Podcasts about filmmakers

"Twinless" is an American indie black comedy psychological drama film written, directed, co-produced, and co-starring James Sweeney alongside Dylan O'Brien. It had its world premiere at the 2025 Sundance Film Festival in the U.S. Dramatic Competition, where it received critical acclaim for its direction, writing, and performances and won the Audience Award. Sweeney and O'Brien were kind enough to spend time speaking with us about their work and experiences making the film, which you can listen to below. Please be sure to check out the film, now playing in theaters from Lionsgate & Roadside Attractions. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

https://tslworkshops.circle.com What does it take to make a celebrity-free, micro-budget feature and premiere at one of the most competitive festivals in the world? Filmmaker and No Film School host GG Hawkins joins Jeff to share how she turned a family house in Panama, a tiny team, and a three-month timeline into I Really Love My Husband, a breakout SXSW premiere with no celebrity attachments. They break down every stage of the journey: Writing a script around what you already have Casting for chemistry Financing in waves while production is underway Festival strategy and PR on a shoestring Why specificity and “weirdness” can be your biggest assets Whether you're a filmmaker planning your first feature or just curious how indie films actually get made, this episode pulls back the curtain on what it really takes to crack SXSW. Learn more about your ad choices. Visit megaphone.fm/adchoices

"The Baltimorons" is an independent American comedy film directed by Jay Duplass, who co-wrote the screenplay with Michael Strassner. Strassner, Liz Larsen, and Olivia Luccardi star in the movie. It premiered at the 2025 South by Southwest Film & TV Festival and received positive reviews for its writing, chemistry between Strassner and Larsen, and Duplass's understated but effective direction, making this a heartfelt holiday comedy. Duplass, Strassner, and Larsen were all kind enough to spend time speaking with us about their work and experiences making the film, which you can listen to below. Please be sure to check out the film, now playing in theaters from Independent Film Company. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we are chatting with Pro Skier, Ultrarunner, Filmmaker and Mental Health Advocate Drew Petersen about his incredible film "Feel It All" and his journey through his own mental health struggles. MORE FROM DREW: Website: https://drew-petersen.com/ Instagram: https://www.instagram.com/drewpeterski/ Film: https://youtu.be/J94ZkA59sSM?si=dhoUY1VAQz_Y5eWL Ted Talk: https://youtu.be/iIWd6FbQqtM?si=X5ColWN18gedT2du

Filmmaker and stuttering ally Andy Phillips joins Maya to mark the 10-year anniversary of his short film WORDS, a story born from two loves: New Orleans and spoken-word poetry. Andy shares how a friend who stutters, late-night script pages in a dreaded Shakespeare class, and a chance connection to a Lower Ninth Ward community center shaped the film's heartbeat. A tour with neighborhood elder “Mr. Robert,” the Katrina watermark still visible on walls, inspired the opening poem and grounded the story in place and resilience. Andy also talks about researching stuttering to avoid tired stereotypes and building an indie crew through tiny miracles that kept showing up, sometimes literally with a Steadicam. A decade later, WORDS still ripples through his life, even guiding his path into podcast producing.You can watch WORDS here.-----

Send us a textHoly shit, we've been waiting for 5 years to have this conversation! We first heard about The 40-Year-Old Version at Sundance 2020, and we knew that we would one day interview the writer/director/star Radha Blank. And it was worth the wait!The 40-Year Old Version follows a down-on-her-luck NY playwright who reinvents herself as a rapper in an attempt to breakthrough and find her true voice. Vidiots Foundation in Los Angeles was having a special screening of the film to celebrate its legacy and ongoing resonance. Radha joins us virtually from the event to share how she refuses to let age be a factor in her career, the struggle as an independent artist to maintain your integrity, her decision to shoot in black and white, and which famous director's career she'd like to emulate.Watch The 40-Year-Old Version on NetflixFollow director/writer/actor Radha Blank on IGFollow Vidiots Foundation on IG Support the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

https://www.darrynyates.comInstagramhttps://music.darrynyates.comYoutubeBioDarryn Yates is a retro rock and alt-rock artist whose music fuses driving guitars with soaring, melodic choruses. His latest single, No Regrets Only Greatness, marks a powerful return to the stage and reaffirms his lifelong passion for music.Darryn first rose to prominence as the frontman of the pop-rock band On Tracy Lane (OTL), opening for major acts such as Avril Lavigne, American Hi-Fi, Local H, and Phantom Planet. The band's momentum further grew when actress Lacey Chabert, known for Mean Girls and Party of Five, appeared in one of their music videos. While OTL never fully broke into the mainstream, the experience cemented Darryn's commitment to a life in music.His journey began unexpectedly after a high school sports injury redirected his path from athletics to music. Inspired by rock icons like Kiss and Poison, Darryn discovered his true calling during his first live performance and never looked back.Beyond music, Darryn has pursued careers in radio, television, and the corporate world, while also carving out a role as a motivational speaker, podcaster, and author. These experiences, along with overcoming personal struggles, deepened his understanding of resilience and reignited his dedication to creating and performing music.In 2025, Darryn has released three new singles, with additional tracks in production alongside producer Kevin W. Gates. His vision is to record a full-length album and deliver electrifying live shows reminiscent of the larger-than-life performances he grew up idolizing.Driven by a philosophy of boldness and disruption, Darryn Yates inspires audiences not only through his music but also through his story. His message is clear: chase your dreams without regret, and embrace greatness in every step of the journey.Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Ever wondered if there's a secret formula to becoming a better leader, parent, or creative professional? In this candid conversation, hosts Indiana and Haley reveal what might be the most profound insight they've discovered through their entrepreneurial journey - the transformative power of self-love and acceptance.The duo shares fascinating research showing how the psychology of building a company mirrors parenting in unexpected ways. Whether you're nurturing a child or growing an organization, both require protection, guidance, and eventually letting go as they mature beyond your complete control. This parallel particularly resonates as they reflect on their own company's growth journey, where they're experiencing the bittersweet reality of their creation outgrowing them.Technology takes center stage as they discuss their experiences with AI wearable devices that help manage their hectic schedules and interactions. These "Bee" devices not only provide practical work assistance but surprisingly offer relationship insights by connecting dots between conversations, therapy sessions, and self-improvement content they consume.The episode culminates with two major announcements: the launch of League of Filmmakers, a comprehensive digital trade publication serving the filmmaking community with daily coverage on films, interviews, gear reviews, and festival guides; and their upcoming Filmmaker Summit in partnership with Holly Shorts Film Festival on August 6th. Both initiatives reflect their commitment to education and community building within the industry.Between business insights and professional updates, the conversation takes a delightfully unexpected detour into 90s nostalgia with a detailed plot synopsis of the Mary-Kate and Ashley movie "It Takes Two" - showcasing the authentic, unfiltered relationship between these creative partners. Subscribe now to join this vibrant community dedicated to bridging the gap between talent and crew while exploring the intersection of creativity, leadership, and personal growth.Send us a textFor our listeners, CFA's teamed up with We Make Movies to get you a discount on production management services, including access to comprehensive production insurance and workers' comp for your next shoot. Visit wemakemovies.org/insurance and use code CFA23 on your intake form for 10% off your quote.Calling all actors! Take 25% off your membership at WeAudition with code: CFA25 Website: www.cinematographyforactors.com Instagram: https://www.instagram.com/cinematographyforactors TikTok: https://www.tiktok.com/@cinematographyforactors Cinematography for Actors is a community aimed at bridging the gap between talent & crew through our weekly podcast & community events. Our weekly show supports the filmmaking community through transparent, honest & technically focused interviews with the goal of elevating the art of effective storytelling.

My fellow pro-growth/progress/abundance Up Wingers,In 1976, America celebrated 200 years of independence, democracy, and progress. Part of that celebration was the release of To Fly!, a short but powerful docudrama on the history of American flight. With To Fly!, Greg MacGillivray and his co-director Jim Freeman created one of the earliest IMAX films, bringing cinematography to new heights.After a decade of war and great social unrest, To Fly! celebrated the American identity and freedom to innovate. Today on Faster, Please! — The Podcast, I talk with MacGillivray about filming To Fly! and its enduring message of optimism.MacGillivray has produced and directed films for over 60 years. In that time, his production company has earned two Academy Award nominations, produced five of the Top 10 highest-grossing IMAX films, and has reached over 150 million viewers.In This Episode* The thrill of watching To Fly! (1:38)* An innovative filming process (8:25)* A “you can do it” movie (19:07)* Competing views of technology (25:50)Below is a lightly edited transcript of our conversation. The thrill of watching To Fly! (1:38)What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.”Pethokoukis: The film To Fly! premiered at the Smithsonian Air and Space Museum, at the IMAX Theater, July 1976. Do you happen know if it was it the 4th of July or. . . ?MacGillivray: No, you know, what they did is they had the opening on the 2nd of July so that it wouldn't conflict with the gigantic bicentennial on the 4th, but it was all part of the big celebration in Washington at that moment.I saw the film in the late '70s at what was then called the Great America Amusement Park in Gurnee, Illinois. I have a very clear memory of this, of going in there, sitting down, wondering why I was sitting and going to watch a movie as opposed to being on a roller coaster or some other ride — I've recently, a couple of times, re-watched the film — and I remember the opening segment with the balloonist, which was shot in a very familiar way. I have a very clear memory because when that screen opened up and that balloon took off, my stomach dropped.It was a film as a thrill ride, and upon rewatching it — I didn't think this as a 10-year-old or 11-year-old — but what it reminded me upon rewatching was of Henry V, Lawrence Olivier, 1944, where the film begins in the Globe Theater and as the film goes on, it opens up and expands into this huge technicolor extravaganza as the English versus the French. It reminds me of that. What was your reaction the first time you saw that movie, that film of yours you made with Jim Freeman, on the big screen where you could really get the full immersive effect?It gave me goosebumps. IMAX, at that time, was kind of unknown. The Smithsonian Air and Space Museum was the fourth IMAX theater built, and very few people had seen that system unless you visited world's fairs around the world. So we knew we had something that people were going to grasp a hold of and love because, like you said, it's a combination of film, and storytelling, and a roller coaster ride. You basically give yourself away to the screen and just go with it.What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.” We tried to put as many in there as we could, including the train coming straight at you and bashing right into the camera where the audience thinks it's going to get run over. Those kinds of moments on that gigantic screen with that wonderful 10 times, 35-millimeter clarity really moved the audience and I guess that's why they used it at Great America where you saw it.You mentioned the train and I remember a story from the era of silent film and the first time people saw a train on silent film, they jumped, people jumped because they thought the train was coming at them. Then, of course, we all kind of got used to it, and this just occurred to me, that film may have been the first time in 75 years that an audience had that reaction again, like they did with first with silent film where they thought the train was going to come out of the screen to To Fly! where, once again, your previous experience looking at a visual medium was not going to help you. This was something completely different and your sense perception was totally surprised by it.Yeah, it's true. Obviously we were copying that early train shot that started the cinema way back in probably 1896 or 1898. You ended up with To Fly! . . . we knew we had an opportunity because the Air and Space Museum, we felt, was going to be a huge smash hit. Everyone was interested in space right at that moment. Everyone was interested in flying right at that moment. Basically, as soon as it opened its doors, the Air and Space Museum became the number one museum in America, and I think it even passed the Louvre that year in attendance.Our film had over a million and a half people in its first year, which was astounding! And after that year of run, every museum in the world wanted an IMAX theater. Everyone heard about it. They started out charging 50 cents admission for the 27-minute IMAX film, and halfway through the season, they got embarrassed because they were making so much money. They reduced the admission price to 25 cents and everyone was happy. The film was so fun to watch and gave you information in a poetic way through the narration. The storytelling was simple and chronological. You could follow it even if you were a 10-year-old or an 85-year-old, and people just adored the movie. They wrote letters to the editor. The Washington Post called it the best film in the last 10 years, or something like that. Anyway, it was really a heady of time for IMAX.An innovative filming process (8:25)It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . .I may have just read the Washington Post review that you mentioned. It was a Washington Post review from just three or four years later, so not that long after, and in the conclusion to that piece, it said, “You come away from the film remembering the flying, the freedom of it, the glee, the exaltation. No Wonder ‘To Fly' is a national monument.” So already calling it a national monument, but it took some innovation to create that monument. This isn't just a piece of great filmmaking and great storytelling, it's a piece of technological innovation. I wonder if you could tell me about that.We've worked with the IMAX corporation, particularly Graeme Ferguson, who is gone now, but he was a filmmaker and helped us immensely. Not only guiding, because he'd made a couple of IMAX films previously that just showed at individual theaters, but was a great filmmaker and we wanted three more cameras built—there was only one camera when we began, and we needed three, actually, so we could double shoot and triple shoot different scenes that were dangerous. They did that for us in record time. Then we had to build all these kind of imaginative camera mounts. A guy named Nelson Tyler, Tyler Camera Systems in Hollywood, helped us enormously. He was a close friend and basically built an IMAX camera mount for a helicopter that we called the “monster mount.” It was so huge.The IMAX camera was big and huge on its own, so it needed this huge mount, and it carried the IMAX camera flawlessly and smoothly through the air in a helicopter so that there weren't any bumps or jarring moments so the audience would not get disturbed but they would feel like they were a bird flying. You needed that smoothness because when you're sitting up close against that beautifully detailed screen, you don't want any jerk or you're going to want to close your eyes. It's going to be too nauseating to actually watch. So we knew we had to have flawlessly smooth and beautiful aerials shot in the best light of the day, right at dawn or right at sunset. The tricks that we used, the special camera mounts, we had two different camera mounts for helicopters, one for a Learjet, one for a biplane. We even had a balloon mount that went in the helium balloon that we set up at the beginning of the film.It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . . There are quiet moments in the film that are very powerful, but there's also these basic thrill moments where the camera goes off over the edge of a cliff and your stomach kind of turns upside down a little bit. Some people had to close their eyes as they were watching so they wouldn't get nauseated, but that's really what we wanted. We wanted people to experience that bigness and that beauty. Basically the theme of the movie was taking off into the air was like the opening of a new eye.Essentially, you re-understood what the world was when aviation began, when the first balloonists took off or when the first airplane, the Wright Brothers, took off, or when we went into space, the change of perspective. And obviously IMAX is the ultimate change of perspectiveWhen I watched the entire film — I've watched it a few times since on YouTube, which I think somebody ripped from a laser disc or something — maybe six months ago, I had forgotten the space sequence. This movie came out a year before Star Wars, and I was looking at that space sequence and I thought, that's pretty good. I thought that really held up excellent. As a documentary, what prepared you to do that kind of sequence? Or was that something completely different that you really had to innovate to do?I had loved 2001: A Space Odyssey, the Kubrick film, and one of the special effects supervisors was Doug Trumbull. So we called Doug and said, “Look, I want to make the sequence. It's going to be short, but it's going to pay homage to space travel and what could happen in the future.” And he guided us a little bit, showed us how to make kind of the explosions of space that he'd done in 2001 using microscopic paint, so we had to develop a camera lens that fit on the IMAX camera that could shoot just a very small area, like half an inch across, where paint in a soluble mixture could then explode. We shot it in slow motion, and then we built a Starship, kind of like a Star Wars-looking — though, as you mentioned, Star Wars had not come out yet — kind of a spaceship that we then superimposed against planets that we photographed, Jupiter and Saturn. We tried to give the feeling and the perspective that that could give us with our poetic narrator, and it worked. It kind of worked, even though it was done on a very small budget. We had $690,000 to make that movie. So we only had one SAG actor who actually got paid the regular wage, that was Peter Walker.Was that the balloonist?Yeah, he was the balloonist. And he was a stage actor, so he was perfect, because I wanted something to obviously be a little bit overblown, make your gestures kind of comically big, and he was perfect for it. But we only had enough money to pay him for one day, so we went to Vermont and put him in the balloon basket, and we shot everything in one day. We never actually shot him flying. We shot him hanging in the balloon basket and the balloon basket was hanging from a crane that was out of the picture, and so we could lift him and make him swing past us and all that stuff, and he was terrific.Then we shot the real balloon, which was a helium balloon. We got the helium from the Navy — which would've been very costly, but they donated the helium — and went to West Virginia where the forest was basically uncut and had no power lines going through it so we could duplicate 1780 or whatever the year was with our aerial shooting. And we had a guy named Kurt Snelling, who was probably the best balloonist at that particular moment, and he dressed like Peter in the same costume and piloted the balloon across. And balloons, you can't tell where they're going, they just follow the wind, and so it was a little dangerous, but we got it all done. It was about a week and a half because we had to wait for weather. So we had a lot of weather days and bad rain in West Virginia when we shot that, but we got it all done, and it looks beautiful, and it matches in with Peter pretty well.Just what you've described there, it sounds like a lot: You're going to Maine, you're in West Virginia, you're getting helium from — it sounds like there were a lot of moving parts! Was this the most ambitious thing you had done up until that point?Well, we'd worked on some feature films before, like The Towering Inferno and Jonathan Livingston Seagull, and things like that, which were involved and very complicated. But yeah, it was very much the biggest production that we put together on our own, and it required us to learn how to produce in a big fashion. It was a thrill for us. Essentially, we had about 10 people working on the film in Laguna Beach, and none of them, except for maybe Jim and I, who we'd worked on feature films and complicated shoots with actors and all that, but a lot of our team hadn't. And so it was an adventure. Every day was a thrill.A “you can do it” movie (19:07). . . we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.There's a version of this podcast where we spend a half hour talking about The Towering Inferno. I just want you to know that it's very hard for me not to derail the conversation into talking about The Towering Inferno. I will not do that, but let me ask you this, the movie is about flight, it's about westward expansion, but that movie, it came out for the bicentennial, we'd gone through a tumultuous, let's say past 10 years: You had Vietnam, there's social unrest, you had Watergate. And the movie really must have just seemed like a breath of fresh air for people.As you put the movie together, and wrote it, and filmed it, did you feel like you were telling a message other than just about our connection with flight? It really seemed to me to be more than that, a movie about aspiration, and curiosity, and so forth.It was, and pretty much all of our films have been that positive spirit, “You can do it” kind of movie. Even our surfing films that we started with 20 years, maybe 10 years before To Fly!, you end up with that spirit of the human's ability to go beyond. And obviously celebrating the bicentennial and the beginning of democracy here in this country and the fact that we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.Of course, this was right there when everyone had felt, okay, we went to the moon, we did all kinds of great things. We were inventive and a lot of that spirit of invention, and curiosity, and accomplishment came from the fact that we were free as individuals to do it, to take risks. So I think To Fly! had a lot of that as part of it.But the interesting thing, I thought, was I had one meeting with Michael Collins, who was the director of the Air and Space Museum and the astronaut who circled the moon as Neil and Buzz Aldrin were on the moon walking around, and here he is, hoping that these two guys will come back to him so that the three of them can come back to Earth — but they'd never tested the blast-off from the moon's surface, and they didn't know 100 percent that it was going to work, and that was the weirdest feeling.But what Collins told me in my single meeting that I had with him, he said, “Look, I've got a half an hour for you, I'm building a museum, I've got two years to do it.” And I said, “Look, one thing I want to know is how much facts and figures do you want in this movie? We've got a little over a half an hour to do this film. The audience sits down in your theater, what do you want me to do?” And he said, “Give me fun. Give me the IMAX experience. I don't want any facts and figures. I don't want any dates. I don't want any names. I've got plenty of those everywhere else in the museum. People are going to be sick of dates and names. Give me fun, give me adventure.” And I said, “Oh gosh, we know how to do that because we started out making surfing films.” and he goes, “Do that. Make me a surfing film about aviation.” It was probably the best advice, because he said, “And I don't want to see you again for two years. Bring me back a film. I trust you. I've seen your films. Just go out and do it.” And that was probably the best management advice that I've ever received.So you weren't getting notes. I always hear about studios giving filmmakers notes. You did not get notes.The note I got was, “We love it. Put it on the screen now.” What they did do is they gave me 26 subjects. They said, “Here's the things that we think would be really cool in the movie. We know you can't use 26 things because that's like a minute per sequence, so you pick which of those 26 to stick in.” And I said, “What I'm going to do then is make it chronological so people will somewhat understand it, otherwise it's going to be confusing as heck.” And he said, “Great, you pick.” So I picked things that I knew I could do, and Jim, of course, was right there with me all the time.Then we had a wonderful advisor in Francis Thompson who at that time was an older filmmaker from New York who had done a lot of world's fair films, hadn't ever done IMAX, but he'd done triple-screen films and won an Academy Award with a film called To Be Alive! and he advised us. Graeme Ferguson, as I mentioned, advised us, but we selected the different sequences, probably ended up with 12 sequences, each of which we felt that we could handle on our meager budget.It was delightful that Conoco put up the money for the film as a public service. They wanted to be recognized in the bicentennial year, and they expected that the film was going to run for a year, and then of course today it's still running and it's going into its 50th year now. And so it's one of those things that was one of those feel-good moments of my life and feel-good moments for the Air and Space Museum, Michael Collins, for everyone involved.Competing views of technology (25:50)Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.When rewatching it, I was reminded of the 1982 film Koyaanisqatsi by Godfrey Reggio, which also had a very famous scene of a 747 looming at the camera. While yours was a joyous scene, I think we're supposed to take away an ominous message about technology in that film. That movie was not a celebration of flight or of technology. Have you wondered why just six years after To Fly!, this other film came out and conveyed a very different message about technology and society.I love Koyaanisqatsi, and in fact, we helped work on that. We did a lot of the aerial shooting for that.I did not know that.And Godfrey Reggio is an acquaintance, a friend. We tried to actually do a movie together for the new millennium, and that would've been pretty wild.Certainly a hypnotic film, no doubt. Fantastic.Yeah. But their thesis was, yeah, technology's gotten beyond us. It's kind of controlled us in some fashions. And with the time-lapse sequences and the basic frenetic aspects of life and war and things like that. And with no narration. That film lets the audience tell the story to themselves, guided by the visuals and the technique. Our film was absolutely a 100 percent positive that the 747 that we had was the number one 747 ever built. Boeing owned it. I don't think they'd started selling them, or they were just starting to use them. Everyone was amazed by the size of this airplane, and we got to bolt our IMAX camera on the bottom of it, and then it was such a thrill to take that big 747.The guy took off from Seattle and the pilot said, “Okay, now where do you want to go?” I said, “Well, I want to find clouds. And he goes, “Well, there's some clouds over next to Illinois. We could go there,” so we go two hours towards Illinois. And I'm in a 737 that they loaned us with the IMAX camera in a brand new window that we stuck in the side of the 737, just absolutely clear as the sheet of glass, just a single pane, and the camera's right up against that piece of plexiglass and with the 40-millimeter lens, which is a 90-degree lens.So I said, “We've got to fly the 737 really close to the 747 and through clouds so that the clouds are wisping through, and so the 747 is disappearing and then appearing and then disappearing and then appear, and we have to do this right at sunset in puffy clouds, these big cumulus clouds.” And so they said, “We can do that, let's go find it!” The two guys who were piloting were both military pilots, so they were used to flying in formation and it was a delight. We shot roll, after roll, after roll and got some of those moments where that 747 comes out into light after being in the white of the cloud are just stunning. So we made the 747 look almost like a miniature plane, except for the shot from underneath where you see the big wheels coming up. So it was a really cool, and I don't know what it cost Boeing to do that, but hundreds of thousands, maybe.Another public service.But they got it back. Obviously it was a heroic moment in the film, and their beautiful plane, which went on to sell many, many copies and was their hero airplane for so many years.Yeah, sure.It was a fun deal. So in comparison to Koyaanisqatsi, our film was the exact opposite. Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.I feel like there's a gap in what we get out of Hollywood, what we get out of the media. You don't want just feel-good films. You don't want just celebrations. You want the full range of our lives and of human experience, but I feel like, Koyaanisqatsi is about being out of balance, I think we've gotten out of balance. I just don't see much out there that has the kind of aspirational message with To Fly! I'm not sure what you think. I feel like we could use more of that.Yeah, I'm hopeful that I'm going to be able to make a movie called A Beautiful Life, which is all about the same thing that I was talking about, the freedom that the individual has here in America. I was hopeful to do it for the 250th anniversary, but I'm not going to get it done by that time next year. But I want to do that movie kind of as a musical celebration of almost a “family of man” sort of movie located around the world with various cultures and positive spirit. I'm an optimist, I'm a positive person. That's the joy I get out of life. I suppose that's why Jim and I were perfect to make To Fly! We infused beauty into everything that we tried to do.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro ReadsPlease check out the website or Substack app for the latest Up Wing economic, business, and tech news contained in this new edition of the newsletter. Lots of great stuff! Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

Ryan was born quite a long time ago, and he is really old now. Since this is his "birth month", Laura allowed him to pick one of the movies for September, and this felt incredibly "literal".Yes! Sir. Stephen Frears, revered and celebrated British film director, hits it out of the park with this Dame Judi Dench/Bob Hoskins vehicle about "tasteful nudity" in theatre during wartime! With a host of other recognizable faces and a surprising, yet possibly THE BEST REVEAL EVER COMMITTED TO THE SCREEN WE HAVE UNCOVERED ON OUR PODCAST, there's a really, really, REALLY good time to be had with this one.

AJ Lovewins is a filmmaker, activist, and founder of Our People Rise, a nonprofit dedicated to empowering underrepresented communities through storytelling and transformational education. After overcoming homelessness and addiction, AJ has devoted his life to sharing stories of resilience and recovery, inspiring hope and demonstrating the power of human transformation.Through his docuseries Our People Rise: American Tales of Triumph, premiering in 2025, AJ highlights inspiring stories of Americans overcoming homelessness, addiction, and mental health challenges, aiming to shed a positive light on these often bleak issues.Join us as we delve into AJ's journey, his mission to uplift marginalized voices, and the impact of his work in fostering community healing and empowerment.

Kathryn Bigelow is a trailblazing filmmaker who shattered glass ceilings in Hollywood. From her early days as a painter and experimental filmmaker to becoming the first woman to win an Academy Award for Best Director, Kathryn's journey is one of ambition, creativity, and resilience. We explore her groundbreaking films, including The Hurt Locker and Zero Dark Thirty, and her dramatic connection to James Cameron.  Follow us on IG: @homance_chronicles Connect with us: linktr.ee/homance Send us a Hoe of History request: homancepodcast@gmail.com  

THE BODY, 6min.. Horror/Comedy Short Film Alex thinks she is at home alone, finishing up her "work," when her brother Ansel interrupts. Now, she must clean up all the evidence before he can see it. www.instagram.com/official.kennedy.productions Director Statement This film has been a seed in my mind for many years now. I put my blood, sweat, and tears into this. It is my thesis to complete my undergraduate degree. I think it perfectly captures my weird sense of humor and love for all things horror. Making this film meant everything to me as my friends and family rallied around to support me. It is my baby, and bringing it to life has been one of my greatest honors. I hope it makes you laugh. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

In this episode, I sit down for a conversation with the producers of a documentary film called A Butterfly Has Been Released. The website sums it up beautifully: “With unfiltered honesty, authenticity, and humor, Allyson invites her family, friends and hospice coworkers into her dying experience. As time runs short, her community gathers to celebrate her life with a ‘living funeral,' which Allyson hosts, and afterwards her natural, green burial. Throughout, Allyson confronts her own mortality and continues to create meaning and legacy, as her death approaches and beyond.” This conversation shakes up what you think might be possible, and shares the courage and creativity of a woman who found out she had only weeks to live. What would you do if you knew time was that short?

The award winning actor's film is having its debut at the Atlantic International Film Festival. Wayne Burns gives Jeff Douglas a bit of non-spoiler background ahead of the films showing.

Filmmaker, missionary, and founder of Equipping the Persecuted, Judd Saul shares a powerful message about standing for truth and preparing the next generation to live with courage. His experiences serving persecuted Christians will challenge and encourage you to live boldly for Christ.Prime Sponsor: No matter where you live, visit the Functional Medical Institute online today to connect with Drs Mark and Michele Sherwood. Go to homeschoolhealth.com to get connected and see some of my favorites items. Use coupon code HEIDI for 20% off!Lifestone Ministries | Lifestoneministries.com/heidiShow mentions: heidistjohn.com/mentionsWebsite | heidistjohn.comSupport the show! | donorbox.org/donation-827Rumble | rumble.com/user/HeidiStJohnYoutube | youtube.com/@HeidiStJohnPodcastInstagram | @heidistjohnFacebook | Heidi St. JohnX | @heidistjohnFaith That Speaks Online CommunitySubmit your questions for Mailbox Mondayheidistjohn.net/mailboxmonday

Michigan filmmaker Tom Chaney joins us to discuss his new Bigfoot movie “Squatch,” his career highlights, and why he made two movies about the Wendigo."Squatch" the Movie https://SquatchTheMovie.comFrom The Shadows Podcast is a program where we seriously discuss the supernatural, the paranormal, cryptozoology as well as ufology. Anything that cannot be rationally explained has a platform for discussion here on the From The Shadows Podcast.https://www.fromtheshadowspodcast.comhttps://www.facebook.com/fromtheshadowspodcasthttps://www.instagram.com/shanegroveauthorhttps://www.instagram.com/fromtheshadowspodcast#Bigfoot #Sasquatch #Wendigo #HorrorMovie #Cryptids #filmmaking

“When I write my stories, I don't want to solve things in life. I just want to persuade myself that there is a way out. Maybe I am in a cell, maybe I'm trapped. Maybe I won't make it, but if I can imagine a plan for escape, then I'll be less trapped because at least in my mind, there is a way. I think that my parents are survivors. They always talked about this idea of humanity. My parents always said to me, when you look at people, don't look at their political views; that's not important. Look at the way that they look at you. If they see you, if they listen to you, if they can understand your intention, even if it's a failing one, they're your people. And if they can't, it doesn't matter.I think that when I came with my mother and father, they thought there are people, there are human beings, and there are people who want to be human beings but are still struggling. And you go with humanity; you go with the person who can go against his ideology if his heart tells him something.”Etgar Keret is one of the most inventive and celebrated short story writers of his generation, a voice that captures the absurdities and profound loneliness of modern life with a deceptive, almost casual wit. His work, translated into dozens of languages, uses fantastical premises—from alien visitations to parallel universes—to illuminate the most human of truths. His new collection, Autocorrect, explores a world grappling with technology, loss, and the aftershocks of a global pandemic and, more recently, war. His awards include the Cannes Film Festival's Caméra d'Or (2007), the Charles Bronfman Prize (2016), and the pres­tigious Sapir Prize (2018). Over a hundred short films and several feature films have been based on his stories. Keret teaches creative writing at Ben-Gurion University of the Negev. He now has a weekly newsletter on Substack called Alphabet Soup. He's also the new MFA Director of the Jewish Theological Seminary, where he's pioneering a new approach to storytelling. Joining me today from Tel Aviv is the great Israeli writer and filmmaker Etgar Keret.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“When I write my stories, I don't want to solve things in life. I just want to persuade myself that there is a way out. Maybe I am in a cell, maybe I'm trapped. Maybe I won't make it, but if I can imagine a plan for escape, then I'll be less trapped because at least in my mind, there is a way. I think that my parents are survivors. They always talked about this idea of humanity. My parents always said to me, when you look at people, don't look at their political views; that's not important. Look at the way that they look at you. If they see you, if they listen to you, if they can understand your intention, even if it's a failing one, they're your people. And if they can't, it doesn't matter.I think that when I came with my mother and father, they thought there are people, there are human beings, and there are people who want to be human beings but are still struggling. And you go with humanity; you go with the person who can go against his ideology if his heart tells him something.”Etgar Keret is one of the most inventive and celebrated short story writers of his generation, a voice that captures the absurdities and profound loneliness of modern life with a deceptive, almost casual wit. His work, translated into dozens of languages, uses fantastical premises—from alien visitations to parallel universes—to illuminate the most human of truths. His new collection, Autocorrect, explores a world grappling with technology, loss, and the aftershocks of a global pandemic and, more recently, war. His awards include the Cannes Film Festival's Caméra d'Or (2007), the Charles Bronfman Prize (2016), and the pres­tigious Sapir Prize (2018). Over a hundred short films and several feature films have been based on his stories. Keret teaches creative writing at Ben-Gurion University of the Negev. He now has a weekly newsletter on Substack called Alphabet Soup. He's also the new MFA Director of the Jewish Theological Seminary, where he's pioneering a new approach to storytelling. Joining me today from Tel Aviv is the great Israeli writer and filmmaker Etgar Keret.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

WATERLOGGED, 4min., USA, Action/Crime A cop gets under water with her CI's and needs to find a way out. Conversation with director Kent Lloyd on the making of the film. http://uvselfdefense.com/stunts https://www.instagram.com/spearheadstunts Director Statement Waterlogged is meant to be an auditory experience. I was inspired by all of my live dance music players from college and season 2 of Daredevil to help the audience experience what our hero goes through. This piece was a giant collaboration from my stunts class. Monica, Rayla and Tennyson did most of the heavy lifting in terms of choreography and costume design. But they asked me to help stunt coordinate and direct and help write the script since the action was developed without any specific dialogue at all. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

“When I write my stories, I don't want to solve things in life. I just want to persuade myself that there is a way out. Maybe I am in a cell, maybe I'm trapped. Maybe I won't make it, but if I can imagine a plan for escape, then I'll be less trapped because at least in my mind, there is a way. I think that my parents are survivors. They always talked about this idea of humanity. My parents always said to me, when you look at people, don't look at their political views; that's not important. Look at the way that they look at you. If they see you, if they listen to you, if they can understand your intention, even if it's a failing one, they're your people. And if they can't, it doesn't matter.I think that when I came with my mother and father, they thought there are people, there are human beings, and there are people who want to be human beings but are still struggling. And you go with humanity; you go with the person who can go against his ideology if his heart tells him something.”Etgar Keret is one of the most inventive and celebrated short story writers of his generation, a voice that captures the absurdities and profound loneliness of modern life with a deceptive, almost casual wit. His work, translated into dozens of languages, uses fantastical premises—from alien visitations to parallel universes—to illuminate the most human of truths. His new collection, Autocorrect, explores a world grappling with technology, loss, and the aftershocks of a global pandemic and, more recently, war. His awards include the Cannes Film Festival's Caméra d'Or (2007), the Charles Bronfman Prize (2016), and the pres­tigious Sapir Prize (2018). Over a hundred short films and several feature films have been based on his stories. Keret teaches creative writing at Ben-Gurion University of the Negev. He now has a weekly newsletter on Substack called Alphabet Soup. He's also the new MFA Director of the Jewish Theological Seminary, where he's pioneering a new approach to storytelling. Joining me today from Tel Aviv is the great Israeli writer and filmmaker Etgar Keret.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“When I write my stories, I don't want to solve things in life. I just want to persuade myself that there is a way out. Maybe I am in a cell, maybe I'm trapped. Maybe I won't make it, but if I can imagine a plan for escape, then I'll be less trapped because at least in my mind, there is a way. I think that my parents are survivors. They always talked about this idea of humanity. My parents always said to me, when you look at people, don't look at their political views; that's not important. Look at the way that they look at you. If they see you, if they listen to you, if they can understand your intention, even if it's a failing one, they're your people. And if they can't, it doesn't matter.I think that when I came with my mother and father, they thought there are people, there are human beings, and there are people who want to be human beings but are still struggling. And you go with humanity; you go with the person who can go against his ideology if his heart tells him something.”Etgar Keret is one of the most inventive and celebrated short story writers of his generation, a voice that captures the absurdities and profound loneliness of modern life with a deceptive, almost casual wit. His work, translated into dozens of languages, uses fantastical premises—from alien visitations to parallel universes—to illuminate the most human of truths. His new collection, Autocorrect, explores a world grappling with technology, loss, and the aftershocks of a global pandemic and, more recently, war. His awards include the Cannes Film Festival's Caméra d'Or (2007), the Charles Bronfman Prize (2016), and the pres­tigious Sapir Prize (2018). Over a hundred short films and several feature films have been based on his stories. Keret teaches creative writing at Ben-Gurion University of the Negev. He now has a weekly newsletter on Substack called Alphabet Soup. He's also the new MFA Director of the Jewish Theological Seminary, where he's pioneering a new approach to storytelling. Joining me today from Tel Aviv is the great Israeli writer and filmmaker Etgar Keret.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“I feel that when you don't tell your story, it's as if you have a limited existence. We can always have some kind of choice, but I'm saying that the story we choose may be the most crucial choice that we make, because this story will affect all the other choices.”Etgar Keret is one of the most inventive and celebrated short story writers of his generation, a voice that captures the absurdities and profound loneliness of modern life with a deceptive, almost casual wit. His work, translated into dozens of languages, uses fantastical premises—from alien visitations to parallel universes—to illuminate the most human of truths. His new collection, Autocorrect, explores a world grappling with technology, loss, and the aftershocks of a global pandemic and, more recently, war. His awards include the Cannes Film Festival's Caméra d'Or (2007), the Charles Bronfman Prize (2016), and the pres­tigious Sapir Prize (2018). Over a hundred short films and several feature films have been based on his stories. Keret teaches creative writing at Ben-Gurion University of the Negev. He now has a weekly newsletter on Substack called Alphabet Soup. He's also the new MFA Director of the Jewish Theological Seminary, where he's pioneering a new approach to storytelling. Joining me today from Tel Aviv is the great Israeli writer and filmmaker Etgar Keret.“When I write my stories, I don't want to solve things in life. I just want to persuade myself that there is a way out. Maybe I am in a cell, maybe I'm trapped. Maybe I won't make it, but if I can imagine a plan for escape, then I'll be less trapped because at least in my mind, there is a way. I think that my parents are survivors. They always talked about this idea of humanity. My parents always said to me, when you look at people, don't look at their political views; that's not important. Look at the way that they look at you. If they see you, if they listen to you, if they can understand your intention, even if it's a failing one, they're your people. And if they can't, it doesn't matter.I think that when I came with my mother and father, they thought there are people, there are human beings, and there are people who want to be human beings but are still struggling. And you go with humanity; you go with the person who can go against his ideology if his heart tells him something.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“When I write my stories, I don't want to solve things in life. I just want to persuade myself that there is a way out. Maybe I am in a cell, maybe I'm trapped. Maybe I won't make it, but if I can imagine a plan for escape, then I'll be less trapped because at least in my mind, there is a way. I think that my parents are survivors. They always talked about this idea of humanity. My parents always said to me, when you look at people, don't look at their political views; that's not important. Look at the way that they look at you. If they see you, if they listen to you, if they can understand your intention, even if it's a failing one, they're your people. And if they can't, it doesn't matter.I think that when I came with my mother and father, they thought there are people, there are human beings, and there are people who want to be human beings but are still struggling. And you go with humanity; you go with the person who can go against his ideology if his heart tells him something.”Etgar Keret is one of the most inventive and celebrated short story writers of his generation, a voice that captures the absurdities and profound loneliness of modern life with a deceptive, almost casual wit. His work, translated into dozens of languages, uses fantastical premises—from alien visitations to parallel universes—to illuminate the most human of truths. His new collection, Autocorrect, explores a world grappling with technology, loss, and the aftershocks of a global pandemic and, more recently, war. His awards include the Cannes Film Festival's Caméra d'Or (2007), the Charles Bronfman Prize (2016), and the pres­tigious Sapir Prize (2018). Over a hundred short films and several feature films have been based on his stories. Keret teaches creative writing at Ben-Gurion University of the Negev. He now has a weekly newsletter on Substack called Alphabet Soup. He's also the new MFA Director of the Jewish Theological Seminary, where he's pioneering a new approach to storytelling. Joining me today from Tel Aviv is the great Israeli writer and filmmaker Etgar Keret.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

The only way to describe this episode is "super special" considering the person in the spotlight: Milwaukee-born director Michael Schultz! Milwaukee Film introduced a new annual award named in his honor that recognizes luminary Black directors who have profoundly impacted culture and the film industry. Schultz himself will be the first recipient and, very deservedly, will get a full weekend of programming at the Oriental Theatre on Sept. 12 and 13.Dori and Kpolly delve into Schultz on this episode with a discussion about his prolific career directing for the stage and screen, his groundbreaking moment as the first Black director nominated at the Cannes Film Festival, and a look at some of his outstanding work, including The Last Dragon.*****Cinebuds is sponsored by Joe Wilde Co. and our wonderful Radio Milwaukee members.

Send us a textToday's episode is part of my series of double episodes featuring conversations with 2025 Student Academy Award nominees.My first interview today is with 2025 Student Academy Award semifinalist Tushar Bhojwani, director of the animated film "Roar of the Tiger." We discuss his experience growing up in what's known as "the land of urban tigers" in Bhopal, India and the delicate balance between humans and nature.Following that I chat with 2025 Student Academy Award Winner Mati Granica, director of the film "flower_gan." We talk about what actually happens when you ask an AI like ChatGPT to generate an image and the implications of using copyrighted content to train AI models.Films and TV shows mentioned in this episode include:"Roar of the Tiger " directed by Tushar Bhojwani"flower_gan" directed by Mati GranicaInterstellar directed by Christopher NolanThe Social Network directed by David FincherArrival directed by Denis VilleneuveDeadpool directed by Tim MillerPirates of the Caribbean: The Curse of the Black Pearl directed by Gore VerbinskiThe Hangover directed by Todd PhillipsTed Lasso (series)Fantastic Mr. Fox directed by Wes AndersonMidsommar directed by Ari AsterAbout Time directed by Richard CurtisDon't Look Up directed by Adam McKayThe Secret Life of Walter Mitty directed by Ben StillerPaddington directed by Paul King"The Fawn and the Blue Heron" directed by Thomas KeevilFollow Tushar on Instagram @tusharbhojwani_wildlife and Mati at @matigranica. You can also check out Mati's website at https://matigranica.co.uk/.Support the show

After two decades of making movies with his younger brother Mark, Jay Duplass has gone solo. This week, he tells Anna about all the factors that led to that decision: tricky union rules, his brother's career taking off without him, and the need to provide for his family. They also talk about the resulting film, a tender and unique indie rom-com called The Baltimorons, which Jay co-wrote with the talented but little-known comedian Michael Strassner, who stars in the film with Liz Larsen.  Hear Jay's younger brother Mark on the show from June 2024: Mark Duplass on Making Money, Mental Health, and Midlife. This episode was produced by Cameron Drews. Get more Death, Sex & Money with Slate Plus! Join for exclusive bonus episodes of DSM and ad-free listening on all your favorite Slate podcasts. Subscribe from the Death, Sex & Money show page on Apple Podcasts or Spotify. Or, visit slate.com/dsmplus to get access wherever you listen. If you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

After two decades of making movies with his younger brother Mark, Jay Duplass has gone solo. This week, he tells Anna about all the factors that led to that decision: tricky union rules, his brother's career taking off without him, and the need to provide for his family. They also talk about the resulting film, a tender and unique indie rom-com called The Baltimorons, which Jay co-wrote with the talented but little-known comedian Michael Strassner, who stars in the film with Liz Larsen.  Hear Jay's younger brother Mark on the show from June 2024: Mark Duplass on Making Money, Mental Health, and Midlife. This episode was produced by Cameron Drews. Get more Death, Sex & Money with Slate Plus! Join for exclusive bonus episodes of DSM and ad-free listening on all your favorite Slate podcasts. Subscribe from the Death, Sex & Money show page on Apple Podcasts or Spotify. Or, visit slate.com/dsmplus to get access wherever you listen. If you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

After two decades of making movies with his younger brother Mark, Jay Duplass has gone solo. This week, he tells Anna about all the factors that led to that decision: tricky union rules, his brother's career taking off without him, and the need to provide for his family. They also talk about the resulting film, a tender and unique indie rom-com called The Baltimorons, which Jay co-wrote with the talented but little-known comedian Michael Strassner, who stars in the film with Liz Larsen.  Hear Jay's younger brother Mark on the show from June 2024: Mark Duplass on Making Money, Mental Health, and Midlife. This episode was produced by Cameron Drews. Get more Death, Sex & Money with Slate Plus! Join for exclusive bonus episodes of DSM and ad-free listening on all your favorite Slate podcasts. Subscribe from the Death, Sex & Money show page on Apple Podcasts or Spotify. Or, visit slate.com/dsmplus to get access wherever you listen. If you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

After two decades of making movies with his younger brother Mark, Jay Duplass has gone solo. This week, he tells Anna about all the factors that led to that decision: tricky union rules, his brother's career taking off without him, and the need to provide for his family. They also talk about the resulting film, a tender and unique indie rom-com called The Baltimorons, which Jay co-wrote with the talented but little-known comedian Michael Strassner, who stars in the film with Liz Larsen.  Hear Jay's younger brother Mark on the show from June 2024: Mark Duplass on Making Money, Mental Health, and Midlife. This episode was produced by Cameron Drews. Get more Death, Sex & Money with Slate Plus! Join for exclusive bonus episodes of DSM and ad-free listening on all your favorite Slate podcasts. Subscribe from the Death, Sex & Money show page on Apple Podcasts or Spotify. Or, visit slate.com/dsmplus to get access wherever you listen. If you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

After two decades of making movies with his younger brother Mark, Jay Duplass has gone solo. This week, he tells Anna about all the factors that led to that decision: tricky union rules, his brother's career taking off without him, and the need to provide for his family. They also talk about the resulting film, a tender and unique indie rom-com called The Baltimorons, which Jay co-wrote with the talented but little-known comedian Michael Strassner, who stars in the film with Liz Larsen.  Hear Jay's younger brother Mark on the show from June 2024: Mark Duplass on Making Money, Mental Health, and Midlife. This episode was produced by Cameron Drews. Get more Death, Sex & Money with Slate Plus! Join for exclusive bonus episodes of DSM and ad-free listening on all your favorite Slate podcasts. Subscribe from the Death, Sex & Money show page on Apple Podcasts or Spotify. Or, visit slate.com/dsmplus to get access wherever you listen. If you're new to the show, welcome. We're so glad you're here. Find us and follow us on Instagram and you can find Anna's newsletter at annasale.substack.com. Our email address, where you can reach us with voice memos, pep talks, questions, critiques, is deathsexmoney@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

James Sweeney is a multi-hyphenate filmmaker. He wrote, directed, produced, and co-stars in his new film TWINLESS, and which premiered at the 2025 Sundance Film Festival, winning the US Dramatic Audience Award and a Special Jury Award for Acting for Dylan O'Brien. Roadside Attractions will release the movie this summer. James was recently named one of Variety's 10 Directors to Watch. His debut feature, STRAIGHT UP , a screwball romantic comedy, won the Grand Jury Prize at the San Diego Asian Film Festival and was nominated for Best First Screenplay at the 2021 Independent Spirit Awards. Dylan O'Brien not only stars in TWINLESS, he also Executive Produced the film. He recently wrapped production on SEND HELP from director Sam Raimi, and which will be released in January. His other recent credits include the feature films PONYBOI, SATURDAY NIGHT, NOT OKAY, THE OUTFIT, and LOVE AND MONSTERS. and guest appearances on the television shows Fantasmas, The Other Two and Curb Your Enthusiasm. James and Dylan join me in THE BACK ROOM to discuss their terrific new film! Got somethin' to say?! Email us at BackroomAndy@gmail.com Leave us a message: 845-307-7446 Twitter: @AndyOstroy Produced by Andy Ostroy, Matty Rosenberg, and Jennifer Hammoud @ Radio Free Rhiniecliff Design by Cricket Lengyel

MARA, 18min., USA, Horror/Thriller After years spent recovering from a botched exorcism, Jake prepares to reintegrate into society. However, the mounting pressures of everyday existence trigger a harrowing regression back into madness. Conversation with filmmaker Ben Harl https://www.instagram.com/scompassstudios/ Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Our two new books... STORY QUESTIONS: How To Unlock Your Story One Question At A Time - https://payhip.com/b/ZTvq9 and 17 Steps To Writing A Great Main Character - https://payhip.com/b/kCZGd In this Film Courage podcast, we speak with husband and wife duo, Jason Gerber and Blue Gerber, a co-directing team working in films and commercials together and individually. Their first feature documentary is DAWN DUSK, available on multiple platforms (link below). DAWN DUSK features Chelli Look, an artist specializing in handbags, experiences overwhelming grief after the murder of her sister by her brother-in-law. In the years that follow, Chelli's journey towards healing forces her to rediscover who she is as an artist, leading to an unexpected revelation that takes her in a new direction. They have directed commercials for brands such as Walgreens, 7UP, Scotch-Brite, Meiomi Wine, Chipotle, Intelligentsia, LOEWE and more. Their heart for storytelling can be seen in their work for The Boys & Girls Clubs, GE Girls, Athletes Unlimited, Lincoln Park Community Services, which won a Silver Telly, as well as piece for Chicago Connected which was shared by President Barack Obama. Their most recent short film, Otis' Dream, about voter suppression, debuted during the months leading up to the 2020 election and was shared by Oprah as an official Super Soul Sunday short film, gaining attention from major media outlets. Female and male, tactful and feeling, they evoke imagination and authentic human narratives directing as one voice. Where to find the film: https://www.dawnduskfilm.com Where to watch: https://www.dawnduskfilm.com/where-to-watch

Writer, director, and executive producer Solara Thanh Bình Đặng, joined me to discuss Chín, her gothic fairytale short about a young Vietnamese woman whose life on her father's durian farm on the Mekong Delta, is about to change when she meets people significant to her life in her dreams and reality.#CarolynTalks #Interview #FilmCritic #VietnameseFilmChín, which translates to Ripe in English stars Hayley Ngọc Mai and Samuel An, had it's international premiere at #VIFF and was produced by @naltobelproductionsFind me on Twitter and Instagram at: @CarrieCnh12paypal.com/paypalme/carolynhinds0525My Social Media hashtags are: #CarolynTalks #DramasWithCarrie #SaturdayNightSciFi #SHWH #KCrushVisit Authory.com/CarolynHinds to find links to all of my published film festival coverage, writing, YouTube and other podcasts So Here's What Happened!, and Beyond The Romance. Hosted on Acast. See acast.com/privacy for more information.

Glistening Benevolence, 6min., UK, Music Video Directed by Matt Cargill https://instagram.com/familydrone Sly & The Family Drone Unleash ‘Glistening Benevolence': Take the trip into slime-drenched folk horror and the cosmic unknown. . . Neo-jazz wrecking-crew Sly & The Family Drone summon forth a new vision of terror and transcendence with the video premiere of ‘Glistening Benevolence'. Filmed at an undisclosed, shadowy music festival in the heart of Hampshire, the visual journey is a macabre ritual of psychedelic sludge, blending live performance footage with ominous vignettes of slime-coated landscapes, cosmic dread, and unholy rites under the moon. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

On this week's episode of Female Gaze: The Film Club and for the finale of our Lynn Shelton series, Morgan talked with filmmaker Megan Griffiths, a collaborator and friend of Lynn Shelton. Megan discusses her work with Lynn from their first collaboration on "We Go Way Back" through the many years that followed. Megan and Morgan also dive into Lynn's filmmaking process, how "Touchy Feely" is actually a drama, Lynn's work as an actor, and so much more.Morgan also talked to Megan about her film, "Her Effortless Brilliance: A Celebration of Lynn Shelton Through Film and Music," a moving tribute to Lynn as an artist and a way to celebrate her career.Megan's latest film, "Year of the Fox" is now available to stream on Amazon and Apple. You can follow MeganWebsiteYou can follow Female Gaze: The Film ClubInstagramBlueSkyWebsite

On this episode we have a talk with the filmmakers behind the brand new Bunny Yeager Documentary: Naked Ambition! The film is starting to hit select theaters this month and is a MUST SEE for all Bettie fans.  Find us on social media: Facebook:  https://www.facebook.com/BettiePageRevealsAll https://www.facebook.com/groups/BettiePageMovie https://www.facebook.com/BettiePageFitness Instagram: @bettiepagerevealsall @bettie_page_fitness Twitter: @BettiePageMovie  

Bruce Hornsby's track "Absolute Zero" highlights this look into cold and the recesses of the waking mind. www.instagram.com/morris.film Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

The summer box office is officially in the books, and it wasn't exactly the blockbuster season Hollywood was hoping for. On this week's episode of Inside The Crazy Ant Farm, the guys are breaking down Labor Day weekend numbers, the overall state of the industry, and what it's really going to take to bring audiences back to theaters. Joining us at the mic this week is our ITCAF social media intern Paula Elizondo, stepping in as co-host to give her take on movies, streaming, and everything in between.We're also diving into AMC CEO Adam Aron's latest ideas to “save the movies,” from skipping trailers to chasing NFL rights, plus a look at the fall festival frenzy that's officially kicking off awards season. Is The Rock about to make his Oscar debut? Could Guillermo del Toro's Frankenstein dominate the race? And why is Julia Roberts making headlines at Venice? We've got all the buzz.Plus, our top 5 Films To Not Watch By Yourself, a full recap of what's hot (and not) at the box office, what new movies are dropping this week, and which films you can still catch on the big screen, and of course the IMDb top trenders!All that and more, so hit play, leave us a rating, drop a comment, and let's talk all things entertainment!Chapters: News Tease 0:00Intro Music 3:22Show Open 3:43Labor Day/Summer Box-Office 5:00AMC Theaters' "Save The Movies" 33:28Film Festival Frenzy/Road To The Oscars 59:43Top 5 Films To Not Watch By Yourself 1:19:53Box Office 1:49:23IMDb Pro Top Trending 1:51:25Goodbyes 1:52:00Follow Paula Here: Instagram: https://www.instagram.com/paulaaelizondo?igsh=MWh1NThrcTVsMmw2bQ==Follow Us Here:Website: https://crazyantmedia.comMerchandise: https://crazyantmedia.com/crazy-ant-merchandiseOur first film, Deadlines: https://crazyantmedia.com/deadlinesPodcasts:ITCAFpodcast:Apple Podcast: https://podcasts.apple.com/us/podcast/itcafpodcast/id1644145531Spotify: https://open.spotify.com/show/1tf6L0e7vO9xnVtWaip67s?si=tYPrIVr_R36qpYns4qeZ8gEverything's Okay Podcast:Apple Podcast: https://podcasts.apple.com/us/podcast/everythings-okay/id1664547993Spotify: https://open.spotify.com/show/0uMm80MW4K50f8uURgVUYp?si=9mF7mwf_Qe-ZDqKBhEovMgSocial Media:ITCAFpodcastTwitter: https://twitter.com/itcafpodcast?s=21&t=q0HdFq3CPkXBzVYHYdJW6wInstagram: https://instagram.com/itcafpodcast?igshid=YmMyMTA2M2Y=Tiktok: https://www.tiktok.com/t/ZTRLQ7hHn/Everything's OkayTwitter: https://twitter.com/everythingsokp?s=21&t=ckQqBvyxz3lYqKHLrI6peAInstagram: https://instagram.com/everythingsokp?igshid=YmMyMTA2M2Y=Crazy Ant MediaTwitter: https://twitter.com/crazyantmedia?s=21&t=q0HdFq3CPkXBzVYHYdJW6wInstagram: https://instagram.com/crazyantmedia?igshid=YmMyMTA2M2Y=Tiktok: https://www.tiktok.com/t/ZTRLQP1c1/Logan (Left)Twitter: https://twitter.com/jloganaustin?s=21&t=ckQqBvyxz3lYqKHLrI6peAInstagram: https://instagram.com/jloganaustin?igshid=YmMyMTA2M2Y=Tiktok: https://www.tiktok.com/@j.loganaustin?_t=8ZMB9Hp1yxf&_r=1Dustin (Right)Twitter: https://twitter.com/crazyantceo?s=21&t=ckQqBvyxz3lYqKHLrI6peAInstagram: https://instagram.com/crazyantceo?igshid=YmMyMTA2M2Y=Tiktok: https://www.tiktok.com/@crazyantceo?_t=8ZMB84k7BUM&_r=1

On this week's IndieWire's Filmmakers Toolkit, Chris O'Falt talks with writer-director Andrew DeYoung about his dark comedy Friendship—now streaming on HBO Max. He reveals how he shaped Tim Robinson's offbeat energy, uncovered a vulnerable side of Paul Rudd, and crafted a breakup story that's as funny as it is unsettling—proving comedy hits harder when rooted in truth. Learn more about your ad choices. Visit megaphone.fm/adchoices

Set over the course of twelve hours in the Bunker Hill district of Los Angeles, The Exiles follows a group of young Native American men and women who have relocated from reservations to the city as part of mid-20th-century federal relocation programs. The film depicts their lives in bars, pool halls, and streets, exploring themes of alienation, searching for identity, and longing for home. With a cinéma vérité style, The Exiles shows the tension between tradition and modern urban life, capturing both moments of joy and the quiet despair of disconnection.Shot in Los Angeles with non-professional Native American actors, the film captures one long night in the lives of Indigenous men and women who left reservations for the city. Raw and authentic, The Exiles has been called one of the most important depictions of Native American urban life ever put on film. 

Send us a textIt's conversations like this that make us remember why we are still here after 12 years and over 800 episodes. Filmmakers/activists/return guests Julie Cohen, and Ramona Diaz join us to discuss the intersection between art and activism, and how important it is for us to stay engaged. Ramona, who grew up under Marshall Law in the Philippines, shares how what is happening in the US feels very familiar to her, and Julie discusses how she's found a way to fight back with her community in her own backyard. They share why they decided to join forces, and some examples of what's bringing them joy in these tough times. Then we end the episode with our newest segment, This Bitch, and you won't want to miss their inspirational answers. Prior Bitch Talk episodes with Julie Cohen: Episodes 272 RBG, 524 My Name is Pauli Murray, 625 Julia, 686 Gabby Giffords Won't Back Down, 751 Every Body, 826 The Path ForwardPrior Bitch Talk episodes with Ramona Diaz: Episodes 483 A Thousand Cuts, 785 And So it BeginsFollow filmmaker Julie Cohen on IGFollow filmmaker Ramona Diaz on IGSupport the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

Inside, we cover the exact strategies that have helped us and our community consistently break past $10K months (and scale far beyond).In this workshop, you'll learn:How we hit our first $100K month in our photo, video & brand agencyHow to build, price and market 6 figure offersGoing from $1500 brand shoots to $10K+ brand campaigns w/ Daygin PrescottHow to reposition your brand to move from $5k→$8K+ weddings w/ Britta SwobodaHow to scale retainers from $800/mo → $3K+/mo w/ Taylor CarusoLive Q&A w/ creatives hottest questionsThis is the no-gatekeeping workshop creatives have been waiting for.But the best part is… we have launched applications for the Round 14 of the 6 Week Creativ Rise Mastermind.

Yellow Dress, 4min., UK Directed by Raph Isadora Seymour What is she doing? Trying to make a garden? Trying to make something…and who or what is trying to stop her? Crude stop-motion makes startling and poetic images and tells a story of resilience and the desire for happiness for both the hero and the villain of the piece. Get to know the filmmaker: What motivated you to make this film? I wrote a poem and decided to animate it. My friend and I had gone to Peckham Common to feed the crows. I liked their movements and cunning and was also interested in their sinister connotations and their innocence. From the idea to the finished product, how long did it take for you to make this film? The idea came to me in 2022 and I was finished in early 2024. How would you describe your film in two words!? Puppet Poem. What was the biggest obstacle you faced in completing this film? The biggest obstacle in making the project was balancing my time. Working a job and having other creative projects, working in stops and starts and still maintaining a creative flow however I feel this alongside the stopwork animation and patchwork effects may have benefited the style of the piece. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

"Splitsville" is a comedy film directed by Michael Angelo Covino, from a screenplay he co-wrote with Kyle Marvin. The pair previously worked together on "The Climb," but this time around, they also looped in stars Dakota Johnson (who also serves as the film's producer), Adria Arjona, Nicholas Braun, David Castañeda, O-T Fagbenle, Charlie Gillespie, and Simon Webster to tell the story of two couples whose friendship erupts into conflict when the husband of the divorcing couple sleeps with the wife of the open marriage couple. It premiered at the Cannes Film Festival to lots of laughs and positive reviews. Johnson, Arjona, Covino, and Marvin were all kind enough to spend time speaking with us about their work and experiences making the film, which you can listen to below. Please be sure to check out the film, which is now playing in theaters from NEON and will expand nationwide on September 5th. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

All Home Care Matters and our host, Lance A. Slatton were honored to welcome AlzAuthors and filmmakers to discuss the upcoming AlzAuthors Film Festival.   About the Filmmakers and their Films:   Sept 8: Mary Crescenzo and her film, “Planet A”   Synopsis: Planet A   Planet A reveals the good, bad, and ugly secrets, thoughts and frustrations of past lives and present realities of Alzheimer's patients, their caregivers and family members. Follow Pauline and others who reside at a care home, when an arts practitioner working with residents unlocks the door to this world through an interwoven narrative of monologues and dialogs from distinct points of view. Planet A bears witness to both inhabitants and visitors who enter this terrain and shines a light in the darkness of this disease. Enter this land of revelation and unintentional masquerade where anyone can be called to reside.   Sept 22: Susie Singer Carter and her film, “No Country For Old People”   Synopsis: “No Country For Old People”   A filmmaker chronicles her mother's last 6 months in a 5-star nursing home exposing the systemic, deadly, profit-over-people business model. No Country For Old People is a scorching documentary posed to set the long term care industry, policy makers, and the country ablaze. Shining a much-needed light on what is truly a national human emergency, it is a clarion call for serious change.   October 6th: Frank Silverstein and his film “Lousy: Love in the Time of Dementia”   Synopsis: LOUSY: Love in the Time of Dementia   LOUSY: Love in the Time of Dementia is a front-row seat to ground-game dementia: its impact on my parents' life and our family's response. My parents cling to each other— singing, shouting and dancing— defying a world that overwhelms them. This film documents how their love helps them cope with their dementia and each other, and explores how this reality has restructured our family connections to each other and to the world. Full of painful humor and raw emotion, the film watches our family responding in real time, as we are forced to revise our relationships and rules for engagement on the fly.   November 10th: Kitty Norton and her documentary "Wine, Women, and Dementia"   Synopsis: "Wine, Women, and Dementia:   The documentary feature, Wine, Women, & Dementia, tells the tale of dementia life through the lens of the family caregivers who strive to accept the beauty and the brutality, the hilarious and the horrific - for themselves and their dementia person. It is a road trip around the U.S. in celebration of family caregivers and that swinging dementia lifestyle. Over glasses of wine the caregivers swap tales of love, humor, devotion, and death and most importantly how to honor LIFE on the long road to death.   December 8th: C. Nathan Brown and his film, “The Present”   Synopsis: "The Present":   Celebrating Christmas isn't the same for Mya and her family since her mother died from Alzheimer's disease. But a Christmas miracle could be in store.   Connect and Register for the AlzAuthors Film Festival: Official Website: https://www.alzauthors.com 

In this special episode of Set Lusting Bruce, host Jesse Jackson welcomes back filmmaker David Berry to discuss the recent premiere of his film about Bruce Springsteen's devoted fan community. They share insights on the emotional weekend at Asbury Park, the challenges of portraying fan stories authentically, and the influence of Springsteen's music in their lives. David also reflects on the creative process, the impact of AI technology in filmmaking, and the importance of music in building community. Tune in for a heartfelt discussion perfect for any Springsteen fan. 00:00 Introduction and Special Guest Announcement 02:00 Premiere Weekend Reflections 02:20 Springsteen Fan Community 02:51 Health Challenges and Event Experience 04:25 Born to Run Symposium and Travel Plans 07:13 Emotional Moments and Film Reactions 13:43 Filmmaking Challenges and AI Technology 20:35 Respectful Editing Choices 21:09 Extended Versions and Director's Cut 21:39 Creative Decisions and Unused Footage 22:20 Live Stream and Distribution Plans 23:24 Feedback and Revisions 26:41 Press and Reviews 29:14 Future Plans and Moving Forward 33:25 Contact Information and Closing Remarks Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textAhead of it's September release we have filmmakers Pierre Tsigaridis and Maxime Rancon joining us to discuss their film, Traumatika. We dig into this shocking film to get all the details on their influences, intent, and process of creating one of this years most polarizing films. Catch Traumatika in theaters September 12th and prepare to be shocked!Follow us on Social Media: @pvdhorror Instagram, X, TikTok, FacebookWatch us on YouTube: www.youtube.com/@pvdhorrorSpecial thanks to John Brennan for the intro and outro music. Be sure to find his music on social media at @badtechno or the following:https://johnbrennan.bandcamp.com

If you enjoy this episode, we're sure you will enjoy more content like this on The Occult Rejects.  In fact, we have curated playlists on occult topics like grimoires, esoteric concepts and phenomena, occult history, analyzing true crime and cults with an occult lens, Para politics, and occultism in music. Whether you enjoy consuming your content visually or via audio, we've got you covered - and it will always be provided free of charge.  So, if you enjoy what we do and want to support our work of providing accessible, free content on various platforms, please consider making a donation to the links provided below.  Thank you and enjoy the episode!Links For The Occult Rejects and The Spiritual Gangsters https://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Cash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsVanessa's Tie Dye stuffhttps://www.etsy.com/shop/TruthAndDyesInstagram @truthanddyestruthanddyes@gmail.comUniverse https://linktr.ee/UniverseUnveiledIFNPEvents The Occult Rejects will be atSept. 26-27 - Bigfoot Comicon, Mt. Airy, GA1896 Dicks Hill Pkwy, Mt Airy, GAOctober 4 - Bigfoot Comicon, Franklin, NCOctober 18th - Charlies Beyond Belief at Tropical Lodge 56 F & AM Fort Myers, FLhttps://www.charliesbeyond.com/October 25-26, ARKANSAS PARANORMAL EXPO,at 503 East Ninth, Little Rock, ARhttps://www.arkansasparanormalexpo.com/November 22 - UFO Comicon, Mooresville, NCDecember 5-6 - ArtComicon, Mt. Airy, GA (Authors, Artists, Filmmakers)