Podcasts about filmmakers

In this episode of Perfectly Good Podcast, Jesse Jackson and Sylvan Groth are joined by renowned Dutch filmmaker Bram Van Splunteren. They dive into Bram's illustrious career, from his beginnings as a music journalist to creating acclaimed music documentaries, including one on John Hiatt. Bram shares memorable experiences, such as interviewing Buddy Killen and capturing the songwriting process at Tree Music. They also discuss the unique connection between John Hiatt and Dutch audiences, as well as the challenges and successes of making music documentaries in the 80s and 90s. Don't miss this nostalgic and insightful conversation filled with stories and music history! 00:00 Introduction to the Perfectly Good Podcast 00:56 Meet the Guest: A Filmmaker's Journey 03:08 Musical Roots and Early Influences 05:59 The Path to Filmmaking 09:41 Creating Iconic Music Documentaries 14:40 Discovering John Hyatt 26:35 Memories of John and Musical Moments 26:42 Exploring the Office Building 27:08 Songwriter Encounters and Basement Discoveries 28:01 Filmmaking Reflections and Audience Reactions 29:37 Country Music and Personal Connections 32:56 John's Interviews and Improvisations 37:08 Dutch Connection and Documentary Reception 40:15 Challenges in Releasing the Documentary 43:41 Final Thoughts and Future Projects vimeo.com/203121417?&login=true https://bramvansplunteren.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Filmmaker Kristyna Archer is a talented interdisciplinary artist working across film, photography, art, and now AI, creating visually-compelling, stylized worlds.  Her work is colorful, quirky, playful, FUN...occassionally absurd. I love her stuff! Kristyna 3.0, as I call her, shares her journey of creative reinvention, from her early days in monochromatic photography to embracing new technologies and storytelling methods. Kristyna discusses the importance of personal projects, evolving artistic identity, and how industry relationships and bold choices have shaped her career. FILMMAKER RETREAT JOSHUA TREE '25 - ONE LAST SPOT! Thursday, September 25th – Sunday, September 28th, 2025. Limit 15 Filmmakers. This will be our 4th year and it's so special, I'd prefer to jump on the phone with you and tell you more. Every year since our first, filmmakers have come back. Pretty much says it all. SIGN UP! ONLINE FILMMAKING COURSES - DIRECT WITH CONFIDENCEEach of my online courses come with a free 1:1 mentorship call with yours truly. Taking the Shadow course is the only way to win a chance to shadow me on a real shoot! DM for details. Want to level up your commercial directing game? MAGIC MIND - MY MENTAL PERFORMANCE EXILIR - SAVE w BRADY20Save hugely on Magic Mind with this link. — This link is the way.  TRIPPY Check out Frequency Caps to try some mushroom-based treats. I like the cocao cubes. The code is BRADY10. Also, if you're in LA, Frequency House hold ceremonies often. Thanks, Jordan My cult classic mockumentary, "Dill Scallion" is online so I'm giving 100% of the money to St. Jude Children's Hospital. I've decided to donate the LIFETIME earnings every December, so the donation will grow and grow annually. Thank you. "Respect The Process" podcast is brought to you by Commercial Directing FIlm School and True Gent, aka True Gentleman Industries, Inc. in partnership with Brady Oil Entertainment, Inc.

An ongoing theme on Excelsior Journeys: The Road to Creativity is celebrating those who take many different creative paths to reach that personal success. In the case of this week's guest Samuel Chambers, the various paths he chose to pursue have been poetry, filmmaking, and animation. And even better, all of those outlets play a part in his short project "The Timid Bunny." Learn more about Samuel and The Timid Bunny by clicking HERE.Excelsior Journeys: The Road to Creativity exists primarily as a platform for creatives of all kinds (authors, filmmakers, stand-up comics, musicians, voice artists, painters, podcasters, etc) to share their journeys to personal success. It is very important to celebrate those voices as much as possible to not only provide encouragement to up-and-coming talent, but to say thank you to the established men & women for inspiring the current generation of artists.If you agree that the Excelsior Journeys podcast serves a positive purpose and would like to show your appreciation, you can give back to the show by clicking HERE.

Superpowers for Good should not be considered investment advice. Seek counsel before making investment decisions. When you purchase an item, launch a campaign or create an investment account after clicking a link here, we may earn a fee. Engage to support our work.Watch the show on television by downloading the e360tv channel app to your Roku, LG or AmazonFireTV. You can also see it on YouTube.Devin: What is your superpower?Gregory: Vulnerability.Filmmaker Gregory Falatek is channeling his creative energy into a captivating psychological thriller, Elmwood Park, set in his hometown of Norristown, Pennsylvania. With this project, Gregory is not only telling an intriguing story but also building a bridge between art and community through crowdfunding on WeFunder, where anyone can invest in the film for as little as $100.The film, a 90s-era psychological thriller, follows three high school seniors in a post-industrial East Coast town as they navigate a series of events after witnessing a murder. Gregory explained that the story draws on his own experiences growing up in Norristown, as well as his observations of the town's transformation. “This story came to me based on a lot of kind of past experiences. And I just took that and kind of heightened it into fiction,” Gregory shared.After spending a decade in Los Angeles honing his skills in acting and directing—two of his films even premiered at Cannes—Gregory returned to his roots in Pennsylvania. Inspired by the town's history and architecture, he envisioned Elmwood Park as more than just a thrilling night at the movies. “It's not just an exciting kind of thriller of a film… but it also could serve over time as like an architectural time capsule of this place,” he said.Crowdfunding plays a pivotal role in turning this vision into reality. Gregory saw platforms like WeFunder as a way to democratize investing in film. “What I liked about it is… you don't just get a T-shirt. You get actual ownership in the film and can collect on it for the rest of your life,” he explained. By inviting the community to invest, he hopes to inspire others to pursue creative endeavors, just as he was inspired by local role models like Kate Flannery, a fellow Norristown native and actor known for The Office.Gregory's approach is refreshingly inclusive. He shared, “Even if it makes one kid around here think that they can make a film… I think that's super important.” By leveraging crowdfunding to connect with his community, Gregory is creating an opportunity for people to feel both figuratively and literally invested in the film.Filmmaking is no small feat, but Gregory's blend of creativity, vulnerability, and community-focused strategy is proof that art can thrive outside traditional Hollywood systems. Visit to learn more about this project and how you can be part of it.tl;dr:Gregory Falatek shares how Elmwood Park, a psychological thriller, draws on his hometown's history.Crowdfunding on WeFunder enables the public to invest in Elmwood Park for as little as $100.Gregory highlights how returning to Norristown inspired him to preserve local architecture and culture.Vulnerability, Gregory's superpower, fuels his creativity and helps him connect with others authentically.Gregory invites everyone to join the project, emphasizing community impact and the democratization of film.How to Develop Vulnerability As a SuperpowerGregory's superpower is his ability to embrace vulnerability, a skill he credits for enhancing his creativity and human connection. He explained, “I think my creativity comes from being open and vulnerable, actually, in my art.” Gregory shared that growing up, he struggled with being misunderstood, which made him hesitant to open up. Over time, he learned that vulnerability allows for deeper connections, both in life and on screen. “You need this deep sense of vulnerability to make [characters] human… even if you're being funny about it,” he said.Gregory recalled his first feature film as a pivotal moment where he embraced vulnerability. Playing a “burnout type” character, he had to let go of self-consciousness to bring authenticity to the role. Surrounded by cameras and crew, he stayed true to his character, ensuring the performance resonated with humanity and heart. His openness not only elevated his acting but also helped him connect with the people around him, demonstrating the power of vulnerability in creating impactful art.Actionable Tips for Developing Vulnerability:Open Up in Everyday Conversations: Practice vulnerability by being honest and open in your daily interactions with others.Avoid Judging Yourself or Others: Approach creative work and relationships without judgment, allowing for genuine connections.Learn from Observation: Pay attention to how others express vulnerability, and apply those insights to your own life.Embrace Discomfort: Accept that being vulnerable may feel awkward at first, but it leads to growth and connection.By following Gregory's example and advice, you can make vulnerability a skill. With practice and effort, you could make it a superpower that enables you to do more good in the world.Remember, however, that research into success suggests that building on your own superpowers is more important than creating new ones or overcoming weaknesses. You do you!Guest ProfileGregory Falatek (he/him):CEO/Founder (Writer/Director), Elmwood Park Film LLCAbout Elmwood Park Film LLC: Elmwood Park' is a psychological thriller, written and directed by Gregory Falatek, that is disrupting Hollywood in Norristown, Pennsylvania. The feature film stars Kate Flannery (The Office), Bai Ling (The Crow), Keith Poulson (The Sweet East), Conner Marx (New Amsterdam), H. Foley (Tires), and more. 'Elmwood Park' will be shot in February 2026 in Norristown, Pennsylvania and we will utilize the 25% Pennsylvania Film Tax Credit.Website: wefunder.com/elmwoodparkCompany Facebook Page: facebook.com/people/Elmwood-Park-A-Film-by-Gregory-Falatek/61562525752416/Instagram Handle: @elmwoodparkfilmBiographical Information: Gregory Falatek is an award-winning writer, director, and actor, born and based in Philadelphia, Pennsylvania. Most recently, Gregory acted in Christmas Eve in Miller's Point, starring Michael Cera, Ben Shenkman, Maria Dizzia, Elsie Fisher, Gregg Turkington, Francesca Scorcese, Sawyer Spielberg, and Caveh Zahedi, as well Eephus, starring Frederick Wiseman, Keith W. Richards, and Wayne Diamond, both of which debuted at Cannes Film Festival 2024 in the Director's Fortnight. Christmas Eve in Miller's Point was released theatrically in November 2024 by IFC Films and Eephus will be released theatrically in March 2025 by Music Box Films.In addition to acting, Gregory is an award-winning writer and director, who recently gained notoriety for his screenplay, Elmwood Park, a neorealist, psychological thriller that will feature an incredible ensemble cast and has already many screenwriting awards on the festival circuit.LinkedIn Profile: linkedin.com/in/gregory-falatekPersonal Facebook Profile: facebook.com/gregoryjfalatekPersonal Twitter Handle: @falatekInstagram Handle: @falatekSupport Our SponsorsOur generous sponsors make our work possible, serving impact investors, social entrepreneurs, community builders and diverse founders. Today's advertisers include FundingHope, Rancho Affordable Housing (Proactive), Inner Space, and BrightStart. Learn more about advertising with us here.Max-Impact MembersThe following Max-Impact Members provide valuable financial support:Carol Fineagan, Independent Consultant | Hiten Sonpal, RISE Robotics | Lory Moore, Lory Moore Law | Marcia Brinton, High Desert Gear | Mark Grimes, Networked Enterprise Development | Matthew Mead, Hempitecture |  Michael Pratt, Qnetic | Dr. Nicole Paulk, Siren Biotechnology | Paul Lovejoy, Stakeholder Enterprise | Pearl Wright, Global Changemaker | Ralf Mandt, Next Pitch | Scott Thorpe, Philanthropist | Sharon Samjitsingh, Health Care Originals | Add Your Name HereUpcoming SuperCrowd Event CalendarIf a location is not noted, the events below are virtual.Impact Cherub Club Meeting hosted by The Super Crowd, Inc., a public benefit corporation, on September 16, 2025, at 1:30 PM Eastern. Each month, the Club meets to review new offerings for investment consideration and to conduct due diligence on previously screened deals. To join the Impact Cherub Club, become an Impact Member of the SuperCrowd.SuperCrowdHour, September 17, 2025, at 12:00 PM Eastern. Devin Thorpe, CEO and Founder of The Super Crowd, Inc., will lead a session on "What's the Difference Between Gambling and Investing? Diversification." When it comes to money, too many people confuse speculation with true investing. In this session, Devin will explore what separates gambling from responsible investment practices—and why diversification is one of the most important tools for reducing risk and improving outcomes. Drawing on real-world examples and practical strategies, he'll help you understand how to evaluate opportunities, spread risk wisely, and think long-term about your portfolio. Whether you're new to investing, considering your first community round, or looking to refine your approach as a seasoned investor, this SuperCrowdHour will give you actionable insights to strengthen your decision-making. Don't miss this chance to sharpen your perspective and invest with greater confidence.Superpowers for Good Live Pitch, September 29, 2025. Hosted by Devin Thorpe on e360tv, this special event gives purpose-driven founders the chance to pitch their active Regulation Crowdfunding campaigns to a nationwide audience of investors and supporters. Selected founders will gain exposure to investors, national visibility across social and streaming platforms, and exclusive prizes from judges and sponsors—all at no cost to apply or pitch. Community Event CalendarSuccessful Funding with Karl Dakin, Tuesdays at 10:00 AM ET - Click on Events.Earthstock Festival & Summit (Oct 2–5, 2025, Santa Monica & Venice, CA) unites music, arts, ecology, health, and green innovation for four days of learning, networking, and celebration. Register now at EarthstockFestival.com.Regulated Investment Crowdfunding Summit 2025, Crowdfunding Professional Association, Washington DC, October 21-22, 2025.Impact Accelerator Summit is a live in-person event taking place in Austin, Texas, from October 23–25, 2025. This exclusive gathering brings together 100 heart-centered, conscious entrepreneurs generating $1M+ in revenue with 20–30 family offices and venture funds actively seeking to invest in world-changing businesses. Referred by Michael Dash, participants can expect an inspiring, high-impact experience focused on capital connection, growth, and global impact.If you would like to submit an event for us to share with the 9,000+ changemakers, investors and entrepreneurs who are members of the SuperCrowd, click here.We use AI to help us write compelling recaps of each episode. Get full access to Superpowers for Good at www.superpowers4good.com/subscribe

Shyam Madiraju is the writer & Director of "55," a modern Dickensian story set in Mumbai, India. It tells the story of a young pickpocket who faces hard decisions about survival, morality, and what power we have over our own lives. Look for the film streaming on Video On Demand, and follow Shyam's work on Instagram @mad_n_shy The highlighted nonprofit this month is Akshaya Patra, an NGO based in India that provides hot midday meals for children attending school. Go to www.akshayapatra.org to learn more, support, and share this charity. 

Finding your Revolutionary War Roots THE INTERVIEW Renowned documentary filmmaker Ken Burns talks about his new documentary film on the American Revolution, his Vietnam War documentary series, his path to a career in movies and more. He has created a legendary catalog of documentary movies including “The Vietnam War,” “The Civil War,” “Baseball,” “The War,” “The National Parks: America's Best Idea;” and more. His films have been honored with dozens of major awards, including 17 Emmy Awards, two Grammy Awards and two Oscar nominations. Other topics include the impact of funding cuts on PBS and NPR, what Reddit is saying about watching documentaries by Burns and more. SCUTTLEBUTT Ken Burns support for PBS, CPB and the National Endowment for the Humanities Reddit Rabbit Hole: Bingeing Burns documentaries Special Guest: Ken Burns.

"Lost In The Jungle" is a documentary film about four siblings who survived 40 days in the Colombian jungle after a plane crash, directed by Jimmy Chin, Elizabeth Chai Vasarhelyi, and Juan Camilo Cruz. It premiered at the Telluride Film Festival to positive reviews and is now available to stream online. Chai Vasarhelyi and Camilo Cruz were kind enough during the Telluride Film Festival 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 available to stream on Disney+ and Hulu. 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

(Sept 15,2025)The Fork Reporter Neil Saavedra fills iin for Bill while he is out on vacation. Inside the very expensive, extremely overwhelming, engineered fun of theme parks. Paramount condemns boycott of Israeli projects by 4,000 filmmakers. KFI entertainment guru Heather Brooker joins the show to recap the 77th Annual Emmy Awards.

When Randi Trimble is found murdered in her garage, police have no suspects until her husband starts changing his story. How does a low budget horror film and a wannabe director play into the gruesome murder? This podcast is hosted by ZenCast.fm

Travis Irvine is...well many things! Some of which are a Journalist, Stand-Up Comedian, Filmmaker, avid Traveler and with involvement in Politics, he once ran for Mayor of Bexley Ohio. This week we get to hear all the stories of Travis, and I thought I was really good at collecting side quests in life, but this man has me beat by a mile! It's a story pillared by those 5 subjects I listed at the top; Comedy, Travel, Journalism, Politics & Filmmaking. If you see the runtime, you'll know this one's a long one, and it's genuinely a blast the whole way through. As Travis shares the value of simply doing whatever we find interesting in life and learning to "embrace the randomness" we cover SO much. Including but not limited to; Making 2 movies about killer raccoons, documentary filmmaking, legitimately running for Mayor of his hometown, having many many freelance gigs over the years, some near-trouble some comedy sketches brought him from the Nigerian Gov, traveling all over the country, and doing stand-up comedy the entire time... Folks, that list doesn't even scratch the surface! If you're looking for not just fun stories from a fun guy, but stories that serve as solid reminders to simply fill your life with whatever experiences you want, this one's for you!  ----THIS EPISODE IS SPONSORED BY: PromoWest Productions - @promowestlive For all upcoming shows & event info of who's coming through Columbus, OH, visit promowestlive.com  or to purchase tickets directly, visit AXS.com Makers Social - @makers.social Maker's Social is a DIY Project Bar located in the Franklinton Arts District of Columbus, OH! To book a reservation, go to makerscolumbus.com enter “WYDH” in the notes of your checkout for $10 off! The Scatter Joy Project - @thescatterjoyproject The Scatter Joy Project is a local Columbus nonprofit focused on fighting for mental health. They aim to make mental health care accessible and affordable for everyone. They sell apparel with 100% of the profits funding their crisis text line, their network to help people find the mental health help they need, and their very own therapy fund. So whether you're looking to get help or want to donate to help support the cause, Scatter Joy is right for you. Find more info at www.thescatterjoyproject.com Newark Station - @newarkstation Newark Station, located in Newark, Ohio is a former warehouse turned into a coffee roastery, event space, restaurant, and live music venue. If you wanna know the details of events, coffee, dine-in hours and more, visit Newarkstation.com or follow them at @newarkstation  

TROPOS, 2min., USA, Environmental Feature Director/Co-Writer: Peter Andrew Coutavas In the wake of sudden and alarming climate change, a team of brilliant citizens are assembled by the United States Government to counter the threat. Will they succeed in time? Or will private agendas get in the way? https://www.instagram.com/ardentroadproductions/ Director Statement "TROPOS" comes from the Greek prefix "tropo" meaning "reaction", or "change", which is in reference to the moral of this story: People must change before the world can change. Both I and my sister, Christina whom co-produced this film, had developed this project partly out of concern for the state of our planet's future with regard to climate change. I believe it to be a symptom of a much larger problem; the lack of shared responsibility for our collective welfare. My intention with this film to appeal to a younger generation in the hope of inspiring change. The making of this film was also a personal challenge. Having never produced anything even approaching the scope of a full length feature, the production taught me a great deal about the complexity of the craft, and will forever remain an important footnote in my work history. I hope others may have the chance to appreciate it for what it was intended to be: a collaborative passion project that speaks candidly and earnestly about the price of indifference and the virtues of courage. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpodl

In this episode I speak with Kelsey Taylor, writer / director of To Kill A Wolf, about the making of that film.  Sponsor: Feral Giant Theme song: Adeem The Artist

This week, Aaron and Leyla travel to future-NYC to discuss the Fifth Element! Join us to avoid major American political news current and past, the value of alphabetical Wikipedia, and perhaps one of the top-five episodes most capable of characterizing what the entire project of the Friendship Quest is all about. Pop Culture Detective Agency - "Born Sexy Yesterday"  https://popculturedetective.agency/2017/born-sexy-yesterday -- Our theme song is "Obsolete" by Keshco, from the album "Filmmaker's Reference Kit Volume 2." Our other projects: Aaron's TTRPGs Aaron's TTRPG Reviews aavoigt.com

Welcome to another episode of Hitting the Streets Podcast! Today, I had the chance to sit down with Natasha Morgan, who I was connected to through Susan Hamilton. Natasha was originally supposed to join us during our grief episodes, but our schedules didn't line up, until now. Please tune in to hear her heartfelt story about her husband and her own grief journey. Natasha is not only a powerful storyteller but also a filmmaker, and her daughter is a writer, creativity clearly runs in the family! Please visit her website. You won't want to miss this conversation. Natasha's Website: https://www.lunaluzproductions.com/

SPLIT FOCUS, 6min., Dance/Experimental Directed by Cherie Carson. DP/Editor: Micha Dunston "Split Focus" is a captivating dance film that delves into the intricate relationship between self-perception and external projection. Through mesmerizing shadow play, the film explores images of spirit and internal feelings versus outward appearances, prompting viewers to question which aspect demands more attention— the dancer herself or her shadow. Visually poetic, it offers a compelling examination of how we project ourselves into the world and the duality of inner and outer identities. http://www.upswingaerialdance.org/ https://www.instagram.com/upswingaeria Director Statement I explore the layers of human identity and emotion through movement and visual storytelling. My choreography and filmmaking are driven by a desire to illuminate the unseen forces that shape our understanding of ourselves and others. "Split Focus" is a dialogue between the physical body and its shadow, using dance and shadow play as a metaphor for the internal and external worlds we inhabit. I look to challenge perceptions, create imagery that encourages viewers to reflect on the projections, masks, and truths that define us. With a background rooted in both choreography and award-winning filmmaking, I strive to craft immersive, visually compelling narratives that resonate on a visceral level—highlighting the beauty, complexity, and often unseen depths of the human spirit. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

"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

Director and co-writer Pierre Tsigaridis with co-writer and actor Maxime Rançon talk about their new horror feature, TRAUMATIKA, in theaters September 12 from Saban Films.

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.-----

MN film makers Lars and Sarah talk about their movie, Love you to Death! Find links to their pages on our show links page on Mytalk1071.com; One star reviews and the five second rule! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

We welcome Filmmaker MARTHA STEPHENS to discuss Bill Forsyth's 1987 haunting comedy-drama, HOUSEKEEPING, in our bonus feature presentation this week. We chat about Diane Keaton dropping out of the film, the Pacific Northwest 1950s setting, if we're a "Ruth" or "Lucille", and much more! We also discuss our guest Martha's own personal journey into independent film and her films: Passenger Pigeons, Pilgrim Song, Land Ho!, and To The Stars. Join our Patreon ($2.99/month) here linktr.ee/brokenvcr to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR!

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.

https://www.samwelchboston.comAppleSpotifyTikTokInstagram BioSam Welch released his project The Republic in 2024 and now returns with a new album titled The Attic. Building on themes from his previous work such as spiritual transcendence, the album expands to explore healing, resolution, and hope.The title track showcases the vivid, imagery-driven lyricism Sam is known for. Inspired by memories of his grandmother's attic and the eclectic artifacts within, the song also draws on the metaphor of a yard sale. Sam reflects on the idea that, much like items given new purpose, people carry lasting worth and value in the hands of God, regardless of how much time has passed. At its core, the song conveys hope—a message that serves as the foundation for the entire album.The Attic also delves into themes of healing and regeneration, which stem from Sam's personal experiences during its creation. He faced health challenges, including worsening tinnitus and caring for his cat during a medical scare. With the help of hearing aids that dramatically improved his quality of life, Sam translated his journey of perseverance and renewal into the music.Though the process took longer than usual, Sam views the extended timeline as a blessing rather than a setback. Completing the album affirmed his creative drive and resilience, proving that he could continue to grow his catalog despite adversity. He also incorporated new techniques, such as the TC Helicon vocal doubling system, to enrich his harmonies and further elevate his sound.Spirituality remains a guiding force in his work. One track in particular connects to his single Jerusalem, which he regards as a Christian rock anthem. Producing his own music allows Sam to be deeply involved in every stage of the creative process, something he embraces fully.For Sam, music is about discovery and transformation. He values the unpredictable nature of creation and finds fulfillment in bringing songs to life. More importantly, he is inspired by the impact his music has on listeners. With The Attic, Sam Welch continues his mission to write from a place of community, faith, and healing—encouraging others to find hope and purpose through sound.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

Award-winning filmmaker and actress Hannah Cheeseman joined me for #CarolynTalks to discuss MARRIAGINALIA about the words unsaid in a marriage where the words left unsaid linger in the space of their comfort with each others.#Marriaginalia stars Kayla Lorette and Rodrigo Fernandez-Stoll #ShortFilm #FilmCritic #Interview #IndependentFilm #PodcastVisit Hannah's official website for more information about her work: hannahcheesman.comFind 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.

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?

TVOD, SVOD, and AVOD explained. In this episode, I break down the three main types of video on demand, what each one means, and why the order of release windows is crucial to maximizing your revenue. Whether you're an indie filmmaker or just curious about how movies make money today, this is your crash course on the new world of VOD.

In this powerful episode of the Out of Zion Podcast, ACLI Coordinator Shelley Neese interviews Iranian-born filmmaker and activist Hooman Khalili, creator of the Persecuted Iranian Women murals. Hooman shares his journey to faith, the inspiration behind his pro-women, pro-freedom, anti-dictatorship murals, and how 18 of them came to be displayed in Jerusalem, Nazareth, and other Israeli cities. He also tells the remarkable story of completing his eighth mural after October 7, its connection to ancient Persia, and his new mission to bring this movement to 18 college campuses across America.

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.

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