOTES:  Sources: Christmas In the Movies (2023), by Jeremy Arnold; Whatever Became of…10th Series (1986), by Richard Lamparski; My Heart Belongs (1976), by Mary Martin; Scarlet Fever (1977), by William Pratt (including the collection of Herb Bridges); The Film Lovers Companion (1997), by David Quinlan; Biography of Marjorie Reynolds, July 25, 1942, Paramount Pictures;  “Super Cinderella,” November 1942, by William Lynch value, Silver Screen magazine; “Marjorie's Horse Comes In,” November 7, 1942, by Kyle Crichton, Collier's Magazine; Versatility Pays Off for Marjorie Reynolds,” March 10, 1944, by Hedda Hopper, Los Angeles, Times; “Divorce Plans Discussed by Miss Reynolds,” July 23, 1951, by Hedda Hopper, Los Angeles, Times; “Marjorie Reynolds to Be Wed to Film Editor,” May 16, 1952, Los Angeles, Times; “Marjorie Reynolds Weds Film Editor,” May 18, 1953, The Sedalia Democrat (Missouri); “Marjorie Reynolds: Sixty Years in the Film Business,” April 1984, by Colin Briggs, Hollywood Studio Magazine; “Marjorie Reynolds, 79, Actress, In Classic Films and on Television,” February 16, 1997, The New York Times; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Holiday Inn (1942), starring Bing Crosby, Fred Astaire, Marjorie Reynolds, & Virginia Dale; Wine, Women, and Song (1933), starring Lilyan Tashman; Murder In Greenwich Village (1937), starring Richard Arlen & Fay Wray; Tex Rides With The Boy Scouts (1937), starring Tex Ritter; The Overland Express (1938), starring Buck Jones; Western Trails (1938), starring Bob Baker; Six Shootin' Sheriff (1938), starring Ken Maynard; Star Spangled Rhythm (1942), starring Bob Hope, Bing Crosby, Dorothy Lamour, Veronica Lake, & Alan Ladd; Dixie (1943), starring Bing Crosby & Dorothy Lamour; Up In Mabel's Room (1944), starring Dennis O'Keefe & Gail Patrick; Ministry of Fear (1944), starring Ray Milland; Three Is A Family (1944), starring Charles Ruggles & Fay Bainter; Bring On The Girls (1945), starring Veronica Lake & Eddie Bracken; Monsieur Beaucaire (1946), starring Bob Hope & Joan Caulfield; The Time Of Their Lives (1946), starring Bud Abbott & Lou Costello; Meet Me On Broadway (1946), starring Fred Brady & Spring Byington; Heaven Only Knows (1947), Bob Cummings & Brian Donlevy; Badmen of Tombstone (1949), starring Barry Sullivan & Broderick Crawford; That Midnight Kiss (1949), starring Mario Lanza & Kathryn Grayson; The Great Jewel Robber (1950), starring David Brian; Home Town Story (1951), starring Jeffry Lynn, Alan Hale Jr, & Marilyn Monroe; Models, Inc (1952), starring Howard Duff & Coleen Gray; His Kind of Woman (1951), starring Robert Mitchum, Jane Russell, & Vincent Price; The Silent Witness (1962), starring Tristram Coffin & George Kennedy; Pearl (1978), starring Angie Dickinson, Dennis Weaver, & Robert Wagner; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices