Podcasts about film it

Opening Credits: This week on Live Breathe Film with Doug and Murph...Feature Presentation: The Best of 2024 in Film - It's time for us to reveal our individual top 10 favorite films of 2024, while also sharing 20 films of 2024 that Corey saw and would vouch for. Note that there is a bit of overlap as all three of us loved Dune: Part Two, My Old Ass, and I Saw the TV Glow, while we're confident he'd have shared our adoration for Anora as well.End Credits: Please make sure to Like, Follow, and Subscribe to Live Breathe Film!

TW gesamte Folge explizite Gewalt gegen Frauen. Heute sprechen Liz und ich über den kontrovers beworbenen Film It ends with us (bzw. Nur noch ein einziges Mal), in dem es mitnichten nur um Blumen und Romantik geht. Wir fragen uns, warum Protagonistin Lilly ständig die Typen retten muss, warum die Männer sie in alles reinerpressen müssen und warum es leider nicht so leicht ist, aus einer gewaltvollen Beziehung rauszukommen. Und warum wird hier schon wieder erzählt, dass sich Frauen immer zwischen zwei (idiotischen) Typen entscheiden sollen, müssen, dürfen? Passt auf euch auf!Hilfetelefon Gewalt gegen Frauen: 116 016 - vertraulich, kostenfrei und rund um die Uhr Hosted on Acast. See acast.com/privacy for more information.

Blake Lively ist mit ihrem neuen Film "It ends with Us" bei uns in dieser Folge Eine Stunde Film zu Gast. Außerdem schauen wir in "Alien – Romulus", den neuen, siebten Teil der Sci-Fi-Horror-Franchise-Legende.**********Ihr hört in dieser Folge von "Eine Stunde Film":00:06:12 - Filmbesprechung "Alien - Romulus" (Kino)00:13:43 - Filmbesprechung "It ends with Us" ("Nur noch ein einziges Mal", Kino)00:22:07 - Interview Blake Lively & Justin Baldoni ("It ends with Us")00:30:54 - Serienbesprechung "Perfekt verpasst" mit Bastian Pastewka und Anke Engelke (Prime Video)00:34:20 - Serienbesprechung "The Bear", Staffel 3 (Disney+)00:38:02 - Serienbesprechung "Simone Biles - Rising" (Netflix)**********Mehr zum Thema bei Deutschlandfunk Nova:Film Cuckoo: Horror im Ferienresort in den deutschen AlpenNatalie Portman - "Ich brauche niemanden, der mich bemuttert"Deadpool and Wolverine: Ryan Reynolds und Hugh Jackman in der Comicverfilmung des Jahres**********Den Artikel zum Stück findet ihr hier.**********Ihr könnt uns auch auf diesen Kanälen folgen: Tiktok und Instagram.

Grace shares the terrifying story out of Las Vegas where two teens commit the disgraceful murder of a police officer... and FILM IT. This is another case in the string of callous, inhumane crime by minors.

JayBDL & Diaperperv sit down to create his fantasy AB/DL medical scene. I've made a video about "Communicating your Fantasies" but what does person to person negotiations look like in real life? We talk about all the elements involved! From the storyline beginning-middle-end, to implements and props. THEN, we're gonna FILM IT!! (It'll be on my stores Friday, July 7th) Sorry for the weird look on my face; I hate being on camera & dread the filming portion of the scene we discuss. PDF class on creating your fantasy: http://www.myvegasnursery.com/dreamscene.pdf Diaperpervs links at: http://www.diaperperv.com JayBDL is Swtichbacks on Fetlife

This week, we discuss new Spider-Man movies have been confirmed (including Tom Holland's 4th movie), Redfall developers wished their game had been canceled, Final Fantasy 7 Rebirth really is still coming, Superman casting rumors, AND!...are pandas …bears…or raccoons?Topics Discussed:00:00 - Intro + chatting11:54 - Mrs. David on Peacock25:08 - Final Fantasy 7 Rebirth still happening30:36 - Star Wars Jedi Survivor player stats36:38 - Redfall devs wanted their game cancelled40:14 - New Spider-Man films confirmed47:29 - Superman casting rumorResources Mentioned:IGN // Final Fantasy 7 Rebirth Still Launching This WinterTwitter // Star Wars Jedi Survivor player statsBloomberg // Inside the Making of Redfall, Xbox's Latest MisfireVariety //  ‘Spider-Man' Producers Tease Live-Action Miles Morales Movie and Animated ‘Spider-Woman' Film: ‘It's All Happening'Variety // Tom Holland Says ‘Spider-Man 4' Meetings Were Happening

Today's guest is Paul Dudbridge, author of Making Your First Blockbuster: Write It. Film It. Blow it Up! Paul Dudbridge is a British director, producer, cinematographer, and educator, who makes feature films, television, commercials, and music videos.Paul started producing at the age of 11 when he roped in his father to shoot his first short film. When the resulting footage didn't match up to what he had seen in his head, Paul decided to go behind the camera himself, and from there, the whole notion of making films, directing, scripts, shots, and angles started to emerge.With over 20 years of experience in the business, Paul has numerous film and television credits to his name.His first broadcast credits include producing and directing ITV's The Christmas Storybook, featuring legendary actor Joss Ackland, as well as directing music promos for MTV. His work as a cinematographer includes the action thriller By Any Name, based on the best-selling book by Katherine John.As a producer and director, he helmed the science-fiction series Horizon, which went on to win a number of awards at international film festivals, as well as earning Paul a Best Drama Director nomination at the Royal Television Society (WoE) awards in 2016. When not filming, Paul guest lectures at various universities and colleges around the country.Most recently, he ran the Writing and Directing module for the Master's course at the University of Bristol, taught Cinematography at Falmouth Film School, and Advanced Cinematography workshops for BECTU, the UK's media and entertainment trade union.Here's some info on his new book Making Your First Blockbuster: Write It. Film It. Blow it Up!Everything you need, from getting the script right to the edit being tight, is laid out in an informal and easily digestible style. Making Your First Blockbuster covers not only all the major components but delves deep into the nuances that make the big blockbusters really deliver. The book uses examples from older and modern blockbuster movies, as well as the author's own experiences on set to help demonstrate points clearly and make them easy to understand. Aimed at the professional filmmaker, this comprehensive new book also covers how you can shoot and utilize special and visual effects in your films, as well as the techniques on how to shoot and edit action sequences safely, all whilst producing epic results on the screen.Please enjoy my conversation with Paul Dudbridge.

Being an Evolutionary Astrology newbie, I really lucked out with my first ever introduction on the subject being with award-winning world renowned Astrologer Steven Forrest, principal of the Forrest Centre of Evolutionary Astrology and consultant to celebrities such as Sting and Robert Downey Jr. My Jupiter–Uranus conjunction in Sagittarius revelled in the opportunity to explore some of the bigger questions of life and beyond, starting with the most fundamental: Why? Believe me when I say this conversation did not disappoint – I thoroughly enjoyed every moment with Steven, during which I realised a lot of my thought processes and personal connection to our beloved craft was spookily in-sync with evolutionary astrology perspectives, and Steven's own personal journey. I hope you enjoy this special episode of The Stellium Astrology Podcast. ➡️ What are your thoughts on Evolutionary Astrology? Do you believe in reincarnation? LINKS Watch this episode https://youtu.be/WKeb-IGWNO4 Bruce Lee Quote:  https://www.quotespedia.org/authors/b/bruce-lee/dont-think-feel-it-is-like-a-finger-pointing-away-to-the-moon-dont-concentrate-on-the-finger-or-you-will-miss-all-that-heavenly-glory-bruce-lee/ The Film It's From https://www.youtube.com/watch?v=cm0uSVvjsOA Maurice Fernandez Reincarnation https://www.youtube.com/watch?v=e-5JXOfzl0M The Forrest Centre of Evolutionary Astrology https://forrestastrology.center/ Steven Forrest Astrology https://www.forrestastrology.com/ The Book of Music Horoscopes https://www.goodreads.com/en/book/show/42406450-the-book-of-music-horoscopes Steven Forrest Books (Goodreads) https://www.goodreads.com/author/show/16291386.Steven_Forrest?from_search=true&from_srp=true The Elements Package https://www.forrestastrology.com/products/elements-book-package TSAP Elements Episodes https://stelliumastrology.libsyn.com/category/The+Elements+%28Triplicities%29  

Insane Footage! Oklahoma Buck | End of the SZN The 2022 SZN has kicked off in full force! We have returned home from our Nebraska/South Dakota trip and we sit down to discuss what went down in Nebraska. The Element had one of the most special nights since we started doing this. Find out what happened and why we brought pizza miles into the woods to celebrate!    FULL South Dakota 2021 Film     It just doesn't get any better than these two hunts:   Tyler's KANSAS Giant 18 pt! K.C.'s Dramatic Biggest BUCK EVER!   Be sure and subscribe on YOUTUBE so you can experience all the action on film!   BUY ONE OF OUR NEW SHIRTS and HOODIES! www.theelementwild.com/shop   MAKE SURE YOU ARE SUBSCRIBED to our Youtube Channel. **GIANT TEXAS PUBLIC BUCK**   Comfort and Mobility Matter. Go With The Best of Both. CRUZR Tree Saddles   Our Camo System First Lite Hunting   The best map app there is. Find Access to YOUR public lands with OnX Maps. Know where you stand. #onxhunt   Durable Customizable Arrows, Quality Components, Good People, Fast Shipping. Vector Custom Shop   Need Some Dependable Trail Cameras That Won't Break The Bank? Moultrie Trail Cameras   Here are the bows we shoot: bowtecharchery.com   To find out more on Texas Public Land opportunities, visit the Texas Parks and Wildlife website. TPWD     Rock out with Tyler and the Tribe!  E252

Dans cet épisode de Popcorn Aigre-Doux, on parle des mouvements LGBT et de comment la lutte pour les droits des minorités peut être représentée au cinéma et dans d'autres œuvres.Popcorn Aigre-Doux est votre talk show mensuel où Louis et Michel vous parlent de sujets de société à travers le cinéma et d'autres médias.On parle de ça pour le mois de juin, mais aussi parce que c'est notre identité chez Popcorn Aigre-Doux !On parlera des films 120 battements par minute, palme d'or du festival de Cannes et de Pride avant d'élargir à d'autres films ou œuvres qui nous ont marqués. On évoquera aussi nos meilleurs souvenirs de pride !Pensez à liker, donner 5 étoiles si vous pouvez, vous abonner et à partager cet épisode autour de vous, ça nous aide beaucoup !Pour aller plus loin ? => Visiter notre InstagramOeuvres citées : En finir avec Eddy Bellegueule, d'Edouard Louis, 2014 [livre]Life and Death of Marsha P Johnson, David France, 2017 [Film]Queer Eye, David Collins, 2018 [Reality Show]Gone Home, Steve Gaynor, 2013 [Jeu Vidéo]A la Croisée des mondes, Philip Pullman, 1995 [Livre]Paris is burning, Jennie Livingston, 1991 [Film]It's a Sin, Russel T Davis, 2021 [Série]Pose, Ryan Murphy, Brad Falchuk et Steven Canals, 2018 [Série]Buffy contre les vampires, Joss Whedon, 1997 [série]Sex education, Laurie Nunn, 2019 [Série]Gentleman Jack, Sally Wainwright, 2019 [Série]Portrait d'une jeune fille en feu, Céline Sciamma, 2019 [Film]Heartstopper, Alice Oseman, 2022 [Série]Alien Covenant, Ridley Scott, 2017 [Film]La vie d'Adèle, Abdellatif Kechiche, 2013 [Film]Mademoiselle, Park Chan-wook, 2016 [Film]Mass Effect, Casey Hudson, 2007 [Jeu vidéo]Tell me why, Dontnod Entertainment, 2020 [Jeu Vidéo]The fosters, Bradley Bredeweg et Peter Paige, 2013 [Série]Les Sims, Will Wright, 2000 [Jeu Vidéo]Musiques :X Ray Vision - SlynkIcelandic Arpeggios - DivKidNew Land - ALBISThe Curious Kitten - Aaron Kenny

Paul Park, founder of GPOD Golf and PGA Tour Canada & Latinoamerica professional joins the pod this week!Paul's story is incredible and his passion for the game is undeniable! Paul has also created one of the best game improvement tools for your golf game, GPOD. A quality built magnetic phone holder stand to film your swing. STICK IT. SWING IT. FILM IT. You know when you just have that feeling? We just have that feeling that Paul has "it" and will be on the PGA Tour very soon!Follow Paul on Instagram Follow GPOD on Instagram Shop GPOD Golf CHECK OUT OUR NEW PODCAST SITE Episode is presented by Birdie Juice Beer! Use code OTSGOLF for a discount + free shipping! Sponsored by MANSCAPEDUse code OTSGOLF for 20% off + free shipping!Follow On The Screws Podcast on Instagram! Subscribe on YouTube! INTRO & music ft. Rory Blaklroy On The Screws Podcast LinktreeBirdie Juice IF YOU MAKE A BIRDIE OR NEED A BIRDIE, GRAB A BIRDIE.Support the show (https://www.patreon.com/otsgolf?fan_landing=true)

We had a great conversation with Actress Gillie Jones on The Chris & Sandy Show. We talked about so many things from family, producing, acting, sacrifices, she told some really great stories especially how they used their wedding money to fund their current project to a whole lot more!Not content to remain idle, Gillie has a slate of upcoming projects on the way including the horror comedy short “Pandemic Princess,” which she wrote, produced, and starred in. Filmed in March 2020 and a product of the COVID pandemic, “Pandemic Princess” follows what happens when a lone wander stumbles upon the first person he has seen in eight months. Currently in post-production is “Curiosity,” the sketch skit series that Gillie co-wrote, produced and starred in, alongside Hamid Reza, Benjamin Thompson and Alexey Del Castillo. Based on three humans who have been abducted by aliens in order to study how best to take over the human race, each sketch episode of “Curiosity” explores a different question the aliens have such as "What Is A Period?"Gillie will soon announce her next major role in a SciFi thriller that begins filming in December. Additional credits include a role in Fox's “Welcome to Flatch,” and producing the short film “Thursday.” “Thursday” follows the story of a mother and daughter forced to face the emotional breaches of their relationship and an unknowing need to rebuild it. The film was made by a collaboration between Atlanta based organizations Film It 4 Fun and Nova House, with the goal of bringing together filmmakers in the city to demonstrate that Hollywood quality films, which are 100% written, produced, and edited in Atlanta, are in fact possible. Directed by Erica Arvold, “Thursday” premiered at the Columbia Film Festival in 2020.MORE ABOUT GILLIEGillie became captivated with storytelling after watching a production of “Les Misérables” as a child. She began dancing and singing lessons to foster her creative side before she went on to perform in productions of “Wizard of Oz” and “Annie” as part of a professional theater company. Jones later attended the University of Delaware where she majored in Communication and fell in love with the producing aspects of the industry. After an internship in London and Los Angeles, Gillie landed her first industry job with Wayne Brady. While acting as his assistant, Gillie received a piece of life changing advice and set out to pursue her true passion: acting. Following Brady's advice to hone her natural talent and get any experience she could in front of live audiences, Jones began working for the second largest theater company in the United States, American Immersion Theater, where she was quickly promoted to the National Regional Manager and a top actress for the company. For more than five years, Gillie played a large variety of characters as well as performed improv in front of thousands of audience members.Jones currently splits her time between Atlanta and Los Angeles, where she enjoys incorporating both creativity and business into her life and career. She is co-owner of the feature film production company Renegade Creative and was co-founder of Nova House, which helped solve the large problem of financial inequality in the entertainment industry by offering a membership-based taping service and communal home for actors in Atlanta. Alongside her husband and sister, Gillie is hoping to relaunch Nova House as a 501c3 nationwide in the near future, focusing on this issue.

Gleeboot, S4 Episode 15 - “Girls (and Boys) on Film” It's Disney's Glee! Kaci Pelias of I'll Make a Fan Out of You (@fanoutofyou), one of Cullen's favorite podcasts, guest stars to talk the movie themed episode of Glee. Allyssa discusses her love of Ghost, Hannah divulges her hatred for Tom Cruise, Cullen enjoys the Risky Business Tribute and Kaci points out that Adam is a great guy, something the rest of us can't see because of the Baby Got back cover he did. PS. Don't attack us Scientology. Check out I'll Make a Fan Out of You's Website: https://www.fanoutofyou.com/ Follow Gleeboot on social media! IG: @gleebootpod TW: @gleebootpod Tumblr: gleebootpod.tumblr.com ________________________________________ Gleeboot is hosted and produced by: Cullen Callaghan (IG: @yaboiryan99, TikTok: @yaboiryan99, YouTube: YaBoiRyan) Allyssa Swearingen (IG: @a.m.swearingen) Hannah Sylvester (IG: @hannahcandothings) This episode was edited by Cullen. “Gleeboot Harmony Theme” performed by Cullen, Allyssa and Hannah

https://konigwheels.com/wp-content/uploads/2021/02/Wheel-Wednesday-83.mp3 The post Behind The Wheel Podcast: – Wheel Wednesday – LIVE IT! FILM IT! FT. MAX FUERST (SPEED PATROL) appeared first on Konig Wheels.

Badut, beberapa orang mungkin menyukainya, tapi tidak jarang oranglain yang menganggap bahwa badut itu menyeramkan, bahkan memunculkan pengalaman traumatik hingga Fobia (ketakutan irasional) terhadap badut yang di sebut sebagai Coulrophobia. Banyak dari anak-anak kecil dan juga orang dewasa yang memiliki "kengerian" yang luar biasa ketika melihat sosok badut, apalagi di tambah dengan popularitas tokoh "Pennywise" badut mengerikan dari Novel dan Film IT dan juga Joker, tokoh penjahat yang banyak melakukan hal-hal yang juga kejam. Kata “Clown” atau Badut pertama muncul sekitar abad ke 16 dan digunakan oleh Shakespeare, seorang penulis dan sastrawan terkenal untuk menggambarkan beberapa tokoh bodoh dan konyol dalam sandiwara teaternya. Frank T. McAndrew, seorang psikolog sosial dalam sebuah tulisannya menjelaskan beberapa hal yang menjadi alasan kenapa sebagian dari kita takut atau tidak menyukai badut. Bahkan ia juga menyampaikan sebuah penelitian di Inggris yang menunjukkan bahwa hanya sedikit sekali anak-anak yang menyukai badut. Penelitian yang sama juga menyatakan ketika kita menaruh Foto atau patung badut rumah sakit anak justru tidak membawa hasil baik. Tidak heran, banyak orang yang tidak menyukai "Ronald McDonald" atau jika di Indonesia banyak anak kecil yang takut melihat Ondel-ondel. Penelitian yang di lakukan dengan 1.341 relawan berusia antara 18-77 tahun mengungkapkan bahwa kita cenderung merasa takut atau "ngeri" terhadap hal yang terlalu ambigu, maksudnya disini adalah situasi atau tokoh yang membuat kita kebingungan yang tidak tahu bagaimana seharusnya bereaksi. Rami Nader adalah seorang psikolog asal Kanada yang meneliti Coulrophobia juga menyatakan bahwa Rasa takut yang tidak rasional terhadap badut di sebabkan oleh riasan wajah dan pakaian tidak wajar yang di kenakan untuk menyembunyikan jati diri dan perasaan orang di balik tokoh itu. Mereka mungkin terlihat bahagia, tapi itu belum tentu apa yang mereka rasakan sesungguhnya --- Send in a voice message: https://anchor.fm/psikologid/message Support this podcast: https://anchor.fm/psikologid/support

Last summer, Chicago Cubs baseball player Ben Zobrist got thrown out of the game when he turned to the umpire and complained “that’s why we want an electronic strike zone”. Who is a better witness to the truth—a person … or a computer? On a more serious note: This question became especially relevant in Chicago. Chris & Adam watched the race-charged trial of the police officer who shot black teenager Laquan MacDonald. A police video camera became the key piece of evidence the jury trusted over the eye-witness accounts. From a Christian ethics point of view, witness is key—heck, it’s the Ninth Commandment! TOUGH QUESTIONS Are we at a point where technology is a better witness than a human? If so what does that mean? What do cameras see that people don’t? What can a human witness offer that a video witness cannot? Can technology bear false witness? LINKS Baseball player Ben Zobrist tells the ump he wants an electronic strike zone and gets tossed (CBS Sports) Deepfake Videos Are Getting Real and That’s a Problem (Wall Street Journal) Witness.org: “See It. Film It. Change It.

Have you considered how incorporating film into your wedding photography can drastically improve your client experience and allow you to better connect with your couples?In episode 257 of the Bokeh Podcast, Heather Anderson reveals how offering both film and digital photography not only sets her apart in her market, but has also helped her slow down to be in the moment with her clients. Listen in as she shares how to incorporate film photography into your business, the advantages of shooting on film, and her own post-production workflow for film after weddings.The Bokeh Podcast is brought to you by Photographer’s Edit: Custom Editing for the Wedding and Portrait Photographer. You can also subscribe to the Bokeh podcast on the Apple podcast app, follow on Spotify, add to your playlist on Stitcher, or listen on Overcast.Brand Position: Offering film and digital photography services. (01:54)Advice for Photographers: Be of service to everyone. (9:34)Meditation Resources: (15:01)The Wild Unknown Animal Spirit Card Deck - bit.ly/bp-wildunknownheadspace.com4-7-8 TechniqueBook Recommendations: A New Earth: Awakening Your Life’s Purpose - bit.ly/bp-newearth (16:57)Podcast Recommendations: Oprah Winfrey’s SuperSoul Sundays - bit.ly/bp-oprahsupersoul (17:39)The Gear Bag: Three Pocket Apron - bit.ly/bp-workapron (18:46)Heather’s Website Quote: "I specialize in film photography, I love the feeling and aesthetic a film image provokes. Film has pushed me creatively to become a more thoughtful and artful photographer. Shooting in film really forces me to slow down and conceptualize the image before clicking the shutter. This allows me to offer my clients artful and timeless imagery of their wedding day.” (21:15)Advantages of Working with Film:It’ll slow you down so you’ll notice if their hand looks awkward, the flowers are off, when rings are crooked, etc.When you slow down, it allows you to be in the moment.You take the time to conceptualize the shot you’re about to take.How do you avoid missing shots when you slow down for film? (26:05)Hire a second shooter that shoots digital and will be capturing the moments in between and guarantee that you don’t miss the shots.The Film Gear: (26:57)Medium Format: Mamiya 645 - bit.ly/bp-mamiya65435mm: Canon Rebel - bit.ly/bp-canonrebelFilm: Kodak Portra 160 - bit.ly/bp-portra160Film Tip: Pick your film based on your environment and your couple. (29:53)Matching Your Images for Hybrid Shooting: c1ick.comWedding Film Workflow: (32:57)1. Mail the film off via FedEx for developing.2. Note the film has arrived at the lab and the date that the film will be ready.3. Receive images via WeTransfer.4. Add to Lightroom, cull, and film match the digitals.5. Blog the wedding.6. Upload to online gallery for client delivery.Average Turn-Around Time: 4-6 weeksHow to Incorporate Film Into Weddings: (35:37)1. Start shooting film and learning how to use the film.2. Take a workshop to learn more about the process.3. Shoot for fun with family & friends.4. Plan styled shoots and personal projects to get familiar with it.5. Start using film in your sessions without advertising or charging for it.Heather’s Lab: thefindlab.com (43:35)Links:heatherandersonphoto.cominstagram.com/heatherandersonphotographyfacebook.com/heatherandersonphotographyThe Untethered Soul by Michael Singer - bit.ly/bp-untetheredUnfold App - bit.ly/bp-unfoldkeh.com See acast.com/privacy for privacy and opt-out information.

My guest this week is Paul Dudbridge, a director, producer, cinematographer, educator and author who makes feature films, television, commercials and music videos. We'll be talking indie filmmaking and we'll discuss his new book, Making Your First Blockbuster: Write It. Film It. Blow It Up!. You can learn all about Paul and keep up with what he's doing on his website: www.PaulDudbridge.comYou can also follow Paul on Twitter @hanoverpicturesAs always if you have any comments or questions about the show, please stop by my Facebook page @howtheydiditpodcast I’m on twitter at @hfilmmaking and on Instagram at How They Did It: Filmmaking. Please show your support for the show by subscribing on iTunes, Spotify or Google Play. Thanks again for joining me and I’ll be back with another show next week. Until then, Keep Shooting!

Today's guest is Paul Dudbridge, author of Making Your First Blockbuster: Write It. Film It. Blow it Up! Paul Dudbridge is a British director, producer, cinematographer, ​and educator, making feature films, television, commercials, and music videos. Paul started producing at the age of 11 when he roped in his father to shoot his first short film. When the resulting footage didn’t match up to what he had seen in his head, Paul decided to go behind the camera himself, and from there the whole notion of making films; directing, scripts, shots and angles started to come about. With over 20 years of​ experience in the business, Paul has numerous film and television credits to his name. His first broadcast credits include producing and directing ITV’s The Christmas Storybook, featuring legendary actor Joss Ackland, as well as directing music promos for MTV. His work as a cinematographer includes the action thriller By Any Name based on the best-selling book by Katherine John. As a producer and director, he helmed the science-fiction series Horizon, which went on to win a number of awards at international film festivals, as well as earning Paul a Best Drama Director nomination at the Royal Television Society (WoE) awards in 2016. When not filming, Paul guest lectures at various universities and colleges around the country. Most recently, he ran the Writing and Directing module for the Master's​ course at the University of Bristo​, taught Cinematography at Falmouth Film School, and Advanced Cinematography workshops for BECTU, the UK’s media and entertainment trade union. Enjoy my conversation with Paul Dudbridge.

We have returned with another look at Pennywise the dancing clown. This time from the 2017 Film IT. We also bring the fun weekly horror segments back and another NEW segment Now let the madness begin. Hit us up on Facebook, Instagram and Letterboxd under Horrorfordummies

Happy Monday folks. I’ve got another great Picture Lock PR After Show for you! Today I continue the conversation with Paul Dudbridge, writer of the book “Making Your First Blockbuster: Write it, Film It, Blow it Up!”. We talk a little bit more about his book, the current Zombie project he’s working on, and as always, ways you can improve your PR & Marketing with your film. We dig into starting early with your project’s PR & Marketing, being sure the content you put out to the public is clear and has context, and Paul asks me some questions in regard to the film festival circuit. This is definitely an after show you don’t want to miss! Plus, get a jump start on the Picture Lock Question of the Week this week. It’s certainly one the film industry is split on. See Paul’s work here: https://www.hanoverpictures.co.uk/ Get Paul’s book here: https://amzn.to/2UfmAWr Picture Lock Links: Take my PR For The Indie Filmmaker online course here: https://indiefilmpr.thinkific.com/ Get a partner as passionate as you in your film or film event's publicity: www.picturelockpr.com Subscribe to this podcast in iTunes: https://itunes.apple.com/us/podcast/kevin-sampsons-picture-lock/id639359584?mt=2 Be sure to visit www.picturelockshow.com for everything Picture Lock! Please give us a review on whatever platform you listen to this podcast on. Thanks so much for your continued support. Drop a line a picturelockshow[at]gmail.com to say hi and let us know what you think of the show. FACEBOOK: www.facebook.com/picturelockshow INSTAGRAM:http://instagram.com/picturelockshow TWITTER:https://twitter.com/picturelockshow SNAPCHAT: https://www.snapchat.com/add/picturelockshow YouTube CHANNEL:http://www.youtube.com/picturelockshowPINTEREST:http://pinterest.com/picturelockshow  

What’s good my peoples? It’s Friday!!! Today I have Paul Dudbridge, writer of the book Making Your First Blockbuster: Write it, Film It, Blow it Up! on to talk about the book, why he wrote it and what you can get out of it as a filmmaker. I also talk with co-writer/director of Rich Kids, Laura Somers about her film which takes a look at a day in the life of low income latino kids who break into the local mansion to spend the day pretending to be rich in order to forget about their difficult lives.  See Paul’s work here: https://www.hanoverpictures.co.uk/ Get Paul’s book here: https://amzn.to/2UfmAWr Chill with the Rich Kids here: https://www.richkidsthemovie.com/ Picture Lock Links: Take my PR For The Indie Filmmaker online course here: https://indiefilmpr.thinkific.com/ Get a partner as passionate as you in your film or film event's publicity: www.picturelockpr.com Subscribe to this podcast in iTunes: https://itunes.apple.com/us/podcast/kevin-sampsons-picture-lock/id639359584?mt=2 Be sure to visit www.picturelockshow.com for everything Picture Lock! Please give us a review on whatever platform you listen to this podcast on. Thanks so much for your continued support. Drop a line a picturelockshow[at]gmail.com to say hi and let us know what you think of the show. FACEBOOK: www.facebook.com/picturelockshow INSTAGRAM:http://instagram.com/picturelockshow TWITTER:https://twitter.com/picturelockshow SNAPCHAT: https://www.snapchat.com/add/picturelockshow YouTube CHANNEL:http://www.youtube.com/picturelockshowPINTEREST:http://pinterest.com/picturelockshow  

What do we do with our Evangelical roots in reconciling the past?  How do we navigate our former relationships? Jeff and Allen review their own efforts to reconnect and reframe at this point in their journeys through the post-evangelical wilderness and offer a few ideas that have helped them immensely along the way. And in the spirit of reflection, they name the top three things from their childhoods that didn’t hold up so well.   Reconciling the Past Conversation (01:00) Top 3 Things From Our Childhood That Did Not Age Well Segment (43:52)   RELEVANT LINKS From Our Conversation on Reconciling the Past The United Church of Christ, aka the UCC (Christian Denomination) Hot Fuzz (2007 Film) O'Brien, Oregon Why Most Evangelicals Don’t Condemn Trump (Article) How fights over Trump have led evangelicals to leave their churches Article) From Our Top 3 Segment How I Met Your Mother (2005 TV Series) IT (2017 Film) IT (1990 TV Mini-series) Big League Chew Buttercream gang movie highlights (YouTube Video) McGee and Me! (Christian Video Series) Friends (1994 TV Series)   THANK YOU Thank you Katherine for your kind review of the show in Apple Podcasts!  She writes, “Fantastic for theology geeks and Christians with questions... I love this podcast! I have a Bachelor of Divinity, and Irenicast helps me to keep my theology brain going. Allen, Jeff & Mona and their guests have also opened my eyes to ways I can be more inclusive and more like Jesus.”   YOUR SUPPORT Thank you for listening to Irenicast.  If you appreciate the show please consider sharing your appreciation by rating, reviewing and/or subscribing to the podcast on iTunes, Google Play, Stitcher, or whatever platform you’re listening on. You can also help support the show financially by going to irenicast.com/amazon to do your Amazon shopping.  This will cost you nothing, but Amazon will give a portion of the proceeds to the show.   IRENCAST HOSTS Jeff Manildi | co-host and producer | jeff@irenicast.com Jeff is the husband to an incredibly strong woman and father of two captivating young ladies.  He is currently the Director of Discipleship at a United Methodist church on the central coast of California.  In addition to getting his B.A. in Theology, he also received his ordination through the prestigious online organization of The Universal Life Church whose alumni include the likes of Conan O’Brien and Dwayne “The Rock” Johnson.  Jeff loves all things that tell a story: people, movies, tv, music, comics, etc. You can follow Jeff (@JeffManildi) on Instagram, Facebook & Twitter.  Also check out Jeff’s other podcast Divine Cinema.   Allen O’Brien | co-host | allen@irenicast.com Allen received his B.A. in Biblical Studies from The Master's College and an M.A. in Theology and Biblical Studies from Fuller Theological Seminary, making him the illegitimate child of both conservative and moderately progressive evangelicalism. He has worked in church ministry since 2006 and is currently solo-pastoring at his local UCC congregation. When not ministering, Allen throws things to his border collie Sonata and writes for multiple platforms. You can follow Allen (@AllenOB) on Facebook, Twitter, Instagram, & Good Reads.  Also if you are in the Sacramento, CA area check out Allen’s brick and mortar version of this podcast called Intersections.   ADD YOUR VOICE TO THE CONVERSATION Join our post-evangelical conversations on faith and culture by interacting with us through the following links: Read Us on our blog Irenicon Email Us at podcast@irenicast.com Follow Us on Twitter and Google+ Like Us on Facebook Listen & Subscribe to Us on iTunes, Google Play, Android, Spotify, Stitcher, TuneIn, iHeart Radio, Spreaker and SoundCloud Speak to Us on our Feedback Page and the Post Evangelical Facebook Group See Us on Instagram Support Us on Amazon Love Us?   CREDITS Intro and Outro music created by Mike Golin.   This post may contain affiliate links.  An Irenicon is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com

  Photo credit: Véro Boncompagni   Check out the trailer of their new NFB film Ninth Floor making its world premiere at TIFF 2015.   Synopsis of Film It started quietly when a group of Caribbean students, strangers in a cold new land, began to suspect their professor of racism. It ended in the most explosive student uprising Canada had ever known. Over four decades later, Ninth Floor reopens the file on the Sir George Williams Riot – a watershed moment in Canadian race relations and one of the most contested episodes in the nation’s history. It was the late 60s, change was in the air, and a restless new generation was claiming its place– but nobody at Sir George Williams University would foresee the chaos to come. On February 11, 1969, riot police stormed the occupied floors of the main building, making multiple arrests. As fire consumed the 9th floor computer centre, a torrent of debris rained onto counter-protesters chanting racist slogans – and scores of young lives were thrown into turmoil. Making a sophisticated and audacious foray into meta-documentary, writer and director Mina Shum meets the original protagonists in clandestine locations throughout Trinidad and Montreal, the wintry city where it all went down. And she listens. Can we hope to make peace with such a painful past? What lessons have we learned? What really happened on the 9th floor? In a cinematic gesture of redemption and reckoning, Shum attends as her subjects set the record straight – and lay their burden down. Cinematography by John Price evokes a taut sense of subterfuge and paranoia, while a spacious soundscape by Miguel Nunes and Brent Belke echoes with the lonely sound of the coldest wind in the world.   Mina Shum: Biography Born in Hong Kong and raised in Canada, Mina Shum is an independent filmmaker and artist. “I’m the child of the Praxis Screenwriting Workshop, Cineworks Independent Film Co-op, the Canadian Film Centre and working class immigrant parents,” she says. With Ninth Floor, a production of the National Film Board of Canada, Shum has written and directed her fourth feature film and first feature documentary. Her first feature Double Happiness (1994) – developed while she was resident director at the Canadian Film Centre – premiered at the Toronto International Film Festival, where it won a Special Jury Citation for Best Canadian Feature Film and the Toronto Metro Media Prize. It went on to win Best First Feature at the Berlin Film Festival and the Audience Award at the Torino Film Festival. Following its American premiere at Sundance, it was released theatrically in the U.S. by Fine Line/New Line Features. It was nominated for multiple Genie Awards, Canada’s top film honour, winning Best Actress for Sandra Oh, and Best Editing for Alison Grace. Shum’s second and third features – Drive, She Said (1997) and Long Life, Happiness and Prosperity (2002) – also premiered at the Toronto Film Festival. Long Life, Happiness and Prosperity was subsequently invited to both Sundance and the Vancouver Film Festival, where it won a Special Citation for Best Screenplay (shared with co-writer Dennis Foon). It was released theatrically in Canada and the U.S. Shum’s short films include Shortchanged; Love In; Hunger; Thirsty; Me, Mom and Mona, which won a Special Jury Citation the 1993 Toronto Film Festival; Picture Perfect, nominated for Best Short Drama at the Yorkton Film Festival; and most recently I Saw Writer’s Guild Award. Her TV work ranges from Mob Princess, a TV movie produced for Brightlight Pictures/W Network, to episodic directing on About A Girl, Noah’s Arc, Exes and Oh’s, Bliss, The Shield Stories and Da Vinci’s Inquest. Shum’s interests extend beyond film and television. Her immersive video installation You Are What You Eat was held over at the Vancouver Centre for Contemporary Asian Art, Centre A, and her cinematic theatre piece All, created in collaboration with the Standing Wave Music Ensemble, was presented at the 2011 Push Festival. She has hosted sold-out events for the experimental Pecha Kucha program, and her Internet hit Hip Hop Mom was featured in Calgary’s official Canada Day celebrations. In 2004 she was invited to deliver the inaugural UBC/Laurier Institute Multicultural Lecture, entitled New Day Rising: Journey of a Hyphenated Girl, and in 2011 she was the recipient of the Sondra Kelly Writer’s Guild of Canada Award. She is currently preparing her next feature, Meditation Park.   Selwyn Jacob: Biography Selwyn Jacob was born in Trinidad and came to Canada in 1968 with the dream of becoming a filmmaker. It was a dream that wouldn’t die: he became a teacher and eventually a school principal but eventually chose to leave the security of that career to educate a wider audience through film. He has been a producer with the National Film Board of Canada since 1997. His early work as an independent director includes We Remember Amber Valley, a documentary about the black community that existed near Lac La Biche in Alberta. Prior to joining the NFB, he directed two award-winning NFB releases – Carol’s Mirror, and The Road Taken, which won the Canada Award at the 1998 Gemini Awards. In 1997 he joined the NFB’s Pacific & Yukon Studio in Vancouver, and has gone on to produce close to 50 NFB films. Among his many credits are Crazywater, directed by the Inuvialuit filmmaker Dennis Allen; Hue: A Matter of Colour, a co-production with Sepia Films, directed by Vic Sarin; Mighty Jerome, written and directed by Charles Officer; and the digital interactive project Circa 1948, by Vancouver artist Stan Douglas. Released in 2010, Mighty Jerome addresses issues of race and nationalism while paying tribute to Harry Jerome, one of the most remarkable athletes in Canadian history. The film went on to win multiple honours, including a Leo Award for Best Feature Length Documentary and the 2012 Regional Emmy Award for Best Historical Documentary.   See acast.com/privacy for privacy and opt-out information.

An evil army is approaching, and a lead character is lamenting the power and flexibility of evil in the world...the monologue draws to a pivotal moment...the actor's voice swells...and..."All we have is Steel!...Wizardry! All we have is defense!"This line, from a character played by the actor Steve Guynn in an upcoming Jerry Williams fantasy film, is just one of many, many examples of the great lines that one encounters in a Jerry Williams film!Jerry Williams is an indie filmmaker extraordinaire. He is a guy who usually has multiple films in various stages of production, and has crafted a style that can only be described as his very own, unique genre. He definitely pushes the envelope with his work, and elicits alot of reactions, ranging from those that love his signature style (count me in this group), to others less inclined, such as a film reviewer that actually called for someone, somewhere to punch Jerry for making the film that the guy was reviewing (true story!).One thing that is indisputable is that you will be hard-pressed to find someone who is more passionate about independent film. You will also be sorely challenged to find someone who is more gracious in the goodwill and support that Jerry regularly extends to other filmmakers of all genres and styles.From cardboard sets and creative uses of his cat (note to Humane Society: the cat has never been harmed and is, in fact, quite spoiled!), to voluptuous actresses leaving little to the imagination, to cult independent film stars such as Debbie Rochon, Conrad Brooks, and Troma's Loyd Kaufman, Jerry's works always have the unexpected and the original. What most people don't realize is that underneath all of the onscreen insanity, Jerry actually injects a serious literary undercurrent, an example of which he discusses in this interview concerning his feature "Misadventures in Space".Jerry is a playright, poet, and prose writer as well, and we wanted to bring a little of that aspect out in this interview, and encourage the reader to look into his excellent poetry collection that is in print, called Mirrors and Portraits.It is my intention that this interview gives the reader a little insight into the craziness, humor, work ethic, committment, talent, dedication, and other characteristics that Jerry possesses. (The genius right alongside the offbeat and insane, so to speak!) You will also hopefully get a sense of his collaborative spirit, as well as get to meet a few of his regular cohorts such as Pat Bowling and Eric Butts.The indie filmmaking world is not an easy one, and Jerry puts his heart and soul into his work. With all the things stacked against the no-budget indie filmmaker, Jerry's progress, success, and prolific filmmaking nature gives inspiration to all of us; the "Steel, Wizardry, and Defense!", if you will, to keep fighting the good fight for independent film.So here it goes! Buckle up, hold on to your seat! Now...Ladies and Gentlemen...the long-awaited IMM interview with Goatboy Films' legendary and controversial director, Jerry Williams!!!-Stephen Zimmer, for Indie Movie Masters, June 25, 2009SZ: We know you are a brilliant, genius filmmaker, but give us a little idea as to your background, education, that kind of thing.JW: I've always been a writer, first and foremost, and I got a masters degree in creative writing from MSU....two things from that time have always influenced my cinema work are my love of hidden messages in writing and my love of the grotesque...Lovecraft, Tolkien, and my personal favorite Clive Barker. In literary criticism, one of the things of Hemingway that struck me was he was very direct in his writing, but if you peered deeper in...there was hidden meanings in such simple direct sentence structures. I like the idea of my films, no matter how simple or silly it appears should have some deeper levels. I had read once that Gene Roddenberry made star trek a vehicle where he could talk about the human condition under the guise of a 'sci fi' show....I wanted to take that idea and apply it to indie or cult cinema, and place hidden messages or motifs in crazy surreal films. Misadventures in Space on one level is a silly send up of the sci fi genre in general and star trek in particular, but it is also a satire of the Iraqi war...when I wrote it...I was constantly watching the cable news shows, and the character Brother Bishop Tucker(Billy W. Blackwell) was named after conservative TV host Tucker Carlson. That biting satire buried in sci fi nonsense interested me...a form of commentary that hopefully some people got when they saw the film.SZ: What got you into movies so passionately, and what type of movies or what movies are your favorites?JW: I got into cinema as an extension of what I was trying to do with my poetry and coffeehouse performances. I have tons of favorite filmmakers...passion about the film is what I respond to....regardless of the genre. I took an art motif of homegrown 'slacker Dada' to my films. I like surreal films, and I love the idea of marrying cartoons, surreal, and junkfood low brow culture into sci fi or horror films. I love older cinema, and since I never had a color TV until I was into my teens, the idea of a black and white film never seemed weird to me... I watched all of the crazy shows from the 70's in black and white. Older movies seemed, to me at least, filled with beautiful women and films that needed plot and characters in them. When I see the CG inspired madness and MTV inspired 'slick shots' in films...I wonder how dated they will look in twenty years. I would rather watch an Ed Wood, Russ Meyer, or Ray Dennis Steckler film anyday over glossed over candy that passes for films these days.....the female lead from 'creature of the Black Lagoon' seems much more beautiful to me than some of these tacky celebrities out of hollywood of late.....Bela Lugosi was Dracula, and Flash Gordan fought Emperor Ming's evil empire give me more enjoyment than most current films.SZ: Do you have some favorite directors? And why are they your favorites?JW: Ed Wood, Clive Barker, Lloyd Kaufman, Ray Dennis Steckler, Kevin Smith and Russ Meyers. Each director had a unique vision of what they were shooting for, and some (Ed Wood, Ray Dennis Steckler) did great with limited or no budgets. I also love my friend Conrad Brooks and his films....definitely worth a look for fans of surreal horror and 'offbeat' films. I'd also be remiss if I didn't mention local filmmakers George Bonilla, Jacob Ennis, Cherokee Hall, Stephen Zimmer, Matt Perry, Daniel Roberts, Mark Poole, Jason Crowe and my favorite Tim Ritter. I did several films with George Bonilla as an AD, and all of his films are surreal horror and worth a look for psychotronic film fans.....I did a nod to him and named several characters after him in Ectovision!Jacob Ennis produced my film Purvos, and I learned a lot...a lot from him on making films...Stash is a 70's slasher horror film much better than anything that Hollywood puts out there...I love Stephen Zimmer's films...his Shadows and Light movie is a fantasy film that really had a unique vision, and I really liked Matt Perry's film murderer. Tim Ritter is still a favorite director of mine, and definitely influenced Purvos.SZ: Do you have a day job? Or do you just sit back and collect royalty checks from the Goatboy films Empire?JW: I'm a working stiff, and fund my films myself which gives me freedom and headaches at the same time. Perhaps one day goatboyfilms will help fuel that run for the whitehouse or Senate. Vote Williams!SZ: How in the world did you come up with the name Goatboy films? What is the story behind the name of your studio?JW:From my friend Chadwell, we were kicking around ideas for a film company name in early 2001. It was Chadwell's nickname in college by a tripped out hippy chick. The name fit what I shooting for, and we kept it. It's not related to that saturday night live skit.SZ: Tell us about Pat Bowling and others in the Goatboy Films empire, as I know you work regularly with a few particular renegades like Pat.JW: I've known Pat from college, and our differences work out for the best. I'm a 'head in the clouds dreamer' sometimes, and Pat is a 'nuts and bolts' guy and that combination helps get projects done. Trust me, Pat is worth his weight in gold when it comes to the UFO film. Pat is also a damn good actor as well, I think he likes production much more... his acting swan song will be in Queen of the Cursed World. Pat is briefly in the medieval thing I'm cooking up...Insomnia and Dragon Witch. He did a fantastic job editing 'The Cursed Doll' which is now with Echelon StudiosSZ:How in the world would you describe a “Jerry William’s Film”? It seems to me you defy classification, but I had to ask, if only to know how best to describe your stuff myself. You perplex me!JW: Live action cartoon energy slacker dada satire comedy horror show....I guess my films move to their own heartbeats....I like the idea of crossing genres...high brow motives with junk food pop culture. I have some notes about doing my version of Alice in Wonderland called at this point 'Alice Caligari'...I like the idea of bringing in older actors since our culture is so youth obsessed, and Lewis Carroll's book lends itself easily to symbolic and freudian intrepretations...I read several biographies and literary criticisms of his creative work, and agree it was his only outlet in a repressed and solitary existence. It's still up in the air at this point.SZ: You have incredible women in your films. How do you convince them to be involved in no-budget projects without shelling out big bucks?JW: Well, my films usually have strong female character roles...most films you have a finite amount of what and who you can play. Slasher films usually have two roles in them...hero or victim, and sci fi films are even more restrictive. My films may be out in left field, but the female characters have power and command respect. I like that the actresses bring something to the table. Leslie Rogers was a fanastic Fiona in Soul Robbers, and Heather Price does a fantastic turn in Ectovision. Stephani Heise and Natasha Roberts who played the lovers in Purvos did great.I wanted Purvos to be a little different. Actors will at least listen to you, if your film isn't the 'slasher-on-the loose' fare, and I don't cut off roles at 24 years old....I find the youth obsessed culture out of tinseltown is shallow to my taste, but of course that's just my opnion.SZ: What is your largest budget to date? What is a typical budget on a Goatboy project? (In US Dollars, Yen, or Euros, you can pick)JW: Zeppo definitely, but I'm not sure about the final budget...that's more with Eric Butts and Moodswing Entertainment. I work with various budgets, but I joke with Pat that some of my films cost a six pack of beer and a song! I will say that at the end of the day, folks won't care about your budget if you engage them and entertain them. I've seen several modest budgeted films and felt great whereas I've seen CGI laden films that cost more than the gross national budget of small Africian countries and though they were slick emotionally dead pieces of eye fluff.SZ: You have a knack for casting, such as using the regal William Schaeffer Tolliver, the insane Steve Guynn, the Bruce Campbell-esque Daniel Roberts, the larger than life Cherokee Hall, etc. How do you approach casting such colorful characters? Do you bribe them?JW: I bribe them with my personality! No seriously, I usually connect with actors and crews working on other films for friends....I met several talented actors on film sets by local filmmakers such as Cherokee Hall, George Bonilla, Daniel Roberts, Jacob Ennis, Eric Butts, and Cineline's Matt Perry ....you find out more about a person working with them in long period of time than someone who wows you in an audition, and are a complete pain in the ass afterward. People who want to work on my films are a pretty passionate group, and I've been very lucky to get actors like Steve Guynn, Jason Crowe, Nathan Day, Billy Blackwell, Roni Jonah, Stepahni Heise, Natasha Roberts, Claude Miles, Kat Carney and others in the regional area. I also got to mention that Chad Hundley is a fanastic comedic actor, and his timing especially with Cherokee Hall reminds me of the old Bowery Boys. If I missed anyone, trust me there are some great actors out there working.SZ: What is it like working with The Bob Cooke?JW: He was awesome in Misadventures, as was Belinda. Bob's passionate about any and all things cinema....there was one line from misadventures that makes me smile...Bob's character says 'Our heroes will come like rain to a parched desert!' Bob did the line, but swore he'd beat me if I sent him another script like that again! People should check out his site www.Kymovie.net, Bob Cooke is like Coca Cola...he's the real thing baby! Belinda is a damn good producer on films like Hellephone, and Monstrosity among others and a passionate actress(she was fantastic in STASH as the sleazy mother).SZ: Give me an idea of your filmography (Yes, I understand that we might need a couple pages worth of space for this one.)JW:Completed films:Mint condition -writer/director (a Clerks type comedy) 18 minutes 2003Manic / Happy Anniversary - producer for Jacob Ennis's shortsPurvos - 72 minutes, writer/director 2004Zeppo - writer/director, feature film 90 minutes (2007)Misadventures in space, feature film 74 minutes (2007) and 53 minutes (2009)Soul Robbers from Outerspace, feature 61 minutes.Major Power and the flying saucer from Mars (and other tales of the hero) compliation 53 minutes (2009)Pirate Candy Sampler, comedy film 49 minutesDinner for two, short 5 minutesPumpkin Joe, short 5 minutesTwin sisters of Desire and Death! (The 'lost' episode of Misadventures in Space) 10 minuteAlien Conspiracy Murders, short 34 minutesIn production:Ecto-vision!, Insomnia and the Dragon Witch, Saucer sex from beyond, and the UFO documentary film I'm working with Pat Bowling. I'm also starting an edit of'Queen of the Cursed World', and have several projects in the planning stages.As Assistant director on ZP movies:Edison Death Machine, Monstrosity, and Hellephone.SZ: Speaking of Zeppo, which is arguably your “biggest budget” project to date—what’s going on with it at the moment? Will it ever be released? Rabid fans want to know!!!! (Or will the boxed set version be out before the regular version?)JW: I'm dating myself with this admission, but when I was a kid in the late 70's there was live action TV shows like Shazam!, Isis, and Jason of Star Command. Zeppo was a homage of sorts to that crazy saturday morning craziness crossed with a surreal midnight movie like Liquid Sky and Looney Tunes cartoons. Zeppo in a nut shell is a black and white cartoony sci fi adventure with non pc humor, naked zombies, cruel sexy aliens, and cardboard tombstones! Eric brought a lot his humor, and production skills for the film (not only did he edit and produce the film, but supervised the music and special efx shots for the film). We're currently shopping the film out to distributors, so hopefully folks will get to see it soon. Debbie Rochon was fanasttic in it, and Lloyd Kaufman still cracks me up...editing Lloyd was the hardest thing since he brings so much to the table...I'd love for Lloyd to do more serious dramatic roles...the local actors Stacey Gillespie, Elysse, Amanda Kaye, Casey Miracle, etc. did a fanastic job under some crazy shoots, and I have to say we had great production help from Casey Miracle, William Schaeffer Tolliver, and makeup was done by Julia Caudill.If Eric and I were the heads of Zeppo, Eric's mom, Patsy Butts, who helped produced the film and was its biggest booster was the heart of it. Sadly she passed away last year, but her legacy lives on in the film.(Movie Trailer for Zeppo)SZ: Will there be a sequel to Zeppo? And will the sequel be released before the original?JW: Never say never, but for me it would depend on how the first film fares out with the folks out there.SZ: How do you pull off working on multiple film projects at the same time? Are you simply crazy? Or is there a method to this obvious madness?JW: Part craziness, and part necessity. I shoot fast on my solo films, but it is also cause a lot of the actors are only available for a finite amount of time, so I have to move fast. The shooting multiple films at the same time is a nod to Roger Corman's methods. He would shoot a scene for a movie for AIP, then he would move the props about and change costumes to shoot a scenefor his own film which he would sell to AIP or to other film distributors. Pure genius, but maddening at the same time.SZ: Loyd Kaufman, Conrad Brooks , Debbie Rochon…what is it like working with cult figures that you have been a fan of yourself? How in the world do you keep Loyd contained and under control on the set?JW: I worked with Conrad on my horror film Purvos, and he and I are good friends. I love classic cinema, and movie serials of Conrad's youth so we talk about his films, and his experiences. A nice man, but pretty set in his convinctions which I understand and emulate myself. I always look forward to working with Conrad on any film...a good actor, he brings a lot to the table. He's an older actor and still working...check out his Jan-Gel films. Expect more film madness from Conrad in the future. I loved working with Debbie Rochon. A beautiful and talented lady, she was fantastic to work with on Zeppo...committed to the script, and worked her butt off on it...an artistic lady with a huge heart, and I can see why guys (and gals) fall for her like a ton of bricks. Whenever I think of Debbie, I imagine she is taking her ten minutes free from Fangoria radio and production work to paint on canvas...an earth elemental, timeless and beautiful like the moonlight in June.Lloyd is great actor, and very committed to cinema on all levels. I was very nervous meeting him. His toxic Avenger films are a part of my youth, so it was great and surreal to work with him. Like Debbie, a committed actor who busted his butt on the film. He really is a genius of indie cinema, and his books on making films should be taught in schools. Even if you don't 'get' the Troma films, it does my heart good that they can be out there. I think Lloyd can say more in a 90 minute film about the current state of affairs and the universal prejudices we have in say Poultrygeist than hours upon hours of PBS programming. I think Troma and Lloyd are the best parts of Americana like the hot dog and baseball, which is why I think people respond it worldwide. If you're into films, do yourself a favor and pick up his books and see that there is a method to the madness. I kept Lloyd contained by a harem of nubile women who fed him grapes and fanned him in between scenes....just kidding...he was a pleasure to work with, although I'm sure he wouldn't have protested that grape feeding scenario.SZ: I happen to own a poetry book by you, called Mirrors and Portraits, which not many people may know about. At the risk of incurring your wrath, I would like to shed a little light on this side of you. Talk about the poetry book and any other literary projects you might have coming out?JW: In college, I hung out with the literary crowd and loved writing poetry. I also got over my shyness by reading poetry at coffehouses, although I preferred doing it at places you wouldn't think about poetry.In Morehead, it was the local bar called Spanky's....you'd get these high and drunk professors, along with bikers and rednecks playing music and reading their poetry. A rough hole in the wall, but it was fun and definitely a place of my youth. In Lexington, it was High on Rose....unfortunately these places don't exist anymore...I guess I'm more Charles Bukowski 'live life fully dammit' than hanging out at staid coffeshops talking about writing. I had written poetry from that time period, and finally got a book of verse together called Mirrors and Portraits. In a sense it a portrait of me as an angry young guy who loved everything to the fullest. It's like the first time you finally 'hear' Mozart and it moves in your heart...same thing with literature and poetry with me. Passion fuels literature, and hopefully if people see the book, and see me...flaws and all. I'm working on a new book of poetry. I love writing verse, and never want that to leave my heart or my life. I try to put poetry and some poetic ideas in my scripts as well.SZ: On that note, rumor has it that you might be developing something theater related? Is there any truth to this rumor?JW: I wrote the Halloween murder myster play, Green Ghost of the Tracks, for Kathy Hobb's theater company, Fantastical theatricals, and it was great to see a play of mine on stage. Theater is the ultimate high wire act. I have a couple of plays written together, that may or may not hit the stage. A lot of folks don't realize that I was actually more interested in forming a theater company to stage my work at the beginning, but went with films instead. I would still love to make a theater company, so maybe one day down the road when the stars are in place, it may happen. I would also like folks to check out Kathy and her wonderful Fantastical Theatricals, a wonderful experience for me as a writer.SZ: Where can people find and buy some Jerry Williams movies?JW: Purvos is available at Brain Damage films. Major Power and the Flying Saucer from Mars DVD is available at indieflix. Misadventures in space the original version is on google video and hungry flix. That film has a tight new edit, and should be in a DVD package soon with mint condition. I have a comedy film, Pirate Candy Sampler, which is a comedy in the style of 'Amazon Women on the moon' on google video as well. The Cursed doll is now with Echelon Studios, so it should be out soon. You can also see Purvos on netflix and get it off Amazaon.com. My book of poetry is also available on Amazon and other book seller sites.Links to buy Purvos, Major Power, and Mirrors and Portraits.Purvoshttp://www.amazon.com/Purvos-Conrad-Brooks/dp/B0012OTVCGPurvos on netflixhttp://www.netflix.com/Movie/Purvos/70093406?&mqso=70002140&trkid=129129Major Powerhttp://www.indieflix.com/Films/MajorPowerandtheFlyingSaucerfromMarsMirrors and Portraitshttp://www.amazon.com/Mirrors-Portraits-Jerry-Williams/dp/1413765807/ref=cm_cr-mr-titleMisadventures in space (original cut on google video)http://video.google.com/videoplay?docid=895029670631039342&ei=qiE_SpqxA4WkqwLPruTKAQ&q=misadventures+in+spacePirate Candy Samplerhttp://video.google.com/videoplay?docid=7192095349227927623&ei=5CU_SoasK5HwrgK-lIHLAQ&q=pirate+candy+samplerSZ: Will your cat be appearing in future projects, and will there be any parts available for other people’s cats, such as mine? Your cat’s performance was awesome as the Wizard Merlin in Major Power, and in the heavy-duty SFX sequence in the engine room in Misadventures in Space!JW: I actually jotted down an idea for 'Major Power and the Ghost train!', so if Major Power shows up...I think the Wizard would confer with the great wizards of yore...you always got to look out for ...evil ectoplasm!

Audio File:  Download MP3Transcript: An Interview with Gillian Caldwell Executive Director, Witness Date: August 9, 2007 NCWIT Interview with Gillian Caldwell BIO: Gillian Caldwell took the helm as the CEO for Global Witness in July of 2015. Prior to that, she was the Executive Director of WITNESS (www.witness.org), which uses the power of video to open the eyes of the world to human rights abuses. By partnering with local organizations around the globe, WITNESS empowers human rights defenders to use video as a tool to shine a light on those most affected by human rights violations, and to transform personal stories of abuse into powerful tools of justice. Since its founding in 1992, WITNESS has partnered with groups in more than 60 countries, bringing often unseen images, untold stories and seldom heard voices to the attention of key decision makers, the media, and the general public -- prompting grassroots activism, political engagement, and lasting change. A film-maker and an attorney, Gillian has experience in the areas of international human rights, civil rights, intellectual property, contracts, and family law. At WITNESS, she has helped produce numerous documentary videos for use in advocacy campaigns around the world, including Outlawed: Extraordinary Rendition, Torture and Disappearances in the "War on Terror";System Failure: Violence, Abuse and Neglect in the California Youth Authority; Books Not Bars; and Operation Fine Girl: Rape Used as a Weapon of War in Sierra Leone. She is also co-editor and author of a book published by Pluto Press called Video for Change: A Guide to Advocacy and Activism (2005). Gillian was formerly the Co-Director of the Global Survival Network, where she coordinated a two-year undercover investigation into the trafficking of women for forced prostitution from Russia and the Newly Independent States that helped spur new anti-trafficking legislation in the U.S. and abroad. She also produced and directed Bought & Sold, a documentary film based on the investigation which received widespread media coverage. Gillian lived in South Africa during 1991 and 1992, investigating hit squads and security force involvement in township violence, and has worked in Boston, Washington, D.C., and New York on issues related to poverty and violence. Gillian has been awarded the Echoing Green Fellowship (1996-1998), the Rockefeller Foundation Next Generation Leadership Award (2000), the Schwab Foundation for Social Entrepreneurship Award Winner (2001-present), the Tech Laureate of the Tech Museum (2003), Ashoka: Innovators for the Public as a special partner (2003), Journalist of the Month by Women's Enews (2004), and the Skoll Social Entrepreneurship Award (2005). Gillian is a member of the Social Venture Network, promoting new models and leadership for socially and environmentally sustainable business in the 21st century, and she is admitted to the Bar in NY and Washington, D.C. She received her BA from Harvard University and her J.D. from Georgetown University, where she was honored as a Public Interest Law Scholar. Larry Nelson: This is Larry Nelson, with w3w3.com, Colorado's Voice of the Technology and Business Community. And we are a very fortunate proud partner with the National Center for Women and Information Technology, or, as we call it, NCWIT. And we've got a three‑part interview here; we're doing a wonderful interview with a very strong entrepreneur that we are very interested in talking with on some interesting topics. And we're here today with Lucinda Sanders ‑ we call her Lucy; all of her friends do ‑ who is the CEO of NCWIT, as well as Leigh Kennedy, who is on the board at NCWIT; and she's a serial entrepreneur herself. So, Lucy, welcome to the show. Let's get into it and introduce your guest. Lucy Sanders: Well, today, we're introducing Gillian Caldwell, who is the executive director of Witness. I have to say, Gillian, after really looking at your website and understanding what the mission of Witness is, it's a very compelling mission that you have. And your tagline, "See It, Film It, Change It", I thought, was one of the best tag lines I've ever seen for the mission of an organization. Can you give us a little bit of background about witness? I know you started it in 1992. Gillian Caldwell: Yes. So, witness was founded in 1992 by musician and advocate Peter Gabriel. He was struck, when he was touring with Amnesty International, by the isolation of the human‑rights defenders that he met in countries around the world who had had their stories of abuse denied and covered up and forgotten. And he had with him, at that time, in 1989, a handheld video camera; it was a Hi8; it cost about $1, 800. And he was using that camera to record their stories and their experiences; and he was struck by the potential of those stories and that technology to bridge the gap and connect audiences all around the world to those realities and ensure they weren't covered up and forgotten. And Witness was founded just a few years later, in the wake of the beating of Rodney King, which, of course, was shot by a handheld video camera, which galvanized an international conversation about police brutality. The Reebok Human Rights Foundation provided the early seed funding in 1992. And witness began as a technology‑transfer organization, with a primary focus on donating handheld video cameras to human‑rights advocates around the world. Over the last fifteen years, since we were founded in 1992, Witness has evolved considerably. And, at this stage, as you suggest at the outset, our focus is on enabling people to see it, film it, and change it. We don't just provide the camera: but we provide both the technical and strategic support that human‑rights defenders need to document the violations; ensure that they can, in a compelling, story‑driven way, explain not just the problem, but the solution; and get that media in front of the audiences that can make a difference, whether it's a Congressional subcommittee trying to decide whether or not to allocate armed forces and funding in the context of the genocide in Darfur, or whether it's a local judicial official who is being influenced by the evidence that's being presented before him on a videotape. Lucy: Well, and I think, in looking at your site, as well, you're using all the Internet and Web 2.0 technology now to really create this worldwide audience. I mean it's a very compelling use of technology to achieve social good. Gillian: What's really exciting at this stage is that I'm just about to launch something called "the Hub", which will basically be a kind of a YouTube for human rights or, as I like to think of it, a YouMyWikiTube for human rights. If you imagine the technologies and the philosophies of YouTube, MySpace, and Wikipedia, you get close to what we're trying to do at the Hub, which is a site that will be premiering in the fall of 2007. So this is a destination, a website, to which anybody anywhere could upload visual imagery, whether it's photographs or video, or possibly even audio content, of human‑rights‑related issues in their communities, here in the United States and around the world. They can upload it and opt in to a community of people that care about those issues and support campaigns for change. Lucy: Well, so, it's real evidence of how technology supports social entrepreneurism. And that gets me to my first question about technology in general: what technologies do you see on the horizon that are really going to make a difference for you, in addition to the Web 2.0 and Internet types of technology? Gillian: Well, of course, the cell phone, and particularly video‑ and photograph‑enabled cell phones, are really making a difference. I mean, historically, when people thought about the Rodney King beating, they thought "Oh, if you can just capture the abuse as it happens, it will make all the difference"; and the reality is that, with the larger video cameras people have historically used, you're unlikely to be in the wrong place at the right time. But, now, with the handheld cell phones, so many of which are video‑enabled and photograph‑enabled, there is a brand new opportunity to capture that abuse as it happens. If you think back to the London Tube bombings, just a couple of years ago, when a so‑called citizen journalist was reporting live from inside the London Tubes and the BBC moved ahead to create an email address to which anybody could email imagery of news‑related stories in their community, you start to realize that the cell phone is actually really revolutionizing the way we access information, as is text‑messaging and, of course, the Internet, which really didn't exist when Witness was founded. Lucy: And the cell network is very ubiquitous as well, especially in developing countries. Gillian: Right. I mean we still have a massive digital divide: but the beauty of the cell networks is that many of the countries which have historically been confronted with that massive divide will be able to leapfrog over the physical infrastructure, as those cellular networks are strengthened; and we'll be able to embed larger and larger files and transmit larger files over the cellular networks. But it is a concern, still, of course, when we think about the challenges of the Hub. And to take, for example, perhaps a humanitarian‑aid worker in Darfur, who happens to be on the spot as a genocide unfolds, who captures some of that imagery on their cell phone, and who wants to upload it to the Hub so that maybe the Save Darfur Coalition, in Washington, D.C., can then download it and provide that to the Congressional subcommittee: that aid worker faces several challenges. First of all: What's the bandwidth? What's the cost? What's the expense to upload that content? And does he have the strength of signal to do it? And secondly: What about the security risks? Here's a big issue for us, because, of course, if we log the IP addresses of the people who are uploading content, even if we enable them to upload the content anonymously, they really may be at risk, and we could face a subpoena, as Yahoo! Did in the case of Chinese dissidents. So the simple size of the file, of the video file, as it stands, makes it very difficult to encrypt or anonymize those files and it does put people at risk. So the technology is still insipient in terms of really fully enabling what we're talking about. Lucy: It is interesting how you've continually used the latest technologies to help in the pursuit. So, if we switch gears a little bit and we think about you being an entrepreneur: why did you decide to be an entrepreneur, and what is it about entrepreneurship that really makes you tick? Gillian: Well, I mean it's interesting that I have been sort of dubbed a social entrepreneur by a variety of organizations that recognize people in that field, whether it's Ashoka, or the Skoll Foundation for Social Entrepreneurship, or the Schwab Foundation for Social Entrepreneurship, really going back to about 2001. And a social entrepreneur is defined variously; but it's really understood as somebody who's really taking an innovative and sustainable approach to an old problem. And what Ashoka says about social entrepreneurs is that they're born that way. And it's funny: it isn't a primary identity for me; but, more and more, I do understand myself as somebody who's genetically inclined towards innovation and towards growing new ideas and towards thinking really tactically and strategically about what's sustainable. But my passion is not earning income: my passion is doing work that feeds my soul; and that's why I've always invested myself in work that delivers social value.. Larry Nelson: Gillian, who in your life really helped, supported your ‑ whether it was genetically inclined beginnings, or was it a mentor that came along the way? Was it a particular group that really had a major influence on your direction? Gillian: Well, I think, like so many people, the most formative influences for me were both my family ‑ particularly parents, who were not, themselves, deeply involved at a political level but who really had what I would call progressive values and who were very driven by integrity, in terms of how they thought about the world ‑ and then, of course, my teachers, particularly my history teachers, in grammar school and in high school, who introduced me to Amnesty International. I began running my high‑school chapter of Amnesty International when I was 12 years old; and I recall organizing weekly Urgent Action letter‑writing campaigns with students, getting dozens of students to write letters to President Zia‑ul‑Haq, in Pakistan, at the time, about political prisoners. And I remember organizing a school symposium on torture. And, I think, there, again, not just my parents and their support of my commitment to doing social‑justice work, but the teachers that encouraged me. And then additionally, interestingly, the work of an artist by the name of Leon Galag, who died quite recently, but who did a series called The Mercenary Series, which was very powerful, enormous canvases of mercenaries in Latin America torturing political prisoners. And, strangely enough, because I lived in the back of an art gallery in SoHo, in New York, when I was growing up, those paintings were in my living‑room for a period of time. In fact, I've often commented that, in these paintings, in The Mercenary Series, there was always a perpetrator looking at you looking at them, almost making a witness out of you and demanding that you do something about it. So I see a very consistent narrative thread, in terms of my focus on social justice and my focus on enterprise, going back to the days when I used to host regular bake sales on the local street corner to try to earn a little income. Lucy: I'd say this is genetically baked into you. Leigh: No pun intended. I thought it was really interesting, too: you're a lawyer. Did you pursue a law degree in support of your social activism? Gillian: Yes. I decided to get a law degree because I wanted additional credibility and depth, in terms of doing policy‑oriented work. I didn't intend to practice, although I did enjoy the short period of time in which I practiced, both at the administrative level, representing disability applicants, and then also working with special‑education cases and discrimination cases, before I got involved in a big undercover investigation on the Russian Mafia and their involvement in trafficking women for forced prostitution. And that undercover investigation utilized hidden‑camera technologies. We posed as foreign buyers interested in purchasing women. And that was my real introduction to video advocacy, as I now call it. But the law degree was always intended to help give me a little bit more credibility, a little bit more depth. And I didn't ‑ I couldn't anticipate at the time that it would be as useful as it is, of course, in the context of running an organization like Witness, where, you'd think, most of my legal training would come into play in the context of human‑rights law, when, in fact, most of what I really deal with on a daily basis, through the three pro‑bono law firms that support our work, has to do with intellectual‑property and trademark protection. Lucy: That's what I was going to ask you about: digital rights management. But that's probably a discussion for another time. Larry: Yeah. Leigh: So, Gillian, when you think about your career as a social entrepreneur, what's really been the toughest thing that you've had to do? Gillian: The biggest challenge is recognizing that the only thing that will be constant is change, particularly in an organization like Witness, where you're focused on integrating new technologies into social‑change work. You have to stay adaptable and evolutionary, which means you're never standing still. So, while I've been running witness for almost ten years now, I can honestly say that the organization looks, feels, and acts very differently from quarter to quarter. When I started, it was just me; and, at this stage, for fiscal '08, we're going to have a budget of $4.2‑million and a staff of 30. So that's a very different operation than it is to run something that's just two or three people. I think the other thing is that, if you're working as an entrepreneur in a social context, you're constantly in the midst of a so‑called stretch assignment: you're learning as you move through the process. And what's so important is being sure that you're really thoughtful about reaching out to get the advice and guidance and support that you need along the way, and that you build a system and an infrastructure of support surrounding you, because it may not always exist within the organization itself, but there are people that have done it before and you're not always needing to reinvent the wheel. Lucy: Well, and speaking of advice: if you were sitting in a room with some young people, what advice would you give them about entrepreneurship? Gillian: Well, again, I look at it through the perspective of social enterprise. So, for me, the most important advice I could give anybody is to stay committed to evolution; and that means that you have to live as a learner. I think that Gandhi once said that we should live like we are going to die tomorrow but learn like we will live forever. And I really believe that's the case: if we aren't open to learning, and if we don't spend as much time listening as we spend speaking, we can't do anything well. So I think that's the most important thing: to stay adaptable, to stay evolutionary ‑ and to build leadership. Somebody who really is a leader is ultimately somebody who takes all the blame and none of the credit. And that's a hard thing to map your mind around; and, at times, it is a bit of a thankless task, because there's just as many nuts and bolts as there are opportunities for big‑picture strategic visioning to take place. But it's really important to stay humble and to stay open and to stay learning. And, as you mature, over time, you realize that, the more you know, really the less you know, I think. Lucy: That's really true. I have to say Gandhi is ‑ I love his quote: "Be the change you want to see in the world." Gillian: Yeah; well, that's also about really living your values. I think it's so easy to compartmentalize our values and to try to articulate them through the check we write at Christmastime or the bottle we put in the recycling bin. But the reality is that living your values is a full‑time occupation, and it really requires us to challenge ourselves all the time to think and wonder: you know, "Was the thought that just passed through my mind racist?", "Was the dynamic that I just participated in unfair?", "Am I carbon neutral?" I mean all of this is about integrity and about values and about being a productive member of the planet. Lucy: So, speaking of characteristics: when you think about yourself, what personal characteristics do you think have given you advantages in being an entrepreneur? Gillian: Well, I think I have a lot of assets in that department, which have served me really well. One is stick‑to‑it‑iveness: I am dogged and determined, and I will find a way; and that's absolutely necessary. You have to have passion driving your commitment; and I believe, if you're passionate, you can achieve whatever it is that you set out to. It's also important to have solid organizational skills. A lot of entrepreneurs are visionary but aren't fortunate enough to get the skills of discipline and the organization and detail orientation that is required to pull off an enterprise. So, for those people, I think, it's so important to recognize that and surround themselves with people that do complement them well in that way. I think the other issue, of course, is the strategic thinking. And, there, it's making sure not just that you give yourself space and opportunity to think strategically, but also that you create environments in which strategy can evolve through collective conversation. Too often, people at all levels of an organization are not involved in creating and participating and designing a strategy for an organization. And that's what builds ownership, and I think that's what builds better long‑term solutions... Larry Nelson: Gillian, with a background like you ‑ you've had this organization, now, for ten years; you now have a budget of $4.2‑million; you have 31 employees. Here's a question: how do you bring about balance to your personal and your professional lives? Gillian: Well, the quickest way to get some balance is to have some children. And I have two of those: I have a girl, named Tess, who's just about to turn five, and a boy, named Finley, who will be three shortly. And that really, really necessitates a balance, because I will not miss their childhoods. So it enabled me to really walk the walk and talk the talk when it comes to balance. You know, I have certain lines that I draw, in terms of the number of nights a month that I will be away from my children, and a commitment regarding the number of hours I want to be with them at the beginning and the end of each day. So that's really important. The other thing that is so important to me, which I'm really grateful to have been able to bring back into my life, is exercise. And I think everybody finds balance in different ways: some people, through spiritual practice; others, through meditation; and, for me, exercise and, at this stage, running is really critical. So I do run five to six days a week, for roughly 45 minutes; and that's a way to really stay balanced and attuned. Lucy: Well, Gillian, you've really achieved a lot. We haven't even really mentioned it on this interview; but you are an author. You're clearly a passionate activist. You're a lawyer. And, also, you're a techlaureate, from the Tech Museum, which is very impressive as well. You've achieved so much. Oh: and a mom, with great kids. What's next for you? Gillian: Well, interestingly, I'm not somebody who's ever had a clearly designed career path in mind. I'm fortunate that I've been able to work throughout my life in the things that are absolutely engrossing to me and that really make me feel passionate. So I don't have a next step in mind. One of the things that I am increasingly concerned about and do want to direct my attention to, in the context here at Witness and conceivably beyond that, is really the issue of the climate, which is collapsing around us. And I think, first of all, that we are sleeping on the job, in terms of recognizing how serious the issues are, and, second of all, that there is this arbitrary divide between the field of human rights and the environmental movement. And, in fact, if we don't work cohesively together to analyze the intersections between climate collapse and human rights, we're really going to be in trouble. Just by way of example: there will be, and already are, millions of environmental refugees as sea levels rise. Take a look at Bangladesh: much of Bangladesh will be underwater, millions of people forced from their homes. There is already, all over the world today, wars over resource extraction, whether it be wars for oil ‑ of course Iraq comes to mind there ‑ or gold or other natural minerals, which displace hundreds of thousands of people in countries and force them to confront unspeakable violence. There will be the massive spread of vectorial disease. We're already seeing that in disease mutations which function in higher‑temperature environments. So I really see that as a place for a lot more focus and energy; and I'm passionate about seeing what I can do, at Witness and beyond, in that area. Larry: Gillian, I have a feeling that you're going to see it, film it, and change it. Lucy: We really want to thank you for everything you're doing for our world and at Witness. We really appreciate the time that you have taken to talk to us. Gillian: Thank you so much for having me. Lucy: I just want to remind everybody that the podcasts are hosted at the NCWIT website, www.ncwit.org, and also w3w3.com. Larry: That's it. Gillian: And you can go to www.witness.org to learn more about the work. Lucy: Wonderful. Thank you very much. Larry: One more link. Leigh: Thank you, Gillian. Lucy: Bye‑bye. Gillian: O.K. Thank you. Series: Entrepreneurial HeroesInterviewee: Gillian CaldwellInterview Summary: Gillian Caldwell is the Executive Director of WITNESS, which uses the power of video to open the eyes of the world to human rights abuses. A film-maker and an attorney, she has always believed in the power of images to change people's minds. Release Date: August 9, 2007Interview Subject: Gillian CaldwellInterviewer(s): Lucy Sanders, Larry NelsonDuration: 20:50