Podcasts about Film festival

Submissions are open for the 2026 Nevada City Film Festival. Now comes the flood of films - animation, shorts, documentaries -  from around the world, says Jesse Locks, the festival's Executive Director. In 2025 the small committee tasked with decision making watched 297 hours worth of submissions before whittling down the event's final lineup.This year the focus will be on animation and the artists committed to that craft. But, as Locks points out, animation is expensive. And some filmmakers have been turning to artificial intelligence to cut costs. “Does that erode how we interact with reality, or does that enhance creativity,” Locks asks. Films created with the use of AI are able to enter the festival.  Locks says, “Ultimately, audiences are going to be the ones who decide if AI succeeds or fails in filmmaking.”

Today on Too Opinionated, we sit down with the director of the Vancouver International Mountain Film Festival, Ivan Hughes and his special guests.  Ivan Hughes is an independent filmmaker with more than 20 years of experience producing documentary films across Canada and around the world. His award-winning work has screened nationally and internationally in festivals, broadcast and online. He brings technical knowledge of workflows and equipment to projects, whether he is directing, shooting, or editing. Ivan has worked on outreach programs across the province, bringing filmmaking workshops to remote indigenous communities. He has mentored new filmmakers, founded the Squamish Mountain Festival in 2006, and served as a board member and programming manager for the Vancouver International Mountain Film Festival for 5 years. Ivan has previously worked at the Winnipeg Film Group as the Production Centre Director from 2012 to 2014.    Claudia Bastien is a Squamish-based Indigenous endurance athlete, adventure storyteller, and digital creator. She is known for taking on ambitious solo expeditions, including leaving directly from her front door in Squamish to begin a 5,000 km unsupported bikepacking journey from Canada to Mexico, and a 1,350 km ride along Australia's Coral Coast. In November 2025, she will return to Mexico to bikepack the length of the Baja Divide route, continuing her pursuit of long-distance endurance challenges. Vince LaPointe is a Coast Guard Helicopter Rescue Swimmer, Vince's job was to jump out of a perfectly good aircraft to help distressed mariners on the worst day of their life. Today, Vince implements the high-pressure skills learned in the military on time-sensitive film sets. As a dedicated outdoorsman and rock climber, his passion is for capturing emotion, drama and humour in adventure films.   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)  

 They put in their cover letter, “Honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.”Rudi Womack is the Director of the Wyoming International Film Festival and the creator of the YouTube channel The Film Festival Guide.In this conversation, Rudi talks about:* What watching thousands of film festival submissions has taught him about good storytelling* The biggest mistake filmmakers make when they submit to festivals* Why transparency matters and why he published all of the submission and acceptance stats for the Wyoming International Film Festival * The importance of a compelling poster and thumbnail* How to write a good description of your movie* The most important questions filmmakers must askHere is a link to Hiike, the new film festival submission platform that Rudi mentioned.If you enjoyed this episode please forward to a friend.Here is an AI-generated transcript of my interview with Rudi. Don't come for me.79. Film Festival Director Rudi WomackBEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. My guest today is Rudy Womack, who is the director of the Wyoming International Film Festival, and also Rudy has a fantastic YouTube page called The Film Festival Guide. So for all my filmmakers out there who are interested in submitting to festivals in this interview and on Rudy's YouTube page, he breaks it down. Enjoy.Rudi, thank you so much for joining us.RUDI: Hey, it's my pleasure to be here. Thank you for having me.BEN: So I always start off with a fun question, and we're entering the holiday season, so very important holiday question. Is Die Hard a Christmas movie?RUDI: Absolutely. A hundred percent. Come on.BEN: I love it. So I, I told you this off Air, I found you through the Rate YouTube channel.You have the Film Festival Guide. Is that the right name? I wanna make sure I get the name right. Yeah. The filmRUDI: festival guide. Yep.BEN: On YouTube Film Festival Guide on YouTube. Please. Any filmmakers out there go and subscribe. The information is so helpful. What, why did you start the this YouTube page?RUDI: I, as a filmmaker have gone through the festival circuit several times and I made a lot of amateur mistakes. I didn't know what I was doing. Definitely fell on my face a couple of times, but I also had some successes. And as I did more film festivals, I started learning more about the circuit.I got invited by a film festival to become a programmer, and so I started reviewing a lot of films and seeing a lot of the submissions. And I think instantly that made me a better filmmaker just because I saw what was working, what wasn't working, and how other filmmakers really brought to, brought their stories to life on the screen.And it, it was truly inspirational. Very long story short, the Wyoming International Film Festival was started by a gentleman named Alan Oi, and he's a, he's a documentarian out of Wyoming, which is where I'm from. I'm from Wyoming. So Alan had the film festival and he had run it for some years and it was going great and everything.But then Alan retired and now he's retiring. He wants to move outta Wyoming and he doesn't wanna run a live event. ‘cause it is a lot of work in his words. And I quote, it's a young man's game. And at the same time, COVID hit and he didn't wanna do the whole online thing and it was just a big mess.So Alan was like, I'm done with the festival, it's done. I'm just gonna let it die. And I was begging him, no, Alan, you can't do it. It's so important for indie filmmakers. And at the time I'm just finding my feet in the festival circuit as well as both a filmmaker and now I'm a programmer.I'm begging him like don't let it die. It's important, maybe I can help out. And he was like, why don't you run it? And I was like, absolutely not, man. What are you talking about? That's crazy. No way. No way. And I was like, I'm going to be your director of programming. That's what I'm going to do.I'm gonna help you get films in so you don't have to do that work. Very long story short, I ended up running it. I ended up taking over the festival from Alan. I did so reluctantly. But when I started working with the festival, working with the community, working with my hometown filmmakers and my home state filmmakers, and just seeing how important a film festival can be for a local community to uplift indie filmmakers to help them along the way I fell in love with it and here I am now, I run the film festival.And your question was, how did I start the YouTube channel? Sorry, I'm getting there. But I got a lot of questions from filmmakers about festivals, like how to navigate ‘em. And there's just so much mystery behind film festivals ‘cause it's so opaque. There's not a lot of transparency from film festivals.Film festivals are sketchy about which films they do select and which they don't. And frankly, there's a lot of misinformation out there about festivals. So I started answering a lot of questions and I started repeatedly answering the same question again and again and again. And I had some friends who told me, you should write a book.But I was like, yeah, but books, there are books, like people have already written books, bluntly, frankly, people far more experienced and knowledgeable than myself have written books. And so if you're not reading those books, then you're probably not gonna read my book. So that's when I decided, you know what, the YouTube channel is a great way to just do very easy outreach.Take one single topic, break it down for 10 minutes, and hopefully help filmmakers along on their film festival journey.BEN: I love it. And you said something for all the filmmakers who are listening. I'm gonna come back to it. Don't worry. You said something about once you started programming and watching so many films, you got a good sense of what works and what doesn't.So I definitely wanna come back to that. I know the filmmakers listening want to hear that. But before that you mentioned 10 minute videos. You strike me as somebody who, does research and takes time to Yes. Before they do something. What did you discover about running a YouTube page?What things work, what things don't work?RUDI: I'm still very early on in my own YouTube development. I'm still trying to learn what does and doesn't work. So I'm probably the worst person on earth to give advice. Definitely that first 32nd hook is so important on YouTube, just like it is on a film that, that intro, how we come into the story, whatever, on YouTube, you can see a massive drop off and apparently it's that way on every channel.Again, I'm not a YouTube guru, so I don't give advice, but that first 32nd hook is a big deal, but also just my presence on camera. I come from the post world. I'm an editor, so I'm not just behind camera. I'm behind, behind the camera. So I'm very much not used to an on-camera presence, so I'm developing that and learning it as well.What kind of energy I can bring. How to make it engaging. But also I don't wanna be zany and too quirky or anything because I am trying to give good guidance to filmmakers, but I also don't want to lecture them and bore them to death. So it's finding that balance of information that's valuable, but also entertaining enough that people don't wanna click off.And it's actually quite a complex thing that I'm still unraveling one video at a time. But the best advice that I saw was some YouTube guru who is just focus on getting 1% better on every single video. So is that little bit better graphics or better delivery, or better audio, or better editing or whatever it is.And after a hundred videos, you're now a hundred percent better. So that's what I've been focusing on. Just very small baby steps.BEN: Yeah, that's such a great way to break it down, right? It just makes it bite-sized, get 1% better.RUDI: I think you can apply that to life in general. There's a lot of things in life just today be 1% better.That's it,BEN: so you mentioned once you start a programming scene, get enough feel for what works, what doesn't, especially with short films, both narrative and docs. What are you seeing that works and doesn't work?RUDI: In the shorts world I'm seeing a couple of things. One, a self-contained story, and this is something that I had a problem with because oftentimes I would go for more of a quote unquote scene instead of a full beginning, middle and in, in a story.So a self-contained story typically is gonna make your short film much more successful. This can be hard for some filmmakers because they're trying to make a proof of concept short film that they're gonna go and get financing for their future. So one of the things that they often do is they just take a scene outta their feature and then just shoot that, which has mixed results.And the problem is the films that have gotten financed and been made from shorts that have done that are the ones that you see. So it's actually a survivor bias, where it's like it, it works for those particular films and therefore everybody thinks it's gonna work for their film. But obviously the films that it doesn't work for, you're never going to see.So you don't understand, actually for the majority of films, it doesn't work. So if you have a proof of concept, I actually say, don't pull a scene outta your feature. I say write its own scene, or sorry, your own short film. That exists in the same world and universe with the same characters as what your feature film is.And I think that's gonna have much more success on the film festival circuit. And that will lean you or lead you to whatever your goal is, financing or distribution or whatever. So that's a big thing with short films that makes ‘em successful is make sure it is actually a self-contained story and it doesn't have any loose ends, so to speak.What doesn't work is something that I myself struggle with, ironically as an editor. And that's things being too long and you need to parse them down. Now a lot of people will say, shorter, the better, which is true, but I actually think that's a result of actually getting to the core of the problem.And that's make your film as concise as possible. Get the idea. The emotion, the story out as concise as you can. And what that does by happenstance is it makes your film shorter. So it's not that shorter is better. I know there's it almost sounds like I'm just splitting hairs here, but I've seen plenty of five minute films that didn't work.I've seen plenty of 10 minute films that board me to death. So shorter isn't necessarily better. It's more concise of your story is better. And sometimes that still manifests as a 20, 30, 40 minute film. But if it's a very interesting 20, 30, 40 minutes, that's not gonna matter.BEN: It's such a great point. And for me, when I get to a certain point in the edit, I like to just bring in a couple friends and have them watch it. And then I just sit there and watch them watch it and whatever feedback they're gonna provide afterwards. 95% of what I need, I can just tell from Body Language as they're watching the film.RUDI: Yep.BEN: You come fromRUDI: theBEN: Go ahead.RUDI: Oh I was just gonna piggyback off that and just say, audience feedback is worth its weight and goal.BEN: Yeah.RUDI: And every filmmaker when you hit that fine cut stage, like you said, get your friends and family together, buy everybody some burgers and fries or whatever.Get ‘em all together. Gather ‘em up in a room, watch them, watch your film. That's gonna tell you more than anything else. We'll be able to about the success of your film and where it's strong, where it's weak, where you can still fix things. And I always suggest do it in your fine cut stage because nothing's locked in and you can still move things around and adjust, or whatever it is you need.BEN: Love it. And I think earlier what you are really getting at is telling a good story. Yes. And I'm amazed at, not amazed, but maybe a little disappointed, especially in today's world, the technical side of filmmaking. Even for an amateur, even for an indie filmmaker that you can, things can be d done so well technically, but there's no story.RUDI: Yes. All the time. So when I get onto Reddit, ‘cause you mentioned Reddit earlier if I go onto our filmmakers, right? Yeah. I don't have to look far to see people just geeking out over the newest Camerons. It's, and it's always cameras. Everybody always talks about. This camera is so fancy and it has so many stops above and this lens can do this and blah, blah, blah, blah, blah, blah, blah.It has this big bit rate, whatever. Everybody gets so excited about cameras and I always say to myself, man, if they got this excited about audio, I wouldn't have to reject half the films that we have to reject because the audio is just blah. So if we're gonna talk tech, if we're gonna talk about the quote unquote quality of the filmmaking, I think what filmmakers need to understand is there are so many films out there we're that is just the foundation.It is the base level, it is the bare minimum that the film looks good. It sounds good. It feels good. So for us, festival guys, we see so many of these films. You're super gorgeous cinematography, you're really fancy, VFX, whatever it is that you think really separates your film from the pack. I don't wanna discourage you, I don't wanna sound jaded or anything, but it's not as impressive to us as you might believe it is, simply because we see hundreds and sometimes thousands of films like that.So for us it constantly falls back to originality and the story. Is the story well done? Is it well told? Is it a new and interesting story that we've never seen before? Is it a story that we've seen before but told in a very unique way, from a specific point of view, that is what is going to move us as festival people.‘cause when I put it into the theater and my audience walks in and they pay a ticket. My audience is used to going down to the theater and seeing a hundred million dollar movies. So for them, quality is just a given. It's just assumed they're not going to be thinking about it for them. They go and watch a movie ‘cause they're interested in, and I think if more filmmakers really dialed in on their story, they're going to find more success.BEN: So many great points there and a hundred percent agree with what you were saying about people get excited about the camera. And so I did my MFA at USC and there were three different times where I was on a set that, that I felt was unsafe. Not that I felt it was unsafe, what they were doing. Geez. And I walked off and it was always to get the cool shot.Like no one's ever hanging off a balcony to get room tone. You know what I mean? It's just, it's always to get the cool shot that, again, if you're not telling a good story, it doesn't matter. And to your point, I've always felt good audio is more important than good video.RUDI: Good image.BEN: Yeah.RUDI: Look at the documentary. Look at the nonfiction world. We see verite stuff all the time. We see stuff people recorded on their phone or, security camera footage or whatever, like at the end of the day in the nonfiction world is a great example of the quality of the shot doesn't necessarily matter so much as the quality of the story and how it's being told and how it's being revealed to us.And the audio is always gonna be very clean, very top notch, even if it's quote unquote found footage or. Veritate footage or whatever, the audio is always peak. I saw that Netflix doc recently, it was super heartbreaking. The perfect neighbor. And most of it is police body cam footage, but the audio is clean so we're able to follow the story so no one sits back and thinks of themselves this isn't a good shot.Of course it's not, it's police potty cam footage. Like it doesn't look good and it's not meant to,BEN: but it sounds good. And so you can follow it.RUDI: Yes.BEN: What what are some tropes that you think you've gotten tired of seeing in, especially in short films?RUDI: So every year it's a little bit different.You would be surprised what things pop up and what don't. The one trope that kind of rubs me the wrong way, I, I don't know how to describe it any other way than filmmaker self therapy. Like they, they're definitely going through something at the moment and they're not focused on creating a good story.They're more focused on using their art form to emotionally process whatever it is they're going through, which fine, you are an artist that makes sense to do, but also I can't sell my audience on that. So while I don't wanna discourage someone from making a film that is very near and dear and personal to them, at the end of the day, it might not be a good fit for film festivals.And so I, I would really think twice about whether or not that is a story that an audience, frankly, needs to see. Filmmaker cell therapy is one that when I get it, I'm always eh I don't know what to do with it. I just, I don't know what to do. Some other tropes that we see very commonly are like.Obviously right now, tech and AI and stuff like that gives a lot of people anxiety. So there's a lot of like evil robot takes over or the big reveal at the end of the movie, they were a robot the whole time, or the whole thing was a simulation or whatever. That's being very well tread right now.For me, I'm I am not a political person and anytime some big thing is in the news, we see tons of films on it. So I understand politics do affect people's day to day and their lives, so I understand that manifest. But man, I probably have a hundred immigration films right now and that's a lot. And I'm not gonna screen that many, so I'm only gonna pick like one, maybe two, so that's a tough one to do.Anything that's like a hot button political issue. We always see a big wave of those come in. And then honestly, romance dramas get tough. It isn't evergreen. We do have an audience for it. We usually do have some kind of a selection of them. Romance dramas have existed since the beginning of time.It's always been a thing. But filmmaker broke up with his girlfriend, so now he has a character who breaks up with his girlfriend. It gets it, it doesn't get very original. I, it just it gets exhausted. So those are some of the kind of general tropes I would avoid. I have heard other festival directors talk about like cancer films and Alzheimer's films and stuff like that.This year I'm not seeing so much of those, but I have seen those in the past. So tho those are some other. Tread stories we'll see.BEN: One of the things that I appreciate about. Your series of videos is your transparency, and you have one video where you literally break down. Here are all the films the number of films, Wyoming International Film Festivals received. Here's how it breaks down, here's how many we, we accepted, et cetera, et cetera.You have another one where you literally show the viewer, this is what we see as a programmer on our film freeway portal. Here's the scoring sheet. I think it's a little bit different from the one you guys use internally, but basically here's what the scoring sheet on film freeway looks like. Why is transparency so important to you?RUDI: Because I'm a filmmaker, because I've been to so many festivals where I have no idea what the hell's going on. I've been to festivals where I think my film is gonna be a good fit. I think based on what I've been able to investigate on my own, digging through their website, digging through their archive.Seen what they've programmed before. I think I'm a good fit, but I don't actually know. And I've submitted to festivals where later on, I see what they programmed or I got rejected or even accepted and then gone to the festival itself and have been a little disappointed when was like I this festival didn't fit my goals the way that I thought it would, or, this festival wasn't going to do the things for me.Or this festival, like really promoted themselves very heavily as this big event. And then you get there and then it's not, and that's a little bothersome. So when I stepped into my role at the Wyoming International Film Festival, I made a whole bunch of changes. But one of the changes that I made was, we are going to be transparent.I don't ever want a filmmaker to submit to our festival, get in, get accepted to the festival, drive all the way out to Wyoming and be disappointed. I don't want them to do that. That's not good for them. It's not good for us. It's not good for the community. It's not good for indie film at large.What's better is if we just be what we are in Wyoming, we're straight shooters. We just say it as it is. So I'm going to tell you exactly how many films were submitted, which films we accepted, what the percentage rates are, how many shorts versus features, how many docs versus narratives, how many music videos, all of this stuff.And we've been releasing the data for the past couple of years. This year, like we went all out with the data it was much more thorough than what we've done in years past. And even me, the director of the festival, I sit back, I look at the data and I can see some weak spots in it. I can see where we need to improve as a festival, where we need to start, bringing in a certain type of film or where other films might be overrepresented or how we can give more of an experience to our filmmakers.Just by boiling it down to numbers and looking at it. I can start seeing some of our weak spots and I want to improve on that ‘cause I want to have a good festival. And I think if more festivals were to do that, I think the filmmaking community at large would be much more appreciative. And I think film festivals need to understand.That if you have fewer submissions, that's not a bad thing because the submissions that you are going to get are filmmakers that really want to be in your festival and that's good for the health of your festival, the community, the filmmakers, everything. So I, I think the only way we get there is by being transparent.And thankfully there are other festivals that are publishing their data, which is great. And that makes me very happy to see. And I hope that trend continues and I hope even more festivals start publishing more of their data and showing how they review films, what their scorecards look like, what they're looking for.‘cause ultimately I genuinely believe that just serves the filmmakers better and ultimately makes everybody have a better experience on the film festival circuit, including the festivals themselves.BEN: When you took over as directorWhat were the biggest challenges?RUDI: So our biggest challenge to this day is our venue.So there's only one movie theater in Cheyenne, Wyoming. It is owned by a company outta Casper, Wyoming. They own pretty much a monopoly of movie theaters across the state, like most of them. And they don't allow anybody into their theaters at all. They don't allow her private screenings or corporate events or, in individuals who wanna screen their film or film festivals.I'm not the only film festival in Wyoming. I talk with other festival directors. They can't get in either. It's funny, the film commissioner of the state can't even get in. You would think the movie theater would at least want to partner with the state film Commission, but no. So for us, the challenge has been a venue and luckily our partners over at Laramie County Community College.Have graciously allowed us to use their facilities for the last couple years. They have a beautiful auditorium that we do some of our screenings in, but we also have screening rooms in a black box theater that they have as well as a conference room. And when I say conference room, most filmmakers like their heart drops a little bit.They're like, oh man, I'm just, I'm going into a conference room. It's not a proper movie theater. And that's fine. We publish that data on our film freeway page on hike. We are transparent about that. So when you submit, you might be in the conference room. But ironically, I think it has some of the best audio and it has some of the best projection.So even though it's the quote unquote least movie theater, like I actually think it has some of the best projection, best color. But venue is probably one of our biggest challenges and we continue to develop that. We continue to. Trying to innovate. We're trying to build our own screening room there on the campus.Like we're trying to use one of their big classrooms for it. And what we wanna do is we wanna turn it into a lounge. We wanna bring in like couches and sofas and comfy chairs where it's like much more of a chill environment in there. And that's the type of film we wanna screen in. There's some you can literally sit back, settle in and relax.So there's things that we're doing to create a better environment for our filmmakers and of course our audience, our guests at the festival.BEN: I love it. What's been the biggest reward?RUDI: The, I get to meet you. That's what the biggest reward is. I get to meet so many filmmakers. I get to hear their stories.I get to be inspired. I get to learn stuff. I was talking with a festival director a couple of days ago. Who asked me about how we do our audience award scores and how we process that and what they do. And I just like I lit up, I'm like, oh my God. It's such a better way, it's more efficient, it's easier on the staff.It's more representative of how the audience actually feels about the film, the way the scores are aggregated and counted. It's so great. I get to meet so many people in this world of film and every single day it's like a new, whole new world is opened up to me and I get to hear so many fantastic points of view.I get to see so many awesome films, like just how many great movies are out there is a cinephile. It's like the most rewarding thing in the world. I'm an addict. I'm totally addicted to it. It's so great.BEN: I love it. I remember I used to coach basketball in my first year as a head coach. I was like, yeah, everybody's gonna be pretty competitive, other coaches and so forth.And they were, and I was. But at the same time, when coaches would get together, it was just so supportive. And people are sharing, this is what I'm doing in practice. I'm looking at this offense, this defense. And I imagine it's the same with other film festival directors and programmers. Oh, yeah. Just a supportive environment comparing notes.RUDI: It is. And the more that I meet, the more I truly do understand. 99% of festival directors out there are programmers, people who work in it. They have some tie to cinema. Most of them are filmmakers. Those who aren't, have a deep passion and love for cinema and for storytelling, and.Everybody's a volunteer. Everybody has a day job. Nobody makes money on this. They do it from the love of their heart. They truly do. And the way that they serve their communities, the way that they serve their filmmakers, some of the cool ideas they come up with there's some really neat festivals out there with like very interesting hooks or events or whatever.And I think it is such an incredible ecosystem and I think I'm truly privileged to be part of it.BEN: What are some lesser known or maybe mid-tier festivals or local festivals that you love to attend?RUDI: Okay, so one of my favorite festivals I guess you said lesser known. This one is not lesser known, but Film Quest over in Provo, Utah, damn man, pe like festival people talk about building community. They're on a different level. They've built a family. Like everybody who goes to that festival is just so tight knit there. There's no other festival like Provo or sorry, film Quest in Provo. It is just, it's on another level. And how well they treat their filmmakers is fantastic.Some years ago I was invited to be a jury member at the Fair Film Festival, which is in Ferazi Kosovo. So that is in southeastern Europe. It's a landlocked country, just a little bit above Greece, a little bit north of Greece and north of Macedonia. And Fari is a small town. And I went to that festival and first off, wow.What a great festival. I strongly suggest you submit your film to fair film. It's so good. But the cool part of being in this European festival, and frankly a small European country, most of the films are international, obviously. And so there's filmmakers coming in from like Jordan and Spain and Germany and Slovakia and Slovenia and like all over the place, Greece, Turkey, you name it.And how interesting it is to have this incredible cross section of languages and cultures and peoples, but we're all united by this one singular thing. And that's our love for storytelling and our love for movies. It had to be one of the most incredible experiences of my life. And the next movie I make, taking it back to cosBEN: Fantastic.Just had a question. What was it? Oh okay. So with the huge caveat of besides making. A good film, a film that tells a story. Besides that, are there any tips or tricks, things on the margins that filmmakers can do when they're applying to festivals to be aware of? Sometimes festivals. Ask for a cover letter orRUDI: Yes.BEN: Press kit, things like that. Okay.RUDI: So with, sorry, my phone is loud. I should turn that down. So obviously with a huge caveat of make a good film or whatever, what's the easiest way to get it? All of the stuff on film Freeway, and I do have a video on this, on my YouTube page if you wanna check it out, where I give you a tour of film, freeway from the festival side of things like what the festival can see and how we see it and how we navigate it.On the festival end of things. We can see your cover letter, your screenings and awards your. Cast and crew information, your director's bio, your director's statement, your photographs, your EPK, that's your electronic press kit your trailer, all of that. All of that. As much of that as you can possibly make, you should make it.It's very important. And you never know which piece is gonna be more important to a particular film festival. For instance, here's something crazy. I was meeting with some of my programmers last night. They had a whole bunch of films that they wanted to recommend to go to the next level programming.And we require films. Tell us where in the world or where in the United States the film was made. And every single one of ‘em was California. California. California. California. California. Which fine, whatever. California has a big film industry. That's, it's a very big state, population wise. Makes sense, right?But I am sitting back thinking, okay. I don't want it just to be a bunch of California movies. We have a big country here. I would like to see something else. And something caught my attention. One of the filmmakers, their address was in Birmingham, Alabama, but the film was shot in California, so I am suspicious.I haven't dug into it myself. I'm suspicious either that filmmaker's from Alabama and they have moved to California, or that filmmaker lives in Alabama and they shot their film in California. So they're answering where it was shot correctly. But for me, I'm like, there you go. When everybody's from California.I want that unique perspective. I wanna see someone's from Alabama and what their perspective is now. I haven't watched the film yet. I don't know if it's what we're looking for. Obviously it's a good film if my programming team has recommended it, there's no doubt in my mind it's good film. Now there's other considerations we're gonna have, but.That alone was something, even my, like I myself did not know that I would be looking for. So filling out all of that data on film, freeway, all of your information that you possibly can, your cover letters your screenings, your awards, whatever it is, the more information you give us as a festival, the more we have to make our selections.And it only benefits you. It only helps you out. So filmmakers don't get lazy. Fill out all of that information. We need it. We use it. It's important. Just do it.BEN: You mentioned a meeting with your programmers last night. Take us inside that conversation. What does that look like? What do you discuss, et cetera.RUDI: So there's. There's a big programming team and it's divided up into two different groups. There's our kind of first round screeners and then there's our senior programmers and the senior programmers pretty much review the films that have gone through that first round of screening that are getting recommended to go onto the next one.So typically when I'm talking with my screeners and everything, it's a very different conversation on the bottom end of it where they're just sorting through all of the submissions versus a different conversation I have with the senior programmers who are on the top end of it. We're now trying to decide how to block films together, how we're gonna organize it, what's the schedule maybe look like, what's the overall tone and vibe of the festival going to be, okay.If we wanna have a sci-fi block, do we even have enough sci-fi films? If we don't. Where else can we find homes for ‘em? Stuff like that. So those conversations are a little bit more high end, if you will. And it tends to be less about the story of the film itself and more about how that film is going to fit into the festival.Whereas when I'm talking with the screeners, it's much more on the story end. Like what about the story did you like or you didn't like? Or what was the unique point of view? Or whatever. So depending on which group I'm talking to it, it's gonna be different. And then of course that divides out further on features and shorts and documentaries and narratives and music videos.So like obviously my conversation with the music video people are gonna be much different than my like short documentary people.BEN: Shout out to short documentary people as a documentarian primarily makes shorts I'll ask a question for us folks. In one of the videos, as I mentioned, you literally show here's what the scoring sheet looks like.Yes. And that was for narrative with, I think one of the categories was acting and so forth. So for a documentary or documentary shorts, what does that scoring sheet look like? What do those discussions entail?RUDI: Film freeway does not allow us to have more than one scoring sheet.So unfortunately, there's just this one scoring sheet that's for everything. What I tell my screening team, and we definitely double check everything, like there's multiple people who look at something. So it's not just one person's opinion. You have at least two, oftentimes three, pretty often four.So for something like documentary they skip over that. That's what they do. So if there's no acting in the film, they skip over that. They don't rate acting if there is no acting. But you'd be surprised. There are documentaries that have acting in ‘em. There are like docudramas or documentaries with recreation In the recreation is like actual scenes and performances and stuff like that.So in those cases, even though it's a nonfiction and a documentary, yeah, we'll still judge it for the acting ‘cause that's what it has. I get the question. I'm gonna hijack your question for a second, but it is applicable. I get the question, do we accept AI in our film festival, we do not have any official policy for or against ai, which scares some filmmakers.But we do rate AI on the same standards as we would anybody else. So when it comes to creativity and originality, guess what, you're getting a nothing. ‘cause AI didn't create it. AI is not original. AI just mashes together a bunch of information from other people. So that's no creativity and originality.Same thing for something like, I don't know, art design. If you have a AI character walking through a scene or whatever you're getting zero on your art design. Nobody built those sets. Nobody costumed that actor. Nobody was the makeup artist or the hair or whatever other art deck or, PD or anything on the set.So we will accept ai. We have accepted one single AI film so far because despite all of its quote unquote handicaps, and it was a music video. It still was successful in other categories that had a good enough score. We as a team sat down, said Yes, that it still is a good film. The audience is still gonna enjoy it.The filmmaker definitely had a vision with it. They wrote out a whole thing on like why they chose to use ai. ‘cause they're also an experimental filmmaker, so it made sense for them and everything. So we were like, you know what? That's legit. Let's put it in. But other AI submissions, like I got an AI children's animation the other day and I'm like they didn't animate it themselves.They didn't voice act it themselves. It's not getting good scores on any of these. So we'll see. We'll see. We'll see if it gets through or not, but already you're shooting yourself in the foot. So don't do ai.BEN: Okay. Couple little. I don't know, around the edges or micro questions. One of the things that you talked about in one of your recent videos was having a good poster and you talked about designing your poster for your film prudence.RUDI: Yeah.BEN: Talk, talk to me about,RUDI: I specifically gave my posters an example, not a great poster,BEN: But talk to me about that.For the no budget or low budget filmmaker that can't afford to hire a a designer to make a poster. Talk to me about poster design and how that impacts the presentation of the film for festivals.RUDI: So I strongly believe that a big part of filmmaking and marketing and packaging your film together, all of that is psychology.And as much as we want to sit back and say, Hey, don't judge a book by its, cover it, that literally goes against human psychology. People are not hardwired to do that. It, it is. In our DNA, it's not just a bad habit, it is literally a survival mechanism. So if you want to stand out, you do need to have everything put together.Your cover letter, your synopsis, your photographs, all of that, and of course all of your key art. That's your poster. That's any banners that you have, that's how you're going to be promoting the film. And you have to understand it's not just about making your film look pretty to get filmmakers to go, or sorry your programmers go, Ooh, and ah, it's a pretty film.We are looking at that as a mechanism for us to advertise the festival. You gotta understand if I have 150 films in the festival, I have to get an audience for those films. And the easiest way for me to do that is through your marketing materials. We don't have the capacity. To design marketing materials for 150 different films.We are relying on the filmmakers to do that so we can go out and promote the festival. So people show up to your screening, which I would presume is what you want if you're going to a film festival. So anything you're trailer, any photographs that you can provide, which some filmmakers only provide BTS photographs, BTS is fine.It's great. Give me some good key art I can also use, please. That's what newspapers, that's what the local news that's what podcasters, whatever, that's what they want to see. So that's what I can provide. And of course, your poster. Now, there are a lot of online tools to help in poster design, frankly, I don't have an excuse for making a bad poster like I did, which is one of the reasons I use it as an example is I am shaming myself being like, this could be better and it should be. But there's a lot of online resources that can help with poster design. And also for filmmakers who are a little bit strapped for cash, you would be surprised what people will do for in kind, service for service.So if you have a friend or if there's someone that you can find that's Hey, they'll design your poster if you can design whatever their website or whatever it is that your skills might be there, there's a lot of exchange that you can do on that part. So yeah your marketing, your packaging, all of that together is actually quite important.BEN: Such a great point. And I've written and published a memoir and through that, I've worked with other authors on, on. Both writing and marketing their books, editing and marketing their books. And I tell people the exact same thing. People judge a book by its cover all the time. And in this day and age, they judge it for listeners, I'm holding my thumb and forefinger part as a thumbnail on a computer screen.Yeah, that's the size. So even for a programmer or a festival director watching it on film freeway through their platform, they're not gonna see the poster like we see it in the movie theater. They're gonna see it as a thumbnail image. Yeah. So it has to work as a thumbnail image. And if you can't read the title as a thumbnail or can't make out what's on the image, what's on the poster as a thumbnail, then you've failed that part of the process.RUDI: One, one of the things that like really clued me into how important a poster is, I went to a film festival, I believe it was Kansas City Film Festival. Some years ago, and they had a bunch of posters of films out, but there was one that was like bright pink. It was like super bright pink and had like very eye popping design and everything on it.And it was like in a whole field of like dark drama posters that are all like gritty and everything. And I'm like that stands out. That really drew my eye to it. And I think that was like my big light bulb moment of like how important this stuff actually is. And one of the things that I've been saying for some years, I've said it on the channel, I think, I don't know, some, sometimes I record things and edit out.So I don't know what I've said on the channel sometimes but one of the things that I say is making a film is half of film making. The other half is marketing, the other half is getting butts in the seats. The other half is getting eyeballs on your movie. The other half is selling your film to an audience or a film festival or a distributor or a programmer or whatever you're trying to do with it.It's getting it out there. So making a film is half a filmmaking. The other half marketing, that's what it is.BEN: I'm just nodding along with everything you're saying and I've always felt both with films and with books, with art in general, you're trying to make an emotional connection from what's in your head and your heart to the audience.And if you don't do your job, getting your film out there and helping an audience come and see your film. Then you're not helping that connection. You're missing sort of the point of making this, unless it's just for yourself. It's for, it's to connect with other people and for other people to connect with your work.And that is marketing.RUDI: It's valid. If you're just making a film for yourself, that's absolutely valid. It's in art form. You can make a film for yourself, but if you're sending it to me at a film festival, you're not you're literally trying to find an audience. So these are the things you need to consider.BEN: I love it. I got two more just in the weeds detail questions.RUDI: Alright, let's do it.BEN: Let's talk description. And what I've seen ‘cause I'm in the middle of applying to festivals. And by the way just for. Listeners, this might interest you. So I discovered Rudi's YouTube page and I was like, this is so helpful.And then I went to the Wyoming International Film Festival page and all the transparency and statistics that, that Rudi puts out, that the festival puts out. And I realized, okay, so the short documentary I have is not a good fit for this festival. Exactly what Rudi's saying. So just for anybody listening, thank you for doing research.RUDI: Thank you. That's good. That's not a bad thing, right? That means it saves you time, it saves you money, it saves you heartbreak. It's so good. Do research before you submit. I'm sorry, but I, it's in, in almost every single one of my videos, I tell filmmakers, do your research before you submit. Find the festivals that gel with your film.And if it, if they don't screen the type of movie that you have, don't submit to ‘em. You're wasting your time, you're wasting your money. And the festival, like the programmer behind the screen, might love your film. They truly might love your film, but they're programming for a very specific audience and they know what that audience's taste is.So that's why they're driving specific films to that audience. So even if they love it, they might not include it, which is why you should always do your homework and do your research before you submit. I'm sorry to interrupt, but it's so importantBEN: And yes. And the flip side of that coin is now I also know what the Wyoming International Film Festival looks for.So in the future, if I have a doc or a film, I'm like, oh, this would be a great fit for this festival.RUDI: Yes.BEN: It helps both ways.RUDI: It does. And it helps you dial in. Which festivals you should target, which festivals are gonna help you with your specific goals. Whatever your goals are with the film it's gonna help you with your budgeting and your travel plans and your own personal calendar.It's gonna help with your mental health. It just, it helps on so many different aspects. And on the film festival side of things, I appreciate it when I hear from filmmakers say, Hey man, I looked into your festival looks good, but you don't have the kind of film that I have. And I'm like, not a problem man.Maybe I can point you in the right direction. Maybe I know some film festival programmers, I can make a recommendation, on your behalf too, that's not a bad thing. We love movies and we want to see them successful, but not every single fest or film and story is going to be successful in every single market.So it's very important to find your audience. And believe me, we are going to be cheering you the whole way.BEN: I want get back to my kind of in the weeds questions, but you've mentioned something that is big picture, that's so important. I feel like I've buried the lead here. And you mentioned this you've mentioned this multiple times in your videos.Is that a Phil, it's key. Maybe the most important part of this process is of the film festival submission process is a filmmaker needs to understand what are their goals in applying to a festival. Yes. So can you just talk a little bit about that?RUDI: So film festivals are a tool. And they can be a tool for many different things, but they are a tool.And just every single tool is not right for every single job, every film festival is not gonna be right for every film and vice versa. So before you go out to film festivals, you just need to ask yourself why? Why am I going out to film festivals? Why am I spending the money, the time, the energy, the effort?What do I want out of film festivals? And that's where you need to identify your goal. And the more specific you can be with the goal, the better it's going to be you going on your film festival journey. So for many filmmakers, a common reason they go out to film festivals is networking. So I'm gonna use that as an example.So let's say your goal is I want to network, I want to meet other. Filmmakers, I wanna meet, directors of photography and producers and other people that I can hire for my projects, or they're gonna hire me for their projects, and I want to build that network and I want to meet more filmmakers.Fantastic. Great. That's your goal. So the first thing that you need to do is you need to be looking at festivals that have networking events. And in this particular instance, you need to ask yourself two things. One, does it have networking? Is there in-person networking parties or networking events?And two, do the types of people that I want to meet actually attend those networking events. So us at the Wyoming International Film Festival, we have a pretty broad spectrum. We have filmmakers that are just beginning their journey. They're totally new, wet behind the ears. They're green they're just starting their journey.That's great. All the way up to every year we have multi Emmy award-winning filmmakers. Like people who do this professionally they're in unions or professional organizations, or they're a member of the academy, motion picture Arts and sciences or the TV Academy or sometimes like the Grammys and stuff like that.I, myself, I'm a professional editor, so there's people like me who professionally work, but they're like below the line. They're cinematographers editors, gaffers, what have you. So if your goal is to meet some like high-end producer that's gonna throw, a million dollars at your movie our festival is not the festival that's gonna help you with your goal.So you should skip over us because we don't have that kind of person in attendance. But if your goal is to meet other filmmakers at your level that you can collaborate with or get hired by or whatever. We're a great festival. We have tons of networking, and we bring in a ton of those filmmakers.We're a great event for you. So when you identify what your goal is and you're very specific about it, it's easier to identify which festivals you should start targeting. I take that one step further, and then once you've narrowed down which festivals are gonna help you with your goal, then you look into their history and see which of them have screened movies like yours in the past.So if you have a, you know I use the example, if you have a seven minute comedy coming of the age film, now you know which festivals have good networking, which festivals have the kinds of people you want to network with. Now you look at which ones have screened short coming of age comedy films in the past, and have a history of doing that.So that's gonna help you filter it even further. And by doing that, you're gonna really start to develop your film festival strategy. Now I do have some exciting news. There is something coming now, it's called Hike, H-I-I-K-E. It's hike with two I. And what Hy is doing, it's a submission platform similar to film Freeway, but among many of the tools that they're giving filmmakers, they're giving filmmakers customized festival strategies and they're scraping all of that data from film festivals, what they've programmed in the past.And when you as a filmmaker, join Hike, you take a little quiz, you tell them what your goals are, what your film is, you know how long it is, what the genre is, tell them about yourself. And they literally have. Data scientist who's built this like machine learning algorithm that pairs the data from the film festival to what the filmmaker provides.That literally gives you a compatibility score. So it's, it comes out and tells you, if you want to network with, professional filmmakers but not mega producers and you have a short comedy coming of age film Wyoming International Film Festival has that crowd screens those types of films and you would have a 90% compatibility.So it actually helps you develop your festival strategy for you.BEN: It's so needed. And Rudi has a great video on how to spot scam film festivals. Yes. That's something that is just prevalent these days. So for filmmakers who are getting ready to submit, I encourage you to watch that video. I'll link to it in the show.I'll link to everything that we're discussing in the show notes. The. So Rudi talked about one goal a filmmaker can have is to network other goals at various points in my, film festival my limited film festival career I've applied to festivals ‘cause I wanted to go to that city, new Orleans Fest, new Orleans Film Festival.TravelingRUDI: is totally legitimate reason to go.BEN: People apply because they want distribute, they wanna meet distributors or financiers for the next film. Although, that's what everybody wants. SoRUDI: you, you would be surprised. So in, in 2018, I had a feature film and my, my goal like most feature films was to land a distribution deal.But I was like, that's not specific enough. There are many steps to land a distribution deal. So what I need is I need good press on my film. So that was a goal. So I wanted to target festivals that had press. I wanted laurels. I wanted to win some awards with it, but I also knew my film was. Small and kind of small scale.So it wasn't gonna win laurels at big festivals. So I was like, okay, I need festivals with press. I need festivals that are legitimate and above board, but also small enough where I'm gonna be competitive. And then I wanted to actually meet distributors. And I know they only go to big festivals, so I actually had to target three different kinds of festivals.‘cause I had three, let's call ‘em conflicting goals with my own film. So that's what I did. I did a split strategy. I targeted festivals where I was gonna be this tiny little fish in a very big pond. And no one's really gonna notice me, but I'm just happy to be there. I targeted festivals where I know that I was going to get very good press and very good reviews on the film.And I targeted festivals that were small, still legitimate, but I was gonna be competitive and maybe bring home some trophies. And so that was my strategy and it worked, and I landed a distribution deal.BEN: That's so great. I, I'd love to do a part two at some point we can talk distribution deals and all of the, yeah.Things like that. But I think for people listening, the big takeaway is even with this multi-pronged goal, three different goals connected to each other. Once you identify what your goals are, then you work backwards and you create your strategy to Yes, to achieve those. Okay. Back to the two in the weeds.Two more in the weeds questions. Yeah. So description, and as I'm looking at other film descriptions, and I saw this at USC all the time as well, and we talked about earlier, filmmakers wanting to sit in emotion or sit in something traumatic and have the audience experience that I notice a lot of times in descriptions of short films.Can so and so come to terms with this? Can, and just as someone who has a little bit of experience marketing stories, where's the action? What's the active what's this person actively trying to accomplish, rather than can they just come to terms with something? Can you talk a little bit about film description, just three or four lines.What pops?RUDI: So just like your poster, just like your marketing and everything, a film description is your way to reach through the screen, grab the audience, grab the programmer, and pull them into your movie. Keep in mind, your whole entire goal is to get people to watch your film, get them excited about your film.And so if you just have a very drab, like description that's just yeah, has to face consequences for a decision they made or come to terms with something when I, that's a good V one, that's a good place to start, but that's not going to get an audience excited about your film.I saw film, I don't know if it was at my festival. It wasn't at my festival. We didn't screen it, but I'm saying, I don't know if it was submitted to my festival or if I saw it at another festival, but I remember one of the descriptions it was great. It was whatever the two character names were, John and Jane, I forget what the characters are, but like John and Jane are on a date, there's a bomb in the other room.I I hope the date goes well, or something like that. Let's hope the date goes well. And I'm like, what is this movie? That gets you really excited for it. You're. It, it creates so much mystery. And also just the cavalier way that it was written immediately tells me this is gonna be a comedy, or it's not taking itself too seriously.It's not some like gritty, dive into the underworld or whatever. Like just how blunt it was about the dis of the film and just that like small little description. I know I'm paraphrasing what it was, but it stuck with me for years at this point. ‘cause I'm like, that is how you write a description for a film.That is how you get someone excited to see what is this movie about? Let's jump in. Piggybacking off a description. Titles are another great way to do that. In, in my own repertoire of films I've had film called Prudence. Okay, fine, whatever. Prudence doesn't really tell you much about that film.I had a film that I'm very proud of. It's artsy, it's a little bit magical realism and it's called in this gray place, and it has that artsy mystique around it in this gray place. And I love that title. I did it, I did a film back in film school. It's terrible, but the title's great.It's called Back to Fort Russell. It was a Western and I, to this day, it's one of my favorite titles that I've ever had. But it tells you something. It clues you into what this film is going to be, what the journey of this movie is going to be. And some films do that better than others. And some films, yeah, it's not necessary.But I, I get more excited when I hear something like the Texas Chainsaw Massacre than I do something that's just like love. Or mom or something.BEN: I think this is the last question. So again, with all these little details, cover letter, talk to me about cover letters.RUDI: It's so interesting you asked me that question ‘cause hearing about four or five days, I'm posting a video on the YouTube channel about cover letters. It's short, it's only four or five minutes long, but cover letters are so important.Should absolutely write a cover letter. And a couple of days ago I was talking with programmers at dances with films, and if you don't know dances with films, look ‘em up. They are an incredible film festival. They are in the big leagues for sure. And I was talking with a couple of programmers and I asked them about covert letters and they said, it's so important it.How the filmmaker is going to put an audience in the theater is very important for their festival. How they're going to get people to attend is very important for them and they're like, a good indication in a cover letter is when they, the filmmaker indicates how they're going to market their film and they use the example of football.Let's say it's a movie about football. They're like, if it's a movie about football and you tell me in the cover letter that you're part of several like football organizations, or you're gonna be reaching out to sports organizations or youth organizations for sports or something like that, to attend the film.That's a very good indication for them in the cover letter. For me, I think a cover letter is very important in that it shows. You're going the extra mile to show the festival you care. You're not just submit and quit. We're not just one festival on a list of 50 that you're submitting to. There is a reason you want to screen with us, and that's a specific reason.Either you feel that your film is good fit for our audience, or there's something that you want to connect with. In Wyoming, I had one cover letter and we did accept this film and it was really funny. They put in their cover letter like their film was a comedy, so their cover letter was also very comedic, but they're like, honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.And I laughed. I laughed so hard at that and I'm like. But that shows me they care. Like they want to be there. And the film was good and it was funny and we screamed it and they were there. So it's a way to show a film festival enthusiasm and it's way to inform the festival about yourself, about your film, and how that's gonna gel with their particular event and their audience.BEN: I love it. And that reminds me, I got one more, I got a bonus question. Yeah. Can you talk about applying early?RUDI: Yes. Statistically, when I look at our own data, statistically, it does seem to be that the earlier you apply, the better chance that you have. And so I don't want to give the impression that if you applied late.You have no chance. I think in the video where I literally broke down the data and the statistics, I think at our festival we had a one in five chance of getting in on the late deadline, which is about a 20% acceptance rate. But it was much higher the earlier it came in. So just with the raw data taking out my opinions, my emotions on it, whatever, just the data itself shows earlier is better.Now, here's where my opinions and my feelings towards it come from. I think it's a couple of things. One, when you get in early, you set the pace for the rest of the festival, you're telling us, okay, it's a drama. We're gonna compare your film against others. Like you have now become the benchmark that we're gonna compare other films to when it comes to like dramas or whatever.What it also does. It's something I'm going to discuss in my video and cover letters, but it also engages something, what's called mere exposure effect in psychology, which is essentially the more that you are exposed to something, the more preference you have towards it. Which means if you get in early, you are exposing yourself, your film, and your story to the programmers more often and more readily than late submissions are.So it's more likely that the programmers form some attachment to your film, and that's just human nature, that's just psychology. There's some practical reasons for it as well. Obviously, earlier submissions, earlier deadlines are cheaper, so it's better to get in. It's just gonna cost you less money to do and then lastly, there are many festivals that are developing their program as they go. So as films are coming in, they're shaping. We got a ton of dramas. Maybe we need two drama blocks, or, we, we don't have enough sci-fi for a sci-fi blocks, we gotta spread it out or whatever. So if you come in late, you're now trying to elbow some other film out of the way in order to find your screening slot.Which don't get me wrong, there are plenty of programmers that are absolutely gonna go to bat for you. They're gonna fight hard to get you in. Doesn't matter if you come in early or late or whatever, but the chances are just better. And the data shows that if you get in early. All that said, a couple of years ago, the very last film that came in with only two hours left in our deadline, we ended up programming it.So it, it is possible.BEN: Rudi, I cannot thank you enough. I can't tell you how helpful this has been. There's so much great information for filmmakers. Filmmakers submitted to festivals, people just interested in going to festivals. So thank you so much for taking the time.RUDI: Hey it's always a pleasure.I always love talking film festivals and for any filmmakers out there, head on over to YouTube hit up the Film Festival Guide. That's my YouTube page. I'm coming out with videos every two or three weeks. That's about what I put ‘em out there for. So if you need any guidance or any, I don't know, insight for film festivals that's where I am.BEN: Film Festival Guide. I'm a subscriber. I can't recommend it enough. Any other social media where people can find you?RUDI: Oh no, I'm terrible on social media. YouTube's enough for me right now.BEN: So Film Fest.RUDI: I will probably expand in the future and I'll probably make some announcement on the YouTube channel.Got it. But for right now, I'm just trying to get good information out there to as many filmmakers as possible.BEN: Thank you so much for doing that. It's such a huge benefit for film.RUDI: Thank you very much for the support and thank you very much for having me on. I enjoyed this. This was a lot of fun.BEN: Me too. This was great. Thank you. And that was my interview with Rudy Womack, director of the Wyoming International Film Festival and creator of the great YouTube page, the Film Festival Guide. Hope you enjoyed this episode. If you did, please forward it to one person. Thank you and have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

We're back to talk night 2 of what we watched at the Lhatsik Harutkshi "Moving Stories" Wiyot Tribe Film Festival 2025. Plus talk about the very first public screening of Mike J. Marin's new short documentary Blacktop Poets: The Story of Without Rezervation. Hit up E Society on Facebook.⁠⁠⁠https://www.facebook.com/ESocietyPodcast/⁠⁠⁠Sk8er Nez Podcast Network -https://macnezpodcast.podbean.comE Society YouTube:⁠⁠⁠https://www.youtube.com/channel/UCliC6x_a7p3kTV_0LC4S10A⁠⁠⁠E Society and Mac-Nez t-shirts Tee Public:⁠⁠⁠http://tee.pub/lic/9ko9r4p5uvE⁠⁠⁠X:E Society Podcast -⁠⁠⁠https://x.com/esocietypod⁠⁠⁠Mac Nez Podcast -⁠⁠⁠https://x.com/macnezpod⁠⁠⁠The Zissiou -⁠⁠⁠https://x.com/TheoZissou⁠⁠⁠Instagram -E Society -⁠⁠⁠https://www.instagram.com/esocietypod/⁠⁠⁠Mac Nez Podcast -⁠⁠⁠https://www.instagram.com/macnez/⁠⁠⁠The Zissiou -⁠⁠⁠https://www.instagram.com/thezissou/⁠⁠⁠TikTok -⁠⁠⁠https://www.tiktok.com/@esocietypod⁠⁠⁠ Taylor and Nez new podcast:Old Dawg New Trickz⁠⁠⁠https://open.spotify.com/show/319KRWiJfGpMbFBLTp6E8P⁠⁠⁠YouTube page for Resting Easy with Chris and Breezy⁠⁠⁠https://www.youtube.com/@RECB

Grayson Berry and Thomas Ryan Ward to tell us about We regret to inform you film festivalHere is the link to the We regret to inform you film festival

A la primera part del Voltant i Girant parlem amb Josep Varo, cineasta i director del FRAME Film Festival, el festival de curtmetratges itinerant que fa parada a Sant Jaume d’Enveja aquest cap de setmana.

Clarence Ford spoke to Director Njabulo Ndlovu about the launch of Fraud Film Festival in the country. Views and News with Clarence Ford is the mid-morning show on CapeTalk. This 3-hour long programme shares and reflects a broad array of perspectives. It is inspirational, passionate and positive. Host Clarence Ford’s gentle curiosity and dapper demeanour leave listeners feeling motivated and empowered. Known for his love of jazz and golf, Clarrie covers a range of themes including relationships, heritage and philosophy. Popular segments include Barbs’ Wire at 9:30am (Mon-Thurs) and The Naked Scientist at 9:30 on Fridays. Thank you for listening to a podcast from Views & News with Clarence Ford Listen live on Primedia+ weekdays between 09:00 and 12:00 (SA Time) to Views and News with Clarence Ford broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/erjiQj2 or find all the catch-up podcasts here https://buff.ly/BdpaXRn Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567See omnystudio.com/listener for privacy information.

The first Edwin S. Porter in 2024 was so nice, we had to attend it twice. The Golden Silent Films Podcast returns to the great town of Connellsville for a night of film, music and history.We take another look at the life of Edwin S. Porter with a special emphasis on his work history as a projectionist which works great considering what films we watched. This fantastic event took place on September 13, 2025.In this episode, we'll also take a look at the stories, the history and the personalities that came together to make a few fun films! We discuss "The Whole Dam Family and the Dam Dog", "The Life of an American Fireman", "The Rink" and "Sherlock Jr." Bluesky - @goldensilentscastTwitter/X - @goldensilents1Instagram - goldensilentscastFor more info on the Porter Film Fest, just search for it on Facebook and you'll go right to the page!For more info on Yough River Brewing, head over to www.youghriverbrewing.com. Also, be sure to follow them on all their social media accounts!#silentfilm #silentmovies #connellsville #pittsburgh #filmpodcast #moviediscussion #filmdiscussion #charliechaplin #busterkeaton #edwinsporter #filmhistory #edison #classicfilm #silentfilms

Questo episodio è la registrazione del terzo e ultimo live podcast della terza edizione di Noam Faenza Film Festival. Leo e Sacco dialogano con i giurati delle sezioni lungo e cortometraggi Andrea Tagliaferri e Joana Fresu de Azevedo.

We talk about day one of Lhatsik Harutkshi “Moving Stories” Wiyot Film Festival 2025 at the historic Eureka Theater in Eureka California. Hit up E Society on Facebook.https://www.facebook.com/ESocietyPodcast/Sk8er Nez Podcast Network -https://macnezpodcast.podbean.comE Society YouTube:https://www.youtube.com/channel/ UCliC6x_a7p3kTV_OLC4S10AE Society and Mac-Nez t-shirts Tee Public:http://tee.pub/lic/9ko9r4p5uvEX:E Society Podcast -https://x.com/esocietypodМас Nez Podcast -https://x.com/macnezpodThe Zissiou -https://x.com/TheoZissouInstagram -E Society -https://www.instagram.com/esocietypod/Mac Nez Podcast -https://www.instagram.com/macnez/The Zissiou -https://www.instagram.com/thezissou/TikTok -https://www.tiktok.com/@esocietypodTaylor and Nez new podcast:Old Dawg New Trickzhttps://open.spotify.com/show/319KRWiJfGpMbFBLTp6E8PYouTube page for Resting Easy with Chris and Breezyhttps://www.youtube.com/@RECB

Hello listeners, please enjoy this very special episode where Raul was lucky enough to cover the dark Cinema Film Festival in Tooele, Utah. This episode is full of good interviews and lots of laughs. And of course Raul being absolutely being full of himself. Hope you have fun with this one.Website Links:Website -⁠ https://headlongintomonsters.godaddysites.com⁠Twitter -⁠ https://twitter.com/In2Monsters⁠E-mail - ⁠headlongintomonsters@gmail.com⁠Facebook Group -⁠ https://www.facebook.com/groups/1192679381675030⁠Anthony Links:Instagram - ⁠⁠https://www.instagram.com/johnnypaintbox/⁠⁠Johnny Paintbox - ⁠⁠https://www.johnnypaintbox.com/info/artist-statement-⁠⁠MRAC Film Club - ⁠https://podcasts.apple.com/us/podcast/mrac-film-club/id1716134038⁠Ashley Links:Twitter -⁠ https://twitter.com/BarelyAshley⁠Letterboxd -⁠ https://letterboxd.com/barelyashley/⁠Monochrome Creeps Hashtag link (watch long party every saturday night at 11 pm EST with Ashley and Tombs on twitter)- ⁠https://twitter.com/hashtag/MonochromeCreeps?src=hashtag_click⁠Raul Links:Twitter -⁠ https://twitter.com/RaulVsMonsters⁠Letterboxd -⁠ https://letterboxd.com/into_monsters/⁠Guest Links:Dark Cinema Film Festival: - Film Freeway- Website- InstagramSuction: - Watch HereAnechoic: - Bad Still Films Website- Bad Still Films YoutubeCompanion: - Watch Here- Winter Hawk Productions Website- Winter Hawk Productions YoutubeThe Millcreek Strangler: - Watch HereThe Art of Veronika Golden:- InstagramListener Feedback, Horror Happenings and Ra-Ghouls Reprehensible reading Room music Created by Mike Miller (Mike twitter): ⁠https://www.facebook.com/profile.php?id=100004929583462⁠Opening Music:⁠ https://audiojungle.net/item/80s-horror-retro-background/33176055⁠Closing Music:⁠ https://audiojungle.net/item/hip-hop-horror/25238003⁠

"Im Prinzip Familie“ von Daniel Abma hat den Deutschen Dokumentarfilmpreis 2025 gewonnen.Er wurde erstmals auf Filmfestival Mannheim Heidelberg verliehen.

Welche Kraft können Utopien entfalten? Und welche Utopien werden gerade aktuell, in unserer krisenhaften Zeit, entworfen? Das zeigt das exground Filmfest Wiesbaden in diesem Jahr mit eindrücklichen Filmen in seinem Themenschwerpunkt „Mut zur Utopie“ (von 14.-23.11.2025). Und Stefan Behr, Direktor des Futuriums in Berlin, erklärt, warum Utopien durchaus wirkmächtig werden, unser Handeln bestimmen und die Verhältnisse langfristig gesehen verändern können - auch wenn es nicht unbedingt immer danach aussieht. Moderation. Tanja Küchle

Podsumowanie 16. edycji American Film Festival, w którym klasycznie omawiamy te najbardziej interesujące film z programu festiwalu. W odcinku rozmawiamy o:★ Father, Mother, Sister, Brother, reż. Jim Jarmush★ Na wschód od Wall, reż. Kate Beecroft★ Od nowa, reż. Max Walker-Silverman★ OBEX, reż. Albert Birney★ Natchez, reż. Suzannah Herbert★ Kopnęłabym cię, gdybym mogła, reż. Mary Bronstein★ Zgiń kochanie, reż. Lynne Ramsay★ Christy, David Michôd★ Smithereens, reż. Susan Seidelman★ Czerwona linia, reż. Sidney LumetRozmawiają Janek i Marcin

Questo episodio è la registrazione del secondo live podcast della terza edizione di Noam Faenza Film Festival. Leo e Sacco dialogano con Elisa Pellegrino, Matilde Sant'Antonio e Giulia Quintabà sulla comunicazione e divulgazione cinematografica attraverso i canali digitali.

Questo episodio è una registrazione del primo live podcast alla terza edizione di Noam Faenza Film Festival. Leo e Sacco dialogano con il regista Emanuele Mengotti e il compositore Enrico Coniglio.

Grayson Berry and Thomas Ryan Ward to tell us about we regret to inform you film festival

Grayson Berry and Thomas Ryan Ward to tell us about We regret to inform you film festival

El director, Pere Cabañas, assegura que aquest reconeixement ha estat "totalment inesperat i resulta increïble".

The Minnesota Military and Veterans Museum is partnering with Lakeland PBS and Pioneer PBS to bring the Veterans Day Film Festival 2025 across the state Tuesday. Audiences in Mankato, Stillwater and Little Falls can see three films about three different Minnesota veteran experiences.Randal Dietrich is the executive director of the Minnesota Military and Veterans Museum in Little Falls. He called MPR News host Nina Moini from the official State of Minnesota Veterans Day Ceremony in Mankato to talk about the film festival.

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

Wanda Sykes is most known for her stand-up prowess, comedic roles and activism on and off the stage. Sykes steps into a new kind of spotlight as a dramatic actor in “Undercard,” portraying Cheryl “No Mercy” Stewart: a former boxing champ and trainer trying to reconnect with the 21-year-old son she gave up when he was a child because of alcoholism. She joined “St. Louis on the Air” to discuss the role, her life and career, and what the Trailblazer Achievement Award from St. Louis International Film Festival means to her.

12 films. 3 nights. 1 Collective.The Past Present Feature Film Festival is a curated, three-day showcase of cinematic storytelling across time, highlighting overlooked gems, current festival hits, and future feature films in the making. Sponsored by The Past Present Feature Podcast and Leica Camera, all screenings take place November 19 – 21 in Hollywood, CA, at the Eastwood Performing Arts Center (1089 N OXFORD AVE, 90029)Tickets @ pastpresentfeature.eventive.org

Savanna, Gonzalo and Nick discuss the upcoming Animal Liberation Film Festival. This event is being held from December 5-6 in Melbourne, at Cinema Nova. For more information on the festival, go to: https://alff.org.au/ Also see the Facebook event page here: https://www.facebook.com/events/25038308422432519  Additional links: We briefly discuss this article as a follow-up to an issue we raised on the previous show Poker Face and Representations of Vegans in Pop Culture: https://www.theveganreview.com/veganism-related-hate-crimes-are-on-the-rise-in-britain/  Music: Animal Liberation and Cruelty Free by Los Fastidios: https://www.losfastidios.net/ Get Up by Goldfinger: https://www.goldfingermusic.com/music/hello-destiny-goldfinger/ Yuppie Kids by Shoreline: https://purenoise.bandcamp.com/album/to-figure-out

We're back! At long last, season four begins. In this premiere episode, join co-hosts Cortlyn Kelly and Kaveh Jalinous as they discuss their experiences attending this year's fall film festivals–including Telluride, TIFF, NYFF, CIFF, NewFest, and Black Harvest. They highlight some of the films they watched, as well as general impressions of each festival's different vibe and audience.Hosts: Kaveh Jalinous, Cortlyn Kelly.

Professional film curator and educator KJ Mohr returns to The Truth In This Art to talk about the Maryland Film Festival (MdFF) and Baltimore's indie film scene at the SNF Parkway!In the conversation we explore the 2025 Maryland Film Festival (MdFF)—what's new, including the amazing new website and Festival Journeys—what still matters, and how a festival can truly feel like home. As director of the Festival and year-round programming, KJ shares how listening to instinct and inviting many voices into the process shape a lineup that feels authentically Baltimore and true to independent film. A large, local screening committee helps build the program from the ground up, and the Parkway's communal vibe keeps people talking long after the credits roll. From indie film discoveries to community-centered conversations, MdFF 2025 champions Baltimore's film scene at the SNF Parkway.Festival Journeys: Four clear entry points—MdFF Pride (like I Was Born This Way), Black Voices (like Sun Ra: Do the Impossible and Kouté vwa), She/They (like Bay to Baltimore featuring ultramarathon open‑water swimmer and painter—and Truth in This Art alum—Katie Pumphrey), and WTF (like Fuck Toys)—to help audiences navigate with ease.CineTech: Free-with-registration demos and conversations highlighting gaming and interactive, choose‑your‑own‑adventure storytelling, expanding how audiences experience moving images and connect across creative communities.Student Films: Expanded to five days to make more room for student work, with student and local films threaded through most programs—spotlighting the next wave of filmmakers.Mission and SNF Parkway's future: A welcoming home base where films, filmmakers, and audiences connect—an inclusive, community‑rooted space that reflects Baltimore while linking to the wider film world.Join us at the SNF Parkway for a robust week of programming—screenings, shorts, conversations, and in‑the‑room moments—and, most of all, a chance to be in community with Baltimore's arts, film, and culture, and the independent film community that calls the SNF Parkway home. Explore the new website, pick a Journey, and come be part of it. Host: Rob LeeMusic: Original music by Daniel Alexis Music with additional music from Chipzard and TeTresSeis. Production:Produced by Rob Lee & Daniel AlexisEdited by Daniel AlexisShow Notes courtesy of Rob Lee and TransistorPhotos:Rob Lee photos by Vicente Martin for The Truth In This Art and Contrarian Aquarian Media.Guest photos courtesy of the guest, unless otherwise noted.Support the podcast The Truth In This Art Podcast Fractured Atlas (Fundraising): https://www.fracturedatlas.orgThe Truth In This Art Podcast Bluesky: https://bsky.app/profile/thetruthinthisart.bsky.socialThe Truth In This Art Podcast Instagram: https://www.instagram.com/truthinthisart/?hl=enThe Truth In This Art Podcast Website: https://www.thetruthinthisart.com/The Truth In This Art Podcast Shop: Merch from Redbubble ★ Support this podcast ★

More than 570,000 Hoosiers receive federal food benefits — including nearly 150,000 people across Central Indiana. Indiana voters decided several school tax questions Tuesday. The most-watched was in Avon, where a statewide official weighed in. The company behind a proposed data center in the Martindale Brightwood neighborhood filed a rezoning application with the city. The 25th anniversary of the Indianapolis LGBT Film Festival is the weekend. Want to go deeper on the stories you hear on WFYI News Now? Visit wfyi.org/news and follow us on social media to get comprehensive analysis and local news daily. Subscribe to WFYI News Now wherever you get your podcasts. WFYI News Now is produced by Zach Bundy and Abriana Herron, with support from News Director Sarah Neal-Estes.

This episode is the perfect antidote to whatever you're feeling the day after election day… in today's episode, I sit down with two documentary filmmakers, Kahane Cooperman and Innbo Shim, to discuss their film, Creede USA.Creede is a small, remote mining town in Colorado that serves as a microcosm of differing political sides and debates that are happening more broadly in our country today.  The town consists of conservative mining families that have been there for generations, and more liberal, progressive theater people who come into town every summer for the past 60 years for their repertory theater company.  The documentary features many individuals and perspectives that live in this small town of 300, where residents are forced to confront each other's differing views.  The film covers the real-time school board meetings that are tackling some of the pressing political hot button debates and issues facing us today - from topics like guns in schools and gender identity curriculum. This film, and our conversation, explores how people can have vehemently opposing political views, YET still maintain respect for and civility toward one another, and in doing so have created a strong and thriving community in Creede. Creede USA is an amazing independent film… this story and the two amazing female filmmakers behind this story are truly inspirational. This is an episode you won't want to miss!Hosted by Ausha. See ausha.co/privacy-policy for more information.

En este episodio de Vive Miami Radio, conversamos con Fernando Arciniega, fundador del Ibero American Film Festival Miami (IAFFM), que celebra lo mejor del cine iberoamericano y el talento emergente. La séptima edición regresa del 17 al 23 de noviembre de 2025 al Koubek Center con proyecciones, charlas, y una mirada fresca al cine del futuro.

On this episode of the Maverick Podcast we highlight the excitement surrounding the showcasing of Latin American films, emphasizing their cultural significance and the variety of genres represented at the Oklahoma Latin American Film Festival. Victor Caballero and Rogelio Almeida reflect on the power of film as a medium that connects people and offers a window into different cultures, particularly through the lens of Latino storytelling.Oklahoma Latin American Film Festival:https://www.olafilm.orghttps://www.instagram.com/rogelioalmeida1https://www.instagram.com/victordcaballeroMaverick Podcast:

This episode I am joined by the head of the NatiVisions Film Festival, Keith Moses from Parker Arizona.  Visit NatiVisions Film Festival website for more information. https://nativisions.com Follow NatiVisions Film Festival: Instagram - https://www.instagram.com/nativisionsfilmfestival2024/ Facebook - https://www.facebook.com/nativevisions2013   Follow the Mac-Nez Podcast on Facebook: https://www.facebook.com/macnezpodcast Mac Nez Podcast on Spotify: https://open.spotify.com/show/7jot3LglMA0EuGTUikXejq?si=21b39da4784e4528 Hit up E Society on Facebook. https://www.facebook.com/ESocietyPodcast/ Check out our ESP Spotify feed: https://podcasters.spotify.com/pod/show/esoc E Society YouTube: https://www.youtube.com/channel/UCliC6x_a7p3kTV_0LC4S10A E Society and Mac-Nez t-shirts Tee Public: http://tee.pub/lic/9ko9r4p5uv X - E Society Podcast - https://x.com/esocietypod Mac Nez Podcast - https://x.com/macnezpod The Zissiou - https://x.com/TheoZissou Instagram - E Society - https://www.instagram.com/esocietypod/ Mac Nez Podcast - https://www.instagram.com/macnez/ The Zissiou - https://www.instagram.com/thezissou/ TikTok - https://www.tiktok.com/@esocietypod   Taylor and Nez new podcast: Old Dawg New Trickz https://open.spotify.com/show/319KRWiJfGpMbFBLTp6E8P YouTube page for Resting Easy with Chris and Breezy https://www.youtube.com/@RECB    

In this engaging conversation, Janet McMordie and Kelly Michael Stewart discuss Kelly's journey into the film industry, and the intricacies of programming a film festival. They discuss the unique appeal of horror films, the importance of community in film festivals, and provide valuable advice for aspiring filmmakers. Kelly shares insights on balancing multiple roles in the film industry, creating memorable festival experiences, and the impact of the Blood in the Snow festival. The conversation concludes with reflections on the future of the festival and final thoughts for filmmakers.TakeawaysProgramming a film festival requires collaboration and diverse perspectives.Horror films can serve as a reflection of societal issues.Filmmakers should attend festivals to network and learn from others.Balancing multiple roles in the film industry is challenging but rewarding.Creating memorable experiences for filmmakers is a priority for festival directors.Community support is vital for indie filmmakers and festivals.Openness to new opportunities can lead to unexpected career paths.info@bloodinthesnow.ca | 416-995-5275https://linktr.ee/BITSFILMFEST Hosted on Acast. See acast.com/privacy for more information.

Filmmaker Michael Pack, President of Manifold Productions and Palladium Pictures, joins Scot Bertram to discuss his award-winning documentary The Last 600 Meters, a gripping and emotional account of Marine heroism during some of the fiercest battles in Iraq. As the U.S. Marine Corps marks its 250th anniversary, Pack reflects on the courage, sacrifice, and brotherhood that defined those final, bloody days in Fallujah and Najaf. The film, celebrated at the G.I. Film Festival and the Hudson Institute Film Festival, captures the bravery of ordinary Marines who accomplished extraordinary things in the face of overwhelming odds.  

Müller, Paulus www.deutschlandfunk.de, Corso

HAPPY HALLOWEEN! Though Death By DVD is taking a break to relocate and build a bigger and better Death By DVD studio we thought it would just be down right insane to not have at least SOMETHING to offer our fine dead studio audience for Halloween. Halloween is our favorite holiday, our favorite time of year and I'll boldly say it's down right the best time of year, so we wanted to celebrate with you and boy howdy, though short in run time we have a whole lot for you to hear on this episode.An all new movie from your host Harry-Scott Sullivan is available now to stream, we have an exclusive new song from SATANIC HEARSE RECORDS called NO LIFE IN THEIR EYES from their forthcoming record DEATH SEX GORE HORROR and of course an update on when Death By DVD will return full time. Celebrate the season of the witch and hit play and hear this episode today! SATANIC HEARSE on Bandcamp : tap here or copy and paste the link belowhttps://satanichearserecords.bandcamp.com/WATCH YOUR HOSTS DOCUMENTARY AND DARK TALES FROM CHANNEL X NOW ON BLOODSTREAM TV: tap here or copy and paste the link belowhttps://bloodstreamtv.com/show-details/dark-tales-from-channel-xLearn more about Bloodstream TV : Tap here or copy and paste the link belowhttps://bloodstreamtv.com/homeIf you're reading this I would like to thank you from the bottom of my heart for your support. Death By DVD has almost existed for 2 solid decades, please consider supporting Death By DVD directly on Patreon to secure the future of this very show. ★ Support this podcast on Patreon ★ Thank you for choosing Death. DEATH BY DVD FOREVER. FOREVER DEATH BY DVD. ★ Support this podcast on Patreon ★ CHECK OUT DEATH BY DVD ON YOUTUBE : https://www.youtube.com/@DeathByDVDDon't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES 

We're diving into the Anomaly Film Festival preview, where we spill the tea on all the cool flicks coming your way from November 5th to 9th! The festival promises a wild ride with films that are as unique as they are entertaining. Expect to hear about everything from spooky shorts to full-length features that'll have you laughing, crying, and questioning your life choices. We're super stoked to have our buddy Adam back, who's basically the wizard behind the curtain, finding all the gems for this year's lineup. So, grab your popcorn and get ready to hear about the must-see films that'll make your heart race and your brain buzz!Check out Anomaly on Social Media!www.anomalyfilmfest.comTwitter: @anomalyfilmfestInstagram: @anomalyfilmfestFacebook: https://www.facebook.com/AnomalyFilmFest/Join us for the Anomaly Film Festival November 5-9, 2025 at the Little Theatre in Rochester NY!Mentioned in this episode:Joe Bean RoastersJoe Bean Coffee - Coffee that lifts everyone. https://shop.joebeanroasters.comMind of MagnusCheck out Mind of Magnus at magnusapollo.com, and leave him factoids at 585-310-2473! https://mind-of-magnus.captivate.fmPauly Guglielmo ShowPauly Guglielmo is a former radio guy turned food business entrepreneur. While running a manufacturing facility is his day job, he likes to dust off his broadcasting skills once a week on this podcast and talk to entrepreneurs and other influencers. https://pauly-guglielmo-show.captivate.fm/

A woman's lefty friend berated her for enjoying drag, saying it's like blackface for trans women. The caller loves drag and had never thought about this before. Is it true? A straight man loves the idea of seeing a naked woman walking around her house. He wonders if others would love to see him naked, you know, just kickin' it at home. On the Magnum, let the swooning begin! Actor Ben Palacios from Palm Royale is charming, talented and easy on the eyes. He relays his tales of kissing Ricky Martin, and making a fool of himself in front of Carol Burnett. Dan and Ben share their first boyfriend experiences, and advise a straight couple who are arguing over the man's ball scratching habit. Also, should a straight man take poppers before his proctology exam? And dating new divorcees: Bad idea, or not a problem? Q@Savage.Love 206-302-2064 This episode is brought to you by Hims, providing affordable access to ED treatment, online. Start your free online visit today at ⁠Hims.com/Savage⁠. This episode is brought to you by Feeld, a dating app where the open-minded can meet the like-minded. Download Feeld on the⁠ App Store⁠ or ⁠Google Play⁠. This episode is brought to you by Erika Lust.com -the world's leading platform for ethical, cinematic adult films. Right now, my listeners get 45% off your subscription when you enter the code SAVAGE45 at ⁠erikalust.com⁠. That's Erika Lust with a k! Dan Savage is a sex-advice columnist, podcaster, author, and creator of the It Gets Better Project as well as the ⁠Hump! Film Festival⁠. From bondage to bisexuality, cuckolding to crossdressing and with a dose of progressive politics, Dan Savage is a cultural force for sex positivity, when we most need it.

Susan Gorrell has been the Executive Director of the Julien Dubuque International Film Festival for more than a decade.  This renowned festival has grown under Susan's direction to become one of the most well-respected film festivals in the indie filmmaking world, attracting filmmakers and film lovers from far and wide. MovieMaker Magazine recognized it as one of the “25 coolest film festivals in the world” and one of the “Top 50 film festivals worth the submission fee.”  The festival is among the Top 100 Best-Rated Festivals on FilmFreeway.com.Susan is also an Indie film producer and co-founder of Oakmill Entertainment. In 2016 she produced the internationally released feature film, Supercon, starring John Malkovich, Clancy Brown, Mike Epps, Tyrus and more. Since then, she's produced multiple indie features, shorts, a TV Pilot and even a documentary traveling across the United States in an RV.  Susan comes from a musical family that have been in the Christian recording and distribution industry for over 40 years.  Her husband, Ken, has worked in the film industry for over 30 years as a Special Effects Supervisor on major motion pictures. https://www.oakmillentertainment.com/

Filmmaker, Anthropologist, and Artist, Sabiyha Prince shows her film at this year's Micheaux Film Festival. I was able to sit down and chat with Sabiyha about being a storyteller of resistance, unpacking the film Diminished Returns, and her exploring identity through art. Support this amazing creative on Instagram @ANTHRO_ARTZ

The 2nd Annual Borscht Belt Film Festival takes place Friday, October 31st through Sunday, November 2nd in Ellenville, NY. One of the main events will take place on the first evening when comedian Judy Gold will be honored with the Mensch Award. Included is a seriously intimate and casual chat with Gold about her extensive career and how her Jewish identity and the Borscht Belt shaped it. Moderated by Alan Katz, Founder & CEO of The Mountains Media. After a Q&A, Gold will sign her book about freedom of speech, Yes I Can Say That. For the full schedule of screenings and special events visit the festival's website. I also have the film festival's director Melody Gilbert and programmer Jay Blotcher on this episode for a lively conversation about what you can expect to see later this month. https://www.youtube.com/watch?v=1hPb5K_Qwj0&t=1403s https://www.youtube.com/watch?v=cbwnxgUV8z0

Today I have an update and a guest mashup episode about Big Emotions!First the update: I am launching the Like You Children's Film Festival, which will take place November 22-23, 2025 in my hometown of Memphis! More info below, but if you can make it to Memphis for this, it will be an unforgettable weekend of family fun.After updating you about the film festival, you'll hear a guest mashup episode featuring yours truly, along with The Good Words Podcast and The Story Seeds Podcast. This episode isa part of a podcast series called Big Emotions: Kids Listen Mashups About Feelings. You can check out the rest of the series by visiting their podcast feed. This episode explores the BIG EMOTIONS of embarrassment and Pride.Now a little more about my update. You haven't heard new episodes from me recently because I've been hard at work launching Like You Film Club, a non-profit that supports the emotional growth and mental wellness of kids through the power of film. This project combines my work in this podcast, with my OTHER creative work as a filmmaker. I am very excited about what we are building, and can't wait to share more, like the new family film review podcast we are developing. Please follow us on instagram @likeyoufilmclub or sign up for our mailing list to get more news and updates about Like You Film Club.Here are the credits for this Mashup Episode:Embarrassment & Pride (Part 2)

I was able to sit down with co-writer and actor, Leonard Robinson during this year's Micheaux Film Festival to discuss his new film “The Interview”. We chatted about his early life at Howard University, breaking into Hollywood, his comedy connection and what he wants audiences to take away from this new project. Support this amazing creative on Instagram @IAMLEONARDROBINSON & @MICHEAUXFILMFEST

Laura makes her glamorous (and slightly awkward) red carpet debut at the San Diego Film Festival, and it's everything you'd hope for—glitz, chaos, and a few unexpected celeb moments. Which star was totally down-to-earth and cool? Which huge name completely dissed her? From dazzling gowns to near disasters with the mic, Laura's first red carpet experience is pure comedy gold. Then Erik takes over with an epic Double D Showbiz Report—spilling the latest J-Lo drama, dishing on the A-lister who literally eats out of the trash, and dropping a few fresh movie reviews you'll want to hear before hitting the theater. Fun times, wild laughs, and a little Hollywood sparkle—thanks for catching us every week. We love you for it!

You can find all things Coast Film and Music Festival at ⁠coastfilmfestival.com.Get host Stephen Casimiro's newsletter at ⁠⁠⁠⁠desert-projects.com⁠⁠⁠⁠. Subscribe to our beautiful printed quarterly, whose stories are only found in print, at ⁠⁠http://www.subscribetoaj.com⁠⁠FOLLOW US ON SOCIAL MEDIAInstagram — ⁠⁠⁠⁠https://www.instagram.com/adventurejournal/⁠⁠⁠⁠Facebook — ⁠⁠⁠⁠https://www.facebook.com/adventurejournal⁠⁠⁠⁠Pinterest — ⁠⁠⁠⁠https://www.pinterest.com/adventurejournl⁠⁠⁠⁠

Del celebrates the successful premiere of “An Inconvenient Study” at the Malibu Film Festival. Get a glimpse of the star-studded red carpet, the powerful Q&A, and the award ceremony where ICAN proudly took home Best of Festival. The film's findings have sparked intense online debate—drawing both criticism and praise, including from respected voices like Dr. Drew.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-highwire-with-del-bigtree--3620606/support.

Today Griffey, Heath, Sophia and Sam venture into some of the most insane Haunted Houses in cinematic history. We discuss what elements make the greatest haunted house films so iconic. From found footage, to a surreal hotel, a space ship and even the internet, we cover all manner of places and locations that can haunt unsuspecting visitors.  Let us know whose list you think wins this heated battle. Which festival would win your money? Let us know in the comments wherever you find the Podcast.  Youtube: https://youtu.be/NOgR9UetaU8 Help us make our first feature length Messed Up Movie:  https://www.indiegogo.com/projects/mr-creamjean-s-hidey-hole-horror-comedy-movie#/ Support the show on the Patreon: https://www.patreon.com/c/messedupmoviespod Watch our newest short film Sugar Tits Now! https://www.youtube.com/watch?v=Sz7leFqqo4g

SEASON 2 - EPISODE 163 - Iris Prize LGTBQ+ Film Festival - with Lewis Bayley In this special episode of the Team Deakins Podcast, we speak with Lewis Bayley, Industry Coordinator for the Iris Prize LGBTQ+ Film Festival. Lewis invited us to speak with him about filmmaking earlier this year, and what you'll hear is that recorded conversation. We had the pleasure of discussing many topics with Lewis, such as the overall importance of film festivals and our longtime efforts giving back to younger generations of filmmakers. Additionally, we share a few work stories from our long careers, Roger gives a preview of what to expect in his upcoming memoir, Reflections, and James reveals the game she played with director Martin Scorsese while we were shooting KUNDUN in the Moroccan desert. The Iris Prize LGBTQ+ Film Festival is hosted annually in Cardiff, Wales with talks, panels, and screenings of shorts and features highlighting the myriad of experiences within the global LGBTQ+ community, and we were happy to be a small part of their 19th edition.  - This episode is sponsored by Aputure & Sandstorm

Jim Hill and Drew Taylor welcome special guest Matt Kazantzik, Program Director for the Animation Is Film Festival, to talk about what fans can expect at this year's event at the TCL Chinese Theatre. From exclusive screenings and panels to the state of the animation industry, this episode dives deep into the heart of Hollywood's celebration of animated storytelling. Jim and Drew also cover the latest box-office chatter, streaming updates, and big animation headlines. • Why Tron: Ares may still have a chance to rebound despite a soft opening• The premiere lineup and behind-the-scenes planning of the Animation Is Film Festival• Drew's firsthand look at Sony's new Animation campus and Infinity Festival highlights• Updates on Primal Season 3, Bat-Fam, and The Bad Guys: Breaking In• Guillermo del Toro's new stop-motion school and what it means for future filmmakers Whether you're a longtime animation fan or just curious about what's next on the big screen, this episode of Fine Tooning packs plenty of insight, stories, and laughter from Hollywood's animation insiders. Unlocked Magic Unlocked Magic, powered by DVC Rental Store and DVC Resale Market, offers exclusive Disney & Universal ticket savings with TRUSTED service and authenticity. With over $10 MILLION in ticket sales, use Unlocked Magic to get the BIGGEST SAVINGS. ⁠⁠⁠⁠Learn More⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices