Podcast appearances and mentions of fox searchlight

Send us a textEpisode 525"American Primeval"Dominic BogartThey very kind Dominic Bogart joins me to talk about his career and  "American Primeval".   Dominic is low key excellent in his role as "Frank Cook" We break down his character, working with Dane DeHaan, Peter Berg and some deleted scenes that did not make it into the final cut.Dominic Bogart is an actor, musician, and horseman who grew up riding racehorses in rural Ohio. He briefly played football for the Bearcats at the University of Cincinnati where he earned a BFA in Dramatic Performance from the College-Conservatory of Music. Before headlining the Sundance Film Festival music drama, I AM NOT A HIPSTER, and the SXSW Film Festival sci-fi drama, EXTRACTED, Bogart performed on stages in front of over a million live audience members in the US and Europe. Notable theatre credits include leading roles in JERSEY BOYS and RENT, as well as live performances alongside Alicia Keys, Bon Jovi, Christina Aguilera, Mike Reid, and Dave Chapelle. He has recurred on several TV shows and recently acted in Fox Searchlight's THE BIRTH OF A NATION, Lionsgate's THE GLASS CASTLE, and Warner Bros' JUST MERCY.Welcome, Dominic Bogart.#americanprimeval #americanwest #netflixseries #western #westernmovies #westernmovies #shorts Reach out to Darek Thomas and Monday Morning Critic!Instagram:   / mondaymorningcritic  Facebook:   / mondaymorningcritic  TikTok:   / mondaymorningcritic  Mondaymorningcritic@gmail.com

We're toasting the twentieth anniversary of a film about wine, friendship, and love among the vineyards of the Santa Ynez Valley, California. Directed by Alexander Payne and based on the novel by Rex Pickett, this 2004 hangout/road comedy from Fox Searchlight became a critic's darling, sweeping the “Big Four” critics' awards and winning the Best Adapted Screenplay Oscar, Golden Globe, BAFTA, WGA, and Critic's Choice awards for Payne and co-writer Jim Taylor. The movie also marked breakthrough performances for its entire lead cast: Paul Giamatti, Thomas Haden Church, Virginia Madsen, and Sandra Oh. The corky, uh, quirky comedy even affected wine sales, causing a spike in pinot noir sales and a dip in merlot sales. But will praise of this film die on the vine with our three hosts, or will we find that it goes down easy despite its vintage? Join us as we give you the straight story on Sideways!   For more geeky podcasts visit GonnaGeek.com   You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com   You can write to Rum Daddy directly: rumdaddylegends@gmail.com You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com

Laura grew up in Belfast, Ireland, and trained at the Royal Scottish Academy of Music and Drama. She won the ‘Best Actress' Olivier Award and was further nominated for a Tony Award and Evening Standard Theatre Award for her portrayal' of ‘Caitlin' in the critically acclaimed production of Jez Butterworth's THE FERRYMAN, directed by Sam Mendes. The "triumphant, bold piece of theatre” appeared at the Royal Court and Gielgud Theatre in London before transferring to the Bernard B. Jacobs Theatre on Broadway.  Laura now stars in THE HILLS OF CALIFORNIA on Broadway, a new play by Butterworth and Mendes. Donnelly reprises her role from its debut on the West End which saw her earn a ‘Best Actress' Olivier nomination. Other stage highlights include her role as ‘Other Woman' in THE RIVER (West End and Broadway) written by Butterworth and directed by Ian Rickson, THE WASP (Trafalgar Studios), PHILADELPHIA, HERE I COME! (Donmar Warehouse), JUDGEMENT DAY (Almeida Theatre) ROMEO AND JULIET and A MIDSUMMER NIGHT'S DREAM (both at Regent's Park Open Air Theatre) and DANCING AT LUGHNASA (Lyric Theatre, Belfast).  For television, Laura starred alongside Gael Garcia Bernal in a Marvel Studios one-off Halloween special called WEREWOLF BY NIGHT (Disney+) and as ‘Amalia True' in HBO's fantasy series THE NEVERS also starring James Norton, Eleanor Tomlinson, Olivia Williams and Nick Frost. She is also known for playing 'Jenny Fraser' in the Golden Globe nominated drama, OUTLANDER. Further credits include the International Emmy Award winning series, SUGAR RUSH (Channel 4), THE FALL (BBC) starring Jamie Dornan and Gillian Anderson, MERLIN (BBC), the ABC production of MISSING, the BAFTA award-winning drama OCCUPATION (BBC), BRITANNIA (Amazon Studios), HEX (Sky One) and BEST (BBC).  Laura's film credits include Fox Searchlight's TOLKIEN, THE PROGRAM (StudioCanal), HELLO CARTER (Bankside), DREAD (Seraphim Films), INSATIABLE (Kirby Films) and RIGHT HAND DRIVE (Pine Road Pictures). Learn more about your ad choices. Visit podcastchoices.com/adchoices

Soutenez nous sur Patreon Forfait 3€ épisode en accès anticipé sans pub Forfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs Megan Fox en succube qui mange littéralement des hommes dans une esthétique des pires groupe emo-rock c'est le programme de Jennifer's Body enfin du moins, ce que la Fox nous a vendu à l'époque de la sortie du film. Le studio a préfére viser les ados en pleine puberté qui voulaient les boobs de Megan Fox alors que Jennifer's Body a été produit et tourné pour les adolescentes et jeunes femmes sur la difficulté des règles, de l'adolescence et de l'amitié entre jeune femme.Plantage critique et commercial pour ce film mais qui est devenu culte avec le temps, mais dans une époque sombre où n'importe qui réhabilite n'importe quoi, genre la Vérité si je Mens est-ce finalement une étude sociologique des familles juives du XVIème arrondissement de Paris au lieu d'être une comédie de merde ? Je vous pose la question. La réhabilitation de Jennifer's Body a-t-elle réellement du sens en 2024 ? C'est ce qu'on entendre dans ce podcast Distribué par la Fox. Produit par Jason Reitman et Fox Searchlight avec un budget de 16 millions de dollars. Réalisé par Karyn Kusama, réalisatrice d'un des films les plus moches au monde, Aeon Flux avec Charlize Theron. Scénario signé par Diablo Cody déjà responsable de l'horrible film Juno et récemment Lisa Frankenstein.Lycéenne dans une petite ville américaine, Jennifer sous les traits de Megan Fox est une beauté fatale à qui aucun garçon ne résiste. Cette bombe cache pourtant un petit secret : elle est possédée par un effroyable démon. Mangeuse d'hommes à tous les sens du terme, elle se transforme peu à peu en créature pâle, maladive et meurtrière... Needy interprété par Amanda Seyfried, sa discrète amie d'enfance, va désespérément tenter de protéger les jeunes hommes de la ville, à commencer par son petit ami Chip joué par le flanc des flancs Johnny Simmons...Soutenez nous sur Patreon Forfait 3€ épisode en accès anticipé sans pub Forfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs Enregistré en live sur notre chaîne twitch ABONNEZ-VOUS ! Rattrapez le live sur notre chaine youtubeChroniqueur.e.es : Marvin MONTES, Wonder VESPER, Emmanuel.le PEUDON et présenté par Luc LE GONIDECHost : Luc LE GONIDECMusique Jean Baptise BLAIS Montage et mixage son : Luc LE GONIDEC Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Hello friends! Austin based photographer Matt Lankes is my guest for episode 1419! Matt has an extensive client list that includes HBO, LiveStrong, Fox Searchlight, Texas Monthly, New York Times, Amazon, Netflix,Time Inc., Newsweek, Austin Monthly, Lee Jeans, CBS, Random House, Warner Brothers, EMI, Sony, Universal, and many more. He currently has his work in the permanent collection of The National Portrait Gallery at the Smithsonian and at The Wittliff Collections at Texas State University. Matt has also been the photographer on a handful of Richard Linklater films including 2014's Boyhood. His book Boyhood: Twelve Years on Film, captured the progression of the film and the actors through the lens of a 4x5 camera, creating a series of arresting portraits and behind-the-scenes photographs, and is available through University of Texas Press. Find it HERE. Go to mattlankes.com for all of your Matt needs. I had a great time getting to know Matt and his journey as an artist. I'm sure you will too. Let's get down!   Follow us on Instagram, Facebook, Spotify, Apple Podcasts, or anywhere you pod.   If you feel so inclined. Venmo: www.venmo.com/John-Goudie-1  Paypal: paypal.me/johnnygoudie 

```htmlHey everybody, welcome to Hit Rewind. This is Michael, and Jacob's on the other side. We are discussing the films of 1997. We're finally here! Yes! Look, I know- Action, baby! We had a game plan, and I got bored. I'm sorry, I'm a little erratic. We were going to go through the 60s and 70s and pick up stuff we missed in the 80s and 90s, and I said, I can't take any more westerns and war movies! Movies and other than that it seems like it's gonna be really hard to finish off the 60s and then hopefully we can burn through the 70s but for now i think for the rest of this year until you go on hiatus again we're just gonna do 97 probably 98 i seriously doubt we'll get through 99 but let's get started everybody what's the first movie of 1997 you want to discuss, well this one i wanted to get out of the way i hadn't seen this before and i didn't even know it was sort of like a follow-up to fish called wanda fierce creatures you know what's funny is you usually miss it you're like i'm gonna get this out of the way because this thing's a piece of fucking shit no i mean you have to start someone with these lists yeah to any of them well a lot of people do a lot of people do think this is a piece of shit it was a huge flop, critics hated it it got dumped like the second week of january no one gave a flying fart about it i don't think it's that bad is it is it because fish called one is probably considered at least bare minimum on every list a top 25 comedy of all time. Do you think those expectations are what ruined Fierce Creatures? Definitely have an impact. That would be a contributing factor. Yeah. You can't rule it out. The director did switch halfway through the movie and there was some reshoots to fix the entire ending. The last 20 minutes or so were completely reshot. So when his father shows up at the zoo, he died in a completely different way so before he gets shot in the head that whole thing was re-shot so that cost a lot of money and delayed release and stuff like that so that was a little bit. A little bit part of it's like flow is a little off. I think the only thing that really hurts this movie to me is I think some of the jokes don't work and they're not, they're not as macabre as they should be. It's so dark and weird in fish called one. I feel like they're pulling their punches a little bit in this one. Yeah. Oh, but for that, Oh God, that scene at the end, she did not expect that. Yeah. I mean, yeah, you get your supporting cast, like you got like Michael Palin coming back as well. Along with Jamie Lee Curtis, Kevin Kline playing two roles, you know, basically the owner of the company trying to buy the zoo and then his son, you know, trying to show that he can run things. Yeah, you know what's funny is in the original cut, he shows up as his mother. So he played three characters. Oh, no, Kevin Kline could pull that off. It's funny, I mean, especially after Wild Wild West. Yeah. It's so funny is after he won the Oscar, It seemed like he struggled in mainstream films that he had to go do smaller, more independent-minded movies. Life is a House and, oh, there's a teacher one that he did that was really good. But it's like whenever he does a big studio film, it seems like it's a struggle. Oh, In-N-Out, right? Is that what you're talking about? Well, yeah, In-N-Out's the one that won him the, I don't think he won, but he might have got the nomination. But it just seemed like he would jump from major movie and then just, like, it wouldn't do very well. then he would go do some independent smaller stuff and then that would, you know, rock the house. Because if you remember, the first entry in this, the whole Fish Called Wanda, was an independent movie that was picked up by MGM. Oh, wow. Oh, this was produced by Danny DeVito. See, that makes me even more depressed because it should have been more demented. Oh, absolutely. I mean, come on. I mean, after, what, War of the Roses, and The Law from the Train, and then later on Death of Smoochie, yeah, no, you'd think it would be a little bit more crazy. Yeah, I'm looking... Go ahead. but yeah that scene though like near the end to like you know open keep things up going yeah that did throw me for a loop I was like holy shit I did not expect that to happen of course Michael Palin's character you know being one of the loop keepers. You know, keep his area funded, you know, always talking about like deadliest animals. They have to be. And then, bam, the little piece shooter. Like, oh, my God. Well, that's if you haven't seen this movie, what it is, is this is a takedown of Fox News. This is a Kevin Kline is playing Rupert Murdoch. He flat out is. And his whole thing is consume. And it's still going today. Consume whatever you can to make your corporation even bigger. But in order to turn a profit from what you just spent buying a thing, you have to do massive cuts. So they're they're they're firing people. They're adding tons and tons of stupid advertising, but they're also getting ready some of the animals. And Rallo, who's played by John Cleese, is in charge. He's ex-military and they think that he can be really hardcore, you know, cutting this place down to the bone to make a profit. Because it's not just a profit, though. Wasn't it 20 percent is what they had to have? Yes that's insane like especially in the beginning of owning something you kind of have to eat the the profits for a while until you get things up and running and exactly you gotta spend some money to make yeah but you saw this with rupert murdoch and stuff like that and other guys like ted turner who bought shit up and didn't really fucking care as long as it built his empire and made money so and what they just happened with disney disney buying up ironically fox but also Also, like shutting down Blue Sky, you know, trimming the fat on any independent movies, small stuff. They basically destroyed Fox Searchlight. It barely exists now. So this is nothing new. So 25, almost 30 years ago, this movie really had their finger on the pulse. Pretty much. Oh, gosh. It does make a whole lot of sense. Just like how they had to have like some of the zoo staff dressed up as animals. All these stupid little, you know, advertisement boards and posters. The fake panda. Oh god yes animatronics and all that you know i know that gorilla suit is fake but god that was convincing that was really really good make yes god i mean honestly as much as i enjoy congo yeah that looked a lot more accurate than congo yeah but yeah so he has to find ways of keeping the animals alive keeping the place open but there's this whole subplot of somehow rollo keeps getting in these like situations that make him look like the biggest swinger in all of england like the most fuckable man in the whole place and everybody's just kind of confused by it i mean jimmy curtis seems to be confused by him and also amused and turned on exactly that's why she's kind of seducing him in the end yeah and all the while like kevin klein the son when he's playing the son he's trying to get with earth they have something like no this is purely a partnership you know this is a workplace professional relationship but i think nothing intimate it works out for him because he is a fucking what do you call that sex pest yeah he's a sex pest his whole thing but they finally find a piece for his character in that you know you've, To be fair, it took him accidentally killing his father. But, you know, like, give him the zoo. Just let us run this. Or no, get him to run the corporation, whatever. Now, the whole thing about faking the death is one of the most ridiculously comical things I've ever. The whole, oh, I'm in my dark phases. I gotta go be by myself in the barn. Oh, yeah. Then the whole shtick, trying to find everything, put everything in the right place. Make sure there's no suspicion that it was actually a suicide. Yeah. Like, the space in the gun and everything. And then having to carry on and provide those lines. Yeah, I think it's a really fun movie. But, yeah, it tanked so hard. Originally meant to be $18 million. The reshoots cost another $7 million. And it only made about $8 million in America. Thankfully, it made some decent money overseas. But in comparison, this only made $40 million. Dollars fish kawada beat 198 million and it only cost half of this oh yeah that's a huge drop, all right so what is our next film this one okay this is a bit of a turn this is we're going a little we're going dramatic with this one and this is what you know mainstream audiences take johnny depp far more seriously yeah donnie brosco i'm trying to think was he he was in that nick of time movie a couple years before this that you and i both enjoyed but guess what nobody saw it was a huge flop yeah before this it's either his movies were very very small independent movies like dead man or it was him just being quirky and cute you know like benny what did bonnie and june benny and june benny and june right stuff like that you know where he played quirky eccentric this is the first one besides nick of time that people are like oh he can play a normal dude which he rarely did. And I still think Pirates of the Caribbean is the worst fucking thing that could have happened to him. I mean, at the time it seemed great, but who knew that all that money, all that excess, all those demands for him to play weirdo characters for the rest of his goddamn life until just recently would just undo him. Absolutely. That and, of course, his on-set behavior. Yeah. I'm not really going to get into it, but I just think both of them are kind of fucked up. I don't know. I'm not choosing a side. It's just sometimes you look at the parties and go, yeah, you guys should have never been together in the first place. This is just... Yeah. No, fuck both of you. Yeah. So, yeah, Donnie Brasco is actually the only dramatic one in this bunch because it's weird how I make my list. And this just happens sometimes where we get predominant copies. I think the next one is predominantly thrillers. But yeah, this one is based on a true story. Undercover officer in the 1970s who had to infiltrate the mob. And it's really interesting is having Robert De Niro or Al Pacino play mobster gangster kind of guys was nothing new at this point. Both of them had done at least three or four movies in this vein by this point. But what's interesting is Al Pacino had the guts to accept a role where he was a fucking loser. Pretty much. Yeah, I know. know he was just a wise guy street hustler you know yeah just real low level bottom never gonna be running his own crew this is the closest he's gonna get to success and he gets there with the help of donnie brasco and just just the fucking tension throughout this movie it's not like like suspense movie dread you know like where you think it's gonna be big jumps there's just this This never-ending, oh God, at some point they're going to figure it out. What is going to happen? Is Al Pacino going to sell him down the river? Is Johnny Depp going to have to kill Al Pacino? You just don't know. Exactly. And then there's supporting characters. You've got other wise guys. Michael Madsen did a great job. And in one particular scene, yeah, he kind of screws over Al Pacino. Yeah, there was a point where Michael Madsen, he was never like a big star. But he was always getting quality work and supporting parts. And then he would go off and do like little independent stuff, sometimes trash, sometimes not. And now you look the last 20 years of his career since Kill Bill has been fucking embarrassing. Because he, like Eric Roberts, have this thing where they will literally accept any role for a certain amount of pay a day. And I shit you not, I looked it up. He gets $8,000 a day. He'll do any giant piece of fucking garbage they'll shoot everything in a day or two slap his name at the top of the the post or whatever and that's it he did have a part in sin city yeah so long ago man yeah and then of course there was the the hateful eight, Yeah, if Tarantino or Rodriguez are not involved, it's going to be garbage. I don't know what it is, if he's difficult to work with or he's lazy and tired. I don't know. But it's always a shame when you see actors just do this. I know. It sucks, especially when they had such prominent careers. Yeah. And then there's James Russo, who's another one of those that guy kind of. He's like Michael Madsen's right hand man. It's one of those works filled with guys who just did lots of gangster monster movies. This kind of seems almost like not a goodbye to the whole thing because I feel like Casino was kind of saying goodbye for a while. But this is because it's based on a true story. There's something just slightly different than trying to be a Goodfellas clone. Almost somewhat, yeah. Whoa, Donnie Brasco was a massive hit. I had no fucking clue. It made $125 million worldwide. That's wild to me. Yeah, absolutely. So, yeah, this is what definitely catapulted Johnny Depp to success. And he needed it because it'd been a while since he had a hit, I think. Yeah, I mean, especially if, like, Tim Burton's name wasn't attached to it. Yeah, because Don Juan DeMarco and Benny and June were probably his biggest, but they weren't, like, you're talking like $30 million. That's not a big hit. So this is kind of that next level. And I don't know what's next that really breaks big. Sleepy Hollow, maybe? No, I'm pretty sure there was something else. Yeah. No, Blow is after Sleepy Hollow. But yeah, he's just interesting watching his career go. I wonder if the director, Mike Newell, had seen him on 21 Jump Street where he plays more of a character like this. And that's why he cast him. Because he was an undercover cop. Yeah. So I wonder if that's why he cast him. Oh, man. I will tell you one thing. Like the intensity in that Japanese restaurant. Yeah, exactly what I was going to say. But he couldn't because he had the wire there and off. He also ended up giving the group some balls yeah the uh they're disrespectful as hell it's incredibly underrated i think kind of been forgotten in his oeuvre i think the most tense scene though is the one where there's a rat in the group and they're talking about when they're arrested and and and al pacino is kind of saying it and you know oh fuck they're gonna come after him but then you also start remembering bruno kirby was pulling some side deals with selling inhaling cocaine it's funny is that yeah neither one of them ratted each other out but all of it had here's the thing is the rap part had nothing to do with anybody in the group except that one guy who was going to run the bar and forgot to pay off the cops that's it and if he had just told him like i fuck up i i forgot to pay the cops i don't think he would have been shot but he would have been kicked out of the group and probably had his ass beat and then they wouldn't have had to kill someone else oh yeah exactly yeah oh god. Especially after that big execution scene where they took out rival gangsters. Yeah, yeah. I really thought that, oh, they're going to bring him in and they're going to at least bare minimum beat the fucking shit out of him. But no, they were just setting Bruno Kirby up. So they knew about the coke deal. Yeah, it's hard when you're undercover, you're not supposed to break the law. And while he doesn't take part of the shooting, he does take part of hacking somebody up, and that's a crime. Exactly. Yeah, I know. Yeah, and again, this being based on a true story, he's been in hiding ever since because there's a big, there's like a bounty on his head. Yeah, there's apparently another movie with his character that another mission that he went on where it's called Wise Gal. I think it was a TV movie with, I think, Jennifer Love Hewitt, Jason Gedrick, and James Caan. Huh, never knew about that. Yeah, I have to look it up, but I feel like his character, Joe Pistone, there's another case that got turned into a movie. What is our next one oh god sorry right one more thing about that ending though al pacino as soon as he like got that call and he was leaving telling his girlfriend you know i'll be back later if not don't wait up he knew it was going to be oh yeah everything just got revealed and he let someone into the organization who was an undercover cop that's why he left all his jewelry and everything yeah that was a really good scene because it's so quiet and he doesn't really do much besides you see the the the resignment i guess in his eyes just finishing it up going accepting his fate instead of going on the run because you know why they probably would have killed her if he ran exactly and it's like doesn't have much doesn't have much longer it's like you know that's pretty much where his life would be did you want to get any lower than where he is oh you know what i'm sorry i said i must have got confused on the way it was turned into a tv TV series with Jason Gedrick in the year 2000 called Falcone, which is just another play on it's still Joe Pistone's story is just they changed the character because it's a different mission. There is a really, really good TV show that came out the same exact time as 20 on Jump Street from the same creator. And it's called Wise Guy. It was only on for four years and really just watched the first year and it's about a guy who goes deep undercover with the mob and so every 13 episodes there's a new arc where he goes on a new mission you should watch that first season it's really fucking good yeah. What is our next for sure next will okay definitely part of a classic part of a classic franchise for Warner Brothers starring Chevy Chase called Vegas Vacation not the final entry I think a lot of people don't know that Christmas Vacation 2 even exists it was a TNT movie where it's cousin Eddie and the family and I think the very first Audrey goes with them to an island they They get kind of like, what is it, Robin Crusoe kind of thing, where they just trap the island trying to survive during Christmas. It's a comedy, but it's not very good. But for most people, this is it. And look, I know there's a lot that doesn't work in this. There's a lot of jokes that seem to kind

It's that time of year again: Time for the good people of SportsAlcohol.com to jump in their exclusively movie-related time machines and travel back 20 years for a look at the summer movies that were on top of the box office in 2004. Tom Cruise breaks bad! Hugh Jackman breaks worse! Michael Moore breaks records! Fox Searchlight puts out not one but two generational indie movies with their own individual backlashes! And who cares about Shrek when a new Riddick adventure is in the offing? These are the cultural events that Nathaniel, Jeremy, Jesse, and Marisa will be covering in great detail for our annual summer nostalgiafest!

Today's guest is a writer, director, producer, actor, and indie filmmaking legend, Edward Burns.Many of you might have heard of the Sundance Film Festival-winning film called The Brothers McMullen, his iconic first film that tells the story of three Irish Catholic brothers from Long Island who struggle to deal with love, marriage, and infidelity. His Cinderella story of making the film, getting into Sundance, and launching his career is the stuff of legend.The Brothers McMullen was sold to Fox Searchlight and went on to make over $10 million at the box office on a $27,000 budget, making it one of the most successful indie films of the decade.Ed went off to star in huge films like Saving Private Ryan for Steven Spielberg and direct studio films like the box office hit She's The One. The films about the love life of two brothers, Mickey and Francis, interconnect as Francis cheats on his wife with Mickey's ex-girlfriend, while Mickey impulsively marries a stranger.Even after his mainstream success as an actor, writer, and director he still never forgot his indie roots. He continued to quietly produce completely independent feature films on really low budgets. How low, how about $9000. As with any smart filmmaker, Ed has continued to not only produce films but to consider new methods of getting his projects to the world.In 2007, he teamed up with Apple iTunes to release an exclusive film Purple Violets. It was a sign of the times that the director was branching out to new methods of release for his projects.In addition, he also continued to release works with his signature tried-and-true method of filmmaking. Using a very small $25,000 budget and a lot of resourcefulness, Burns created Nice Guy Johnny in 2010.Johnny Rizzo is about to trade his dream job in talk radio for some snooze-Ville gig that'll pay enough to please his fiancée. Enter Uncle Terry, a rascally womanizer set on turning a weekend in the Hamptons into an eye-opening fling for his nephew. Nice Guy Johnny's not interested, of course, but then he meets the lovely Brooke, who challenges Johnny to make the toughest decision of his life.The film debuted at the Tribeca Film Festival. While he was releasing that film, Burns wrote, starred, and directed Newlyweds. He filmed this on a small Canon 5D camera in only 12 days and on a budget of only $9,000. Newlyweds Buzzy and Katie find their blissful life disrupted by the arrival of his half-sister and news of her sister's marriage troubles.In his book, Independent Ed: Inside a Career of Big Dreams, Little Movies, and the Twelve Best Days of My Life (which I recommend ALL filmmakers read), Ed mentions some rules he dubbed “McMullen 2.0” which were basically a set of rules for independent filmmakers to shoot by.Actors would have to work for virtually nothing.The film should take no longer than 12 days to film and get into the canDon't shoot with any more than a three-man crewActor's use their own clothesActors do their own hair and make-upAsk and beg for any locationsUse the resources you have at your disposalI used similar rules when I shot my feature films This is Meg, which I shot that in 8 days, and On the Corner of Ego and Desire which I shot in 4 days.  To be honest, Ed was one of my main inspirations when I decided to make my first micro-budget feature film, along with Mark and Jay Duplass, Joe Swanberg, and Michael and Mark Polish. Ed has continued to have an amazing career directing films like The Fitzgerald Family Christmas, The Groomsmen, Looking for Kitty, Ash Wednesday, Sidewalks of New York, No Looking Back, and many more.Ed jumped into television with the Spielberg-produced TNT drama Public Morals, where he wrote, directed, and starred in every episode.Set in the early 1960s in New York City's Public Morals Division, where cops walk the line between morality and criminality as the temptations that come from dealing with all kinds of vice can get the better of them.His latest project is EPIX's Bridge and Tunnel is a dramedy series set in 1980 that revolves around a group of recent college grads setting out to pursue their dreams in Manhattan while still clinging to the familiarity of their working-class Long Island hometown. He also pulls writing, producing, and directing duties for all the episodes.Ed has continued to give back to the indie film community with his amazing book, lectures and his knowledge bomb packed director commentaries. Trust me to go out and buy the DVD versions of all his films. His commentaries are worth the price of admission.When I first spoke to Ed he told me that he had been a fan of the podcast for a while. As you can imagine I was floored and humbled at the same time. Getting to sit down and speak to a filmmaker that had such an impact on my own directing career was a dream come true. Ed is an inspiration to so many indie filmmakers around the world and I'm honored to bring this epic conversation to all of you.Please enjoy my conversation with Edward Burns.Become a supporter of this podcast: https://www.spreaker.com/podcast/next-level-soul-podcast-with-alex-ferrari--4858435/support.

Filme in dieser Ausgabe: "Demolition", "Napoleon Dynamite", "All of Us Strangers" und "The Hills Have Eyes". Es beginnt mit Rock 'n' Roll am frühen Morgen, wenn Andi und sein Bandkollege Chris offenbaren, wie so ein Live-Auftritt im deutschen Frühstücksfernsehen ist. Danach wird dann aber klassisch über Filme schwadroniert. Dieses Mal Werke, die unter dem Banner von Fox Searchlight aka Searchlight Pictures realisiert wurden. Da ist alles mit dabei: Trauer, Kult, Horror und White Trash Noir. Viel Spaß.

Welcome to Decorating the Set: From Hollywood to Your Home with Beth Kushnick!  On this week's episode, we continue talking to pros in the industry. This week's guest is powerhouse producer, M. Blair Breard. Over her tremendous, far-reaching career, Blair has earned six Primetime Emmy nominations, five Director's Guild Award nominations, two Producer's Guild Award nominations, and many more accolades. Listen to the whole episode for more on Blair's 25 years of experience, guiding groundbreaking concepts into award-winning television and how she has successfully negotiated the business end of television and film projects, while protecting and executing a specific creative vision! The Interview with Blair begins at Time Code: 5:10 GUEST BIO: M. BLAIR BREARD BLAIR BREARD is an Executive Producer with over 25 years of experience in the film and television industry. She has guided groundbreaking concepts into award-winning television and has successfully negotiated the business end of television and film projects, while protecting and executing a specific creative vision. Breard has been nominated for industry awards multiple times: six Primetime Emmys; five Director's Guild Awards; two Producer's Guild Awards; two American Film Institute Awards; three Peabody's; Two Gotham Awards. She has produced for FX, Netflix, Fox Searchlight, Paramount, Max, Apple TV+ and developed with Showtime, FX, Hulu and others. She began her career in the world of independent filmmaking with John Sayles' Passion Fish. She has worked on and produced critically acclaimed films including I Shot Andy Warhol, written and directed by Mary Harron (nominated for Sundance and Independent Spirit awards); Margaret, written and directed by Kenneth Longeran; Margot at the Wedding, written and directed by Noah Baumbach (nominated for Independent Spirit and Gotham awards); She served as Executive Producer for The Drop, directed by Academy Award nominee Michael Roskam. She produced The Half of It with Anthony Bregman of Likely Story for Netflix, written and directed by Alice Wu, which went on to win the Tribeca Film Festival. Notably, Breard recently produced Scenes from a Marriage for HBO with Michael Ellenberg of Media Res, starring Jessica Chastain and Oscar Isaac, written and directed by Hagai Levi. She recently Executive Produced the Emmy award-nominated final season of The Other Two for Max starring Molly Shannon, Wanda Sykes, Drew Tarver and Helene Yorke written and directed by Chris Kelly and Sarah Schneider. She is currently Executive Producing a new Apple TV + limited series, The Savant, starring Jessica Chastain written by Melissa James Gibson and directed by Matthew Heineman and Rachel Morrison. Breard's home base is New York City. She works all over the world. Breard is repped at CAA and by Tom Collier of Sloan Offer Weber Dern. Follow Blair's Production Company Online: BarnBurner.org ### For over 35 years, Beth Kushnick has created character-driven settings for countless award-winning television series and feature films. As a Set Decorator, she's composed visuals that both capture and enhance any story. Now, she wants to help you capture and enhance YOUR story. Join Beth and her co-host, Caroline Daley, each week as they go behind the scenes of Hollywood's magic, and give you approachable, yet sophisticated tips to realize the space that best expresses who you are. ### Follow Beth Kushnick on Social Media:  Instagram: @bethkushnick Twitter: @bethkushnick Website: DecoratingTheSet.com Beth is the Decorator By Your Side and now, you can shop her Amazon Store! CLICK HERE! Follow Caroline Daley on Social Media: Twitter: @Tweet2Caroline Website: PodClubhouse.com ### Credits: "Giraffes" by Harrison Amer, licensed by Pod Clubhouse. This is an original production of Pod Clubhouse Productions, LLC. Produced, engineered and edited at Pod Clubhouse Studios. For more information, visit our Website.

JON GUNN BIOSince graduating with a film degree from Ithaca College in 1995, Jon Gunn has worked as a writer, director, editor, and producer. His work ranges from independent comedy and drama to studio tentpoles. As a director, his feature films include MERCY STREETS, MY DATE WITH DREW, LIKE DANDELION DUST, and THE CASE FOR CHRIST, and have grossed more than $40 million at the box office. MY DATE WITH DREW, which had a worldwide theatrical release in the summer of 2005, swept the festival circuit for Best Feature.LIKE DANDELION DUST is a Fox feature drama starring Mira Sorvino and Barry Pepper, which Gunn co-wrote with Oscar-nominated screenwriter Stephen J. Rivele. The film won more than 30 festival awards and was released theatrically in the fall of 2010. THE CASE FOR CHRIST stars Mike Vogel, Erika Christensen, Faye Dunaway, and Robert Forster and grossed $17 million in theaters. Gunn has also co-written numerous studio movies, including the comedy IAN THE VAMPIRE for Fox Searchlight, THE MAGIC 8 BALL for Paramount, THE NUTCRACKER for Universal, IMAGINARY FRIENDS for Skydance, MONOPOLY for Hasbro/Sony, and multiple features for DreamWorks animation, including ALCATRAZ VERSUS THE EVIL LIBRARIANS and B.O.O. THE BUREAU OF OTHERWORLDLY OPERATIONS, starring Seth Rogen, Melissa McCarthy and Bill Murray. Prior to JESUS REVOLUTION, Gunn co-wrote the musical biopic I STILL BELIEVE with Jon Erwin, based on the life of singer Jeremy Camp, which was released by Lionsgate in 2020.

As they say, don't drink and podcast, but here Paul and Arlo are talking about 2004's Sideways for another round of That Was Then. Alexander Payne's acclaimed dramedy follows alcoholic wine connoisseur Miles as he takes his bonehead best buddy Jack on a road trip through Santa Barbara the week before Jack's due to get hitched. It is the Fox Searchlight movie, and the boys discuss what that means, how the performances bring forth certain emotional notes in the script's body, and why somebody could come away from a first viewing not understanding 20 years' worth of hype. Plus, Arlo goes into uncomfortable detail about his middle school career.   NEXT: enough old movies, let's talk old(-ish) comics! This month's Four-Color Flashback sees Eric Sipple joining Paul and Arlo for Si Spurrier and Dylan Burnett's Weavers.     BREAKDOWN 00:00:45  -  Intro / Guest 00:29:46  -  Main Topic 01:35:36  -  Outro / Next     MUSIC “Scenes from an Italian Restaurant” by Billy Joel, The Stranger (1977) “A Case of You” by Joni Mitchell, Blue (1971)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Abortion Funds in Every State: https://bit.ly/AbortionFundsTwitter Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ The Trevor Project provides information and support to LGBTQ youth: thetrevorproject.org Trans Lifeline: https://translifeline.org/  National Center for Transgender Equality: transequality.org Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/  

Scott Copper (Director, Screenwriter, Producer) made his feature film directorial debut in 2009 with Fox Searchlight's Oscar-winning CRAZY HEART, which he also wrote and produced. The film, which starred Jeff Bridges, Maggie Gyllenhaal, Colin Farrell and Robert Duvall, earned three Academy Award nominations, winning for Best Actor (Bridges) and Best Original Song (T Bone Burnett and Ryan Bingham). Cooper won an Independent Spirit Award for Best First Feature and earned WGA, USC Scripter and Independent Spirit Award nominations, for his screenplay.Cooper's follow-up was the Leonardo DiCaprio/Ridley Scott-produced OUT OF THE FURNACE, starring Christian Bale, Woody Harrelson, Casey Affleck, Zoë Saldana, Forest Whitaker and Sam Shepard. For his work as writer, director and producer, Cooper won the Best Debut and Second Film Award at the 2013 Rome Film Festival, where he was also nominated for a Golden Marc'Aurelio Award. Next was Cooper's 2015 Warner Bros. gangster film BLACK MASS, which Cooper both directed and produced and which made its worldwide debut at the Venice International Film Festival.The box-office hit garnered wins from critics associations across the country, and earned lead actor Johnny Depp the Desert Palm Achievement Award at the Palm Springs International Film Festival, as well as a Best Actor nomination from the Screen Actors Guild. In 2017, Cooper's western epic HOSTILES debuted at both the Telluride Film Festival and Toronto International Film Festivals, earning widespread critical acclaim. The film reunited Cooper with his OUT OF THE FURNACE star Christian Bale and featured performances from Rosamund Pike, Wes Studi, Jesse Plemons, Rory Cochrane and Ben Foster. Cooper followed this up with ANTLERS, an exploration of yet another genre in the Guillermo Del Toro-produced horror film. Searchlight released the film to acclaim in October 2021.Most recently, Cooper re-teamed for the third time with Bale on THE PALE BLUE EYE, an adaptation of Louis Bayard's novel of the same name. The film tells the story of a series of murders at the United States Military Academy at West Point in 1830 and a cadet the world would later come to know as Edgar Allan Poe. Robert Duvall, Gillian Anderson, Timothy Spall, Toby Jones and Harry Melling round out the cast. The Netflix film will debut in Fall of 2022. Born in Virginia, Cooper now resides in Los Angeles.Please enjoy my conversation with Scott Copper.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2881148/advertisement

Before becoming an entertainment powerhouse, Brit Marling was headed toward the world of investment banking. But during a college internship at Goldman Sachs, her gut told her that finance wasn't the field she should be in. With a desire to tell stories, she soon pivoted into independent filmmaking. In 2011, she made a major splash in the entertainment industry when her films Another Earth and Sound of My Voice premiered side by side at the Sundance Film Festival. Both films were nominated for Independent Spirit Awards and picked up for distribution by Fox Searchlight, and in the years following, Brit went on to create massive hits like The East and The OA. Now, she's evolving her career yet again: In November, Marling made her television directorial debut on the FX murder mystery show Murder at the End of the World starring Emma Corrin. Catch the finale of the series tomorrow, December 19. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. MARTIN PHIPPS Coming from a musical background (he is Benjamin Britten's godson), Martin read drama at Manchester University and fortunately for the acting profession, he decided to concentrate his energies on writing music. Since scoring his first TV drama, Eureka Street in 2002, he has won 2 BAFTAs, 5 Ivor Novello Awards and received multiple Emmy nominations for writing music to many of the most interesting series of recent years. These include the BBC's War and Peace, Hugo Blick's The Honourable Woman, Peaky Blinders, Black Mirror and season 3 through 6 of the acclaimed Netflix series The Crown. ANTHONY WILLIS Anthony Willis is a BAFTA-nominated composer, known for his evocative scores for Emerald Fennel's Oscar's Winning Promising Young Woman Blumhouse's Ai hit M3gan, and Fennell's latest psychological thriller Saltburn from MGM/Amazon starring Barry Keoghan & Jacob Elordi. He was named one of Variety's Top 10 Artisans to Watch in 2023 at the SCAD Savannah Film Festival. His recent projects also include Dreamworks' Animation's Annie award-winning How To Train Your Dragon: Homecoming, Seasons 6-8 of Epic's video game sensation Fortnite, and Michelle Morgan's comedy It Happened in L.A. As a protege of Oscar-nominated composer John Powell and Henry Jackman, Anthony has also contributed additional music to many of Hollywood's most beloved franchises including: How to Train your Dragon, Jumanji, Wreck it Ralph, Solo: A Star Wars Story, Pirates of the Caribbean and Rio. Originally from London England, Anthony trained as a chorister of St. George's chapel, Windsor Castle, UK before earning a First class honors degree in Music from the University of Bristol and a later graduate degree in Film Scoring from University of Southern California. Recently Martin has scored Sir Ridley Scott's Napoleon, Ed Perkins' The Princess, and Amazon Studios' series Solos starring Morgan Freeman. Other film credits include Woman In Gold (scored with Hans Zimmer), starring Ryan Reynolds and Helen Mirren, Fox Searchlight's The Aftermath, starring Keira Knightley, Alexander Skarsgård, Harry Brown and Brighton Rock. Studio Soundtracks is made possible in part by the generous support of Spitfire Audio, makers of inspiring sounds and scoring tools for film, in collaboration with the world's best composers, musicians and engineers. More details available at spitfireaudio.com.

Laura Schein is an actor/writer/lyricist based in Los Angeles. She is the co-creator of the acclaimed new musical Emojiland (New York Times Critics Pick; Richard Rodgers Award Finalist; Drama Desk, Lucille Lortel, Outer Critics Circle, Off-Broadway Alliance Nominee), and originated the role of Smize. She co-wrote the original songs for the 2022 stop motion Disney holiday film Mickey Saves Christmas and the Paramount+ feature Honor Society, and was on the music team for the animated feature UglyDolls, for which she co-wrote the Kelly Clarkson/Janelle Monae duet “Unbreakable,” shortlisted for the 2020 Academy Awards. She's a lyricist on the musical feature Marriage Material, in development with Chernin Entertainment, based on the short film acquired by Fox Searchlight. Her 1/2 hour comedy pilot Thrup was a semi-finalist at the 2021 Austin Film Festival. She's currently developing the stage musical Miss Hysteria, selected by Stephen Schwartz as part of the 2023 ASCAP Musical Workshop at The Wallis. Laura got her acting break at 13 years old in the first national tour of Ragtime, and has since performed at award-winning theaters all over the world. Her TV/film credits include a lead role in the upcoming indie horror Grizzly Night, as well as guest roles on FOX, Showtime, ABC, CBS, Amazon and SyFy. She was a series regular on YouTube Originals' comedy series Sing It! and co-created the improvised series Crystal's Balls for Funny Or Die, for which she received an LA WebFest “Outstanding Lead Actress” nomination. She's also toured the country opposite Jason Alexander in his show An Evening With Jason Alexander. A long-time health nut and certified health coach, she also co-hosts the hit functional medicine podcast What The Func?! A Chicago native, Laura is a graduate of Northwestern University. ▬▬▬▬▬▬▬▬ LAURA SCHEIN ⌲ IMDB: https://www.imdb.com/name/nm1600779/  ⌲ IG: https://www.instagram.com/thelillaura/?hl=en  ⌲ Website: https://thelillaura.com/ ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #Musicals #Emojiland #MissHysteria #MickeySavesChristmas #UglyDolls #Paramount #HonorSociety #MastersOfSex #911LoneStar #Northwestern #JerseyShoreSharkAttack #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://podcasters.spotify.com/pod/show/the-moving-spotlight/support

I'll tell you I'm talking about. When I first started sharing my professional journey, I focused on people who were interested in screenwriting. But over the years, my audience has expanded to include all sorts of creative types: actors, artists, novelists, playwrights, performers, and more. With that said, I'm rebranding my podcast. I'll still talk about screenwriting, but I'll interview a wider variety of people living their own creative lives. I hope they'll inspire you to do the same.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:But also it's like when you put energy into something legit energy, not like thinking or dreaming, but when you actually do the work, thingsPhil Hudson:Have a way ofMichael Jamin:Manifesting like, oh, there's opportunities have a way of appearing becausePhil Hudson:You've put work into it.Michael Jamin:Like these variousPhil Hudson:Press opportunitiesMichael Jamin:That I've done and other things that have sprung out because of that. That's just from doing the energyPhil Hudson:Of posting on social mediaMichael Jamin:And just sharing as much knowledge as I can.Phil Hudson:You're listening to, what the Hell is Michael Jamin talkingMichael Jamin:About?Phil Hudson:I'll tell you what I'm talkingMichael Jamin:About. I'm talking about creativity, I'm talking aboutPhil Hudson:Writing, and I'm talking about reinventing yourselfMichael Jamin:Through the arts. Hey everyone, it's Michael Jamin and I'm new. I'm all new right now because I've done a rebrand on the podcast. It was called, obviously Screenwriters Need to Hear this. And then Phil and I were talking and we kind of wanted to open up the conversations a little bit so it's not just about screenwriting and so it's more about, I was really getting to talking about people doing all sorts of creative things. I just think it's inspiring. We'll still talk about screenwriting of course, but I wanted to open up the conversation to more people who are doing things that hopefully inspire all of us to just live more creative lives. And Phil don't get upset. Phil is still here, still is not going away. He's very much involved in all this, but the title of course of the new show is What the Hell is Michael Jamin talking about? And will be answering that question. What the hell am I talking about? Go ahead.Phil Hudson:I think the focus in our conversations were really about creativity because you're a bit more than just a screener. When we started this, it was with a specific purpose. We should also point out this is episode 1 0 4, which is two years of doing podcast,Michael Jamin:So it wasPhil Hudson:A good time to take a step back. Reassess. Things have shifted a lot in the industry. Things have shifted a lot for you personally. What you've done over the last few years is pretty phenomenal in terms of growing a following, becoming a bit of a celebrity, becoming a bit of an expert in a lot of news, which we'll talk about. So yeah, it's just a shift to I think, speaking a little bit more to who Michael Jamin is beyond just being a writer and a showrunner, but being a true creative.Michael Jamin:And I should mention, so Phil speaks with authority because he runs a digital marketing agency called Rook, SS e o. So this is, he knows what he's talking, he knows the space Well, but without further ado, I guess this episode we were just going to talk a little bit more about how far the changes we've made, what we've seen in the past two years and hopefully maybe what we're moving towards.Phil Hudson:Yeah, I thought it would be fitting, Michael, just to kind of talk about some statistics around what the success of the podcast, the success of your work as doing your own personal marketing. And I want to remind everybody that the whole point of this was so that you could market your book. So you're taking and eating your own advice, and I think it's very important for people to know, if I think of Michael Jainism, what are some of the things, your catchphrases and the things you say? Some of those are don't wait, put it out there. Put yourself out there. Right.Michael Jamin:Stop asking for permission is what I say.Phil Hudson:Stop asking for permission.Michael Jamin:Yeah,Phil Hudson:There are a bunch of those that could be really good slogans for hats, whichMichael Jamin:YouPhil Hudson:ShouldMichael Jamin:Consider. A lot of this really, and I guess maybe it's fitting that just that I am the first interview of what the new brand is because a lot of this is about reinventing yourself. This whole journey that I've been is about reinventing myself. I was a sitcom writer. That's what I was until I started going online and making a podcast and posting every day and now I'm something else.Phil Hudson:Yeah, it's definitely morphed. So let's talk a bit about that. Right. So we're 104 episodes into the podcast. That's big. I think the statistic I saw a week ago is that the average podcast has six episodes, which meansMichael Jamin:Most people It's a lot of work. Yeah,Phil Hudson:It is. It's a lot of money too. I don't think people recognize that you're investing in editors, you'veMichael Jamin:GotPhil Hudson:People doing graphic design. There's a lot of it. There's the hosting of the site. I mean, every time you do a webinar, a site crashes and I have to freak outMichael Jamin:AndPhil Hudson:Run in and make sure we're back up. And yeah, it's a whole thing. So there's a lot that goes into this, but it's 104 episodes on lots of different topics, all centered around creativity, largely around Hollywood and screenwriting. But I personally, as I've gone through and produced and helped edit some of the episodes, it's very clear to me that you get a lot of joy from having these creative conversations.Michael Jamin:Yeah. That's what interests me the most. Yeah, andPhil Hudson:It's not so much about like, Hey, you're a screenwriter. It's like, hey, you are a creative personMichael Jamin:Who'sPhil Hudson:Putting themselves out there and trying to make something happen,Michael Jamin:AndPhil Hudson:Your audience speaks to this as well. So in the digital marketing space, when we think about this, we think about an avatar and an avatar or a persona. It's your ideal customer. It's the person you're going after. And anytime you're doing marketing, it's a mistake. Or if it's folly, to not do that, you want to understand who you're targeting. And it was very clear two years ago, well, I'm a writer, I'm a TV writer. Let's talk about what I know, which is screenwriting to people who are screenwriters. And I pointed out you should do that because there's a lot of BSS out there.Michael Jamin:AndPhil Hudson:What is your take on that two years into this? What is your take on BSS advice and advice in general? Maybe through the lens of the questions you get asked,Michael Jamin:What is my take on it? I feel like you're prompting me to say something. What are you getting at Fell? I don'tPhil Hudson:Know. I'm not trying to lead the witness. I just want to know what is your take on the marketplace for screenwriters having been immersed on the public, but then you're getting all these questions from people. You did a bunch of live q and as for a year, just talking to people and your following, and there's a series of 10 or 15 questions everybody's asking,Michael Jamin:AndPhil Hudson:It's all pointed towards sell your stuff. You know what those are. So I'm just wondering for you as a showrunner who kind of stepped into the world of what's being taught by the gurus andMichael Jamin:By thePhil Hudson:Experts, what are you seeing in the marketplace for screenwriters?Michael Jamin:One thing I said during the last webinar we did, we do free webinar every three weeks, and I said something that I think a lot of people were astounded by. I said, screenwriting is simple. It's not easy, but it's simple. And I think a lot of people are trying to sell you the complicated version so that you buy more from I'm the only one who can explain it to you and therefore you need me. And I don't know in the writer's room, that's just not how we approach writing simple. I also think there's a lot of bad advice out there, I think. So just be careful. Be careful who you're taking advice from. I don't know, it's a little heartbreaking. Someone posted today, actually, I did a post and someone left a comment saying, everything this guy says me is true because he did coverage in a coverage service. HePhil Hudson:Goes, yeah,Michael Jamin:People use pay me for coverage. I didn't know anything and I'm telling people what to do. This is a gig this guy picked up. It didn't seem like a lot of people I know, not a lot of people, but I've heard stories of people who've done coverage for a temp job for a month or two and then left because they left feeling a little bit gross about themselves. Why are you paying me? I don't know what I'm talking about. And so they left.Phil Hudson:Okay, so this is the world that, so I guess I might've been leading the witness a little bit because my point is, this is the world I understood because prior to meeting you and having the stars align, and we met years ago, and without me knowing who you are, and everybody knows the story by now of how we know each other and became friends, I was very much in that world and I was looking around trying to find that type of feedback and information, and you really shined the light on this for me. That man, there's a lot of people out here pretending like they know what they're talking about.Michael Jamin:AndPhil Hudson:I think you've done a valuable service in these first 100 and 304 episodes of peeling back the curtain, explaining how the process works, educating people. So I just wanted to reiterate, there's a lot of value in what you've done, and that doesn't mean that you're not going to continue to provide value to your listeners who are screenwriters. I think you're just shifting into really none of it all, which is be a creative and do creative things because there's value in the act, not because you're trying to sell a pilot.Michael Jamin:Yeah, yeah, that's exactly right. Yeah. I said something else that people kind of resonated with. Maybe it's worth repeating, and I'll probably say again in my webinars, I say do more of them, but I interviewed, I directed Brian Cranston many years ago on a show called Glen Martin. He was a guest star. It was an animated show, and I directed, it was silly. He played a fun role and was then afterwards I thanked him. We paid him probably 800 bucks. He wasn't doing it for the money. And I thanked him that was scale. And he said, oh, no, no, thank you. And I'm like, thank me. Whatcha talking about you're Brian Cranson. At the time he was doing breaking bed, and he said, it's just nice to have a pallet cleanser. As great as Breaking Bad was in probably my favorite show of all time.It was so dark that he was living with these negative emotions, anger, fear, jealousy, rage, all that stuff to be in the character. And when you are in that, your mind doesn't know a difference When you're playing this character 12, 14 hours a day in film and you're acting angry and vengeful and all that, whatever those emotions he had to play, your brain doesn't know the difference that whole day. You've been angry and vengeful, and then when you go home, how do you get it out of you? I mean, how do you just experienced all that all day? And it just really made me think about what it's like to be an actor to actually live in that. So he was thanking me because the script that we did was so light and fun. He was like, oh, it's like a, it was fun. It was fun.Palette, cleanser, which he needed. And then it just got me thinking a lot about just creativity as a whole. And then when people write, when they write their scripts, novels, whatever it is, regardless of whether you sell it or not, you are enjoying that burst of creativity and you're playing out all the characters in your head and your mind doesn't know the difference between you pretending to jump out of a plane and you writing about jumping out of a plane. You're trying to get it all on paper. You're really trying to live it in your heart. And so that I feel Carries with you when you write, regardless of whether you sell it something is a bonus, great, you got money for it. But if you don't sell it, you still get that. You still get that rush, that bonus. And so there's no reason not to write, don't think of it as the pot of gold is in the journey. It's not at the end of the rainbow.Phil Hudson:Yeah. Let's talk about some of the statistics of the podcast, and I love that. I want to circle back on that topic of the journey, the joys in the journey, not the destination, which I'm sure I'm slaughtering that saying just some things, right? So 104 episodes of the podcast, over 200,000 downloads of the podcast, people from I don't know how many continents, but just basing it off of the last webinar we did this last Saturday. I counted probably 13 countries on about four continents, right? That's a trip. Italy, you've got Europe, you've got people in Asia, Australia, south America, you got Central America, you've got America, you'veMichael Jamin:GotPhil Hudson:Canada. I mean, you've got people, it's a global reach at this point, and you're kind of that figurehead to put that out.Michael Jamin:There's so strange.Phil Hudson:Yeah. So hundreds of thousands of downloads on the podcast, which is incredible and that may not seem like a lot, but for the industry and for your niche,Michael Jamin:ThisPhil Hudson:Is really good. These are great numbers for that. We've pulled some stats, and you might know this a little bit better. At one point you were in the top three podcasts on screenwriting, is that right?Michael Jamin:Yeah, I was bouncing around andPhil Hudson:We fluctuated between 5, 6, 7, 10. Anybody who wants to help support go leave a review, a written review on iTunes, that does help a ton. But yeah, so major reach, major opportunity. When you started this, I wanted to ask, do you remember how many Instagram followers you had when we sat down in your garage and I talked about here's what you need to do to be able to grow your following and do this. DoMichael Jamin:You remember how many? I don't remember.Phil Hudson:No, because it wasn't something you're paying attention to. I didn't know. But how many Instagram followers do you have now? It was less, would you say less than a thousand? Probably.Michael Jamin:Probably close to 160,000 now, I think. Yeah,Phil Hudson:Yeah, 160,000.Michael Jamin:HowPhil Hudson:Many days have you missed posting on socialMichael Jamin:Media? Since we started this two yearsPhil Hudson:Ago,Michael Jamin:I promised myself that I was going to post every day. So I post, I would say on average six days a week. So sometimes I take a day off.Phil Hudson:So for anybody looking to grow a following, again, Michael's telling you to do this. He's telling you to bring something to the table and you did this and it's brutal. It's not like a 32nd recording.Michael Jamin:IPhil Hudson:Mean, you communicated to me at one point you're spending 20, 30 minutes on this every single day to get one video out because you're doing multiple takesMichael Jamin:And you'rePhil Hudson:Trying to condense it. You're thinking about it outside of that 30 minutes. You're then doing the technical, and I don't post this for you, you do this, you post it, right? Because you want it to feel authentic. So there's work involved. But again, you're eating your own medicine,Michael Jamin:You'rePhil Hudson:Doing what you tell people to do. You're putting yourself out there in two years down the road, you basically nothing to 160,000 followers onMichael Jamin:Instagram. TikTok,Phil Hudson:Let's hear it.Michael Jamin:Well, TikTok is, I think it's something like 444,000. But that's the thing. It's like I made a promise for myself. It wasn't too ambitious. I didn't say I was going to post five times a day. I was like once a day,Phil Hudson:And I think I was advocating for two to four, which is what the experts would tell you to do. And you said, that's not sustainable for me.Michael Jamin:No way.Phil Hudson:Especially for someone who doesn't want to be in the limelight, which is you very much were like, I don't want to be this person. I'm happy being a writer, but you have this project you want, which is your bookMichael Jamin:You want. I also think it waters down a little bit the message if you're constantly, I'd rather do quality than quantity. But yeah, all of it. I want to say Phil, everything that I, all the advice that I give people about becoming a screenwriter or whatever, becoming whatever it is you want to be a creator is either advice that I have done or I am currently doing.Phil Hudson:So there's no hypocrisy here, which is a really key thing, really key takeaway that people can learn from you beyond the followers. Let's talk about that's led to definitely, and we saw this happening beforehand. You'd post a video about why aren't there cats and TV shows? And Yahoo would pick it up, and then all of the riders on Tacoma FD would just give you crap for it. You popped up on their Yahoo page. But beyond that, and with your status and the work you put in, all of a sudden you become a trustworthy expert in your field because you have a following and you're noticed. It's not that your knowledge are on the subject or your capacity as a writer has changed.Michael Jamin:You'rePhil Hudson:The same capable person and now all of a sudden there's a lot of interest in writing and Hollywood, and you're the guy to go to because you have a following and you're known, right? So this is this secondary effect of I want to get my work out there, so I need followers so that I can have an audience to engage with and potentially prove to people that there's a demand for what I have to put out. And that turned into being covered on Deadline. The Hollywood Reporter, the New York Times variety, and you're in deadline like 17 times, by the way.Michael Jamin:Yeah,Phil Hudson:Right.Michael Jamin:You'rePhil Hudson:In some local newspapers, Newburyport News, you were with the A R PMichael Jamin:CPhil Hudson:Tv. Yeah, the seasoned writers of the world, Portland TV had you on for three segments on one of their shows.Michael Jamin:AndPhil Hudson:I think that started a little bit before Good Day Sacramento, multiple times in Yahoo N, our c nl, which is New Zealand, is that right? Nls New Zealand, I think. Yeah. Or the Netherlands. Yeah, Scripps News, the Guardian Newsweek, the Washington Posts News Junkie, right. Newsweek a couple times. And this last weekend you were on C N N.Michael Jamin:Yeah, it's nuts. They just reach out to me, I'm like, sure, I'll do it. Would not have predicted any of this was going to happen two years ago. No.Phil Hudson:So you're not doing this for the fame, you're not doing any of this because you feel like you're going to get something out of it from your writing career. You're doing it because your publisher says, Hey, we don't care how many emails you have on your wife's business list or anything like that, or how many people are interested in your writing?Michael Jamin:WhichPhil Hudson:By the way, prior to even four years ago, 10,000 emails was enough to get a book deal. And now, I mean, I've seen that number of times from people now, it's like, yeah, you need followers putting you on the spot here. So I apologize, but I recall you telling me that you had specific feedback from some of these agents, like, man, Michael Jamin can write, I want to be his friend. Do you remember some of that? Do you want to talk a little bit about what some of those rejection letters were? Oh,Michael Jamin:Yeah. I don't know if I have in front of me, but basically it was, oh, actually I do. ThisPhil Hudson:Is not planned, by the way. Michael didn't know I was going to bring any of this up. The whole premise here is I was going to interview Michael and talk about this stuff.Michael Jamin:Yeah, I got letters from when I was first putting my book out there from publishers. Oh, we love this book. The guy doesn't have a following. They wrote to my agent, do you have anybody who writes like this? Who does have a following? I mean, it was that crazy. They said, platform drives acquisition. I said, what does that mean? You need to have a following. I said, well, what about the strength of the writing? Everyone loved the writing. What about the strength of the writing? Oh, no, no, no. It's about what can we sell? I was like, damn. And that really was a stab in the heart,Phil Hudson:And I think for the average creative branching out with just writers, but the average creative one, rejection, litter, and it's like, well, I guess that's not in it. I guess mom was right. I guess dad was right. I guess Billy's dad was, right. It's hard to be a writer. I should give up. And you hear about these people who submit over and over and over again until they finally break through.Michael Jamin:AndPhil Hudson:You took that and said, I don't want to do this thing. I don't want to be a public figure, but I have this creative work that I know people need to read. And it's a personal work that you did on your own. No one paid you to do it. You wrote forMichael Jamin:Free.Phil Hudson:And then IMichael Jamin:Remember, which turn, go ahead. Go ahead.Phil Hudson:I was going to say, then I remember I get a text from you and you're like, Phil, any chance you can come over, I want to talk to you about some marketing stuff. I come over, come to your garage. I break your chair. Let's see thatMichael Jamin:It had already broken. It's already broken, but okay,Phil Hudson:Had to replace a chair. And he asked me, what do I need to do? And I just laid out everything I knew, and then we started putting the wheels into motion. That was roughly 25 months ago,Michael Jamin:CouplePhil Hudson:Months ago.Michael Jamin:And it's one of those things like, I didn't want to do it so tough. How badly do you want it? How badly do you want it? And there can be a downside to having whatever you want to call this level of fame. It's internet famous, not famous, but you are putting yourself out there for haters, for trolls, for wackos, all sorts of weirdos. I mean, you wouldn't believe how, I mean, do I have to tell you? There are people on the internet are crazy. So there was that, but I was like, well, this is what it takes now. So it actually made me matter. When the publishers told me this, I was furious. How dare you tell me what I can't do? You don't get to tell me what I can't do. Only I get to do that. And so that just lit a fire under my ass. And then when IPhil Hudson:Read this book,Michael Jamin:Oh my God, it actually changed me. It's kind of a weird,Phil Hudson:I don't really want to plug the bookMichael Jamin:Very, you can tellPhil Hudson:Me I'mMichael Jamin:InterestedPhil Hudson:In this, but you can tell me. I'llMichael Jamin:Tell you. It was a very new agey book. And so a lot of the advice was, some of the advice I thought was really good, and some of it was like, I don't know. I think you, you're going out on a limb with this one. But it was one of those things, you take what you want and you leave the rest. And what convinced me was this one passage where he said, you've already gotten what you wanted. It just hasn't happened yet. And I was like, that's it. That's it. I already have it. It just hasn't happened yet. And then I was like, alright, what do I need to do to make it happen?Phil Hudson:That's it. Yeah. You remember you reading me that exact quote several times throughout this whole process? Yeah. IMichael Jamin:Love that quote. I always tell people on my podcast, whatever here, or I say it on the webinar, I was like, this is what you need to do. If you're willing to do it, then you need a skill. We don't know your level of skill and then you need a little bit of luck, of course. But here's what you can do to increase your odds. Are you willing to do it? And most people aren't so fine.Phil Hudson:Well, that's my point about the podcast, right? The average podcast is six episodes,Michael Jamin:AndPhil Hudson:It's because the consistency, the lack of immediate gratification, the, oh, I only got three people to listen to my sixth episode and I put a thousand dollars to get four episodesMichael Jamin:Made, orPhil Hudson:Whatever it is, that's enough to turn people off. But this is kind of your whole point is, okay, move on. And there's nothing wrong with learning that you're not fit for something. There's something wrong with, there's nothing wrong with saying, Hey, I understand that something I want to do. Maybe doing it the Hollywood way is not the right way for me.Michael Jamin:SoPhil Hudson:Instead, I'm going to go back to just doing it on my own and I'm going to make short films and I'm going to support my local film community. And there's nothing wrong with that. There's nothing wrong with recognizing, Hey, I've got family obligations, so I'm not going to be able to move to New York and try to get my art in a gallery. So I'll just paint on the weekends and I'll just take that hour to myself every day to just put in the work on my craft. And you never know what can come from that. But the point is, it's about sticking with what it is. And that's, I think your message that I've heard. I don't know that I want to say that it's evolved. I don't know it's ever evolved. I think it's always been your message, which is if you want to make it happen, you got to make it happen. But the act of doing is enough, right?Michael Jamin:As youPhil Hudson:Said, the goal, the pot of gold, that the rainbow is not the pot of gold.Michael Jamin:It's thePhil Hudson:Experiences along the way, finding the pot of gold that are the pot of gold.Michael Jamin:But also, it's like when you put energy into something legit energy, not like thinking or dreaming, but when you actually do the work, things have a way of manifesting like, oh, this opportunities have a way of appearing because you've put work into it. Like these various press opportunities that I've done and other things that have sprung out because of that. It's like that's just from doing the energy of posting on social media and just sharing as much knowledge as I canPhil Hudson:With zero expectation of getting back. You're planting seeds that hopefully will produce fruit when your book is available and people can buy it on Audible and buy a paperback or a hardcover. And at this point too, so still, you've made the decision not to go with a traditional publisher, even though at this point you have hundreds of thousands of followers.Michael Jamin:Hey, it's Michael Jamin. If you like my content, and I know you do because you're listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michaeljamin.com and now back to what the hell is Michael Jamin talking about?Phil Hudson:When you'd ask people, how many followers do I need? They couldn't tell you, tell you. They just knew you needed followers, but they didn't know what the number was.Michael Jamin:And then I got resentful, okay, now that I have these followers, why am I cutting you in? Tell me exactly why I'm cutting you in. What exactly do you do? Nothing. They get me in Barnes and Noble, that's it. But people don't buy books at Barnes and Noble. They buy it online. Why am I cutting you in? It made me mad. It made me legit in the beginning. I was like, I need you. And I was like, I don't need you. What do I need you for?Phil Hudson:How freeing is that feeling?Michael Jamin:It's wonderful. I just got my copy back from I, my copy editor, read the whole thing and whatever, looking for typos and stuff like that. And he loved it. This is a professional. He's like, how do I share? I want to give this to my friends. I was like, oh, thank you. But one of it's like, why am I cutting? It's just like this is the year, it's 2023. It's like, you don't need to ask for permission from these people. The publishing is, the side of the business is very similar to Hollywood in the sense that what do we need these people for? You don't need Hollywood if you want to do, you don't. You just don't. You can do it yourself.Phil Hudson:On that note, I went to Brazilian Jiu-Jitsu today, and it was a smaller class, middle of the day. There were literally two other people besides me. They're both instructors. It was paying for a private, which was awesome. And in some downtime, I was talking to one of the guys, he's like, yeah, I quit doing Juujitsu for five years. And I was like, oh, why'd you stop? And he's like, well, a couple of years ago, I lost everything I was doing, worked in, I'm an actor and I worked in the industry. And then that started a conversation, and then he started telling me about all the stuff he's doing now. And he's like, we just decided to do it ourselves. We're making short films. We're putting it out there. We're winning tons of awards on this festival circuits. And he's been in Netflix shows, he's been in things. He has an I M D V page, so he's not just some guy. He has talent and skill, and he's even going out and put it in. And I was like, dude, good for you.Michael Jamin:Yeah. But when you look at the people who break, the people who are break in today, they're all doing what I'm doing. They're people, for the most part, they're not begging for work. They're making work for themselves, and they're making a name for themselves. And so they're building equity in their own name as opposed to knocking on doors and begging.Phil Hudson:Yeah, I, we've touched on this in a past podcast, but I've heard an agent refer to it as Plus writer plus. What is the plus you're bringing to the table? So maybe it's a following, maybe it's ip. Maybe you wrote a book that's a Amazon bestseller. Maybe it's you worked at the Onion and you're coming in with some clout because you had that experience, right? Maybe you were brought on the Harvard Lampoon, whatever it is, there's a plus and a following is a plus, but that's the value add. It's not enough. And you've told me this before, and I've quoted it often, and I think about it when I write, and this was, man, this was like 7, 6, 7 years ago.Michael Jamin:YouPhil Hudson:Read something I wrote in film school, and it was a speck of a Mr. Robot. And you said, Phil, it's obvious you're a competent writer, and this is really good. But that's the problem. It's not great. And so it's not enough to be good. You have to be great, but you also need something else. And you have to be willing to put that out there and get that work done. To me, I've been very hesitant to grow following because of the public nature of that and some of those things. And you tell me some of the things you have to deal with in your dms and people saying things, anti-Semitic things, all kinds. It's crazy, horrible things.Michael Jamin:AndPhil Hudson:You still stick it out and you do it. But yeah, the plus for me might be my skillset and technology. It might be my ability to run social media pro campaigns to the point where searchlights and this formerly Fox Searchlight, but searchlights people when they meet me are like, man, I need to fill in every project we have. And that's just the hustle and the grind. And you all have that. You listening to this have,Michael Jamin:That's exactly right. And Phil, this is what I was going to say as well, is everyone listening to this? Take inventory of what you have. For you, Phil, it's your vast knowledge of digital marketing, but for other people, they have other skills. So take advantage of what you have and then incorporate that towards building your brand or whoever youPhil Hudson:Are. Yeah, we might have talked, go ahead.Michael Jamin:Well, if you're a truck driver and you're like, what do I got? I drive a long distance truck, dude, you got a lot. Because you have, I dunno, whatever, 10 hours on the road where you're with nothing but your thoughts, turn off the radio. Not a lot of jobs like that where you can actually think and do your job at the same time. Think about something else. And so, yeah, you could write your screenplay, take notes into a recorder, and then when you stop the car later or the truck later, type it up a little bit and make notes. But that's a huge asset you have, which is you have time. You actually have time where you can think and concentrate on something while you do your job. That's a hugePhil Hudson:Asset. It's a blue sky time. Blue sky time is hard. It's the space and the stillness that is hard to generate in a chaotic life with family and obligations and work. So if you can find it, and reiterating one of the most powerful notes you've given me, which is, do you listen to audio books or podcasts in the car? And I said, yeah. And you said, don't,Michael Jamin:Don't, don't listen to me either. I turned it off your story. ThinkPhil Hudson:About your, yeah, write yourMichael Jamin:Story. WhatPhil Hudson:Is the problem? I'm trying to solve a huge breakthrough for me in my ability to spend time. I was so busy packing my day with so many obligations,Michael Jamin:But then I wasPhil Hudson:Spending hours in LA traffic doing runs for the show,Michael Jamin:AndPhil Hudson:It's like, oh, here's the space.Michael Jamin:So it'sPhil Hudson:A great note, but everyone has that note. And going back to something you said earlier, luck is not, you talked about everyone needs a little bit of luck, but that definition, and I think I shared this in episode three, luck is where opportunity meets preparation.Michael Jamin:Yeah, yeah'sPhil Hudson:The preparation. It's the time spent. It's the other adage, when's the best time to grow a tree 20 years ago,Michael Jamin:When'sPhil Hudson:The second best time? Right now,Michael Jamin:YouPhil Hudson:Don't have a tree, so get out and build a tree. Grow your tree, right?Michael Jamin:Yeah.Phil Hudson:So yeah, man, kudos to you for putting in the work and the effort. And I'm close enough as your friend, I've been able to see this and see your growth and your push to be able to do this. And I'll also say that even as someone that I considered to be competent, functional adults who's very successful, I've noticed your resilience increased quite a bit overMichael Jamin:My resilience.Phil Hudson:And that's not saying that you were some pushover or anything. I'm not suggesting that in the slightest, but I've just noticed that your ability to just take the bumps and the bruises of all of the BSS you're dealing with, it's just made you, I think, a little more focused and clear on what you want out of it. And that's why you have this reaction, this is my interpretation to me, why you're having this reaction to the publishers now. It's like, why am I giving you any of this? You didn't fight the fight. I fought the fight. I've been here. I've been in here day in and day out, so screw you. And that's a level of resiliency and confidence. I think that I'm not saying you didn't have that, justMichael Jamin:It took a lot for me to get there. It changes things. It took a lot for me to get there, but it was like maybe on the second book, maybe I'll do with them or not, I don't know. But I also know they haven't earned my book. And I've also heard too many stories from friends of mine who have had books traditionally published where the marketing department drops the ball and they promise one thing and then they're awol, and then that's it. Because at that point, you don't have the margin to do any more marketing on your own, so it's dead. And so it was never about the money for me, but I became a little angry as I was building this up. I was like, well, why am I cutting you in? It doesn't make sense to me. What do you bring to the table? Nothing other than Barnes and Noble, which I don't really care about. It's like, okay, sure. If it was 1982, I might worry about that. Yeah.Phil Hudson:This is, I think clicking for me. You're familiar with David Goggins, the former Navy Seal?Michael Jamin:I don't think so.Phil Hudson:He wrote a book called You Can't Hurt Me.Michael Jamin:And hePhil Hudson:Talks about how he was just abused as a kid by his father.Michael Jamin:AndPhil Hudson:Then what that taught him to do was to be able to just separate his pain. And it created a lot of mental toughness to the point that he was in the us. He was in the Air Force, tried out for Air Force Special Operations. He became a Navy Seal. He went through three hell weeks because he kept getting rolled back for injuries. He had a point where he had fractured legs and he would duct tape them so that they weren't hurt when he was doing runs. I mean, he ran a hundred miler in one day with no preparation to the point that his kidneys were failing. And he just does ultra marathons nonstop. He's just kind of this figure. He's become a bit of a meme with the same younger people, but I've known about him for a few years, and he talks about his book and he's like, I got offered $300,000 from a publisher from my book,Michael Jamin:AndPhil Hudson:I just thought, you haven't been through what I've been through. It is basically what you're saying. It's like, you haven't earned this the way I have. Is my life worth $300,000? And he said, no. So he took all of his savings, which was about 300,000, and he self-published his own book, New York Times bestseller. Did the hardbacks, did the whole thing.Michael Jamin:Why didn't it take him 300,000 to make a book? It shouldn't have taken fraction of that.Phil Hudson:He did all of the publishing himself. So he didn't publish through a self-publisher like Amazon. He didn't even want to partner with Amazon, so he became his own publisher.Michael Jamin:SoPhil Hudson:He literally printed up hundreds of thousands of copies, and then he leveraged all of his relationships with the Rogans and all these people with these platforms because of the life and the experience that he had, and multiple time bestsellers, millions of copies, sold books,Michael Jamin:TwoPhil Hudson:Books, and he's a millionaire because of that effort. So it's that same resilience mindset I think that I'm hearing from you. And that's probably why I made that connectionMichael Jamin:Just like, screw people. I'll do it myself. I don't need you. That's how I feel. Whatever, I'll do it myself. Yeah.Phil Hudson:That's awesome. Before we talk about the new podcast, I just wanted to see, are there any takeaways for you over the last year? Are there anything that really stood out moments or conversations we've had with you, with other people, us on the podcast or with other students in your course?Michael Jamin:If you listen to some of those other episodes where I'm interviewing people, you'll hear various versions of the same story that I tell their own, which is kind of like, screw it. I'll just do it my own. It is just people. The reason why people are, I interview, I guess, successful people, and the reason why they're successful is because they haven't quit yet. That's it. They just didn't get around to quitting. And so I think that's what it is. Until you quit, you're just a success. That hasn't happened yet. It just hasn't happened yet,Phil Hudson:Which is why you don't quit.Michael Jamin:Yeah.Phil Hudson:Anything else stand out to you?Michael Jamin:I don't know. Can you think of something?Phil Hudson:The one lingering thought that I have is I think that people, you set a really good example for people on your social media about how to handle naysayersMichael Jamin:BecausePhil Hudson:You get a lot of negativity, and you talked about this, you could go after them. You're a professional comedyMichael Jamin:Writer. Yeah.Phil Hudson:They don't stand a chance. And I have witnessed just the witty quickness, the decimation of a soul in a writer's room, all in love,Michael Jamin:ButPhil Hudson:The capability of a professional comedy writer to just tear someone down. And it's almost like with great power comes great responsibility. ThatMichael Jamin:ClichePhil Hudson:From Spider-Man, it's like you opt to take the high road, which is,Michael Jamin:And I'm always torn by that. Sometimes I'm like, I can easily take you down. And sometimes I do. If it's warranted, if they come out with me a certain amount of energy, then I can match the energy. But I'm torn. I also feel like, well, it's not enough that I, on one hand, I tell people I'm a comedy writer, but unless I show it every once in a while, people are, how are they going to believe me?Phil Hudson:And soMichael Jamin:It's a line that I dance. I dance, it is like I don't want to be mean, but I also,Phil Hudson:It's not negative energy. It's not done with maliciousness. It's done playfully. But I think it just, you stand up for yourself when it's appropriate.Michael Jamin:AndPhil Hudson:Again, that speaks to some of that resiliency that again, you could decimate 'em,Michael Jamin:You retrain yourself. I'm totally pulling punches, believe me when I'm pulling, because sometimes I've got a bunch of clips I haven't posted yet. I write them. I'll spend a half hour on 'em, and then I'll sit on it. I don't feel, and then I look at the next day, I go, oh, I can't put that on. It's funny, but it's just too mean. That'sPhil Hudson:The adage of when you're at work and you want to send that email, don't sendMichael Jamin:It.Phil Hudson:Write it out. Don'tMichael Jamin:Send it. GetPhil Hudson:It out of your system. Move on.Michael Jamin:Right. I took a guy apart the other day, I just haven't shared it, so screw it. That guy,Phil Hudson:You don't even share those with me.Michael Jamin:Yeah. But also I also do, and I made a post about this. It was like, how do I want to show up every day? How do I want to be seen? And I don't want be the mean guy. I don't want to be a bully. So I'm allowed to think my negative thoughts. I don't always have to share them.Phil Hudson:Yeah, yeah. No, and that's a valuable lesson for people in a world where, as I've often said, you remove the opportunity to get punched in the face for anything you say or do, and all of a sudden people start speaking up a little bit more than they probably should. And I'm not advocating for violence,Michael Jamin:ButPhil Hudson:Even a verbal punch to the face can often be enough. AndMichael Jamin:It'sPhil Hudson:Pretty easy in our society to just sit behind your keyboardMichael Jamin:AndPhil Hudson:Zero consequences for what you say and do. I call this out? I call this out in our webinars while you're talking, Cynthia, your wife is doing a great job of just getting questions, and I'm just kind of checking the chat to see what people are talking about. And man, there's some trolls rolling into your webinar too.Michael Jamin:Thank you. I never see them. Do you block 'em? What do you do?Phil Hudson:No, no. People take care. They take care of it. And we can talk about another experience we had where someone went after me on a podcast too, nepotism, do you remember that? Called me out for nepotismMichael Jamin:AndPhil Hudson:All that.Michael Jamin:AndPhil Hudson:Yeah, your listeners had my back and they went after 'em. And it is just a very stark difference between the community you've cultivated of people who are just respectful, sincere creatives looking to break in and chase their dreams and all the people who say they want to do it and are not putting in theMichael Jamin:Work and the nepotism on your part, to be clear, I suppose that was when you were in and out of foster care as a child. Is that when you experienced all the nepotism?Phil Hudson:Yeah, it might've been that. It might've been when I was in the group homes. It could have been when I lived in my aunt and uncle's house and I couldn't do sports because I had to workMichael Jamin:EffectivelyPhil Hudson:Full-time in high school. Could have been any of those times. Could have beenMichael Jamin:Of those times. Yeah.Phil Hudson:But your point to that was you knew one person tangentially through some girl when you moved here, there wasn't even an nepotism for you. And I knew you, and yeah, I've been blessed to have that opportunity, but we've seen enough people come and go, you have to earn it. Right?Michael Jamin:It's so funny when I tell that story. When I moved to Hollywood, I knew no one in Hollywood, but a girl I was friendly with in high school, she was a year younger than me. I found out that her brother was living in Hollywood and was trying to do what I did, which is bright sitcom writer. And so I called himPhil Hudson:Up, and thenMichael Jamin:We wound up becoming roommates. But then when I tell that story, people go, oh, so you did know someone. It was like, I knew some guy.Phil Hudson:He wasMichael Jamin:Just as unsuccessfulPhil Hudson:AsMichael Jamin:Me, and wePhil Hudson:BecameMichael Jamin:Roommates. He was just a couple years older than me. So I guess that's how I knew someone.Phil Hudson:But that highlights this thing. I was going to say, and it's just a quote that stuck with me for years. I think it comes from Jim Rowan, which is there's two ways to have the tallest building. One is to build the tallest building,Michael Jamin:WhichPhil Hudson:You have done the other ways to tear everyone else's building down.Michael Jamin:AndPhil Hudson:So if you're afraid to pursue your craft, sometimes tearing everyone else down is a bit easier than facing the empty page or the blank canvas. It'sMichael Jamin:A lot easier. It's a lot easier.Phil Hudson:And the high road, whichMichael Jamin:You'vePhil Hudson:Been an example forMichael Jamin:AnPhil Hudson:Exemplar, is just put your head down, do the work, provide value,Michael Jamin:AndPhil Hudson:Then the benefits will come eventually.Michael Jamin:And I really hope this episode doesn't seem like we're just patting me on the back. I hope it serves be to get you guys to do what I'm doing in your own way for whatever you want to do.Phil Hudson:And Michael saying that, because Michael didn't know what I was going to talk about or bring up here, this is me bringing this up because these are the things that I've observed as your friend, as a co-host on the podcast, but also just as someone who's just trying to do the same thing that everybody who listens to your podcast is tryingMichael Jamin:To do,Phil Hudson:Which is break in and chase their dreams.Michael Jamin:Yeah, I'm exactly like you guys. Only, I'm doing it for writing. That's all for publishing,Phil Hudson:Which speaks to the transition to the podcast, which is the title of the podcast. What the hell is Michael? WhatMichael Jamin:The hell is Michael Jamin talking about?Phil Hudson:Yeah. What the hell is Michael Jamin talking about? At this point, you can see the cover has changed, so it's going to be the same feed. You don't need to go resubscribe. None of the old episodes are rebranding. They'll still be live and available the way they were. But it's just a shift into talking about creative things. And I think you got some cool stuff to kind of display. I guess people might've already heard the intro.Michael Jamin:Oh, we could do that. WePhil Hudson:Put on this episode. But you want to talk more about that, the podcast and impetus for the change and why we were here?Michael Jamin:Yeah. Well, there was that. The new music is by my friend Anthony Rizzo, who did all the music. He was the composer on Marin. It wasn't my friend. Then. I just met him on Marin. And then he also did the music for my book, a paper orchestra, which would be dropping hopefully this winter and keep pushing itPhil Hudson:Back. Yeah, we haven't talked about that. You've put in a ton of energy and effort into recording the audio book and making it your live events, which I wanted to point out part of this transition, and you've always talked about how when you're in a writer's room, you end up acting out the parts, like when you're doing Hank on King of the Hill, you do Hank's voice and you kind of mimic him. You're doing Bobby, you do it. So you've always been a performer, but I don't know if you've been a performer in the sense that you are with a paper orchestra whereMichael Jamin:It'sPhil Hudson:A stage show and you're there and you're being vulnerable and emotional, and you're making it a thing, and you're practicing and you're working with talented coaches like your wife, Cynthia, who is a very talentedMichael Jamin:Actress,Phil Hudson:And Jill Sch, who is a legendary actress, and you're investing in all this coaching to put on a presentation or performance for people. And I have not heard audio book, but what I understand is it's going to be very similar experience to come into a live show.Michael Jamin:I think so. And it'll be a little more intimate than a live show in your ear because it's an audio book. I'm much closer to your brain, and I want to talk to morePhil Hudson:CreatorsMichael Jamin:Like this. But what I'm personally inspired by right now, and that maybe it'll change in five years, but I'm inspired by people who tell and perform their own stories. To me, there's something, so you're an actor. You have to be a writer and a performer at the same time, as opposed to doing something like creating something. That's fine. But when you're telling your own story, it's like, man, you're really putting yourself out there. And I think when I see people do it, I'm like, all right, that's interesting. Maybe I'll change in five years. So I mean, standups do that, but they don't do it. They're going for the laugh usually. They're not usually going deeper than that, which is fine that when you go into a comedy club, that's what you expect. So that's kind of what I've been exploring and being motivated by.Phil Hudson:That's another Michael Jainism that stood out to me. I wrote it down when you were talking earlier, go there. You have to be willing to go there. And we talked about people who are not willing to go there. And we've heard people, other writers say, I'm not willing to go there. And you've called it out privately to me, did you hear that person? Did you hear what they said? And you have to be willing to go there. For a long time, I wasn't. And through your help, I've been able to do that. But yeah, you're talking to people who go there.Michael Jamin:Yeah, that's the job. If you don't want the job, find another job. It'sPhil Hudson:Emotional vulnerabilityMichael Jamin:AndPhil Hudson:Being willing to put yourself out there and not just on a social media perspective, but truly emotionally vulnerable in your stories and what you've called mining your life for stories and putting that out there.Michael Jamin:Yeah. Yeah. To me, that's the exciting stuff. And I didn't invent this, so it's just when I see others do it, I'm like, wow, why I should be doing that too.Phil Hudson:So obviously I'm not necessarily a co-host of this anymore. I'm still helping produce the thing. We're still making sure that that'sMichael Jamin:How hear a lot the technicalPhil Hudson:Side. I'll still be popping in on podcast episode.Michael Jamin:We'll still be talking about screenwriting, I'm sure.Phil Hudson:And I had this cool experience, and I don't think we've talked about this when I was on touring with the broken lizard guys doing their social media, just sitting there talking to them and seeing this rabid fan base of people who just love them from this thing that they created. When they did it, they put themselves out there.Michael Jamin:AndPhil Hudson:It really lit that our tour spirit I had back in 2000 8 0 9, when I was really dedicating myself to screenwriting. And I have actually been working on a feature that I would like to star in and direct and do that whole thing on the indie level. Just now you talking, just an exercise. What aboutMichael Jamin:As a short first, why not doing it as a shortPhil Hudson:Could definitely do that. Yeah. Why?Michael Jamin:ToPhil Hudson:Me, there's a feature in there for sure that I want to write and just get out of me, but definitely worth doing a short, yeah,Michael Jamin:Go watch as we talk about this. Go watch on Vimeo, I think Thunder Road, that scene we talk about, go watch the church, the Churching. That was a feature, but that scene stands on its own. If you just saw that scene, you would've thought, oh, it's a short, I thought it was a short, I thought it was a great short, I didn't realize it was part of a bigger, so do something like that. And then when people see that and they're blown away, you'll say, oh, well, there's more to come. Just I need you to donate $5,000. And then they pay for the rest.Phil Hudson:Yeah. Yeah. That's great advice. Great advice. So yeah. So anyway, this beautiful shift in the tide of creativity and your shift, and that rubs off. What can we expect from the podcast in terms of guests you're interviewing? What does that look like for you?Michael Jamin:I reach out, I got to continue to do more. I'm doing another one tomorrow. I'll be reaching out. These guys really inspired me. So there's a movie that I saw on Netflix many years ago, I dunno, maybe five years ago from these guys called The Minimalists. So I reached out to one of them. He's going to be on the Tomorrow, and they're fascinating. It is.Phil Hudson:Joshua Fields Millburn, andMichael Jamin:He's the one coming on, and he's gracious enough to come on, and I'm sure he's going to think we're going to talk about the message. And the message is very important. The message is how you can live, how you can have more in your life with less how you don't need to buy this, how you'll be happier if you get rid of that, and great message. But he's in for a surprise because we'll talk about that. But I really want to talk about how he created himself, how he, okay, then how did you sell a show on Netflix? Okay, now what is it like to be this person? Because he wasn't, he was just some guy who's middle management before he did this, and now he's the guy who has this message. Even though the message has already been said before by other people, he still put a different spin on it to me. And I find that inspiring, that somebody who invented himself, what does that feel like? What are the insecurities that come with that? What is this new fame ish thing that he has? How does that feel? How does he continue to push himself? I don't know. I'm looking forward to the interview. I'm curious to hear, and I bet you he hasn't spoken about that.Phil Hudson:That's awesome.Michael Jamin:I did an interview, I dunno if it, no, it hasn't aired yet. The guy I follow, a prop master that I follow on TikTok named Scott and Scott Reeder, and he's great.Phil Hudson:Great. I follow him too.Michael Jamin:He's great. He just talks about all the props and how he makes these props, and we spoke a little bit about that, but we were more talking about how he invented himself now. And halfway through the interview, he says to me, this is the best interview anyone's ever done, because I didn't really care about the boring stuff. I want to know how he invented himself. What all of us, I think are trying to do right now. That's part of Before we Die, we, that's, who else can we be before we die?Phil Hudson:Yeah, that's profound, man. I'm excited. I've loved listening to the interviews you've already done on Screenwriters. Need to hear this. I'm looking forward to those.Michael Jamin:It'sPhil Hudson:Good stuff, man. I'm just really pumped for this new stage. And again, I do think it just speaks a little bit more to who you've become because not that you've outgrown yourself as a writer, it's just you've evolved a bit as a person into being a bit more than that. And I hesitate to even say that too, because I know this is who you are. This is who you have been.Michael Jamin:But this is what writers too, I think it's like, all right, what else can we explore here? That's part of the fun. That's the fun part being, being a writer is that you get car, right? You get carte blanche to try new things because maybe I can write about this worst case scenario. I can make a story from it.Phil Hudson:I was about to say, that's advice you've given me multiple times, which is it's a write-off. You can go take aMichael Jamin:Basket weaving class,Phil Hudson:Right? Go take aMichael Jamin:Dance class. Why?Phil Hudson:It's an experience. Go take an acting class. And I remember you did a workshop in Acting for Life and it was a comedy workshop and you were kind enough to invite me to attend that. And I was already studying with Cynthia and Jill at the time there. And yeah, I remember you just putting out that same thing. It's great. You're studying acting, it's going to make you a better writer.Michael Jamin:And you'vePhil Hudson:Given that advice on the podcast too. So it's really fascinating to me. And I'm just kind of realizing this in this moment, man, I thought I was getting all this great free advice that was particular to Phil Hudson and now you're justMichael Jamin:Giving it toPhil Hudson:Everybody, man.Michael Jamin:Everyone. I hope so. I'd like to try to do, we'll see if I can make that happen where I go to, that's something I'm going to try to make happen where I can tour to different cities, put on a show, and then the next day maybe a writing seminar afterwards in that city so I can to help offset some of my costs. And then we could just talk about writing that day. We have a little writing workshop or something, so maybe I'll try to do that.Phil Hudson:God, that's awesome. It's the first I've heard of that. That sounds like a great,Michael Jamin:Yeah, it's just so many things that have to happen before that. I got so much on my plate right now. I can't even think about that. But we were talking about that. Wouldn't that be interesting?Phil Hudson:It's a great idea. Well, I imagine Cynthia will be with you.Michael Jamin:Yeah, yeah,Phil Hudson:Yeah. And that's awesome. Now you're getting someone who's been on Seinfeld and the friends and just allMichael Jamin:ThesePhil Hudson:Great, I mean very talented, very, and I will say not only talented, but very perceptive,Michael Jamin:Right? Oh yeah.Phil Hudson:And I think I've shared this on here too, but there was this moment where I just couldn't get there. I just couldn't get there. And Jill's just saying, what are you feeling? And IMichael Jamin:Was like, I don't know.Phil Hudson:And she turns to the class and she's like, what is everyone? What's he feeling? Everyone's like, he's mad. And I didn't even realize I was mad. And then the next class, I'm struggling in this scene. And then Jill's like, what are you struggling with? What's going on? I was like, I don't know. And then Cynthia's like, is it the intimacy? Is he having trouble with the intimacy of the scene? And I was like, holy shit. Yeah. I think that's what it is. I am not willing to go here. And I had to work through all that stuff. So she's just so perceptive and so kind. You can't even be not mad. She's calling you out because it's done with so much love and compassion. It's a beautiful thing.Michael Jamin:We've had these moments, by the way, when she directs me from my audio book where the outtakes are not pretty, the outtakes are me yelling.Phil Hudson:ButMichael Jamin:It's funny, one of thePhil Hudson:Stories in my bookMichael Jamin:Is called The House on Witherspoon Street where I'm a kid in college. They're all true stories. And it builds to me giving an on-air interview to this woman who's this eccentric woman who had a talk show. She was lovely, but she's larger than life and it's in the book. And then my editor said yesterday, he goes,Phil Hudson:Do youMichael Jamin:Happen to have that interview? And I was like, well, actually, I think I do. And I found the cassette from 30 years ago. And so we'll put it in the bonus section of the book where now you can hear me, you can hear me as a 19 year old or whatever it was. Has that scene unfolded? That's likePhil Hudson:Steve LE's break dancingMichael Jamin:Commercial, but it's stranger than that because you'll know now what I was thinking in my headPhil Hudson:While That's awesome.Michael Jamin:While it was going on. That's aPhil Hudson:Great point.Michael Jamin:Yeah, it's a fun little thing.Phil Hudson:It's cool stuff, man. I love it. I'm pumped. It's a good shift for you. I think it's a good shift for your audience. I think it opens it up a little bit. Hope it's a little bit more accessible to your audience. Your audience is far more than just writers. It'sMichael Jamin:Great. I don't want to just, when it called screenwriters, you hear this. Well, does that mean I don't want to be a screenwriter? Well, okay, but do you want to do anything creative? Yeah, sure I do. I want to write a poem. Okay, good. Now listen, you can, thePhil Hudson:Other thing is how does this apply to novel writing? How does this apply to playwriting? And we have a testimonial video from a guy who does financial writing, and he took your course and he's like, it made my financial writing better.Michael Jamin:He'sPhil Hudson:Able to tell a better story aboutMichael Jamin:Finances in a finance journal. And stories are what gets people hooked. Whatever you want to sell, sell it with a story. People are interested in hearing a story veryPhil Hudson:Often. That's you,Michael Jamin:Right?Phil Hudson:It's you in the room, it's you idea, it's yourMichael Jamin:Acting,Phil Hudson:It's yourMichael Jamin:Art.Phil Hudson:All of that is story.Michael Jamin:By the way, I hope to do some more public speaking. So if anyone has a,Phil Hudson:It works at a corporationMichael Jamin:And you want me to do public speaking, we have a number of talks,Phil Hudson:Keynotes. We can talk about that, Michael. I do a lot of that with some clients.Michael Jamin:Oh really? Oh good. We'll talk about that. KeynotePhil Hudson:Marketing. Yeah. Well, good stuff. Anything you want to add? I mean, we had talked, I think, a little bit about potentially putting the music on. I think everybody's already heard the music on. We've heard some of it. It'sMichael Jamin:Funky. Do youPhil Hudson:Want to play it? It's aMichael Jamin:Funky, let's play some of it. Okay,Phil Hu

Cinematographer Eric Steelberg, ASC has always loved movies, which is what led him to a career as a director of photography. He tries to find compelling film and television projects, putting his own stamp on the story's visuals. Back in 2006, Eric was at the beginning of his career as a DP when he shot the small independent film, Quinceañera which won both the Audience Award and the Grand Jury prize at Sundance that year. It was shot in HD, which was very new technology at the time, especially for smaller films. After Quinceañera, Eric's career began to take off. He'd been a frequent collaborator with director Jason Reitman, whom he met shooting commercials and smaller projects, but not films. Working on Quinceañera gave Eric more credibility as a DP, so Reitman asked him to shoot his next film, Juno. At first it was an uphill battle to get Juno's financiers, Fox Searchlight, to sign off on Eric, because they didn't see him as experienced enough for the job. But Reitman fought for him, and it led to a long relationship with Eric as Reitman's director of photography for Juno, Up in the Air, Young Adult, Labor Day, Men, Women & Children, Tully, and Ghostbusters: Afterlife. Eric never dreamed he'd start at Juno and end up working on the Disney + Star Wars series, Ahsoka. Eric was cinematographer for episodes 1, 2, 4, 6 and 7, with director of photography Quyen Tran, ASC taking on episodes 3, 5, and 8. He began prepping the show with executive producer/showrunner Dave Filoni, frequently touching base with Q since she wasn't able to come on set until later. Both Eric and Q have similar approaches to lighting and composition, and Eric feels it was the best version of a two DP collaboration that there could be. One of the biggest successes of their working relationship was doing their camera testing together and knowing they were aligned with the cameras, lenses and lighting for the show. As a Star Wars fan, Eric was familiar with the source material and he felt so much joy working on a piece of the saga. He had never done a show shot on volume and blue screen stages, and Eric saw it as an opportunity to learn something new. As a DP, he feels his biggest job is listening, looking and paying attention to what the director and the rest of the team wants to see on the screen. Developing the look of Ahsoka began with the art department's concept art for the show, but there was lots of room for creativity as the characters travel to different planets. Eric found Ahsoka to be by far the HARDEST show he has ever worked on, but he also feels extremely proud of his work. Ahsoka is currently on Disney+. Find Eric Steelberg: http://www.ericsteelberg.com/ Instagram: @ericsteelberg Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Danielle Macdonald was born and raised in Sydney, Australia. At the age of 18, she moved to Los Angeles to pursue acting full-time. Audiences know Danielle for her breakout role as ‘Patti' in Fox Searchlight's PATTI CAKE$as well as the title character opposite Jennifer Aniston in DUMPLIN'. She also stars in the romantic comedy FALLING FOR FIGARO from director Ben Lewin which premiered at the Toronto Film Festival in the Industry Selects section. Macdonald stars alongside Jamie Dornan in the new HBO Max Thriller THE TOURIST. The series also debuted internationally on Stan in Australia and on BBC in the UK to rave reviews. Macdonald also won the Breakthrough Actor award for her role in THE TOURIST at the Edinburgh TV Festival's TV awards. The series recently got picked up for a second season and set to start production in April. Audiences can also seeMacdonald as a guest lead in Rian Johnson's new Peacock anthology series POKER FACE alongside Natasha Lyonne. Macdonald also appeared opposite Sandra Bullock in Netflix's runaway hit, BIRD BOX. Additionally, she appeared in Fox Searchlight's Oscar-winning short film, SKIN, opposite Jonathan Tucker. She also appearedin the feature version of A24's SKIN, with Jamie Bell, as well asPARADISE HILLS with Emma Roberts and Awkwafina. Jess and Jenn dive into Danielle's journey as an actor, how she prepares for her roles and the kinds of projects she's looking forward to taking on in the future. - Coffee with Casting - Danielle's Whine of the Week - How Danielle Prepares for Her Work - Danielle's Origin Story - Embracing the industry in the U.S. - Handling the Heartbreak of Losing Jobs - Finding the Right Representation - The Sundance Director's Lab - PattiCake$ - The Casting of Dumplin' - Trusting Your Gut When Picking Projects - Falling for Figaro - Working with Jamie Dornan - Danielle's Dream Role - The Multi-Layered Issue of Self-Tapes & Zooms Resources - Danielle's IMDB Danielle's Instagram ──────────────────────────── ⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠ Watch the ⁠⁠Tipsy Casting YouTube Channel⁠⁠ ⁠⁠Follow Jessica ⁠⁠ & ⁠⁠Follow Jenn ⁠⁠ Learn More About ⁠⁠Jess ⁠⁠& ⁠⁠Jenn's⁠⁠ Casting Journeys ⁠⁠Get Casting Life Away Merch here!⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/tipsycastingpodcast/message

This is our spoiler-free review for Flamin' Hot. We discuss the good spice, and the bad spice in this heartwarming underdog story, and directorial debut for Eva Longoria.Flamin Hot is streaming on  Hulu & Disney+ on June 9th, 2023.Check out Geekcentric onYouTube | Instagram | Twitter | TikTokJoin the Geekcentric Discord  HEREJoin Nate on Twitch at - twitch.tv/nateplaysgames

In this brief demonstration from 2022, Ashly Lovett shares her process, techniques, and tips for working with pastels. About Ashly Lovett: Known for her captivatingly ethereal artwork in chalk pastel, Ashly Lovett is an illustrator, writer and gallery artist. Inspired by folklore and mythology, she hopes to bewitch her viewers with a deep sense of wonder and dark nostalgia. She has done licensed work for FOX Searchlight, Jim Henson Company, Adult Swim, Netflix, SEGA, and more. She received her BA in Illustration from Ringling College of Art and Design and has been published in Spectrum Fantasy Art Annual 22-27, Society of Illustrators of Los Angeles, etc. Ashly Lovett is instructing with VAP next semester for our Ideation & Visual Storytelling course. Learn more about all of our Art Mentorships: Illustration Mentorship Track Fine Arts Mentorship Track Character Design Mentorship Track

Known for her captivatingly ethereal artwork in chalk pastel, Ashly Lovett is an illustrator, writer and gallery artist. Inspired by folklore and mythology, she hopes to bewitch her viewers with a deep sense of wonder and dark nostalgia. She has done licensed work for FOX Searchlight, Jim Henson Company, Adult Swim, Netflix, SEGA, and more. She received her BA in Illustration from Ringling College of Art and Design and has been published in Spectrum Fantasy Art Annual 22-27, Society of Illustrators of Los Angeles, etc. She lives in Louisiana with her husband Matthew, son Leon, and fat cat Skeletor (Skelly.) Join our community on Discord: https://discord.gg/aaz4CrXk3c Learn more about our Art Mentorships Illustration Mentorship Track: https://visualartspassage.com/illustration/ Commercial Gallery Mentorship Track: https://visualartspassage.com/commercial-gallery-art/ Character Design Mentorship Track: https://visualartspassage.com/character-design/

Nathan Ruyle is a Sound Designer, Supervising Sound Editor, Re-recording mixer, and the founder of the independent post-production sound company, This is Sound Design. This is Sound Design provides complete sound services for independent, mid-budget, and studio feature films and series, including recent releases by Universal, HBO, Sony, Fox Searchlight, Netflix, Blumhouse and Amazon. Nathan has designed and mixed over 70 feature films which have premiered at every major festival in the world, including films shortlisted for the Academy Award (United Skates, HBO) in 2019 and nominated for an Emmy (Every Act of Life, PBS) in 2020 and multiple awards from Sundance, Cannes, and SXSW. Nathan has an MFA in Sound Design and Integrated Media from the California Institute of the Arts (CalArts) where he also taught for 7 years as a member of the film and animation faculty. Nathan is also a frequent lecturer at AFI and has worked with students on three Student Academy Award-winning films. Nathan's company, This is Sound Design, recently opened a new full-service post-sound facility in Burbank, CA with 3 mix stages and ADR/Foley recording studios. Nathan sat down with Fares Muthana to discuss what sound design is, what goes into recording sound for a project, working on the Oscar shortlisted film Joyland, the process of ADR recording, and more. This Is Sound Design Website: https://tisd.tv/#about This Is Sound Design Instagram: https://www.instagram.com/tisdstudios/?hl=en Let's Get Ready Network is the place for coverage of all the things you love. On LGRN - Entertainment, we discuss, review, and react to movies, TV, video games, pop culture, and more. YOUR HOST FOR THIS EPISODE ►Fares Muthana http://www.twitter.com/FaresMuthana

Scott Copper (Director, Screenwriter, Producer) made his feature film directorial debut in 2009 with Fox Searchlight's Oscar-winning CRAZY HEART, which he also wrote and produced. The film, which starred Jeff Bridges, Maggie Gyllenhaal, Colin Farrell and Robert Duvall, earned three Academy Award nominations, winning for Best Actor (Bridges) and Best Original Song (T Bone Burnett and Ryan Bingham). Cooper won an Independent Spirit Award for Best First Feature and earned WGA, USC Scripter and Independent Spirit Award nominations, for his screenplay.Cooper's follow-up was the Leonardo DiCaprio/Ridley Scott-produced OUT OF THE FURNACE, starring Christian Bale, Woody Harrelson, Casey Affleck, Zoë Saldana, Forest Whitaker and Sam Shepard. For his work as writer, director and producer, Cooper won the Best Debut and Second Film Award at the 2013 Rome Film Festival, where he was also nominated for a Golden Marc'Aurelio Award. Next was Cooper's 2015 Warner Bros. gangster film BLACK MASS, which Cooper both directed and produced and which made its worldwide debut at the Venice International Film Festival.The box-office hit garnered wins from critics associations across the country, and earned lead actor Johnny Depp the Desert Palm Achievement Award at the Palm Springs International Film Festival, as well as a Best Actor nomination from the Screen Actors Guild. In 2017, Cooper's western epic HOSTILES debuted at both the Telluride Film Festival and Toronto International Film Festivals, earning widespread critical acclaim. The film reunited Cooper with his OUT OF THE FURNACE star Christian Bale and featured performances from Rosamund Pike, Wes Studi, Jesse Plemons, Rory Cochrane and Ben Foster. Cooper followed this up with ANTLERS, an exploration of yet another genre in the Guillermo Del Toro-produced horror film. Searchlight released the film to acclaim in October 2021.Most recently, Cooper re-teamed for the third time with Bale on THE PALE BLUE EYE, an adaptation of Louis Bayard's novel of the same name. The film tells the story of a series of murders at the United States Military Academy at West Point in 1830 and a cadet the world would later come to know as Edgar Allan Poe. Robert Duvall, Gillian Anderson, Timothy Spall, Toby Jones and Harry Melling round out the cast. The Netflix film will debut in Fall of 2022. Born in Virginia, Cooper now resides in Los Angeles.Please enjoy my conversation with Scott Copper.

On this season 5 premiere episode, we discuss the new film "Avatar: The Way of Water" now playing in theaters! Mike describes how the CGI and special effects work in this film and we give our overall honest thoughts on this hit blockbuster.  Saturday Morning Serial Podcast Website: https://www.podpage.com/saturday-morning-serial/ Twitter: @SerialSaturday Instagram: @saturdaymorningserial_podcast

Today's guest is a writer, director, producer, actor and indie filmmaking legend Edward Burns. Many of you might have heard of the Sundance Film Festival winning film called The Brothers McMullen, his iconic first film that tells the story of three Irish Catholic brothers from Long Island who struggle to deal with love, marriage, and infidelity. His cinderella story of making the film, getting into Sundance and launching his career is the stuff of legend.The Brothers McMullen was sold to Fox Searchlight and went on to make over $10 million at the box office on a $27,000 budget, making it one of the most successful indie films of the decade.Ed went off to star in huge films like Saving Private Ryan for Steven Spielberg and direct studio films like the box office hit She's The One. The films about the love lives of two brothers, Mickey and Francis, interconnect as Francis cheats on his wife with Mickey's ex-girlfriend, while Mickey impulsively marries a stranger.Even after his mainstream success as an actor, writer and director he still never forgot his indie roots. He continued to quietly produce completely independent feature films on really low budgets. How low, how about $9000. As with any smart filmmaker, Ed has continued to not only produce films but to consider new methods of getting his projects to the world.In 2007, he teamed up with Apple iTunes to release an exclusive film Purple Violets. It was a sign of the times that the director was branching out to new methods of release for his projects.In addition, he also continued to release works with his signature tried-and-true method of filmmaking. Using a very small $25,000 budget and a lot of resourcefulness, Burns created Nice Guy Johnny in 2010.In his book, Independent Ed: Inside a Career of Big Dreams, Little Movies, and the Twelve Best Days of My Life (which I recommend ALL filmmakers read), Ed mentions some rules he dubbed “McMullen 2.0” which were basically a set of rules for independent filmmakers to shoot by.Actors would have to work for virtually nothing.The film should take no longer than 12 days to film and get into the canDon't shoot with any more than a three-man crewActor's use their own clothesActors do their own hair and make-upAsk and beg for any locationsUse the resources you have at your disposalI used similar rules when I shot my feature films This is Meg, which I shot that in 8 days and On the Corner of Ego and Desire which I shot in 4 days. To be honest Ed was one of my main inspirations when I decided to make my first micro-budget feature film, along with Mark and Jay Duplass, Joe Swanberg and Michael and Mark Polish. Ed has continued to have an amazing career directing films like The Fitzgerald Family Christmas, The Groomsmen, Looking for Kitty, Ash Wednesday, Sidewalks of New York, No Looking Back and many more.Ed has continued to give back to the indie film community with his amazing book, lectures and his knowledge bomb packed director commentaries. Trust me go out and buy the DVD versions of all his films. His commentaries are worth the price of admission.When I first spoke to Ed he told that he had been a fan of the podcast for a while. As you can imagine I was floored and humbled at the same time. Getting to sit-down and speak to a filmmaker that had such an impact my own directing career was a dream come true. Ed is an inspiration to so many indie filmmakers around the world and I'm honored to bring this epic conversation to the tribe.Enjoy my conversation with Edward Burns.

In 2007, the dynamic husband and wife filmmaker duo of Bayou Bennett and Daniel Lir founded Dream Team Directors. Their vision was to combine imagination, humor, beauty and a desire to positively impact the world through their stunning creative work. They started their collaboration as writer/director with the viral hit “Text Me” which won multiple awards, was featured in Teen Vogue, Seventeen, NY Press and voted for honors by Execs at Fox Searchlight, DreamWorks, MTV, New Regency.    The film quite literally captured the texting and Facebook generation and was praised by producers such as Martin Brown's "Moulin Rouge". In their 13 years of working as a stellar team, they have had the opportunity to collaborate, direct and produce with great talents such as Oscar nominee Mark Ruffalo, Oscar nominee Juliette Lewis, Golden Globe nominee Anthony Mackie, Lea Michele of Fox's "Glee” and "Scream Queens", Coldplay, P. Diddy, Paris Hilton, Lindsey Stirling and top model, Bella Hadid.   Their company motto, "Let our dream team manifest your dream", symbolizes the expansion and positive attention they win for their celebrity and high-profile brand clients such as Adidas, Atlantic Records, Smashbox Cosmetics, Chrome Hearts and more. Their most recent inspiring drama, “Tombstone Pillow”, shot in a Manila cemetery where 6,000 families live received a flood of awards including Best Inspiring Film, Best Drama, Best Screenplay, Best Cinematography and Best Short Film which brings their total festival wins to over 60.   They also offer a course called Build Your Brand, Your Following, Your Empire to help people learn how to create content by just your mobile phone.   Learn how to use your phone to create professional videos that get you   more customers.  Learn how to present your product or service online and get excellent   results. Learn how to make planning and creating your content fun, effective,   and budget-friendly. Learn how to create endless social media video content on any budget.   Five tips on how to become a successful filmmaker: Learn how to sell. It's an Art but there is a business side of it. Always have your branding down. How are you different from other filmmakers? Always know your worth and your value. It is important how much you should charge. Don't be afraid to promote.  Never Give Up, no matter how hard it is. Connect with Bayou Bennett: Social Media links: https://www.instagram.com/bayoubennett/ https://www.instagram.com/dreamteamdirectors/ http://www.linkedin.com/in/bayou-bennett-8046b614/ http://www.facebook.com/bayoubennett http://www.youtube.com/channel/UCuG8VVz66CVBAe114SUQ34A http://www.twitter.com/dreamteamfilm Website: www.dreamteamdirectors.com   Connect with me: Email: mayly@donutprincessla.com Business Website: www.donutprincessla.com YouTube: Mayly Tao / DONUT PRINCESS LA Apple Podcast: Short N' Sweet: A Donut Princess Podcast  Instagram: @donutprincessla / @maylytao Facebook: Donut Princess Los Angeles Twitter: Donut Princess LA  Tiktok: teochewdaily LinkedIn: Mayly Tao   *Donate supplies to poor Khmer communities: https://gofund.me/e2569649 *Watch the Donut King Film here: thedonutkingfilm.com (also available on Hulu, Apple TV, Google Play, and Amazon Prime Now)   Book Now:   Donut Exotics: www.donutexotics.com Donut Princess LA: www.donutprincessla.com First Class Doc Prep: email jessie@1stclassdocprep.com

We have made it to 450 episodes of the Indie Film Hustle Podcast. The IFH Tribe has given me 450 opportunities to serve them and for that I am humbled. Thank you all for allowing me to do what I love to do so much. With that said I wanted to bring you a massive guest for this remarkable milestone. Today's guest is a writer, director, producer, actor and indie filmmaking legend Edward Burns.Many of you might have heard of the Sundance Film Festival winning film called The Brothers McMullen, his iconic first film that tells the story of three Irish Catholic brothers from Long Island who struggle to deal with love, marriage, and infidelity. His cinderella story of making the film, getting into Sundance and launching his career is the stuff of legend.The Brothers McMullen was sold to Fox Searchlight and went on to make over $10 million at the box office on a $27,000 budget, making it one of the most successful indie films of the decade.Ed went off to star in huge films like Saving Private Ryan for Steven Spielberg and direct studio films like the box office hit She's The One. The films about the love lives of two brothers, Mickey and Francis, interconnect as Francis cheats on his wife with Mickey's ex-girlfriend, while Mickey impulsively marries a stranger.Even after his mainstream success as an actor, writer and director he still never forgot his indie roots. He continued to quietly produce completely independent feature films on really low budgets. How low, how about $9000. As with any smart filmmaker, Ed has continued to not only produce films but to consider new methods of getting his projects to the world.In 2007, he teamed up with Apple iTunes to release an exclusive film Purple Violets. It was a sign of the times that the director was branching out to new methods of release for his projects.In addition, he also continued to release works with his signature tried-and-true method of filmmaking. Using a very small $25,000 budget and a lot of resourcefulness, Burns created Nice Guy Johnny in 2010.In his book, Independent Ed: Inside a Career of Big Dreams, Little Movies, and the Twelve Best Days of My Life (which I recommend ALL filmmakers read), Ed mentions some rules he dubbed “McMullen 2.0” which were basically a set of rules for independent filmmakers to shoot by.Actors would have to work for virtually nothing.The film should take no longer than 12 days to film and get into the canDon't shoot with any more than a three-man crewActor's use their own clothesActors do their own hair and make-upAsk and beg for any locationsUse the resources you have at your disposalI used similar rules when I shot my feature films This is Meg, which I shot that in 8 days and On the Corner of Ego and Desire which I shot in 4 days. To be honest Ed was one of my main inspirations when I decided to make my first micro-budget feature film, along with Mark and Jay Duplass, Joe Swanberg and Michael and Mark Polish. Ed has continued to have an amazing career directing films like The Fitzgerald Family Christmas, The Groomsmen, Looking for Kitty, Ash Wednesday, Sidewalks of New York, No Looking Back and many more.Ed has continued to give back to the indie film community with his amazing book, lectures and his knowledge bomb packed director commentaries. Trust me go out and buy the DVD versions of all his films. His commentaries are worth the price of admission.When I first spoke to Ed he told that he had been a fan of the podcast for a while. As you can imagine I was floored and humbled at the same time. Getting to sit-down and speak to a filmmaker that had such an impact my own directing career was a dream come true. Ed is an inspiration to so many indie filmmakers around the world and I'm honored to bring this epic conversation to the tribe.Enjoy my conversation with Edward Burns.

Fox Searchlight's 2022 film, The Menu is in theaters on November 18. The fictional restaurant in The Menu is called Hawthorn. We are talking to the writers and creators of Hawthorn, Seth Reiss, and Will Tracy.

Award-winning, writer, director, actress Christina began her career acting in such cult films as Suburbia, Boys next door and Dudes. She was one of three women accepted into Fox Searchlights new director s program, her IFP nominated Best screenplay, debut feature, PERFECTION was part of their rough-cut labs, Independent film week and winner of The Adrienne Shelly female directing award.PERFECTION screened at The Oxford film festival where Christina won Best Actor and Best Narrative feature and also screened in the San Francisco International Women's film festival, the USA film festival in Dallas, Texas, The Egyptian theatre in Hollywood, CA, premiered at the RIO cinema London, The Quad cinema, New York and screened at The Laemmle' s Monica 4plex in Santa Monica, CA.Christina has sat on the juries for the London feminist film festival, the Eastern European film festival, the 100 word film festival, NC and has served head of the jury at the USA film festival, Dallas.Her upcoming projects include, EXPECTING GRACE set in Marseilles France, her short, HOOKER #2 and the punk rock pilot, POSEUR. Christina has lectured at The New York film academy, The Met School, London, Harvard Westlake, Cal State Fullerton and is an adjunct professor at Loyola Marymount University in Los Angeles in the film and television department.Show NotesChristina Beck's Website - https://www.christinabeck.comChristina Beck on Instagram - https://www.instagram.com/cbrubylee_xtinabeck/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistTranscripts Are Auto-GeneratedChristina Beck:I always say to my students, Pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories. But to say something visually is powerful. I think it can change minds and hearts.Michael Jamin:You're listening to Screenwriters Need To Hear This with Michael Jen. Hey everyone, this is Michael Jamin and you're listening to Screenwriters. Need to Hear This. We got a special guest for you today. If you are an indie filmmaker, an aspiring indie filmmaker, you're gonna wanna listen to this. You're gonna wanna meet Christina Beck, who I've known forever. She's an old friend, independent filmmaker, but she's you. She also teaches at Loyola Marmont University and the Fame Stella Adler Theater where she teaches screen screenwriting as well as film producing filmmaking, all that stuff. Well Christina, welcome to the big show.Christina Beck:Thank you. Thank you so much. I was gonna call you Mr. Jam and it's a habit. I can't help it.Michael Jamin:It's a habit. There it is. Cause cuz Christina briefly worked for me as an assistant for me and my partner on a show. And then I force you to call me Mr. JaminChristina Beck:. it just kind of fell into this thing. Yeah, no, you did not force me. You didn't force me at all.Michael Jamin:I never did that.Christina Beck:But I will correct you Mr. Jamin. So I actually don't teach at Stella Adler. I teach at least Strassburg, but I could see where you would choose that. Oh, at least Strasberg. Yeah,Michael Jamin:Just I would think,Christina Beck:Right. Well, they're all,Michael Jamin:They're East Strasberg. Go to that one.Christina Beck:Yeah, but sad. They're not around anymore. But the legacies are for sure.Michael Jamin:I haven't been to West Hollywood forever. Yeah. And you guys see, you got your one sheet from, That's from Perfection. Let's talk about what you're at, some of your movies that you've done, cuz Christina is an indie filmmaker. She's a hustler. She makes her movie, she writes your stuff. You also started as an actor, right? Where, let's take me back to the beginning. You basically started, you wanted to be an actress, right?Christina Beck:Yes, yes. Yeah. So I grew up here in Hollywood, actually not in Hollywood. I grew up in the Valley. Let's get real about that. So I like to call it the main streets of Studio City. And although it was very different back then, I know today it's a unaffordable, you can't even get in there. But back in the day it was the suburbs, basically. And my folks were in show business. My father was a screenwriter and an actor, and my mother was an actress, a model kind of actress. She ended up studying in New York with some very significant people. Sandy Meisner had a full scholarship for the Neighborhood Playhouse, which was a big deal back in those days. But my beginning with acting really started just as a kid. being extremely bored in the valley and putting on shows. I was that kid. I was putting on shows, arranging the stuffed animals. If we ever had company, they were held hostage to my extravagant. Really? Yeah. It was Cabaret 24 7 and . I know. Yeah. You didn't know that about me. Yep. I didn't know that. Yeah.Michael Jamin:I also didn't know your dad was a screenwriter. I didn't know that as well. Did he work aChristina Beck:Lot? Yes, he didn't work a lot as a screenwriter. He worked a lot as an actor. So when he came out to Hollywood, he's from Texas originally, and he came out to Hollywood and straight away got signed to William Morris, got put under contract at Universal and did a bunch of movies. But then he did westerns. I always played the bad guy on Bonanza andMichael Jamin:Yeah, Christina, I didn't know your Hollywood royalty Well,Christina Beck:A little bit, yeah. Yeah. Oh wow. Definitely the lineage is there. Yeah. But his real love was screenwriting. He didn't love acting. He really did fall into it. And he had a great look and he was a cowboy, so he played a cowboy, but he wasn't even really a cowboy. He's just from Texas. But yeah, there's this really great story. So Robert Blake, who some of us know strange stuff all around that guy. But that said, back in the fifties, he was friends with my father was friends with him, and Robert Blake had a part where he had to ride a horse. And my dad said, All right buddy, I'll take you out. And they went to, I think probably, well, I don't know what it's called now, but it used to be called Pickwick, which is in Burbank near Disney. They went out over there and not only did he teach him how to ride a horse, he helped him learn his lines. And because I heard this story later after my father passed Robert said, Your father, he really sat with me in this tiny little apartment and he had me drill my dialogue and I got the roof because of him and just very sweet old school. Wow. Hollywood, stuff like that. But that said, when my father wasn't working as an actor, he was always in his, it was dad's den type, type type, type type. He was always working on screenplays and he loved writing.Michael Jamin:Yeah. Do you feel the same? Do you acting more, writing more for you? Well, are you like your dad orChristina Beck:Not? No. Yeah. No, I'm not like my dad. I, there's bits of me that I like him, but it's more acting was definitely the first bug. And like I said, putting on shows at home. But then I got kind of lucky, I was in the valley still. So on Ventura Boulevard near Vineland there was this place called Moral Landis Dance Studio. And my mother used to go and take a jazz class there. This is the late seventies. And next door was a place called the American National Academy of Performing Arts. So I kind of wandered over there and at this academy place, and I ended up joining an acting class. And my very first acting class, an acting teacher, was a man named Francis Letter. And I didn't notice at the time, so I'm like nine years old, 10 years old, and he is about 80 or maybe seven in his seventies. And so I joined this acting class and then he asked me to be in the adult acting class, and I gotta play all the juicy, the bad seed and just fun stuff like that. Oh wow. And so it turns out that later on I found out that he was a big deal and he was in Pandora's Box, the silent film starring opposite Louise Brooks. And he's, and he did a ton of stuff for a long time. And then he was part of the actor studio in New York, and he was from Eastern Europe, but came over here right before the war, I think, . So that's when I really just was in heaven as a kid acting in this class. And then I also did some commercials with my brother. We were in some commercials. And then I became a teenager, , and then I became really rebellious and mm-hmm got into the punk rock scene and completely fell in love with music and artistry. I mean, really at that time too, this was the early eighties when punk rock wasn't necessarily vi What's so funny,Michael Jamin:Cause I can't picture you doing being into punk rock. I guess it,Christina Beck:I got pictures. I got pictures, and I've actually written the whole show about it. Yeah, I . But all that to say, yeah, I, I never wasn't like the punk rock chick. I more, I liked the artistry of it. I liked the right, And when I say that, I mean there were a lot of wonderful, cool artist people that I'd met mostly, much older than me at the time, but they were musicians and writers and actors. But they were on this kind of rebellious thing where we don't need permission to do anything, we just get to be creative. And that's what I loved mostly about that whole scene. And then there were different facets of it that were cuckoo and, and intense and lots of drugs and lots of alcohol and lots of inappropriate stuff. But then I got cast in a movie, so now it's my late teens.And my best friend, she was well there is a woman named Penelope's Theorists who has made films that we know of Wayne's World and different Hollywood films. But at that time she had made a documentary called The Decline of the Western Civilization, which is a really amazing film even to this day because she really got into that la punk rock scene at that particular time in space. And it was an incredible film. And she wanted to make a narrative film. So she wrote a script and got it produced by a furniture salesman guy. And I think Roger Corman of course. And so I got cast in that. And like I said, I was in my late teens and at that time I was kind of over punk rock and I was like, Eh, don't wanna, this is stupid. But I ended up doing it. And that is where I really was like, okay, this is the way I wanna spend the rest of my life.I loved being on set. And to answer your question, it's really tricky. I love in the realm of all that we do in terms of writing has its moments and then the pre-production, but being on set to me is definitely my favorite. And post is a whole nother exploration. But yeah, so it was from that moment on that I was just like, Okay, this is what I wanna do. And I did a couple more films with Penelope and then I moved to New York City and I wanted to be a real, I also felt like, okay, I didn't really, I need to be a real actor. I really have. And soMichael Jamin:A theatrical actor, is that why you moved toChristina Beck:New York? Well, yeah, I mean I love theater and my very best friend, you might know her, Cynthia, Man. Oh, okay. Yeah, it's Shannon. Familiar . Yeah. So we wereMichael Jamin:Frozen. That's how I met my wife. That's how I met her. I met you through her. I met you honestly, Christina. That was the first time it was really, I met you really on real early on, but go on. When I was with Cynthia. Really? Yeah. Tour or something.Christina Beck:I know, it's so great. Michael Jamin:But go on. AndChristina Beck:So Cynthia was in New York and at that time, for me, I felt like I really wanted to study and be a serious actor because I come from more of a film background. I did study a bit with Francis, but I really wanted to pay my dues as an actor. And I, I studied with a bunch of different great people. I auditioned for everything that was there at the time. AndMichael Jamin:Tell me, I'm gonna interrupt for a second, hold on. But tell me what your thoughts are, the difference between acting for film or television and acting for the stage.Christina Beck:Well, in my experience and what I'm also kind of revisiting lately, well when you're acting in film, it's very subtle. There's a camera and the camera picks up everything. And so when you're on stage, you are playing to the back row. People in the back need to see and understand what's going on. And it's just a very different, and I think most actors can do both. Some are, I guess more comfortable doing one or the other.Michael Jamin:But when you study and you train, do you sometimes study specifically or did you specifically for film versusChristina Beck:No, no, I didn't. No.Michael Jamin:Are are classes like that? Yeah. Just forChristina Beck:Fun. Yeah. Yeah. There's like on camera classes where people, it's for auditions I think, but also to get to practice how you come off on camera. Yeah. I never did that . I never, yeah. Really did that. But here's a weird, maybe creepy thing. Ever since I was a kid though, I always felt like there was a camera on me. , I would visualize, I could almost disassociate a little bit, this is a psychological thing here, but I felt, I would kind of imagine walking to school, what would it be if this character was walking to school? I almost was above myself a little bit watching myself. And that's a weird thing to say cuz actually when you're acting in a film, you really shouldn't be watching yourself. But that's where I am also a director. SoMichael Jamin:In other words, you were visualizing visualize how you would shoot yourself or is it more of Yeah. Was it more of a fantasy thing or how would I appear on, I wanna shoot myself if I was walking down the street?Christina Beck:Yeah, it's more the that one. And of course a little bit of fantasy, but it was escapism. But it was also, I was sort of able to take myself little Christina walking to school fifth grade out of it and see it from this other angle. And I don't know what that's about, but I do now I I see things that way all the time.Michael Jamin:Really How you would shoot it, where you would place the camera Christina Beck:Or where is the camera? Yeah. And it's such a funny thing cuz we live in a world now where everyone has a phone and everyone is documenting, everyone is shooting themselves. And that's a little different. But I guess it's similar in a way.Michael Jamin:Did you have film equipment when you were that Young? Christina Beck:I mean, Well my dad I none. We really didn't. My dad, no, my dad did my made some super great films and actually. Yeah, we did a lot of home movies when I was little. So I was usedMichael Jamin:To with sound.Christina Beck:No, no sound. No, it'sMichael Jamin:Interesting.Christina Beck:So yeah, yeah, being tied up on a tree and then my brother coming up on a horse and all sorts of me crying. Yeah, I got it. I got it all.Michael Jamin:Wow. Then so after New York, so how long were you in New York?Christina Beck:Three years. I was there for three years. AndMichael Jamin:Then what made you decide to come back?Christina Beck:Well, I wrote a play and that's kind of what happened. So I'm in New York, I'm studying, I'm auditioning for Everything film. I remember that there was one year where I really went out for everything that was shot in New York or anywhere around there and didn't get anything. And at the time I was studying with a woman at Playwrights Horizons who was a writer and an actress. And she said, Listen, you guys really should start writing characters that you feel you could play or just more of an empowerment in terms of instead of waiting around for everyone to give you a role, write something. So a bunch of us did, and it really started out by writing monologues. So I was in a group of women and we formed a little theater company and so we wrote characters and monologues for these characters and then we put it up and that was really great. And then I gotMichael Jamin:You. Don't skip that step. How did you put it up? How do people stage playsChristina Beck:You a lot of time? Well, at that time, at that time, which was a long time ago we raised a little bit of money, kind of similar to a lot of independent film stuff. But we raised a little money, family and friends type of thing. We actually did it at the Samuel Beckett Theater, which was where Playwright Horizon, I think they're still there on 42nd Street, I think eighth and ninth, 42nd Street, . And we put it up for a weekend and we got reviewed and we got in. It was great. It was super fun. And it also felt like I started to feel more complete as stuff that I could do as an actress. I always, I didn't, waiting around, I don't waiting for, I just felt like I have more to do and I was always journaling and stuff as a kid and as I got in my teens.And so writing to me didn't feel that far off from what I was already doing. And coming into it as an actor, I knew I've read enough plays and I've read enough monologues to understand how to write in that form. So I ended up when I was living in New York, I'd come back to LA and visit in the summers. Cause summers are horrific in Manhattan. So there were some musicians that I met that were doing some kind of cool stuff. And this one guy played, he had a character that he did. And so I wrote a play. I kind of inspired me to write this play about him. He was playing a lounge singer and he, his friend had this group and it was kind of rock and roll stuff, but then they would go into a lounge sort of thing. And I thought, oh, that would be funny to, what would it be if these lounge singers had a kid and tried to live their life? And it was a little autobiographical, the father's alcoholic and the mother's sort of obsessed with her beauty. And so these themes started to come up in my work. So I wrote this full length play and there was music in it too. And then we also shot some video footage, so it was sort of like a multimedia thing. So I kind of had to come back to LA to do that.Michael Jamin:So you staged it?Christina Beck:Yes. I didn't direct it, so I wrote it and I starred in it. But a friend of mine this woman named Modi, who I met from the punk rock days, but also she was Penelope's assistant on some of the film stuff I worked on with her and was a video director in her own. And so she came in and she directed it and it was great. It was amazing. It was.Michael Jamin:And how do you even get the theater to put it up?Christina Beck:We raced a little bit of money and then we got producers and they put it up up.Michael Jamin:What do you mean? How does that work? You got producers, what doesChristina Beck:That mean? Yeah, so the woman who played my mother in this is an amazing singer, artist, actor. Her name is Jane Cotillion. And so she loved the play and she said, Oh, I know this guy Billy DeModa and he's a casting director and maybe he could produce it. And he didMichael Jamin:. This is just from being out here, just from honestly, just meeting people, being in circles, taking acting classes and because that's the thing about la everyone's trying to do something right?Christina Beck:Absolutely, yeah. I mean think it's now because of Zoom and different things in the world and there's so much more accessibility. I think it's possible to collaborate and not be here. But all that said, especially at that time, you had to be here. And I do think it's still important to be in the place where you wanna be if you can. And these people I knew, so I knew about the guy, his name is Manny Chevrolet and he and his friend had this act and they were opening up for the Red Hot Chili Peppers and I knew them from suburbia, which was the movie I did with Penelope I knew. And so it was kinda a group of people that I already knew. And then the musical directors, this guy named Tree, who's good friends with, and they were just all these people that kind of organically came on board.Michael Jamin:Interesting. And tell me, but how do, you're also, obviously you've written and directed and produced a bunch of movies, indie movies, some are shorts, some are full length, but do you go about, alright, so you work on the script. How long do you work on the script and when do you know it's done?Christina Beck:Yeah, that's a great question. And then everything's a little bit different. So with short films, well I'm teaching a course right now, so I feel like I already have this in my mind. Short film is one idea and that script can take a long time to write. It's not easy to write a short film because basically you're trying to squeeze in this one idea in a way that has a beginning, middle, and end. So you don't have the luxury of necessarily three acts, but you have to have this.Michael Jamin:How long is it short for you? Well,Christina Beck:Okay, so that's another great question because what I have learned now, I think a sweet spot for a short is anywhere from 10 to 12 minutes. I think if you can sit, do it in a shorter amount of time, even better because depending on what you wanna do with it. So there's a whole film festival world, which is pretty much the best place for your shorts to be seen if you can get them produced. So it's a matter of programming these films. So if you have a film that's 20, 25 minutes, that obviously takes up more time. And most film festivals, they program the short films in a block. So they're literally trying to pack in as many as they can and good ones. And it's all different too because the academy nominated films, they can be up to 40 minutes. But even again,Michael Jamin:When you say program, when they're looking for blocks, what is their intention?Christina Beck:Well, they'reMichael Jamin:Showcasing what I mean, you have to understand that right as well. How does the film festival, how do they make money so that they would want you?Christina Beck:Right. Well that's a whole other thing. So there's different kind of aspects to that. So there's short films that are star driven, meaning you can put a star name in it. Now that always brings money and cache to a festival but not you can make a great short film and not have a star in it, is really what I wanna say. Because a good short film is something that has a very original idea. Again, it's short enough where you want more basically. And it's not making a feature and then picking a scene from the feature and making a short out of it. Sometimes you can create characters or create a separate script. So I made a short film for Fox Searchlight, I got in this new director's program with a feature script and they would not let us just take us a scene from the feature.They were like, no, no, no, you have to make a short on its own, but with the same characters and the same relative premise. So that's kind of how I learned about that trap. But to answer your question the short films that get noticed at festivals or can even get into a festival are ones that are very authentic to whatever the genre is and the writer's vision. What are you talking about? Is it something, And that's also a weird trap too, because as a writer, I don't wanna be thinking about a festival, you know? I mean that's way down the line. But you have to live in both of those realities in a way. Because if this is a calling card as a writer or as a director of Indy films you have, it's good to keep in mind, okay, I'm not gonna write a 45 minute short film and expect it to be programmed. That would set myself up to fail if I could write. WhenMichael Jamin:You say programmed, you mean, what do you mean by programmed? Are they gonna play for that weekend?Christina Beck:Yeah, so in a film festival, they have a program of films they have, whether the festival is a week long or a weekend , depending on what festival it is. But for instance, let's just say Sundance, I believe a week. So there's some pretty intense statistics that I just found out from a friend of mine. So they had the largest amount of submissions of short films this past year than ever over 10,000 short films. And they only program 59 films. So wow. like, oh my God. And Sundance is wonderful and amazing and if you can get in, great, It's not the only festival. There's a gazillion festivals and anyone is a great experience to get in and go to have that festival experience. But to answer your question about programming , are we there? The people that program the festivals are people that watch the films and decide, we have a three short film programs, A, B, and C. This is just making this up, but it's kind of how they do it. We have 30 minutes in each block, so I gotta squeeze. It all depends. Sometimes there's a film that's a little longer, but they really like it, so they're gonna put that in there. And then there's less room for other films.Michael Jamin:. And how much does it cost to submit to a festival? Usually?Christina Beck:It varies. It definitely varies and it varies. Sometimes they have early submissions that are always a little cheaper. Also depending on you can always ask for a waiver. Sometimes they give them to you, sometimes they don't. So it can be anywhere from 20 bucks to 75 to 150 bucks. It definitely can add up.Michael Jamin:When you make a film, how many festivals will you submit to?Christina Beck:Again, that all depends. There's certain festivals that you can target for. Again, there's the big five seven festivals, Sundance and Berlin and Toronto Telluride and then those are kind of the biggies. But then there's everything that tears down from there. So yeah, it can get very expensive and super daunting. And that's a whole other conversation. The film festival world. Huge, big.Michael Jamin:Now let's say you get into a festival into a big prestigious one. What is the goal? Eventually I And what is the goal? You got, you're short, eight minute film is in Sundance. What are you hoping?Christina Beck:Right, right. Well you're hoping for Eyes on the Film and that's a really also interesting question that you asked because back when those festivals, especially Sundance is a very different festival today than it was when it first started as most things are. But those, that would be the eyes, all the, everyone would be there and you would get would just get the cache of this is a Sundance film. It would give you opportunities to meet agents and if you don't have representation it'll help with that. And it's still, those things can still happen, but now you can get eyes on your film, on the internet, you know, can generate that if that's what you really want, if that's your goal. So know we need those things, but we don't as much anymore. It's a very different business today. But initially you wanna get eyes on your film people to see your work, hire you for more stuff.Michael Jamin:And when you say on the internet, you mean YouTube or Vimeo or what's the platform? Both.Christina Beck:Yeah, I think YouTube is, I don't know if Jimmy I don't know how many people, I mean you can certainly send people there, but I think YouTube a little more, right,Michael Jamin:People find right. But what do you tell your kids in your class today? Are you telling to do more on social media? Are you like a TikTok or what else are you telling to get found?Christina Beck:Well don't more talking about the actual craft of the work, whether it's directing or screenwriting. I don't come up with all of that in terms of my work is as a writer director when I made my feature, I was very fortunate to I submitted the script to well I got into that Fox Searchlight program, which no longer exists. But there are other programs, there's lots of diversity programs, different studios have programs for emerging writers. And that one at the time I was one of two women, there were all men. There was like 40 men and two women. And nowadays it's definitely even doubt a lot. But all that to say that helped with, oh she was in that program, so let's take a look at her script. And then I submitted to an organization in New York called the If P, which now is called Gotham, but they do the spirit awards and Filmmaker magazine, which is something that I started reading very early on and I got nominated for best screenplay. So from that I got on their radar. So it's kind of just taking steps to be seen. It's always about people. Knowing what you're doing and what your vision is for this work,Michael Jamin:Do you go to a lot of film festivals even when you're not in them? Do you go just to watch or to meet people or anything?Christina Beck:I do in town. Yeah, in LA I will. I went to right Berlin when I didn't have anything in Berlin sadly. But I was there, I for a meeting with some European producers and then just happened to watch some amazing films. Film festivals are great cuz you meet like-minded people, whether it's people in the industry but also you meet other filmmakers, other writers, other directors, people that are maybe a little above you, maybe you've done a little more than them, but it's a really cool, cause the energy at most festivals I went to Can God, when was it 2006? I was trying to get my feature made and I was very naive. I made a short film version of my feature and I went to Can and I had my DVDs and I had my little pitch idea and I didn't really know that these meetings that they have, cuz there's a film market, some festivals have a film market and that's always really great. Berlin has one there's a film market here at afm. Kind of different energy though for sure, but can, it was like, oh my god, I was so lost. I was just like, what am I doing here? It was amazing and it was horrible and it was like that within each hour I just felt like I was in, was so over my head and yet really cool, wonderful things happened and I met people there that I'm still in touch with today.Michael Jamin:Hey, it's Michael Jam. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist. People ask me this a lot, but do you find from where are that, it's that right meeting writers and actors and directors. Do you feel it's like collaborative or is it competitive?Christina Beck:Well, I think it's collaborative and you can kind of sniff out people that are competitive. I, I've been in quite a few groups of women especially, so back a couple, one when my first short film screened with the American Cinema Tech, not my very first short film, but the first short that I directed. And I met a woman there named Kim Adelman and she's amazing. She's written a book about short films. She's incredible and she supports a lot of female directors. And her and this guy named Andrew Crane created a program at the cinema tech. And so through that we made this thing called the Female Filmmaking Collective. And so we would bring other women directors and this was kind of, well this is like 15, 16 years ago. And then there's been other women's filmmaking groups. The film Fatals, a member of the a w Alliance of Women Directors.So all that to say there's, for the most part, the energy is very much like, yay, how can I help you? And then there's a few people that are anywhere in the world. It is, it's their personalities, the spirit of, I try to stay in the spirit of that there's enough for all of us. Cause otherwise that makes me uptight and I don't wanna be uptight. But definitely, yeah, I think I don't write with other people. I haven't yet. I've tried to in different increments, but it just hasn't quite felt right. But I do collaborating for sure. And especially filmmaking when you're actually getting in production that's like all about collaboration,Michael Jamin:Especially with the good dp, you know, What are you shooting? What do you like to shoot on? Or do you care that much? What kind of camera?Christina Beck:Well, I like things to look like film . I mean, we shot my first short that I wrote Disco Man that was shot on 16. And my dp, I found him at USC Film School and he's a really good friend and we just shot something this last spring. So that was a long time ago. He became chair of the film school that I teach at now. But all that to say, yeah, again, it's the people that you meet here, you meet them there, we're all still here and still love film making. So that said, my DP for Perfection, my feature, his name's Robert Psal and he's amazing. Cause this guy, not only is he super talented, we shot that film for two years on the weekends, two and a half years. So to get someone to literally, okay, we got a little more money, Rob, come over, we gotta shoot this other would. And then a lot of times just he and I would jump on a bus and I'd borrow a camera from a friend. We had prime lenses, which if you put that on digital cameras, it gives a more cinematic look. So we had those for a while. We shot that film literally in four different formats, meaning four different cameras. And I DidMichael Jamin:You find it matched? Okay, Did itChristina Beck:Worked for the film? I don't know. Recently someone asked to see it, this wonderful DP that I was talking to, he lives in France and I felt a little self, cause I'm like, Oh my God, he's gonna see how, And he is like, Oh, it's shot so beautifully. And I'm like, wow, nobody knowsMichael Jamin:All this.Christina Beck:Yeah,Michael Jamin:Why you don't have to worry about that stuff. Well, and what aboutChristina Beck:It's gotta be in focus, let's put it that way, . Yeah. And sound is a big deal too,Michael Jamin:For sure. Absolutely. That's huge. It's hugely important if you can't hear it. Right. But what about how concerned are you when you shoot the stuff crossing the line or the cameras? Are you relying your DP for that, making sure that you know, don't have these jump cuts because the character's looking the wrong way? AndChristina Beck:IsMichael Jamin:That your concern or you let the DP handle that?Christina Beck:Well, because so far I've been mostly acting in the stuff that I've shot. I definitely rely on my DP as well as my script supervisor. . I mean, I can tell myself when we're setting up a shot and then sometimes you can cross that line and it's okay, it's not gonna be an editing nightmare, but you sort of have to gauge it. And I don't make those kind of decisions by myself. And I really do rely so much on my DP and my script D because it's, it's that funny thing for me. What the reason I became a director in film was because I made a short that another different short besides Disco Man that it's called Blow Me. And I didn't direct it. And I did a lot of directorial stuff on that project. And my director at the time was busy with other things.And so we weren't really able to finish the film for a long time. And actually my co-star was an editor as well. So he kind of got the film and he edited and we worked on it together. And what I learned, and this goes back to the film festival thing. So in film director has the say in everything in terms of how final say on music and different stuff. And being a screenwriter and an actor and even a producer, I didn't have the same access to the vision that I had. So I thought, ooh, I need to direct this stuff . SoMichael Jamin:Yeah,Christina Beck:That's how that shifted. HowMichael Jamin:Do you go about, but how do you go about fundraising for all this stuff and what kind of budget do you usually try to get?Christina Beck:Well, it's tricky. That's the hardest part. And I just was at a film festival here in la, it's the American French Film Festival. They have it every year at the dga. And I was listening to a panel of producers and directors and from Europe and the UK and Los Angeles. And the thing is, those foreign countries, they have film funding built into their system, literally the government. And there are different types of ways that those more character driven films. This is what I'm pretty much more interested in what we would call art house films. , especially right now, there's just this huge divide, which is very mm-hmm , much like the whole world that we're in right now. So there's tiny budgets and huge budgets and the middle size budget isn't really around anymore. No support for it. And it's happening in Europe too right now. So I was listening to see, okay, are they going through it too? So that said, yeah, there's different ways. And I would say for first time directors that are making a feature or a short film for the first time, Crowdfunding's great, there's amazing platforms. I did that with a company called Seed and Spark and they were really supportive and helpful. And we haveMichael Jamin:Some, Well what do they do? What do they do that's better than putting it up on what's some crowdfunding site?Christina Beck:Well they are a crowdfunding site, butMichael Jamin:Why not just use your own, I don't know what's the difference between, well go fund me or whatever.Christina Beck:Well I don't, yeah, get, well go Fund Me I thought was more for donations. Yeah, so there's fiscal sponsorship, which is something you'd need so that people that are donating to your project get an actual tax write off that's properly done. So you wanna do that but they help curate and they have a platform. I mean, look, you've written the thing, you're doing all this work. Are you gonna set up a website so people can give you money? So, and maybe you're really good at that. Places. Well indeed, Gogo and Kickstarter, and I mentioned Student Spark because they're someone that I did it with, but all those places haven't already. It's like, why reinvent the wheel? They've done all that work. So literally you can just send people there. They take a small percentage of whatever you get and different platforms have different things. I don't know. I know there's one that if you don't make your gold then you don't get any of the money. So I didn't do that one , butBut going back to someone who's starting out and wants to make something a short or a feature and hasn't already exhausted their family and friends, there's nothing wrong with doing that. Also there's grants and And those aren't easy to come by, but they're there. And depending on, there's different places. There's like in San Francisco, there's the San Francisco Film Society has very specific grants for people that shoot in the Bay Area. And a lot of films have gotten made through that grant. They give a significant amount of money. So there are ways, and it's not easy. I mean really, ideally a private investor is great and there's gonna be a loss. So now most of the indie films, and these aren't Es, and I'm not an expert, I'm just speaking from my own experience. But an indie film may not get a theatrical release. I did not with my feature. What I did get is I got the theatrical experience in film festivals and I was lucky to be programmed in Los Angeles through the American Cinema Tech. And I got to see my film at the Egyptian Theater, which was heaven. And I was there for that. You were there. So, and now it's available to stream. So most projects go to streaming and huge projects go to streaming now. So it's just in this very differentMichael Jamin:World. Is it, where is your playing, where is the streaming now?Christina Beck:On Tubby? Tubby . AndMichael Jamin:This is per perfectionist. Which one isChristina Beck:Yes. Perfection.Michael Jamin:Which, yeah,Christina Beck:Yeah. Okay. And all that's on my website. Christina Beck do com.Michael Jamin:Christina beck.com. Interesting. Wow, that's interest. ButChristina Beck:This is, and my shorts are on there too.Michael Jamin:All your short. Is there a down, getting to a big festival, that's gotta be a game changer. But can a little festival help you?Christina Beck:Well, yes, because again, you see your film on a big screen, you see your film with an audience, you meet other filmmakers and yeah, as you know, Mr. Jamin, everything in this business is preparation and luck. So you're honing your craft , you're doing what you love. There's no slam dunk guarantee. Even with the bigger festivals. I know people that have gotten into huge festivals and got big representation and then a year later nothing. So it's like nothing. Yeah. Yeah. I guess I always say to my students, pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories.But to say something visually is powerful. I think it can change minds and hearts. So I come to it with that. And it is frustrating. I have a feature that I wrote last year that I have not made yet. We shot a few scenes in the spring with some of my students and my first dp, me, Kyle to kind of see where it lands and figure out do we wanna do a crowdfunding thing? Do we wanna try to get in Grant? Like what? And I don't know honestly, I don't know if I have the bandwidth to go through that hustle for getting financing right now. Right now. BecauseMichael Jamin:If not that, Oh well I was gonna say, if not that, then what? You know.Christina Beck:Well, right. Well, I mean look, ideally if we were all Henry Ja or somebody who has a trust fund, independent filmmaking is for people that have a trust fund basically.Michael Jamin:Or can fund, right? Or you,Christina Beck:Yeah, I'm teasing, right? Yeah.Michael Jamin:, how many, when you shoot, how many people on set, How many crew members do you wanna have? What's your skeleton crew?Christina Beck:My skeleton is probably 12 peopleMichael Jamin:That I'm surprised it's that big. So who,Christina Beck:WellMichael Jamin:Let's walk. You mean you've gotta skip supervisor DPChristina Beck:Happens fist. Yeah. Okay. Scripty, dp, ac sound mixer, boom. Makeup, hair. That could be one person blah. Who am I forgetting? Producer. Of courseMichael Jamin:You're gonna want someone with the lights.Christina Beck:Well, right. Lights, gaffer, grip. Then we have,Michael Jamin:How many cameras are you rolling at once?Christina Beck:Oh, one . Yeah, one. Okay. Yeah. Okay. Yeah. This isn't like tv, but I did actually, I made a short film with three cameras. Once I did that one I did for search site. Yeah, that's true. But that was a, people were like, Why did you do that?Michael Jamin:But that's still not even year 12. That might be, I don't know. I lost count.Christina Beck:Well, I'm missing people. I'm on the spot here. I'm trying to think. I'm totally missing people. I mean, there's craft service,Michael Jamin:Right?Christina Beck:Oh my God. Probably like the most You got people person, Yeah. Anyways, yeah. 10 to 12. It just adds a pa. You need a pa you need, yeah. Yes. But yes, you can do it with five people. I've done it with three. I mean,Michael Jamin:Are you pulling any permits or are you sort of shootingChristina Beck:That? I do permits when I am renting equipment. And I have, I've also completely gorilla so many things.Michael Jamin:Wait, if you have, why do you have to have a permit if you rent co equipment they requireChristina Beck:Because yeah, you have to have insurance and there's film LA and yeah, there's a whole thing that needsMichael Jamin:To happen. Yeah. People get paid off. Yeah.Christina Beck:. Well, it's kinda a, Yeah,Michael Jamin:It's hard and happens. Yeah, it's hard. It's a hustle. But you do it cuz you love doing it, right?Christina Beck:Yes. Yes. That is true. Right? That is true.Michael Jamin:And how many scripts do you have that are just sitting around that? Are you, I guess I won't even try with that one or,Christina Beck:Yeah, I know that breaks my heart cuz I was at a ratio of, at one point having everything produced. I was like, I don't remember everything's been produced. But now I've written more scripts. I like, Yeah, I have probably, but not a ton. I have a couple features and I've written a few series, so yeah, Not yet. Not yet. ButMichael Jamin:What about just something you could do and now we'll wrap it up cause I don't wanna keep for chill up. But what about doing something where you could just shoot it in your apartment? Write it specifically for your apartment?Christina Beck:Yeah, well I would still need to get permission from my landlord. I'd still need to get equipment. Cause you can't shoot without permission if you wanna have insurance and you have to have insurance. Now look, my , my feature perfection in my old apartment, I actually did have permission from my landlord, but we shot so much of it just really running gun. And that can be done. That can have, But you still, And also I wanna pay people. I'm at a place where I can't ask people to work for free. Now if it's your first project and stuff, I encourage everybody to ask people to work for free if you treat them well. And if they're newbies too and it's a shared experience of discovery and stuff and they feel connected to the work and you feed 'em well, you gotta feed well. You gotta giveMichael Jamin:'em some very, But it seems like you have the perfect person for that because you have a bunch of students who wanna just get their names on stuff.Christina Beck:That's true. That's true. Yeah. Well, and I would probably and probably will end up shooting this feature with, And look, my students are amazing. They are so talented and professional when I get on their set. So this year I've had two students cast me in their short films. So I got to show up really as an actor on these. That's fun. Well, it's great because I was talking to the other film professors, because we work with them on the scripts and we sign off the scripts and then they go off and shoot. So these, they're kind, they're on their own, they're chaperoned and then they come back and bring, and we work on the edit and stuff, but we don't know what really goes on in those sets. So I was saying to this other professor the other day, I'm like, Yeah, I was there. I gotta be there and see what, And the truth is these students are wildly professional and I wouldn't really honestly wanna work with anyone else. But then they are so good. SoMichael Jamin:Someone called me up a student, I don't wanna say where they needed a 50 year old man. Now I don't play 50. We all know that. I play mid thirties ofChristina Beck:Course.Michael Jamin:But I was like, right, I didn't really wanna do it. I was like, all right. And then he goes couple weeks later he's like he's like, Yeah, well we're gonna need you to read . I wasChristina Beck:Like,Michael Jamin:I'm off only . Oh my God. I didn't want it that bad. But I think that was part of the experience that they wanted to have was they wanted actors. I'm not reading dude Christina Beck:Great. Well they're trying out their stuff I guess. Who knows? In terms of, Yeah, but wrong guy. They got the wrong guy with you.Michael Jamin: offer only.Christina Beck:That's right. That's right. Mr. Jam .Michael Jamin:How funny. Yeah. So, alright. This is so fascinating cuz this is a world I know nothing about this whole people cause people ask me all the time I got India. I don't know, Ask Christina. So where do people follow Christina back on? How do they learn more about what you're doing?Christina Beck:Well, like I said, my website and then myMichael Jamin:Give it to you again so that,Christina Beck:Okay. It's christina beck.com. There you go. And yeah, and then I'm on Instagram X Beck. AndMichael Jamin:What do you mean wait, X dyna? How do you spell that?Christina Beck:X I don't remember that. T I n a.Michael Jamin:Oh it. So it's X.Christina Beck:Yeah.Michael Jamin:I dunno why you said Ina. We'll work on this later. Christina Beck:Put a little thing up there. We don't have to talk about it. Yeah, yeah. And I just wanna say lastly, I am so not an expert on this. Please. I've been just finding my way as I go. But you know, I've watched other writers, The path is just, it's just not a straight line. And I think to stay connected to purpose and okay, I feel like I gotta tell certain stories. And when I talk to my students about this, okay, why do you have to tell this story? And we ask ourselves those questions and why now and all those things. Which in as far as indie film goes, I feel like we're in a little bit of a dip right now where the character driven independent films, at least in America, are not being celebrated as they once were. . And I believe that that'll shift.And I talk, I've talked to many people about this and we've gone through so many different, you know, can look back in the 1970s where Paramount was like studios were making beautiful character driven films. And I don't know if we'll ever go back to that, but I do think like you said, you can have a tiny crew and you could make something. I could make something in my living room. Absolutely. And one of my favorite filmmakers is a woman named Barbara Loden. She sadly passed away a long time ago. She was an actress. She actually was married to Ilie Kaza and she made a film called Wanda. And it's an amazing film and you can find it online. It's on the Criterion Channel and different places like that. But she had a tiny crew. She had maybe six people. And , sometimes people besides the attacks right off, they wanna contribute. They wanna be a part of it. They wanna be a part of this passion storytelling.Michael Jamin:Sometimes they also wanna give you their notes. Right?Christina Beck:WellMichael Jamin:Sometimes that money goes and comes with strengthsChristina Beck:Or here's the other thing. Yeah. Find an actor who really wants a great part that has some dough that wants to coce or something. And you guys can collaborate on that and you can write something that's really great for them that they would never get cast in. There's a lotMichael Jamin:Of you recommended. That's a great idea. That's a great idea. You recommended to me to watch Thunder Road. Remember that? Oh yeah,Christina Beck:I watch that. The short.Michael Jamin:And I loved it That and I loved, and I didn't realize I didn't, it was actually, I watched the scene from it, but it was actually, I guess a feature or whatever, but the scene stood on its own. I go, this is a beautiful it short. But it was a beautiful scene.Christina Beck:Oh, so you watched from the feature or did you watch the short film?Michael Jamin:Yeah. Yeah. Cuz I think you gave me the link to Vimeo or something. OhChristina Beck:Okay.Michael Jamin:I just watched that one church scene where he wasChristina Beck:Like, Yeah, yeah.Michael Jamin:So over,Christina Beck:Yes. That guy is amazing. He's the real deal. He's a guy to follow. Cause he's Joe Independent film. He, Jim is his name actually . And he makes stuff and he works as an actor. He'll do commercials, whatever. And then he'll take that money and that's what caves did. Caves made whatever he was working in television stuff he wasn't crazy about. And then he would take that money and then he would just make the films he wanted to make. So maybe it hasn't changed at all. It just goes back to that thing again where if you have this story you gotta tell and it does start with theMichael Jamin:Story. What kinda stories do you feel you have to tell?Christina Beck:Well I feel like I almost keep telling the same story, but I, I'm reallyMichael Jamin:Love different versions ofChristina Beck:It. That's right. That's, as I get older, I get this different perspectives of it. But I do, I love the story of people, characters that have perceived limitations or real ones and they slowly find their way out of that predicament. And yeah, I like happy and things. I like to see the journey of someone of starting off in a place where they don't feel and they get a little better.Michael Jamin:And you said before I cut you off, you was, it all starts, the focus has to be on the script.Christina Beck:It's all about the script. That's the blueprint. That is the blueprint. Especially if you're shooting with no money and no time. And because you don't have the luxury and we never have the luxury. You see it all the time and any budget level. But the truth is, the script really is everything starts there. That's how you get anybody on board. That's how you can refer if a DP who's maybe a great DP and wants to do something small because he loves the story or he loves the subject matter and that script should be tight and ready to shootMichael Jamin:. Right. And because you could shoot something and you get the biggest crew and the biggest budget and it looks like a movie. But if the script sucks, so what? No, it's not anyone's gonna wanna watch it, but it may look like a movie. Yeah,Christina Beck:Yeah, that's right. And then it won't get programmed really in festivals cuz there's so much competition. I just think that thing that we kind of all know, make it a personal story, doesn't have to be autobiographical, but make it something that you really connect to or a topic that really you do have some experience in that you can bring something that maybe we haven't seen yet or we haven't seen from that angle, like you said. Yeah. That's the stuff that's really gold. I love that Thunder Road short. It's such a great example of a guy who just took a very, very simple premise. And the other kind of novelty of that short is he shot it in one take, which is pretty cool. That's not easy to do.Michael Jamin:That's not easy. What I'm saying. He did it and that's a novelty. But as you pointed that out, I forgot. I like the story of it.Christina Beck:Well that's the thing, you should just be looking at it like, oh, where's the cut? No, we wanna be engaged. And that was very engaging and that was a very personal story. I mean, I don't know about his personal story, but I know that I felt that in his work. Yeah,Michael Jamin:Yeah. It's all about that. It's all about being vulnerable and about sharing something that's that only you can do, right?Christina Beck:Yeah. Yeah. I mean hopefully, I mean, I don't know, I think it's two, there's too many topics now that people are dealing with in terms that need to, voices that need to be heard in the world, I believe. And yeah, this is a powerful way to get our voices out,Michael Jamin:But that means writing. So that's what I think cuz everyone's looking for diverse voices and voices that have been underrepresented. So that means writing about, I think your experience, that's what we want from youChristina Beck:Because Well, I think so too.Michael Jamin:Yeah. Now's your shot.Christina Beck:Yeah, I think so too. No one can steal your idea. That's a whole thing too. Sometimes people are like, Oh no, someone's gonna steal this idea. Well there's real, there's not that many ideas really when you think about it, the same story over and over. I'm still telling the story of someone overcoming. I love characters that overcome their limitation or their perceived limitations or their background. I come from alcoholism and all sorts of other things. And that doesn't mean that I'm gonna keep getting it on the nose with those topics, but it informs the way I look at the world growing up in that environment. And today I'm really grateful for that. But when I started writing, I was still very tortured by that. So , but keeping it, that process of keeping it personal and having that point of view with those circumstances makes it only something that I can sayMichael Jamin:I Christina, I think everyone should start taking your class one of either your classes, but the LMU one is a little difficult cause they have to enroll, but the other one Yeah.Christina Beck:Well, yes, is different. Yeah. I mean, I'm also, I do workshops too sometimes, so,Michael Jamin:Oh, you do private workshops?Christina Beck:I do screenwriting workshops.Michael Jamin:And Is that on your website as well?Christina Beck:Yeah, not right now, , but it was, Oh,Michael Jamin:How would that basically work? Yeah.Christina Beck:Well, I've worked, so I've done six weeks workshops where we really start off with, Okay, what's the story you wanna tell that's most personal to you? And so it's literally creating a character or that story from the point of view of the storyteller and the steps to take, whether it would turn into a series or a short film, or a feature or a play.Michael Jamin:And it's six weeks and it meets once a week or something.Christina Beck:Correct.Michael Jamin:That sounds really good. How many people are in that course, or outta time?Christina Beck:Well, it's different times I, It's been usually pretty intimate. Not a ton of people , but now we can do stuff on Zoom, which is great. Right.Michael Jamin:Wow, that sounds pretty cool. Yeah, people should check you. Yeah, you better put that up once this, IChristina Beck:Guess. I guess I'm Do that. Yeah, I guess so. ButMichael Jamin:Tell people where to find that again, so in case that you make that happen, that sounds like a beautiful thing.Christina Beck:Oh, thanks. Yes. Christinabeck.com.Michael Jamin:Christinabeck.com. Christina, thank you so much for joining me. This is a good talk. I thought this wasChristina Beck:Really helpful. Thanks, Mr. JaminMichael Jamin:Now I wanna be an independent filmmaker.Christina Beck:No, you don'tMichael Jamin:. No, you don't.Christina Beck:If you wanna make money. No. There are some that make money. There are some that make money, right? Yes, yes, yes, yes. But yeah, thank you. Thank you so much. It's so fun to talk with you, Mr.Michael Jamin:Yeah. Thank you. Thank you. I'm gonna sign up, right? Everyone, Thank you for listening. And yeah, for make sure you get on my free weekly newsletter michaeljamin.com/watchlist. What else we gotta talk about? We have a course. Yeah, we can check out my course at michaeljamin.com/course. And if we post this in time, I don't know, but I'll be doing two shows in Boston, November 12th and 13th from a paper orchestra. It's my stage reading, and then two shows in December 10th and 11th. And for tickets, go to michaeljamin.com/live. All right. Thank you again, Christina. Wonderful.Christina Beck:My pleasure. Thank you. Thank you. Thanks for asking. Yeah.Michael Jamin:Hey, it's Michael. One more thing. Come see me perform. I'm going to be in Boston area, actually, Amesbury, Massachusetts on November 12th and 13th at the Actor studio, performing my show, a paper orchestra. And then I'm gonna be back in Los Angeles on December 10th and 11th again at the Moving Arts Theater Company. So tickets are on sale. Go get 'em at michaeljamin.com/live. It's a small, intimate venue. I'm gonna be performing for my collection of personal essays, and each one's gonna be followed by like a 20 minute q and a. We get to talk about the work. It's a fun event. So I hope to see you there. Go get them tickets again are at michaeljamin.com/live, and of course, sign up to my weekly newsletter that's called the watchlist at michaeljamin.com/watchlist.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review ,and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhillaHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

Codie Elaine Oliver has had many meaningful pivots within her impressive career journey. One in particular where Oprah Winfrey, HERSELF told her where to pivot next…and when Oprah tells you to do something, you do it! Today, Codie is the CEO and co-founder of Black Love, Inc., a fast-growing media company comprised of the Black Love+ app, BlackLove.com, Black Love's social and digital platforms, and live and virtual events, including the annual Black Love Summit.  Codie is also the director and co-creator of the ground-breaking, four-time NAACP Image Awards-nominated docuseries, Black Love, which premiered as the most-viewed unscripted series in OWN's history and is set to return for its fifth season in 2021.  Her other projects include being a partner at Confluential Content, a company she shares with her husband Tommy Oliver, and the production company behind the recent HBO Documentary 40 Years A Prisoners and the upcoming Netflix film, The Perfect Find, starring Gabrielle Union. Prior to Black Love, Codie had stints at Film Independent, Fox Searchlight, and Creative Artists Agency.  Codie also hosts a bi-weekly podcast where she holds candid conversations with celebrities and influencers centered around who they are beyond the public persona.  Listen to Codie's podcast My New BFF with Codie Elaine Oliver: https://podcasts.apple.com/us/podcast/my-new-bff-with-codie-elaine-oliver/id1556161112 Mama's Den Podcast: https://podcasts.apple.com/us/podcast/the-mamas-den/id1616159115 Connect with Codie on Instagram Connect with Codie on Twitter Connect with Codie on LinkedIn Connect with Black Love on ALL Platforms

For some us, our biggest addictions are caffeine and endlessly scrolling TikTok videos, so, how do we write characters with more serious addictions? We talk to Ted Perkins, a former Warner Brothers and Universal studio executive, producer, screenwriter and now author who tackles the topic in his new book Addicted In Film, for which Ted watched 100 movies in 100 days about addiction. SHOW NOTES: About the Book: www.addictedinfilm.com Buy Addicted In Film on Amazon: https://tinyurl.com/addictedinfilm Ted Perkin's Bio Ted Perkins is a former film executive at Warner Bros., and his most recent post as Head of International Co-Productions and Acquisitions at Universal Pictures where he pioneered co-production between U.S. Major studios, Spain, Latin America, China and India. He turned to screenwriting and has sold over a dozen scripts to various companies including Fox Searchlight and Lionsgate. He recently sold a TV series spec for low six figures, and has another one in development with a large production conglomerate in Europe.

EPISODE 74: Nathan Ruyle is a Sound Designer, Supervising Sound Editor, Re-recording mixer, and founder of the independent post-production sound company, This is Sound Design. TiSD provides complete sound services for independent, mid-budget, and studio feature films and series, including recent releases by Universal, HBO, Sony, Fox Searchlight, Netflix, Blumhouseand Amazon. Nathan has designed and mixed over 70 feature films which have premiered at every major festival in the world, including films shortlisted for the Academy Award (UnitedSkates, HBO) in 2019 and nominated for an Emmy (Every Act of Life, PBS) in 2020 and multiple awards from Sundance, Cannes, and SXSW. Nathan has an MFA in Sound Design and Integrated Media from the California Institute of the Arts (CalArts) where he also taught for 7 years as a member of the film and animation faculty. Nathan is also a frequent lecturer at AFI and has worked with students there on three Student Academy Award-winning films. Nathan'scompany, This is Sound Design, recently opened a new full-service post-sound facility in Burbank, CA with 3 mix stages and ADR/Foley recording studios. tisd.tvContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Twitter: @JannKloseBandJoin our Facebook GroupPlease support the show with a donation, thank you for listening!...

The Independent horror film DO NOT DISTURB was shown at 2022's Popcorn Frights film festival in South Florida and FlickDirect's Austin Putnam spoke with actress Kimberly Laferriere and director/writer John Ainslie about the challenges of filming in a small hotel room. ABOUT DO NOT DISTURBDo Not Disturb follows Chloe and Jack's honeymoon in Miami where a peyote trip to strengthen their marriage becomes a narcotic nightmare. As they confront their troubled relationship, they discover that this strand of peyote awakens a desire to consume human flesh. Their suite becomes an insatiable den of love, lust and carnal desire as Chloe comes to the realization that the only way to escape this toxic marriage is to literally consume Jack. ABOUT POPCORN FRIGHTS FILM FESTIVALPopcorn Frights' programming voice, unique among genre film festivals, has gained recognition for its numerous discoveries and prize winners. Annual attendance and media Impressions have grown exponentially with the Festival's original audience increasing from 400 in 2015 to over 8,000 in 2021. The Festival has introduced a diverse group of filmmakers including renowned stars and directors such as Graham Skipper, Joe Lynch, Neil Marshall, Greg McLean, Colin Minihan, Lucky McKee, Justin Benson & Aaron Moorhead, Trent Haaga, Brad Michael Elmore, Mickey Keating, and Darren Lynn Bousman. Domestic US theatrical distributors participating in the Festival have included 20th Century Fox, Warner Bros., A24, Focus Features, Fox Searchlight, IFC, Gunpowder & Sky, and Oscilloscope, among many others.

Today's guest is a writer, director, producer, actor, and indie filmmaking legend, Edward Burns.Many of you might have heard of the Sundance Film Festival-winning film called The Brothers McMullen, his iconic first film that tells the story of three Irish Catholic brothers from Long Island who struggle to deal with love, marriage, and infidelity. His Cinderella story of making the film, getting into Sundance, and launching his career is the stuff of legend.The Brothers McMullen was sold to Fox Searchlight and went on to make over $10 million at the box office on a $27,000 budget, making it one of the most successful indie films of the decade.Ed went off to star in huge films like Saving Private Ryan for Steven Spielberg and direct studio films like the box office hit She's The One. The films about the love life of two brothers, Mickey and Francis, interconnect as Francis cheats on his wife with Mickey's ex-girlfriend, while Mickey impulsively marries a stranger.Even after his mainstream success as an actor, writer, and director he still never forgot his indie roots. He continued to quietly produce completely independent feature films on really low budgets. How low, how about $9000. As with any smart filmmaker, Ed has continued to not only produce films but to consider new methods of getting his projects to the world.In 2007, he teamed up with Apple iTunes to release an exclusive film Purple Violets. It was a sign of the times that the director was branching out to new methods of release for his projects.In addition, he also continued to release works with his signature tried-and-true method of filmmaking. Using a very small $25,000 budget and a lot of resourcefulness, Burns created Nice Guy Johnny in 2010.Johnny Rizzo is about to trade his dream job in talk radio for some snooze-Ville gig that'll pay enough to please his fiancée. Enter Uncle Terry, a rascally womanizer set on turning a weekend in the Hamptons into an eye-opening fling for his nephew. Nice Guy Johnny's not interested, of course, but then he meets the lovely Brooke, who challenges Johnny to make the toughest decision of his life.The film debuted at the Tribeca Film Festival. While he was releasing that film, Burns wrote, starred, and directed Newlyweds. He filmed this on a small Canon 5D camera in only 12 days and on a budget of only $9,000. Newlyweds Buzzy and Katie find their blissful life disrupted by the arrival of his half-sister and news of her sister's marriage troubles.In his book, Independent Ed: Inside a Career of Big Dreams, Little Movies, and the Twelve Best Days of My Life (which I recommend ALL filmmakers read), Ed mentions some rules he dubbed “McMullen 2.0” which were basically a set of rules for independent filmmakers to shoot by.Actors would have to work for virtually nothing.The film should take no longer than 12 days to film and get into the canDon't shoot with any more than a three-man crewActor's use their own clothesActors do their own hair and make-upAsk and beg for any locationsUse the resources you have at your disposalI used similar rules when I shot my feature films This is Meg, which I shot that in 8 days, and On the Corner of Ego and Desire which I shot in 4 days.  To be honest, Ed was one of my main inspirations when I decided to make my first micro-budget feature film, along with Mark and Jay Duplass, Joe Swanberg, and Michael and Mark Polish. Ed has continued to have an amazing career directing films like The Fitzgerald Family Christmas, The Groomsmen, Looking for Kitty, Ash Wednesday, Sidewalks of New York, No Looking Back, and many more.Ed jumped into television with the Spielberg-produced TNT drama Public Morals, where he wrote, directed, and starred in every episode.Set in the early 1960s in New York City's Public Morals Division, where cops walk the line between morality and criminality as the temptations that come from dealing with all kinds of vice can get the better of them.His latest project is EPIX's Bridge and Tunnel is a dramedy series set in 1980 that revolves around a group of recent college grads setting out to pursue their dreams in Manhattan while still clinging to the familiarity of their working-class Long Island hometown. He also pulls writing, producing, and directing duties for all the episodes.Ed has continued to give back to the indie film community with his amazing book, lectures and his knowledge bomb packed director commentaries. Trust me to go out and buy the DVD versions of all his films. His commentaries are worth the price of admission.When I first spoke to Ed he told me that he had been a fan of the podcast for a while. As you can imagine I was floored and humbled at the same time. Getting to sit down and speak to a filmmaker that had such an impact on my own directing career was a dream come true. Ed is an inspiration to so many indie filmmakers around the world and I'm honored to bring this epic conversation to all of you.Please enjoy my conversation with Edward Burns.

Have you ever considered leveraging media coverage to get more traffic to your business? A publicist could help you with that, but did you know there are different types of publicity and different publicist are required to get you coverage locally, regionally and nationally? Today's guests breaks all this down into simple terms with her Do D.A.T. method. Candace Ledbetter's passion and knowledge are unmatched.    She is a PR & Visibility Strategist and owner of CNBetter Media, a multi-faceted public relations agency that provides a specialized suite of services, including media relations, content strategy, personal branding and more. CNBetter Media has served an impressive list of brands including A24, Bleecker Street, ESPN, Fox Searchlight, Disney and more!   If you're ready to learn how PR can elevate your business' visibility, hit play right now! Want to keep up with Candace? Find details here:   ►  Website: www.cnbettermedia.com   ► LinkedIn: https://www.linkedin.com/in/candaceledbetter/ Want to keep up with Traffic Sales and Profit? Find details here:   ► Podcast: https://trafficsalesandprofit.com/podcast   ► Get your FREE Traffic Sales and Profit Book here: https://freetspbook.com/tsp-book   ► Subscribe to the YouTube channel: https://youtube.com/trafficsalesandprofit   ► Upcoming Live Events: https://trafficsalesandprofit.com/events/   ► Join our FREE Traffic, Sales & Profit Facebook Group: https://www.facebook.com/groups/TrafficSalesProfit/   ► Follow us on Instagram: https://www.instagram.com/trafficsalesandprofit/   ► Follow Lamar on Instagram: https://www.instagram.com/lamartyler/   Key Takeaways   [00:00:00] Show snippet [00:00:00] Intro [00:01:01] Introduction of Candace Ledbetter [00:02:06] How publicist can get your product or service visibility in media [00:03:58] What is the press looking for in a newsworthy story [00:07:40] Last minute press opportunities [00:09:01] TSP Mastermind Invite [00:012:30] Candace Ledbetter's journey to becoming a publicist [00:18:30] How PR really works [00:21:30] The hardest part in the PR space [00:23:00] The misconceptions of PR versus marketing [00:27:00] Different types of media opportunities for people and businesses [00:33:20] What new business owners can do to get press opportunities [00:38:20] How to plug yourself into viral topics [00:40:40] The next step to getting media coverage [00:41:50] What to consider when hiring a publicist [00:51:15]  How to get in contact with Candace Ledbetter

Working her way up from entry level jobs in Hollywood, Elizabeth Cantillon used her love of film and storytelling coupled with her expertise in film theory and criticism to forge a path for herself in the film industry.   From secretary to studio executive and producer, Elizabeth learned the levers of power and the power of self advocacy through her climb.  Elizabeth serves as principal of Bisous Pictures, a romance label under MRC Film since 2020. She has served as principal of The Cantillon Company which was housed at Sony Pictures. She produced Elizabeth Banks' reboot of Charlie's Angels, starring Kristen Stewart, Naomi Scott and Ella Balinska, released in 2019. She produced the follow up to The Girl with the Dragon Tattoo, Fede Alvarez's The Girl in the Spider's Web, starring The Crown's Claire Foy as Lisbeth Salander. Her first film under her Columbia deal was Concussion starring Will Smith in 2015. The Cantillon Company include the film adaptation of Kristin Hannah's bestsellers, The Nightingale and The Great Alone, for TriStar Pictures. For MGM and Warner Bros, Cantillon is developing Tomb Raider 2 with producer Graham King. Elizabeth previously served as Executive Vice President of Production at Columbia Pictures. During her tenure at Columbia, she oversaw Academy Award winners The Social Network and The Girl with the Dragon Tattoo, the last four installments of the James Bond franchise, Casino Royale, Quantum of Solace, Skyfall and Spectre, as well as Captain Phillips directed by Paul Greengrass, Eat, Pray, Love directed by Ryan Murphy and The Monuments Men directed by George Clooney. Prior to joining Columbia Pictures, she served as Executive Vice President at MGM Studios, where she was responsible for a number of movies, including Be Cool, F. Gary Gray's sequel to Get Shorty, and Carl Franklin's Out of Time, starring Denzel Washington. Elizabeth produced The Banger Sisters for Fox Searchlight, Galaxy Quest for Dreamworks, and co-produced Sunset Park for TriStar Pictures. She graduated from the University of California at Berkeley with a Bachelor of Fine Arts degree in Film Theory & Criticism. Projects in development at Bisous Pictures include film adaptations of the bestselling novels 28 Summers by Elin Hilderbrand, The Return by Nicholas Sparks, The Love Hypothesis by Ali Hazelwood, and You Had Me at Hola by Alexis Daria. Along with the adaptation of bestselling book Photos Of You by Tammy Faye, to be directed by Jenny Gage &Tom Betterton. Elizabeth is also developing original scripts by Pulitzer Prize finalist and playwright Christopher Shinn and James Beard-winning writer Aleksandra Crapanzano. What You Will Hear in This Episode:  Elizabeth's personal story Difference between a producer and a studio executive From secretary to Showtime Challenges as a woman in film Work/Life balance Advocating for yourself Equity and Inclusion Self inflicted obstacles  Mentorship in the industry Quotes “Advocacy is a big part of being a studio executive.” “It has to be more than just passion. You have to figure out the levers of the power.” “The lessons that I've learned is you have to advocate for yourself.  You have to set your own boundaries.” “It's always a reset every day. It's a work in progress every day. Everyday you feel masterful and every day you feel like you fail.” “I think that television as an ecosystem, has many more powerful women in it.” Mentioned: MRC Entertainment https://bonniemarcusleadership.com/ https://web.facebook.com/bonnie.marcus/  https://www.linkedin.com/in/bonniemarcus https://twitter.com/selfpromote https://www.instagram.com/self_promote_/ Gendered Ageism Survey Results Forbes article 5 Tips to own the superpower of your age IAMMusicGroup Purchase my book Not Done Yet on Amazon:  If you enjoyed this episode of Badass Women Podcast, then make sure to subscribe to the podcast and drop us a five-star review.  

We have made it to 450 episodes of the Indie Film Hustle Podcast. The IFH Tribe has given me 450 opportunities to serve them and for that I am humbled. Thank you all for allowing me to do what I love to do so much. With that said I wanted to bring you a massive guest for this remarkable milestone. Today's guest is a writer, director, producer, actor and indie filmmaking legend Edward Burns.Many of you might have heard of the Sundance Film Festival winning film called The Brothers McMullen, his iconic first film that tells the story of three Irish Catholic brothers from Long Island who struggle to deal with love, marriage, and infidelity. His cinderella story of making the film, getting into Sundance and launching his career is the stuff of legend.The Brothers McMullen was sold to Fox Searchlight and went on to make over $10 million at the box office on a $27,000 budget, making it one of the most successful indie films of the decade.Ed went off to star in huge films like Saving Private Ryan for Steven Spielberg and direct studio films like the box office hit She's The One. The films about the love lives of two brothers, Mickey and Francis, interconnect as Francis cheats on his wife with Mickey's ex-girlfriend, while Mickey impulsively marries a stranger.Even after his mainstream success as an actor, writer and director he still never forgot his indie roots. He continued to quietly produce completely independent feature films on really low budgets. How low, how about $9000. As with any smart filmmaker, Ed has continued to not only produce films but to consider new methods of getting his projects to the world.In 2007, he teamed up with Apple iTunes to release an exclusive film Purple Violets. It was a sign of the times that the director was branching out to new methods of release for his projects.In addition, he also continued to release works with his signature tried-and-true method of filmmaking. Using a very small $25,000 budget and a lot of resourcefulness, Burns created Nice Guy Johnny in 2010.In his book, Independent Ed: Inside a Career of Big Dreams, Little Movies, and the Twelve Best Days of My Life (which I recommend ALL filmmakers read), Ed mentions some rules he dubbed “McMullen 2.0” which were basically a set of rules for independent filmmakers to shoot by.Actors would have to work for virtually nothing.The film should take no longer than 12 days to film and get into the canDon't shoot with any more than a three-man crewActor's use their own clothesActors do their own hair and make-upAsk and beg for any locationsUse the resources you have at your disposalI used similar rules when I shot my feature films This is Meg, which I shot that in 8 days and On the Corner of Ego and Desire which I shot in 4 days. To be honest Ed was one of my main inspirations when I decided to make my first micro-budget feature film, along with Mark and Jay Duplass, Joe Swanberg and Michael and Mark Polish. Ed has continued to have an amazing career directing films like The Fitzgerald Family Christmas, The Groomsmen, Looking for Kitty, Ash Wednesday, Sidewalks of New York, No Looking Back and many more.Ed has continued to give back to the indie film community with his amazing book, lectures and his knowledge bomb packed director commentaries. Trust me go out and buy the DVD versions of all his films. His commentaries are worth the price of admission.When I first spoke to Ed he told that he had been a fan of the podcast for a while. As you can imagine I was floored and humbled at the same time. Getting to sit-down and speak to a filmmaker that had such an impact my own directing career was a dream come true. Ed is an inspiration to so many indie filmmakers around the world and I'm honored to bring this epic conversation to the tribe.Enjoy my conversation with Edward Burns.

Over the course of the last few years, art house films showcase stories that typically wouldn't garner the attention and massive audience compared to a typical blockbuster. Yet, they often display the tenacity of the filmmakers involved in bringing all sorts of perspectives on life, humanity, and love in a way that bigger budget movies might not be able to do. On today's bonus episode, I break down some of my favorite films by Fox Searchlight! What's on your list? Be sure to reach out and let's talk about what movies you enjoyed! Titles discussed: One Hour Photo, Napoleon Dynamite, Little Miss Sunshine, Juno, (500) Days of Summer, Once, Slumdog Millionaire, Black Swan, Nomadland, The Eyes of Tammy Faye, The Favourite, Jojo Rabbit, Three Billboards Outside Ebbing, Missouri, Follow the show on social media for future updates, and let me know what you think about the show or what titles you'd want to be reviewed in future episodes. Be sure to also send in your own mini-reviews, and thank you for your time! INSTAGRAM https://www.instagram.com/thatsmyqueuepodcast TWITTER https://twitter.com/queuepodcast THEME SONG "No Flowers" by J1K from "The Vault, Vol. III" beat tape https://j1kmusic.bandcamp.com/album/the-vault-vol-3 TRANSCRIPT https://docs.google.com/document/d/1-nHhoD41GPaHVK4yjqmVPsCViBQ5iKYbC3kxQATceSc/edit?usp=sharing --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/christian-ang6/support

For all the ranting and raving about media they dislike, the Guy siblings have yet to provide some good examples of relationship media they feel is actually good. Joel finally remedied that by bringing in Rj  to discuss a shared favorite film, 500 Days of Summer, a romantic comedy/drama that has it all, strong characters, great music, subtle themes, and a well-written script full of positive takeaways for people at all stages in their relationships. Anyway, we get together to rant and rave about it for an hour. Check it out!All credit to Regina Spektor, The Pixies, and Nancy Sinatra for the use of their music. All credit to Fox Searchlight for the use of their poster, trailer, and scenes from the film.  We strongly urge our listeners to support the work of Planned Parenthood by donating here. For the indefinite future all Patreon donations will go to them, NARAL, or other orgs doing good work across the nation.Interested in starting your own podcast? Check out our Buzzsprout link to get a $20 giftcard for signing up to host through them. If you're interested but not sold on the merits of the platform, give us a holler and we'll talk about why we chose and continue to use it. Support the show

1. How Billie Jean could not live as her full authentic self until age 51. 2. The moment Billie Jean knew that Abby was not okay after her USWNT retirement.  3. How to visualize a reality that doesn't yet exist – so you can be it, even when you don't see it.  4. How Billie Jean numbed herself through an eating disorder and how she recovered by not being a “good girl.”  5. Why Billie Jean does not regret her pre-Roe abortion, and the degrading process she endured to access it.  CW // eating disorders discussion   About Billie Jean:  Named one of the “100 Most Important Americans of the 20th Century” by Life magazine and a 2009 recipient of the Presidential Medal of Freedom, Billie Jean King is the founder of the Billie Jean King Leadership Initiative, founder of the Women's Tennis Association and the Women's Sports Foundation and part of the ownership group of the Los Angeles Dodgers, Angel City FC and the Philadelphia Freedoms. King also serves on the board of the Women's Sports Foundation. In her legendary tennis career, King captured 39 Grand Slam singles, doubles and mixed doubles titles, including a record 20 Wimbledon championships. Her historic win over Bobby Riggs in the 1973 Battle of the Sexes, is one of the greatest moments in sports history. In 2017, Fox Searchlight released the critically acclaimed film, Battle of the Sexes, which depicts the cultural and social impact of the groundbreaking match.  In September 2020, King became the first woman to have an annual global team sports event named in her honor when Fed Cup – the women's world cup of tennis – was rebranded as the Billie Jean King Cup. Her memoir, ALL IN: An Autobiography, is available now. TW: @BillieJeanKing IG: @billiejeanking Learn more about your ad choices. Visit podcastchoices.com/adchoices

Joel Kim Booster, comedian, actor and writer of the just-released Pride and Prejudice-inspired gay romantic comedy Fire Island, joins Matt and Elizabeth this week for Daddy Issues! Joel, who also stars in the film alongside Saturday Night Live's Bowen Yang, tells us about what Jane Austen and Regency-era England has in common with the impenetrable wealth and whiteness of Fire Island, portraying gay culture and sex for a mass audience via a Fox Searchlight production, and casting Conrad Ricamora as a perfectly dickish yet lovable Darcy. Joel also talks about losing his father to Covid last year and the unrelenting writer's block and depression that settled in as he grieved. His perspective on the importance of creating a family of choice with supportive friends will resonate with anyone whose bio-families are disinterested or ambivalent about their careers, as Joel's were, despite his success. Later in the episode, it's on to discussing daddy issues in the news, including Johnny Depp's terrifying fans, Hunter Biden's sugar brother, Travis and Kourtney's homophobic wedding priest, Mark Wahlberg and Mel Gibson's new movie, and a celebration of a new kind of fish dad. --- Support this podcast: https://anchor.fm/tell-me-about-your-father/support

This is Part 1 of five Bonus Episode podcasts where Rex provides an Audio Commentary of the movie Sideways. So, to join in the fun, get our your Video Cassette, or DVD, or your streaming app and cue the movie to the start of the movie (and we mean the START of the movie including the opening splash screen of Fox Searchlight with all its trumpets and glory), turn the VOLUME DOWN and hit play on our podcast and Rex will regale you with all the background information you could ever hope for, all the gossip, all the behind the camera ongoings and all the anecdotes you can handle. Don't jump ahead and press play because throughout the movie, Youie will let you know when you need to press pause and then went to press play, so you'll easily keep up with the commentary. Bonus Episode 1 deals with Saturday and Sunday, the two days that set up the movie beautifully with some awkward scenes. Don't forget to watch the remaining 4 episodes. Enjoy We trust you enjoyed this podcast so why not subscribe to the podcast? Here's the RSS feed for you to click on, https://anchor.fm/s/7829a34c/podcast/rss or alternatively, search for 'Sideways The Life of Wine' on Spotify, Apple, Google, Podcast Addict, or any good podcast player out there. The Sideways wine collection (handpicked by Rex Pickett) is now on sale, so please head to https://www.blackmarket.co.nz/promo/sideways-wines-featureor www.158.co.nz and taste the movie! Have you got a question to ask Rex about wine, all things Sideways (the books, the movie, or the play)? Then please write to him on wine@158.co.nz This is just a reminder that this episode comes with a content warning and is created for adult audiences only. We advise listener and reader discretion for adult themes and language mentioned. Produced by 158 Limited.

This week John''s Chugging Maple Syrup and Mark's the Rookie Biotch with 2001's Super Troopers. --- Super Troopers is a 2001 American comedy film directed by Jay Chandrasekhar and written by and starring the Broken Lizard comedy group (Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter and Erik Stolhanske). Marisa Coughlan, Daniel von Bargen and Brian Cox co-star while Lynda Carter has a cameo appearance. In total, Fox Searchlight paid $3.25 million for distribution rights of the film and it grossed $23 million at the box office.

Welcome to The Ankler Hot Seat, our new podcast that takes you behind the scenes of Hollywood's big personalities, power struggles and ever-changing playbook. In today's episode is special guest Michael Wolff, whose debut story for The Ankler about Random House and Norman Mailer caused a sensation. The best-selling author and columnist reveals how he first learned about Random House's refusal to move forward on Mailer's collection of essays set for 2023 from the author's son, Michael Mailer, at a Christmas party, and also explains what it means now that the author's book of political essays has moved to Skyhorse, a publishing imprint suddenly known for taking troubled and controversial authors in for rescue after the larger publishing houses “cancel” them, including Woody Allen. Our hosts also discuss The Ankler 100, Omicron and awards season, what the rankings for most downloaded streaming apps in 2021 mean, predictions for 2022, and the surprise reappearance of Scott Rudin in awards campaign materials from Fox Searchlight as a contender for an Oscar. Enjoy and join us every Wednesday for new episodes. Music by Jordan Sommerlad On Spotify @jordansommerladmusicFollow @TheAnkler and our hosts: @janicemin @anklerrushfield @tatianasiegel27If you'd like to sponsor The Ankler Hot Seat, give a buzz to Kymber Allen at kymber@anklermedia.com This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe

Purchase a copy of Blind Pony, here: https://amzn.to/32Q8svNAn award-winning Creative Director/Writer, Sam is also an experienced director and producer. As a creative director, she's been instrumental in the creative development of campaigns for films, brands, and non-profits. Her creative direction for United Way Chicago, entitled "We're All Connected," earned her the prestigious Gold Hugo Award.Samantha's career began in the entertainment industry, under the mentorship of David Geffen at his venerable record label, Geffen Records working with artists Nirvana, Guns' N Roses, and Aerosmith. She went on to become Creative Director at Gramercy Pictures (now Focus Films.) Samantha's creative vision brought prominence to such independent features as Dazed and Confused, Fargo, The Usual Suspects, and Four Weddings And A Funeral. She continued her run of hits at Fox Searchlight with Waking Ned Devine and Boys Don't Cry before moving to Universal Pictures as Senior Vice President of Marketing and Advertising. Segueing to commercial advertising in 2004, she owned and operated Foundation Content, the production/editorial powerhouse she co-founded in Chicago with James Lipetzky, before the duo rebranded in Los Angeles as Wild Bill Creative in 2017.BLIND PONY As True A Story As I Can Tell, is Sam's first book, and was published on March 15, 2021, now available everywhere. Publisher's Weekly calls it "Unforgettable and raw… Hart's powerful debut, a gritty memoir rife with graphic details of abuse and triumph over it will break hearts." Kirkus Reviews raves, "Hart is a gifted storyteller…the book is ultimately inspirational. ​Samantha is currently working on a novel entitled, "The Capricious Life of Charlie Lane," as well as a volume of drawings and prose called, "When I Was A Muse." Connect with the Film School'd Podcast:Facebook: https://www.facebook.com/filmschooldInstagram: https://www.instagram.com/filmschooldpod/Twitter: https://twitter.com/FilmSchooldPodYouTube: https://www.youtube.com/channel/UCdgrswiL4AGviAOcbzfYCAwContinue the Conversation in the Official Film School'd Discussion Group: https://www.facebook.com/groups/filmschoold​

Good evening culmmies... Let's be bad! Our favorite friend Brandon Scott Jones is here to help you relax as he transports you back to life at Bel Air High School. Senior year vibes. We love BSJ and you will too! This episode is about... stars for seniors, a lil cigarette, an ASMR french kiss, impersonating mom, THE MALL, Mrs. Brosch, orange chicken at 10am, Coach Paul Newman, and Marisa Tomei duh. Brandon is an actor, writer and improviser who was named one of Comedy Central's "Comics to Watch" in 2015 at the New York Comedy Festival. Film: CAN YOU EVER FORGIVE ME? (Fox Searchlight, 2018); co-starring opposite Rebel Wilson in ISN'T IT ROMANTIC (Warner Bros, 2019 - Valentines Day!); OTHER PEOPLE (Sundance 2016, dir. Chris Kelly) and DON'T THINK TWICE (SXSW 2016, dir. Mike Birbiglia). TV: He plays Curtis on THE OTHER TWO (2019, Comedy Central), Isaac on GHOSTS (CBS), John on season 3 of THE GOOD PLACE (NBC). Other credits include: GIRLS (HBO), BROAD CITY (Comedy Central) and THE CHARACTERS (Netflix); various characters on THE LATE SHOW W/ STEPHEN COLBERT (CBS); DIFFICULT PEOPLE (Hulu); DEBATE WARS (SeeSo); and was a panelist on the comedy game show LIE DETECTORS (GSN). @culmpod@brandonscottjones

Rick Moody was born in New York City. He attended Brown and Columbia universities. His first novel, Garden State, was the winner of the 1991 Editor's Choice Award from the Pushcart Press and was published in 1992. The Ice Storm was published in May 1994 by Little, Brown and Company. Foreign editions have been published in twenty countries. (A film version, directed by Ang Lee, was released by Fox Searchlight in 1997, and won best screenplay at the Cannes Film Festival.) In 1998, Moody received the Addison Metcalf Award from the American Academy of Arts and Letters. In May of 2002, Little, Brown and Company issued The Black Veil: A Memoir with Digressions, which was a winner of the NAMI/Ken Book Award, and the PEN Martha Albrand prize for excellence in the memoir. In 2019, he published The Long Accomplishment, A Memoir of Hope and Struggle in Matrimony. His novel The Diviners From 2005 to 2006 he was secretary of the PEN American Center. He also co-founded the Young Lions Book Award at the New York Public Library. He teaches at Brown University.· rickmoodybooks.com · www.creativeprocess.info

My next guest is Alonda Thomas. Alonda Thomas serves as director of public relations at Howard University. Recently named among the 2020 Top Women in PR by PRNEWS. She has worked at three historically black colleges and universities, including her alma mater Florida Agricultural and Mechanical University and her current role at Howard University. Alonda has led the public relations strategy for a variety of clients, including TV One, ABC Network, CNN, Walt Disney Studios and Fox Searchlight.  She is a “Top 25 African American PR Millennials to Watch” in the Huffington Post and 2019 Communicator of the Year by the Mid-Atlantic Black Public Relations Society. Please welcome to Money Making Conversations Alonda Thomas.https://www.moneymakingconversations.comhttps://www.youtube.com/MoneyMakingConversationshttps://www.facebook.com/MoneyMakingConversations/https://twitter.com/moneymakingconvhttps://www.instagram.com/moneymakingconversations/Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

My next guest is Attorney Ben Crump. He is a nationally recognized trial lawyer. I was still managing Steve Harvey, and I saw him on TV representing Trayvon Martin. We met backstage at the Neighborhood Awards, and we have been friends. He had a dream to impact the lives of African Americans in the justice system. Ben's fight for justice has covered many cases. His dedication to helping families receive justice includes Ahmaud Arbery, Martin Lee Anderson, Breonna Taylor, Jacob Blake, George Floyd, and, unfortunately, many more. All these families have turned to Mr. Crump to turn the spotlight of justice on their cases, who speaks on the ongoing racial injustice in our country today. Please welcome to Money Making Conversations Attorney Ben Crump. My next guest is Rob Hardy. He is a graduate of FAMU! He directs some of TV's hottest shows, including Power Book II: Ghost, 'Power Book III: Raising Kanan, Prodigal Son, Evil, Shameless, Black'ish, Stargirl, How to Get Away with Murder, The Flash and Criminal Minds, among others. Rob Hardy has also Executive Produced many studio movies, including No Good Deed, Think Like a Man, and Stomp the Yard.  Plus, his foundation identifies, trains and mentors adult career seekers from diverse backgrounds to pursue lucrative and lasting opportunities in Georgia's film and television workforce.  Please welcome to Money Making Conversations Rob Hardy. My next guest is Marc Morial. He is the CEO of the National Urban League, The Urban League: Empowering Communities. Changing Lives. Five-point empowerment agenda. He is the former Mayor of New Orleans. He was 36 years old when he was first elected Mayor. He has authored a new book, "The Gumbo Coalition: 10 Leadership Lessons that Help You Inspire, Unite, and Achieve", now available wherever books are sold. Please welcome to Money Making Conversations, the leader of The Gumbo Coalition, Marc Morial.  My next guest is Lurie Daniel Favors. She is an activist, author, and attorney with a long-standing commitment to racial and social justice. She currently serves as Interim Executive Director at the Center for Law and Social Justice. Today, there is a lot ongoing from politics, economics to social, civil unrest on both sides. Attorney Favors is on my show to talk about it. Please welcome to Money Making Conversations Lurie Daniel Favors.  My next guest is Alonda Thomas. Alonda Thomas serves as director of public relations at Howard University. Recently named among the 2020 Top Women in PR by PRNEWS. She has worked at three historically black colleges and universities, including her alma mater Florida Agricultural and Mechanical University and her current role at Howard University. Alonda has led the public relations strategy for a variety of clients, including TV One, ABC Network, CNN, Walt Disney Studios and Fox Searchlight.  She is a “Top 25 African American PR Millennials to Watch” in the Huffington Post and 2019 Communicator of the Year by the Mid-Atlantic Black Public Relations Society. Please welcome to Money Making Conversations Alonda Thomas.https://www.moneymakingconversations.comhttps://www.youtube.com/MoneyMakingConversationshttps://www.facebook.com/MoneyMakingConversations/https://twitter.com/moneymakingconvhttps://www.instagram.com/moneymakingconversations/Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.