Podcasts about freeways

Last time on the Six Figure Trucker, we were introduced to Jaboris Christian, a six-year veteran of driveaway trucking. We're pleased to welcome him back today to dive a little deeper into his personal life. On today's episode, Jaboris shares how he seeks to manage his time in order to prioritize his wife and two precious daughters. His 7 and 3-year old girls keep his wheels spinning in more ways than one! He also sheds light on his academic background in Computer Graphics Technology at Purdue University and how he and his wife have leveraged their degrees and skills to start two businesses: 'A Michelle Designs' focusing on web development and brand promotions, and 'Ambitious Mentality,' a clothing brand aimed at promoting inspiration through catchy slogans like “Live Ambitious” or “Do what you Love and Succeed”. All this and more as we peek behind the scenes into the life of Jaboris Christian on today's edition of the #SixFigureTruckerShow Notes:Welcome Jaboris Christian back to the show! (0:43)Balancing Time between Family and Freeways (1:22)Both Graduates of Purdue, Jaboris and his wife both employ their degrees and skills toward creative entrepreneurial ends (2:25)Marriage, Daughters, and Disney! (9:00)Keep Trucking, Jaboris! The Six-Figure Trucker is a weekly podcast about driveaway trucking brought to you by Norton Transport. For more information or to subscribe, please visit Six-FigureTrucker.com. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us a text and chime in!Several large Arizona Department of Transportation projects are set to get underway along Phoenix-area freeways in 2026, including the first projects funded under Proposition 479 approved by Maricopa County voters in 2024. Substantial progress also will be made during the new year on two Proposition 400-funded widening projects along Loop 101 and Loop 202. Voters approved Proposition 400 in 2004. Here is ADOT's overview of Valley freeway project heading into 2026: Loop 303 Improvement Project between I-17 and 51st Avenue: This 9 million project scheduled to start by late January will add direct freeway-to-freeway ramps at the I-17/Loop 303 interchange... For the written story, read here >> https://www.signalsaz.com/articles/arizona-freeway-projects-set-for-2026-launch/Check out the CAST11.com Website at: https://CAST11.com Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

有愛不說，我很抱歉。 我可能還沒準備好，我很抱歉。 沒能讓我們成為我們，我很抱歉。 ——生為冰球，我很抱歉！！！！！！ 累積四年歉意，化作滿滿愛意， 2025 年，icyball 冰球樂團第三張專輯《我很抱歉》， 伴唱「輕感情時代」的成人浪漫愛。

Gary & Shannon open with breaking traffic and weather concerns as flooding in Sun Valley shuts down parts of the 5 Freeway, creating major delays for commuters. The hour then takes a festive turn as GAS presents A Christmas Carol 2025 — an original radio play reimagining the classic holiday tale with a modern twist.See omnystudio.com/listener for privacy information.

Message de l'animateur Starchild : Hello à tous, je vous donne rendez-vous ce soir pour le 98ème numéro de Freeway. Le quatrième de la saison 9, qui cette année porte le nom générique de « Desolation Angels ». Le chapitre de ce soir s'intitulant «More Than This» Comme toujours, une histoire que je vous conte à l'antenne, illustrée sonorement par une playlist de 16 titres, tirés des repertoires pop-rock, AOR et new wave des années 60, 70 et surtout 80: Guns'N'Roses, Deep Purple, Whitesnake, Marillion, Pink Floyd, Iron Maiden, Pat Benatar, Diving For Pearls ....

Idaho Farm Bureau Federation's 2025 President's Cup Winners - Carl & Linda Montgomery of Eden, Idaho

The latest on a leaking oil well in Newport Beach. The Los Angeles Angels settle a lawsuit with the family of Tyler Skaggs. The 405 is slated to be partially closed. Plus, more from Evening Edition. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.comThis LAist podcast is supported by Amazon Autos. Buying a car used to be a whole day affair. Now, at Amazon Autos, you can shop for a new, used, or certified pre-owned car whenever, wherever. You can browse hundreds of vehicles from top local dealers, all in one place. Amazon.com/autosVisit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency! Support the show: https://laist.com

A traffic stop with a man riding an e-bike ended in a shootout with San Diego Police Officers in Balboa Park. Some local elected officials are questioning how an eight hour closure on I-5 was handled and communicated. A $1M donation will reimburse San Diego Community College health care students for their certification and testing expenses.

AP correspondent Julie Walker reports a Customs and Border Protection officer fires a gun in dispute with a driver.

In this episode, Alyssa and Nadia return to the mic after a brief hiatus, with Nadia deep in the "finals hole" of her semester. They dive into a viral national news story involving a student at the University of Oklahoma who received a zero on a psychology paper, sparking a heated debate about academic standards, freedom of speech, and religious discrimination.Nadia breaks down the controversy: a student wrote a reaction paper arguing that gender norms are God's plan and that deviating from them is harmful, rather than using the empirical evidence required by the assignment. The professor contended that the paper failed to answer the prompt, relied on personal ideology over science, and was offensive to a group of people. The situation escalated when the student mobilized conservative groups, leading to the graduate instructor being placed on administrative leave.The conversation shifts to the broader implications of this event. Alyssa expresses frustration at how political polarization creates a "constant state of attack," comparing the national mood to crossing a freeway with cars coming at you rather than relaxing on a beach. They discuss the physical toll of this division, with Alyssa noting the conversation actually gave her a "sour tummy".They also explore the concept of "echo chambers." Nadia reflects on how social media algorithms reinforce our existing beliefs, making it shocking when we encounter extreme opposing views in real life. The episode concludes with a coping strategy for navigating a divided world: instead of trying to fix the massive global problems, Alyssa advocates for focusing on being a good human to the small circle of people immediately around you.TakeawaysUsing personal religious ideology to argue against empirical evidence in a scientific setting is not "best practice" and can lead to academic failureSocial media "echo chambers" can blind us to how differently other people in the country think and livePolitical polarization puts many people in a constant state of "fight or flight," similar to the stress of dodging trafficViral outrage can have real-world consequences, such as an instructor being placed on administrative leaveWhen a problem feels too big to fix, the best approach is often to focus on spreading positivity within your own small circleEven well-intentioned debates about social issues can cause physical symptoms of stressAcademic prompts usually require answering specific questions, not just writing an op-ed on personal beliefs Chapters0:10–0:39 – Intro: Back from Hiatus and Finals Week Stress0:40–2:15 – The Viral Story: 0/25 on a Psychology Paper4:20–6:32 – The Professor's Feedback: Empirical Evidence vs. Ideology 6:33–7:56 – The Aftermath: Instructor on Administrative Leave 7:57–9:31 – Analyzing the Quality of the Writing 9:32–11:04 – The Human Cost of Political Polarization 11:05–13:31 – Living in Echo Chambers and Cultural Division13:32–16:03 – The "Freeway" Analogy: Living in a Constant State of Stress 16:04–18:47 – Social Media Propaganda and Finding "Your People" 18:48–20:08 – Alyssa's Solution: Focus on Your Small Circle20:09–20:50 – Looking Ahead: Nadia's Final Year of College

 When it just touches on these really profound themes and it's moving in a way that catches you off guard. Matt Nothelfer is a Committee Member of the Borrego Springs Film Festival and working documentary filmmaker.In this conversation, Matt talks:* Why small, community-driven festivals like Borrego Springs offer some of the best experiences for indie filmmakers.* How the festival creates a filmmaker-friendly environment: lounge, home-baked food, networking, and long Q&As.* The “secret weapon” of Borrego Springs: a local audience that fills a 180-seat theater from morning to night.* Why early-bird submissions matter—and when they don't.* How to spot scammy or low-value festivals on FilmFreeway through community presence, transparency, and online footprint.* Why filmmakers should focus more on storytelling and theme than technical perfection.* The blind-submission, five-category review process Borrego uses to evaluate films fairly.* Why small festivals often have the highest acceptance chances—300 submissions, 70–80 selections.* How writing a thoughtful, festival-specific cover letter can move a film from “maybe” to “yes.”* Advice to emerging filmmakers: avoid chasing 100 meaningless laurels and instead pursue festivals aligned with your goals.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. Today my guest is Matt Telfer, who is a committee member for the Borrego Springs Film Festival. In this interview, we talk all things film festival, how to run a filmmaker friendly festival, and tips and tricks for submitting to film festivals.Enjoy.Matt, thanks so much for joining the podcast today.MATT: My pleasure. Happy to be here.BEN: So, I always like to start with a fun question, senior year of high school, what music were you listening toMATT: right off the bat with a curve ball? Alright, let's lay it out. I got the Talking Heads,BEN: the Cure,MATT: Like, let's see, what else?BEN: New Wave.MATT: Yeah, a little bit of the punk stuff. I mean, we got Pixies were, was I listening to the Pixies then? I can't remember. Yeah, so, uh, the Dead Milkman, stuff like that. The pubs, um, yeah, I had some of their records. You know, it's really frustrating ‘cause I had those records up until like five years ago and I left them at a colleague's house and they scattered to the wind.All that good stuff. Yeah. Anyway, I'm still a little bitter about that, but That's okay. My colleagues, my colleague was a friend and he, he deserved them.BEN: So you are a committee member at the Borrego Springs Film Festival. What? Yes, sir. And, and you've, you've held a variety of roles there and, and off air, you're saying sort of lately you've been focused on.You know, the pre-production of the festival, the website, getting the materials together. Correct? Correct. Reaching out to filmmakers, et cetera. Talk to me, talk to us about what are the fundamentals of running a good festival?MATT: Well, our context is that we're super small and modest. Uh, like we were saying before the interview, uh, officially started, we are literally a, a tiny little village in the middle of a giant state park.Actually the biggest state park in the lower 48 states desert community. We're actually just south of Palm Springs and, uh, there's like 3000 full-time residents here and, uh. So running a film festival in a place where there's literally. Not really a commercial market, it's a different type of animal.And um, so we kind of do everything on a very tight budget and we try to personalize stuff as much as we possibly can. We, since we can't really throw a lot of money at stuff, we just do everything we can in other dimensions.BEN: What's an example of that?MATT: Just trying to be considerate about stuff, uh, being friendly to filmmakers that are willing to submit and to get, and that also get accepted. So when they come here, it's a personalized experience. We work pretty hard on creating a filmmaker's lounge where folks can gather and network with each other throughout the entire uh.Five days of our film festival and while they're at the film festival and they're talking to each other, we also have food available for ‘em. One of our great committee members, her name's Pam, she literally will bake stuff in the evening and bring it in in the morning. So you have fresh pastries, cookies, coffee, like fruit vegetables, just everything laid out.And you know, there's really not a huge expense to do that, but you need like the right people to do that, so that's the thing that kind of makes our festival a little bit. Different, I guess in a way is like there's a personalized aspect to it and we spread that type of attitude across all our stuff.So we're gonna have like four parties during the entire festival, and all those parties have similar type of vibe.BEN: The reviews that I read online, um, on film freeway filmmakers were saying that it is, it's a film, it's a filmmaker friendly. Festival.MATT: Yeah. Because, you know, that's what we can do. Mm-hmm. Like, you're not gonna travel to a remote place in the desert and, you know, run into a bunch of industry folks.Usually there are exceptions to that. And, uh, as our. Film festival has gotten a little more solid, and we occasionally have some industry people coming in. Most of the time it's indie filmmakers. You know, we might have some elbow rubbing that this kind of neat. But for the most part, you know, these are just small independent filmmakers trying to do their thing and.Wanting to share their films with an appreciative audience. And aside from, being very personable, uh, with the committee and with the staff that run the film festival, one of the great things about our particular film festival is that the community is a huge part of what we do. The event they show up, we have 180 seat theater and it's full from 10:00 AM in the morning until eight o'clock at night.Oh wow. Every block and wow. It's been that way since the beginning, and it's not because of anything that we do on the committee, it's simply because the community wants to be a part of it. And so that's kind of our secret weapon, is like you show up as a filmmaker and like, oh man, I got, I got scheduled for the 10:00 AM block.They, and then they, they show up and like, what's going on here? This is look back. And then at the end of it, you know, there's an extended q and a. We don't. Push our blocks back to back really tight and there's plenty of time just to like relax and having interaction with folks and some q and as will go on for like a half an hour, if not more.And it's just, you know, so that's a unique thing that just kind of emerged without effort. And we take credit for it and we're excited that we can offer that. But you know, it wasn't any, it wasn't by design, it was just kind of like, cool. This is working.BEN: As far as festivals go, it sounds like filmmaker heaven.MATT: Well, you try to, we definitely try to be. And the dude that got this whole thing rolling, his name's Fred G and he has lived in this little community for a really long time, and he's a great guy and he's one of the reasons why a lot of people show up because, you know, he's just one of those kind of like community, uh, he's, he'll be really upset if I use this phrase, but he's like a town elder. Mm-hmm. You know what I mean? Mm-hmm. Mm-hmm. So just having that type of guidance and having that type of person that can kind of unify the entire event, I. Is really great. And again, like I said before, it's kind of our secret weapon is that we have like this great community that's willing to be a part of a filmmaker's storytelling in so much as like they'll sit there, they'll react to it, they'll ask questions about it afterwards.So yeah, if you're. A filmmaker that wants your film to be seen by actual eyeballs and actual people that are engaged. Mm-hmm. Then film festivals like ours, which there are many around, around the world. You gotta search ‘em out. As a filmmaker, you've gotta. Start getting discriminating. You've gotta really pay attention to what films are film festivals are offering and try to be a part of those kinds of environments, if that's what you want.BEN: So this is great because you're, um, you are part of the Bgo Springs Film Festival, you're also a working filmmaker. What are some other festivals that you've attended or know about that have a similar sort of filmmaker friendly vibe?MATT: Full Bloom film festival in North Carolina for sure. The WYO Film Festival in Wyoming, we enjoyed that a lot.My wife and I who are documentary filmmakers, we've taken our film films there. And again, you know, it's the exact same recipe basically, you have a core group of citizens that are willing and able to show up and be a part of an event. So when you sh, when you arrive as a filmmaker and you sit in the audience, you're not alone with, or if you're in the audience and you're only with other filmmakers there to screen their movie, you know?Yeah. You know that, you know that feeling. We've been there, right? We've been, we've all been there and, and we don't. Film festival is like what we're talking about right now. They don't wanna offer that. They want it to be something, even if they sometimes fall short, which has happened with us, we've had blocks where, maybe there's only 50 people in the audience and, you know, half of the audience might be filmmakers.But that is such a rare thing anymore. You just wanna be offering something to filmmakers. Make them feel appreciated because we know how hard it is to make these things and even and to be willing to share that in front of other people and, ask and answer questions it's a special thing and we wanna nurture that as much as possible and sort of those other film festivals.Love it. Yeah.BEN: Yeah. So we, I, I first came across you on Reddit on the film festival subreddit, and you were offering good advice and thoughts on, for filmmakers applying to festivals, how to think through strategy. So I guess for all, yeah. I mean, did you hear Yeah, help us out.MATT: Yeah. Did you, when you were reading that stuff, I mean, what kind of hit you as like the most relevant?BEN: I think it's two things and since I, I just have a documentary. I finished and am submitted a film festivals. I've read a bunch of stuff. Seen a bunch of stuff, so I may conflate some of the things that you said versus something I saw elsewhere. But two things. That's all right. I'llMATT: take credit for it.BEN: One is know what your goal is ahead of time, right? Oh, yeah, absolutely. To, be it the, be it a filmmaker friendly festival with good parties and events and networking. Is your goal to get exposure? Is your goal to meet people in the industry? Is your goal mm-hmm. To get laurels? Those are all different worthy goals, but they all will change your strategy and your approach for film festivals.And the second is, you know, submit to, don't submit to 50 festivals. Submit to 5, 6, 7, see what the results are and then adjust from there.MATT: Oh, absolutely. Yeah. So yeah, when we're talking strategy, that's so important and, and we can speak about it from the perspective of the Borrego Springs Film Festival because, you know, knowing the context of the type of festival we are now, if you were a filmmaker that was searching out, let's say.A bunch of like publicity for, you know, some type of, media push. It's like, would you necessarily want to come to Bgo Springs? Maybe yes, maybe no. It depends on how you played it, but. The main reason you would be coming to Borrego Springs, we feel is because you want that personal interaction and you want feel special as a filmmaker and you want to share your stuff with us, and we want you to share your stuff with us, right?So you're absolutely right when you're initial initiating your kind of film festival search as a filmmaker, you really gotta narrow down what your expectations are. And figure that out. I can speak as a filmmaker as well. It's like if you're gonna go someplace and spend money to do so, I mean, at the very minimum you squeak by on a budget of 500 bucks, then that's kind of like dirt cheap to go someplace and then return home.You know? That's still a lot of money. Mm-hmm. And that's, that's probably like. The least amount that you would ever be able to spend and you would need help, like getting lodging, which we try to offer to our filmmakers. Um, you know, how are you gonna, what are you gonna do? What are you going to eat when you get there, which we try to offer to our filmmakers.And, you know, all those things become part of the calculus, right? Mm-hmm. Especially when you're independent, mm-hmm. I would ask you is like when you're trying to submit, what are you aiming for right now?BEN: So great question. So I'm aiming for trying to get multiple laurels and I'm in, in a little bit of a different situation, I think, than most filmmakers.So I, I have an academic background, I have a PhD, and ideally I'd like to I've worked at various universities. In the ideal world, I'd like to go back overseas and teach film at a university. And so in the world, in the world of academia, you know, there's this phrase, publish or perish, right? You have to publish academic journal articles, publish.Mm-hmm. In film, in the world of filmmaking, academia, a film festival run. A film festival. Acceptance is like a journal article, right? Um, maybe if you do a feature film that's like publishing a book, this is sort of, uh, roughly equivalent to getting a, a journal article published. So I want to sort of garner a number of laurels so that I can indicate, you know, this, this short plate at these 10 different film festivals.MATT: Okay, so the credentials matter, right? Correct. It's kind of like that kind of that'sBEN: exactly right. LittleMATT: trophy on the mantle, as it were. Mm-hmm. Yeah. Yeah. Okay. So, um, I'm gonna ask you another question if that's okay.BEN: Yes. I feel like I'm getting a All right. Free film festival, um, consulting.MATT: Perhaps, I don't know about that, but when you are pursuing the laurels and, you know, everything's kind of like filtering through film freeway these days. Mm-hmm. So what's your strategy as far as like finding those types of film festivals that you think are going to, allow you to get those laurels on your poster or whatever?BEN: Yeah. Another great question. So couple things. One is it's a doc. My latest is a documentary short, and it's, it takes place in the world of improv comedy. And the two subjects are two black women. So looking at festivals that either are geared towards comedy, towards documentary shorts or towards black themes and African American themes. One of those three or, or, um. Themes of uh, women in, in general. Sure. Well, if I couldMATT: interrupt real quick, please. Yeah. So it seems like you're trying to basically still maintain some integrity as far as that goes. It's like, yeah, I'm not relevantBEN: all like the fly by night, if you submit, we'll give you the, you know, the UP award.Yeah, exactly. Well, that, that's why I'mMATT: asking because. Okay. Because that's why I'm asking because, there are plenty of, you know, weird little festivals that are floating around the mill fly by night, that,BEN: thatMATT: come, that come and go. And if you want to get a hundred laurels on your poster, if that's, you know, what makes you feel good, then you could definitely do that.But at least what you're saying is like, okay, let's make sure that what's happening with my film has integrity, has, has a shape, and has, something that means something after, you get accepted.BEN: Yes. Oh, a hundred percent.MATT: And the reason I bring that up is because, you know, as a small film festival we struggle with getting we just struggle competing with what's out there on film Freeway, let's put it that way.BEN: You know, because Talk about that. Break itMATT: down. Yeah. You know, it's just, as anyone knows that's trying to do this thing, it's like you hit film freeway and they're a great platform. I'm not, complaining about them at all, but there's just a lot of stuff on there that is more or less as a filmmaker or relevant.I mean, would you agree with that?BEN: Oh, a hundred percent.MATT: Unless all you're wanting to do is just get one laurel to put on your, on your poster, so you know. Maybe they offer a little bit of something. But as a filmmaker, I've been to the ones that don't offer much anything aside from a screening and even, and it's like I'm lucky enough to even go to ones that have physical screenings.A lot these days are just like, oh, we'll slap it online and call it good. So, you know, uh, let's be honest, there's a lot that are just out there and they're just trying to churn. Make some money. So as a small film festival, we're competing with that stuff and we've seen our, uh, submission rate decline, not necessarily a bad thing for us.Mm-hmm. But for other film festivals, I imagine they might be getting frustrated with it. We are actually perfectly comfortable with where we've kind of landed and the groove we've been in since the pandemic. Even a little few years before then, and we haven't tried to kind of like change our recipe much.So we're just happy with the amount that we're getting. We're happy with the amount that we're accepting and we're pleased with how we're screening stuff and the opportunities we're giving people. But I do feel, from what I've seen, it's becoming. Uh, it's just, it's a bit, it's a bit difficult to navigate the slop.Let's just break it down like that. Yeah. And I don't know if you're feeling if you're experiencing the same thing or not. I'd be curious to, to see what you, what you say.BEN: For a hundred percent, so I, I made a few documentaries in the late 20, 2011, 2012, and that was right when Without a box, which was filmed free, right withoutMATT: a box.BEN: Started and it was great because instead of having to burn a bunch of DVDs and physically mail them, you could just upload your film and then submit it to a bunch of festivals. Research a bunch of festivals. Great. Coming back to it now in 2025, it's Scam Central and I think unfortunately one of the things you, you have to spend a bunch of time doing is trying to figure out which of these festivals.First of all, which of these festivals are just legit in that they're not trying to just mm-hmm. Get money from you. They're gonna do a virtual screening and that's it. And then once you even get that breakdown, kinda like you said, which are festivals that are legit, that, that have good people working hard, good intentions, you're proud to show your film there versus they're just churning through submissions and fees.And chart, have a bunch of deadlines and a bunch of different slots you can apply for. They're not the exact opposite of how you describe Borrego Springs.MATT: Yeah. And you have to, as a film festival, at least in our opinion over here, it's like you have to bring that value to the table or else why?Why are you really doing it? And if that answer is like, you're just some guy sitting in an apartment somewhere trying to make a lot of money or a living, I don't know if you can make a lot of money doing this.BEN: Mm-hmm.MATT: Um, but. If you're just doing a film festival that is literally fly by night because you want to cash in, it's like, that's really unfortunate.Now the other side of that coin is like we see a lot of very earnest filmmakers submitting and, uh, they might not be the most technically adept. And they're fresh out of the gate as far as like trying to be a filmmaker. So they're very eager and you know, they just want to tackle everything all at once, and they end up you know, they're not really exercising any discrimination about where their films are going and they end up, you know mm-hmm.Kind of wasting a lot of money in that regard. Submitting, the, submitting, submitting without much, kind of emotional reward from it. And I think,BEN: yeah.MATT: Having some type of like positive feedback about what you're doing is great, even if it's whatever.But. It really helps to have a place to land where you feel like super special and cared for and considered and not just like, oh, I showed up and, it cost me $10 to get into my own movie and it's costing me $20 to, buy a cocktail over here and, you know, those kinds of things.If you're even lucky enough to get that, honestly.BEN: Right. What's your advice on spotting scams when you're applying to festivals?MATT: How to be discriminating as far as like submitting?BEN: Yeah,MATT: I mean I can only approach that from our, my wife and i's own experience trying to get our films into festivals. And with the insight like working on a film festival, I think that helps.But trying to spot ‘em is really, you got to. Try to get a sense if there's any type of community involvement going on mm-hmm. With the festival. And you can usually track that online if you're, you know, if you're a bit sleuthy, and you can find out if it's being supported by the community in some sort of way.Mm-hmm. And it shouldn't take you too long to figure that out with a couple of decent, online searches and follow in a few threads of information. Another thing is, is like if they're kind of nurturing their online presence, you know, it doesn't have to be super sophisticated. You just have to get a vibe that they're trying.And if, if you get that kind of sense, then it's worth the effort. Typically the other thing is you gotta really know what type of film festival that you're submitting to, right? If you're making documentaries, you're not submitting to, you know, a feature film, festival Right. In every festival.So yeah. Core effects. So I, yeah. You know, it's just being, making those obvious decisions. But when you dig beneath that superficial stuff and you get past like the obvious. Really try to get a sense about what you want yourself as a filmmaker when you go to a film festival. And for us it's like getting appreciative eyeballs on the film and giving us fun feedback and having a good time and interacting and, and doing some networking, uh, basically having a party and celebrating your film.Mm-hmm. And I think that weBEN: think about, yeah, sorry, go ahead.MATT: I think that this, that's important for us, so I imagine, and I, I would think that it's important for other people that are making movies as well. Yeah. If we, about, especially independently.BEN: Yeah. Yeah. You know, there's you were alluding to very little money in it, but, um, there are, there are rewards.Yes. One of the biggest of which is seeing your film in a packed house with an engaged audience. What from a screener perspective, from a film festival perspective, what are some tips you would give up and coming filmmakers, young filmmakers on their short films in particular mistakes that you see et cetera, et cetera.MATT: I would say the biggest mistake, especially as a, a young filmmaker, is concentrating so much on the technicalities of the craft and ignoring the storytelling. Um, you know, we, you mentioned, and we mentioned before about like when we started, uh. Kind of submitting to film festivals. This was basically what, like 15 years ago for both of us now, right?2010s, 2012, whatever. Mm-hmm. The technical back then could elevate you above everything else back then. Like today. You know, look, anyone that has a, has a mobile telephone, essentially has the skillset it takes, or not the skillset, but the technical wherewithal.AnBEN: outstanding camera.MATT: Yeah. Yeah. And the point being is like you can go out and you can create something compelling without the gate of the technical getting in the way. Uh, you can capture it. And it doesn't have to look like a million bucks. It's nice if it looks like, you did a big budget thing on a small budget.I'm not knocking the craft of anything. I'm just saying don't be so intent. Or maybe even don't even worry if like, it falls short technically a little bit. ‘cause I will. Guarantee you that a film is gonna get into a film festival based on if it's a compelling story with a good theme or not. And theme is another thing that a lot of folks don't necessarily appreciate, I don't believe.Just to give you a little bit of insight, our film festival. Is the selection committee are not industry professionals. They are regular citizens. They're just watching movies to help out our film festival. Now, try to imagine what that means. It's like folks don't focus on the technical unless it's an absolute train wreck.They will literally sit down and say, is this something I'm interested in and am, am I engaged with the story? Full stop. So that's where, that's the thing you have to focus on. And if you're not doing that as a filmmaker, okay, maybe you're just, you know, maybe your thing is gonna be, you're just a cinematographer, you're just a sound guy.You know, you're more crafty than you are. You know, a storytellers you gotta find that. You gotta find that place. That would be the main thing, because I know we, we. This, I think this is a good thing about our particular film festival is that we have taken in some films that probably weren't like technically as good as they should have been, but because they are just so.Compelling. We don't ignore it like we do pay attention to the craft, but if a story elevates beyond the craft, we're more than happy to bring those folks in. And when those folks come in, they're like, oh my gosh. You know, it was like we're having a hard time getting accepted to film festivals and we're so grateful that you took our film and we can't believe the response that we're getting.Um, they tend to be the best. Most enthusiastic filmmakers and attendance of anybody. Mm-hmm. They're not cynical, you know, they're not burnt out, they're just like over the moon.BEN: They're happy to be there.MATT: Yeah. And it, and they should be. And they're gonna spread the word ‘cause they, they've created something.Yeah. Wonderful. Now, you know, maybe it's underexposed, maybe it's overexposed. Maybe the audio's not great here and maybe the audio's okay there, whatever. It's compelling. That's the main thing. And you and you as a filmmaker really need to start analyzing. My wife and I do this all the time. It's like, what the heck are we making here?Are we making something that is compelling to us personally? Mm-hmm. Are we making something that's compelling to other people? Mm-hmm. It's two different things.BEN: Mm-hmm.MATT: I mean, that's right. So storytelling is hard.BEN: Yeah. That's the craft. It's storytelling.MATT: Yeah.BEN: Yeah, yeah. What does your, so you've got screeners, not industry folks, people just who appreciate films and filmmaking.What does your judging sheet or criteria sheet look like with your screeners, and what's the process that a film goes through?MATT: Here's another thing about our particular film festival. We're completely blind. Submissions. You know, we do not solicit anything. It's like early days we were kind of like poking around and asking for some folks to kind of consider us, but we've kind of let that fall by the wayside.Maybe that's one of the reasons our submissions have declined a little bit over the years. One of the factors, but regardless completely blind submission. So. Stuff comes in. We have a bunch of people that are at the ready and they start watching it, and we basically have a five step process.It's like, consider this, consider this, consider this, consider this. And they do that. And they mark it from scale of one to 10. And, uh, from that we kind of start our, fundamentallyBEN: what are, what are the different, consider this. Like what are the categories?MATT: Let's see. I gotta look it up, but it, it basically breaks down to, okay.Are you sentimentally engaged with this? Meaning, is it, is it a subject matter? I love that questionBEN: that,MATT: yeah, it is a subject matter that you. Like just offhand, like, okay. It's a, it's a nature movie. See, I love nature movies. Oh, I see. Are you, you see what I'm saying?BEN: Predispose, I thought, I thought you meant was the film engagement.MATT: No, no. It, no, it's, it's, it becomes both. It becomes both, right? Yeah. Because your sentimental attraction to something is going to create an engagement. So we kind of wanna know if, uh, our regular folks are like just locking into something because they just love the subject matter.BEN: They make the topic.Yeah.MATT: Yeah. Um. Then from there we do actually talk about craft, even though I was saying before, like, uh, don't worry so much filmmakers about the craft anymore, but we wanna make sure that you can hear it. Okay. It's not a total disaster with the audio and you can see everything. Okay. So we ask them to rate it on that scale.And then, um, other, you know, just more nuancey things is like, okay, is the pacing cool? In other words. Did you find it like it was dragging a lot or it was, too fast? How's the editing style? Those kinds of metrics. And there's actually a few other ones in there as well. So all that is just kind of thrown into the pile.Mm-hmm. And then from there we start to weed that out as we come to after like all the submissions come in and from. Once all the submissions come in and our, our deadline has passed, then the committee jumps in and starts doing a more nuanced type of an analytical thing to the films that have been submitted.But I will say that regardless of how we kind of shuffle things, once the deadline is closed, the people that watch our films and the committee members are usually. Copacetic. There's hardly anything that that changes. And, um. The nice thing about our particular film festival too, is like if you're a filmmaker submitting, you know, I'll just, I'll give you the numbers.We essentially get like 300 submissions, so it's not a lot. Mm-hmm. Um, and out of that 300 we are running a sub, we're running a screening rate anywhere between like 70 to 80 movies a season. Mm-hmm. So that's a really good. That's a really good, uh, opportunity to get accepted at a film festival, and that's why small film festivals might be the best bet for a lot of independent filmmakers, I think.Mm-hmm. You know, because you have that opportunity to get noticed. So I think I might have tangent, I went off tangentially a little bit there, so if you wanna pull me back in.BEN: Yeah. You went off tangentially, but in a great way. I mean that I want to appreciate the transparency with the numbers. I interviewed, um, the director of the Wyoming International Film Festival, a guy named Rudy Womack, and he was the same.He was like, here's our numbers, we publish ‘em. He's like, most festivals don't, but it just demystifies the process. So it's very helpful.MATT: Yeah. And I'll give film pre credit because they allow film festivals like ours to put those numbers online. Mm-hmm. And, and we've done that. If you hit our page on film Freeway, you can start to figure out what we're about without too much trouble.BEN: What are the, what are the different blocks you run?MATT: As far as like thematically?BEN: Yeah. Yeah. Like at a festival. What are the different categories and blocks.MATT: Aha. See now you touched on something that's kind of unique to us. Okay. So, you know, you go to a film festival and it's like, oh, this is the, this is our dog block.Every movie's about dogs.BEN: Right, right.MATT: Or something like that. We don't do that. At all. So we kind of grab bag, the whole thing. It becomes a very eclectic mix of stuff. Mm-hmm. And one of the reasons we've ended up doing that is because our community has kind of demanded it. Whoa.Interestingly enough. Yeah, so they drove the decision to kind of like stop doing thematic blocks and they wanted a better mix of things because they, again, our folks here, they show up for every single block place is packed.BEN: I just, and sorry to interrupt before you finish, like everything you're saying, it just sounds like there's an iter iterative feedback loop.Between the community in the festival, the film? Absolutely in the festival. The volunteers in the festival. So I just wanna highlight that ‘cause I'm loving everything you're saying.MATT: Well, again, like I said, it's the secret sauce. It's our, it's our weapon that we have our secret weapon that allows us to kind of like elevate beyond our like humble budget.Right.BEN: The community is, but community is letting you know, we don't want thematic blocks.MATT: Yeah. The community came in and said, we, we want mix. So when we sit down and we're sitting through movies, it's like. If we're watching something that we're not in tune with thematically, then you know, you would have to sit there for like an hour and a half and just kind of tolerate it.Whereas now, if like a movie comes on about dogs and for some reason you're just a weirdo and you don't like dogs, that movie will come and go and now you're onto something else, right? Mm-hmm. So. Yeah like you just mentioned, it, it really becomes a cooperative effort between the community, the film festival itself and, and even the filmmakers.And we're kind of proud that it is a little bit ramshackle in that way ‘cause it creates a very organic vibe and weirdly enough. Like at the end of it all because it, it's a little bit random. It is like how folks get scheduled.BEN: Mm-hmm.MATT: Themes are emergent anyway.BEN: Mm-hmm. It's, peopleMATT: start creating patterns that didn't exist and then it sometimes that becomes really profound.It's like, didn't even think of that. It's brilliant. However oh, the other thing about programming too, that we do specifically for our film festival is that we. We ask our filmmakers, say like, Hey, are you planning on coming here? And if they, if they are planning on coming here, we try our, our level hardest to make sure that we program their films to match their schedule, right?So we don't lay out our program and say, okay, you were scheduled for, you know, Wednesday at 2:00 PM. It's like, well, I'm only free on the weekend. You know, and you wouldn't, you would never be able to attend. We ask first to say, do you think you're gonna be able to be here? And if they say yes, then we try to accommodate as best we can.So again, it's, it's collaboration across the board from filmmakers down to the, to the citizens of our small town.BEN: One of the things I read somewhere, or heard somewhere, is that it's much more advantageous to apply for the early bird deadline. What's your take on that?MATT: For our film festival, not so much, but I, I definitely adhere to that strategy as a filmmaker.If nothing else, it's budget conscious, you know? Yeah, yeah. It's cheaper usually under the initial deadlines you know, you have to take advantage of that. The other thing I guess is like, I will say from our experience, uh, with our particular film festival, if you get it in under the early bird deadline, at least it's there.And you know, you've basically got like four or five, six months for the submission. Crew for that particular film festival to kind of think about it. Whereas if it comes in a last minute, you're not really gonna get as much consideration. It's just gonna have to be more like, uh, an initial one-off type of decision.SoBEN: are there other, and I mean the, the most important advice right, is always make a good movie outside of the movie. Yeah. Are there other ancillary things that. Can move the needle at all. Cover letters, director statement, press kit, stuff like that, or it's not, uh, it's negligible.MATT: Hmm. It's neg negligible to an extent in so much, it depends on how you frame it as the filmmaker.Mm. And let me, I'll try to explain. So every year as a film festival, you just basically get cover letters. It's like, oh, take my film please. It's about this, it's about that. But it's a cover lever, co cover letter. It's, uh, copy and pasted. You can tell. You can just, you just know. It's like, okay, they're making an overture to us, but they're also making an overture to like a hundred other film festivals.It's like if you're gonna write to a film festival and say you want in, just make sure that you actually acknowledge who you are sending your film to. Don't just say, Hey, Borrego Springs, I wanna be in your film. I like Borrego Springs, mm-hmm. My parents went there once and I've always been com I've always been interested in the desert and how awesome would it be?See, that tells us that you're paying attention. Right?BEN: Mm-hmm.MATT: That you're trying. We're trying. We just want the filmmakers to try as well, as far as like trying to make any requests to get preferential treatment, and it's totally cool to ask for preferential treatment. By the way. You can say, I see that you're a small community.I just made a film that's, that takes place in a small community. We might be a really good fit. That kind of thing matters, right? An email overture works. Yes. An email overture doesn't work. No. It's both things at once, depending on, it really depends on how you write that letter. So if you wanna invest the time and effort to try to impress a film festival, just make sure that.You understand what that film festival is and really think about if what you're offering, the film festival is something that they might want. And if you can, if you see a, a common thread there, write about it in a letter. And even if it's just one sentence, it's like, then we know on our side that this person's paying attention and that that kind of matters.It does matter. So at the end of the day, when you're take, when you're kind of like really trying to figure out your cutoff, if your little film happens to be on the bubble, guess what? It might get into film festival, right? Mm-hmm. Because you said that you have a connection to this place, and I think that's fair.I mean, what, does that make sense?BEN: Yeah, for sure. So the festival is coming up in January, is that correct?MATT: Yeah, we're in the middle of gearing up for it right now, as a matter of fact. Nice. I gotta run out to the, to town here in like a, like 15 minutes actually to do some stuff for the film festival.So yeah, it's, it's, well, today we're shooting, um, a little promo, uh, thing that we're gonna run, run during. At the beginning of the blocks, and I'll be doing that with Fred G the chairman of the board. Yeah, that's nice, fun stuff. We try to have fun with things, so. Yeah.BEN: We do littleMATT: skits and whatnot during the award ceremony.It's, it's goofy. I love it. Cheesy as hell, but we like doing it, soBEN: I love it. Oh, that's actually something that I sort of, in, in, in my cover letters, which I try to. You know, write tailored to the festival. Especially the ones in California say, well, the film's about this improv duo and mm-hmm. We accepted, we'll come and we would love to do a little improv performance for the festival attendees.Um,MATT: I will say this too, because we're such what you just mentioned. I just want to piggyback on that for a second. So you said in my cover letter I'll say, we're willing to attend. It's like if you say that in a cover letter and you mean it, you, and you're willing to do that. Yeah. That's good. Especially for a festival like ours.We want filmmakers to come here. We wanna treat ‘em to a good time. We want them to be part of something that's. Big in the community and the community wants that as well. So if you're here and you're willing to be here, then that matters.BEN: I love it. Well, I mean, everything I'm hearing about Borrego, like literally I just reached out ‘cause I wanted to just talk film festival submissions, but now I'm like, Ooh, next year I'm definitely gonna submit to, uh, to Borrego.MATT: Yeah, I know this was supposed to be like a strategy session and here I am bragging about the film festival. That'sBEN: No, no. It's exactly what I, what I want. It's great. Last question. What's a, what's a. Documentary that blew you away recently?MATT: So, okay, so last year at our film festival, there was this really cool documentary called Dale. Have you seen it?BEN: No. Tell me about it.MATT: So Dale is like this older woman and she's the first basic Asian American that was in the, um, uh, Los Angeles orchestra, the Los Angeles Phil Harmonic. Okay. And essentially all it is is.I say all it is like, it's a very profound kind of retrospective of what she did to get to that point and you know, her views on things and it's just, and the music that was involved, just very beautiful, very poignant and simple. And. So when, when you have like movies like this and it's, it's not even a 10 minute long movie, it's under 10 minutes.Mm-hmm. When it just touches on these really profound themes and it's moving in a way that catches you off guard. Those are the things that you can't ignore, right? Mm-hmm. And this is actually, Dale's a good example because, you know, it's not always shot pristinely, it doesn't have to look, perfect. But the story reaches kind of a transcendent level that is really, really nice. So if I would throw in Dale and let me see, uh, the the director of that, his name was Justin Strike. So if anyone, I think it's still on the film festival circuit, so you have that opportunity. Go check it out.BEN: Love it. Love it. Love it. Matt, thank you so much for taking the time. For people who are interested in Borrego Springs Film Festival, either to attend, to submit, et cetera, what where should they go and where can they find you?MATT: Oh, online search, just, you know, Borrego Springs Film Festival. It'll lead you to all the places you need to be.And, uh, yeah, just track us down that way. Pretty straightforward. Take a peek at what we're offering. We keep mm-hmm uh, we keep an archive of the stuff we've done online so you can pull back the curtain and look and say, okay, is this kind of something I'd be interested in?Um, you can get a vibe for it that way. And, uh, that's, yeah, that's kind of it. That's kind of it. I think we've tried hard to make sure that what we offered is pretty transparent, and if you take a look at it and you think it's a good fit, and by all means, send us your stuff. Including you, by the way, so, you know.Yeah, no, you have to submit as well now would definitelyBEN: be submitting early bird deadline next year. Perfect. I wish I, if I was still in LA I'd come down, uh, next month and, and just go to this upcoming festival. It sounds wonderful.MATT: Well, I know. Why don't you just do it anyway?BEN: Yeah, I'll give you aMATT: VIP pass.I that,BEN: listen, I might take you up on it. I still all, well, if you do, it'sMATT: we'll be waiting for you.BEN: You, you know, we're, we're documentary filmmakers. We always have a couple irons in the fire. So I do have one kind of idea of, uh, another doc I'd like to shoot out on la maybe I'll combine it. I'll let you know.MATT: Perfect excuse.BEN: Hey, this was fantastic. Thank you so much for taking the time. I'm so glad um, we connected and uh, just listen. Our pleasure be fantastic.MATT: Yeah, we're, we're happy as a film festival to be asked to do this kind of thing, so thank you. And um, best of luck to your film too. I'm gonna check it out, so be sure to submit it straight away.BEN: I will. Thank you so much, Matt. Alright man. Thanks.BEN: That was my interview with Matt of the Borrego Springs Film Festival. Hope you enjoyed, please forward to at least one person. Have a great week. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Bueno Bueno Podmas Day 13, An episode everyday for 25 days! Buy The Bueno Coffee Hoodie here!https://www.inlandentertainment.com/product-page/bueno-coffee-hoodie More Content On Patreon!patreon.com/buenobueno Call Us To Be On The Show!https://docs.google.com/forms/d/e/1FAIpQLSdV8WNMg69TLL4nYttVh_mKAoLRYzRtnCT226InJqh3ixQR5g/viewform Want to send us a gift?PO BOX 311145Fontana, Ca 92331 Follow Us!https://linktr.ee/buenobuenopdc Saul V GomezInstagram -  https://www.instagram.com/saulvgomez/Twitter - https://twitter.com/Saulvgomez_Tik Tok - https://www.tiktok.com/@saulvgomez Hans EsquivelInstagram - https://www.instagram.com/hans_esquivel/Tik Tok - https://www.tiktok.com/@hanss444 RexxInstagram - https://www.instagram.com/rexxb/Twitter - https://twitter.com/rexxgodbTik Tok - https://www.tiktok.com/@rexx.b1 Bueno Bueno EP. 17200:00 – Intro01:00 – Naughty List Question Begins02:20 – Mariah Carey Fell off?05:10 – Dealing With Hate & Rage Baiting06:30 – Fake Scammer16:00 – Helping People vs Getting Played17:45 – Best Movies to Have Sex To19:10 – Dating, Types & Preferences25:00 – Freeways, History & Racism Discussion30:45 – Cheated On While Pregnant41:50 – Retroactive Jealousy52:00 – Naughty List Check-In55:00 – Patreon, Podmas & Shoutouts

Our Ape Club reconvenes to celebrate the holidays with a viewing of 1971’s “Escape from the Planet of the Apes!” Is this an ape movie or an episode of “Mannix”? What happens when you change lanes on the Freeway of Time? Why is Zira the smartest of all creatures, ape or human? And was Dr. Cornelius framed by big government? Apes smart, humans dumb! Jason Snell with John Moltz, Annette Wierstra, Brian Warren and John Moltz.

Our Ape Club reconvenes to celebrate the holidays with a viewing of 1971’s “Escape from the Planet of the Apes!” Is this an ape movie or an episode of “Mannix”? What happens when you change lanes on the Freeway of Time? Why is Zira the smartest of all creatures, ape or human? And was Dr. Cornelius framed by big government? Apes smart, humans dumb! Jason Snell with John Moltz, Annette Wierstra, Brian Warren and David J. Loehr.

Most business owners have no idea how visible they really are on Google. You might show up when you search from your own phone, but that does not mean customers see the same thing. In this episode, we break down three simple and completely free ways to check your true visibility online.If you have ever wondered whether people can actually find your business online, these three checks will give you a clear answer. Resources in This Episode:GS Location Changer (Chrome Extension)Google “About This Result” ExplanationGoogle Chrome Incognito ModeAbout Adam Duran, Digital Marketing Expert⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Local SEO in 10⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is helmed by Local SEO expert Adam Duran, director of Magnified Media. With offices in San Francisco, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Los Angeles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & Walnut Creek, California, Magnified Media is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠digital marketing agency⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ focused on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠local SEO for businesses⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠marketing strategy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠national SEO⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠website design⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠and qualified customer lead generation for companies of all sizes.Magnified Media helps companies take control of their marketing by:• getting their website seen at the top of Google rankings,• getting them more online reviews, and• creating media content that immediately engages with their audience.Adam enjoys volunteering with several community-based non-profits, hiking and BJJ.About Jamie Duran, host of Local SEO in 10Local business owner Jamie Duran is the owner of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Solar Harmonics⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Northern California⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠'s top-rated solar company, which invites its customers to “Own Their Energy” by purchasing a solar panel system for their home, business, or farm.  You can check out the website for the⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ top solar energy equipment installer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Solar Harmonics, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Jamie also is the creator and panel expert of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Straight-Talk Solar Cast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, the world's first podcast focused on answering the questions faced by anyone considering going solar.Thanks for joining us this week! Want to subscribe to Local SEO in 10? ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Connect with us on iTunes and leave us a review.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Have a question about Local SEO? Chances are we've covered it! Go to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠podcast website and check out our search feature⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

In dieser kurzen, aber kraftvollen Episode sprechen Christoph und Tobias über das Konzept der Fokusenergie – ein zentrales Prinzip bei Freeway. Christoph erklärt eine spannende Grafik zur Führungsqualität basierend auf Energie und Fokus, entdeckt in einer Studie im Handelsblatt. Die beiden diskutieren, warum viele Führungskräfte in eine gefährliche Negativspirale geraten – und wie du das vermeidest. Lerne, wie du mit gezieltem Fokus und bewusster Energiearbeit deine Führungsqualität massiv verbessern kannst.Highlights:Was Fokusenergie ist – und warum sie so wichtig istDie 4 Quadranten von Führung: von ausgepowert bis high performanceWarum 55 % der Führungskräfte im gefährlichsten Quadranten landenWie du Fokus und Energie sofort positiv beeinflussen kannst _______________________

It’s shaping up to be the biggest weekend for families heading out to buy their Christmas trees, and Toluca Lake is buzzing with festive energy during the Dylan Keith Salon Holiday Walk Around. In an astonishing human achievement, a man who spent 27 years walking around the entire world is making headlines for his incredible journey. Southern California faced major disruptions as a police incident shut down sections of the 5 Freeway near Del Mar for hours, creating massive backups. One local business is dealing with back-to-back burglaries, adding to the chaos. Holiday festivities turned wild in Rancho Cucamonga, where the popular Thoroughbred Christmas lights drew huge crowds—and misbehavior. Some visitors were stuck in traffic for up to four hours, even causing issues along the horse trails, but it remains a beloved experience for families seeking holiday magic. Meanwhile, the entertainment world is still reeling from Netflix’s blockbuster acquisition of Warner Bros., a massive deal raising questions about the future of streaming, film, and Hollywood’s power structure. Reports also suggest the freeway shutdown in Del Mar Heights may be tied to a possible jumper, further contributing to severe traffic gridlock.See omnystudio.com/listener for privacy information.

One week left of Neighbours and CJ, Kate and Vaya weigh up the cons and cons of living in either Ramsay Hills or Robinson Towers... because there's buckley's chance of saving the street!Check out @Neighbuzzpod on [TikTok](https://www.tiktok.com/@neighbuzzpod?)!Artwork by Elyce PhillipsBrett's Bitts courtesy of Brett Bowman.To support the PirateNet Studios and unlock bonus content, become one of our beloved Patrons at patreon.com/neighbuzzpod Thanks for listening - please tell other spiggin' hufters to listen too!

Pastathon was a huge success, raising over one million dollars thanks to community support. Traffic on the 5 West backed up after metal sheets fell into the right lane, a reminder about securing loads to avoid danger and freeway chaos. Sports guest Eric Sklar, “The Duke of Sports,” explained why the Clippers sent Chris Paul home and won’t have him return to the team. He also discussed Miguel Rojas signing a new deal with the Dodgers. In tragic news, the son of the slain Simi Valley couple has been identified as the suspected gunman in their double murder. Meanwhile in Van Nuys, LAPD officers shot a man after he allegedly killed his father.See omnystudio.com/listener for privacy information.

Explicit – 18+ only (If you can't handle the words “chin-shot cum rope” or “double penetration snowman carrot,” go listen to something else.) What's inside this episode:Letter 1 – “J” Married 20+ years, zero outside lovers, yet they still turned a Saturday night drive home into a full-on porno: commando under dresses and suits, mutual edging at 120 km/h, chin-to-stomach cum explosion while exiting the freeway, and a screaming orgasm in the driveway that probably got them put on a neighborhood watch list.Letter 2 – “Brenda” One bisexual college girl walks into an LGBT club looking for girls… leaves after being perfectly double-penetrated by the hottest, most respectful bi couple on campus. First anal, first DP, first everything — and they tucked her in with water and folded clothes like gentlemen. Unicorn status: confirmed.Letter 3 – “A” A month locked in chastity watching his hotwife take a bull → Nikky (yes, me) kneels beside him, unlocks the cage, whispers filth, and takes every ounce of that pent-up load like a champ. Ends in a sweaty, moaning foursome until sunrise. Fantasy or real? You decide.Dirty-but-Clean Winter Riddle The answer you all screamed at: the carrot you shove into your snowman's face. You're welcome for the collective filth spiral.Listener Homework / Comment Bait The Dubai Open vibrator scandal: top female player accidentally drops a bright-purple toy on the board in front of grandmasters and a live camera. Tell me in the comments: A) You keep a poker face B) You laugh so hard you forfeit C) You pull out your own toy and whisper “your move” Bonus: confess your own public sex-toy disaster. Go.Content Warning: This episode contains explicit sexual content, including graphic descriptions of nudity, public sex, infidelity, and boundary-pushing consensual fantasies. Stories are fictional and depict enthusiastic consent. Listener discretion advised; 18+ only. Submissions involving bestiality, incest, underage role-play, rape, non-consensual content, or racial slurs are not aired. Get Involved:Submit Your Story: Got a secret fantasy or steamy confession? Write to Nikky at Nikky@dearnikky.com or submit anonymously at DearNikky.com/confessions. By submitting, you certify:You're the sole creator of the submission.You're 18+ and legally able to submit erotic material.No prohibited themes (bestiality, incest, underage, rape, non-consensual content, racial slurs).Names/identifiable info may be changed.You release all rights to the submission.Say Hello: Have a burning fantasy or just want to chat? Email Nikky@dearnikky.com or connect on Twitter (@DNikky162), Instagram (@DNikky162) , or Facebook (@DearNikky). Nikky wants to hear your naughtiest thoughts!Support the Show: Love these private peeks into filthy lives? Leave a review on Apple Podcasts, Spotify,  Spreaker or your favorite platform to help new listeners discover the heat. Your support keeps the conversation sizzling!Support Nikky:Patreon: Unlock exclusive confessions, bonus thoughts, and steamy Q&As at Patreon.com/DearNikky. Join the inner circle for extra spice!Nectar.ai: Explore your wildest fantasies with immersive AI experiences at Nectar.ai. Perfect for Frisky Friday fans craving more.Featured Release: Dear Nikky: Sex Confessions From People Just Like You is out now! Dive deeper into the raw, unfiltered stories you love. Contact:Email: Nikky@dearnikky.comWebsite: DearNikky.com/confessionsSocials: Twitter (@DNikky162), Instagram (@DNikky162), Facebook (@DearNikky)Become a supporter of this podcast: https://www.spreaker.com/podcast/dear-nikky-hidden-desires--6316414/support.

A Colorado parolee’s stolen-car crash on Highway 83 is now blamed for killing a father and three children and leaving two teens fighting to recover. A Los Angeles man now faces felony charges for allegedly shutting down the 110 Freeway during rush hour to film a music video as cars did donuts around him. Drew Nelson reports.See omnystudio.com/listener for privacy information.

Written by AlexCome and follow more adventures on our animated TV show on Youtube!

Mark Thompson fills in for Conway, starting with a tease of a new Dick Van Dyke documentary, followed by breaking news on the tragic death of a Burbank K-9 after a shootout off the 5 Freeway that left the suspect dead. Mark also dives into a bizarre but relatable moment as a woman is rushed to urgent care over a paper cut, the glamorous listing of Liberace’s iconic Sherman Oaks estate, and a fascinating look at an off-the-grid coastal L.A. enclave where residents are redefining survival. A blend of Hollywood sparkle, real-life tension, and unexpected human stories.See omnystudio.com/listener for privacy information.

On this episode, Straight No Chaser's Seggie Isho stops by to talk about the group’s new album and tour called Holiday Road. We'll also give you a tip on how to shop small this Christmas by going virtual, and we'll countdown the top five ways to get some holiday cheer without spending money. Download here! 00:00 – 02:29 Intro 02:29 – 03:59 We Need A Little Christmas Now 03:59 – 08:45 5 Golden Things – Free Ways to Celebrate Christmas 08:45 – 41:54 An Interview with Straight No Chaser’s Seggie Isho 41:54 – 45:13 Wrap Up 45:13 – 47:45 Outtakes “We Wish You A Merry Christmas” United States Marine Band “Jingle Bells” Performed by Kristen Nowicki (The embedded player for the episode is bellow the links) A Bomb For Christmas 2: Past, Present, And Future (Act 1) https://cantwaitforchristmaspod.com/2025/11/24/cwfc-152-a-bomb-for-christmas-2-past-present-and-future-act-1 Straight No Chaser https://sncmusic.com/ Straight No Chaser Tour Dates https://sncmusic.com/tour Seggie Isho’s Page https://sncmusic.com/seggie Straight No Chaser’s Livestream on December 23rd https://veeps.com/straightnochaser/3cd114fb-4811-4723-b8cd-958d614ec384 Straight No Chaser – Grandma Got Run Over by a Reindeer (Official Music Video) https://youtu.be/UA5EazTUzxc Unofficial Official Podcast http://www.youtube.com/@UnofficialOfficialPod The Stress-Free Christmas Virtual Holiday Market https://thestressfreechristmas.com/virtual-christmas-market/ Virtual Holiday Market Vendor Sign Ups https://payhip.com/b/TFHGb?media_id=3770833163389101504_63035382172

A fire fight near the H-1 Freeway impacted Oahu's traffic for hours. The nominees to fill the seat of Maui County Councilwoman Tasha Kama are making their case to represent Kahului. And Former President George W. Bush spoke at Former Vice President Dick Cheney's funeral. See omnystudio.com/listener for privacy information.

Visiting the Statue of Liberty is often at the top of NYC visitors' lists of things to do, and with good reason. The Statue of Liberty and Ellis Island are two deeply important historical monuments that encapsulate a significant portion of New York City's history.But is it worth visiting the actual Statue of Liberty when you come to NYC?We're gonna answer that question and so much more in this article.Here's what we'll cover:Brief History of the Statue of LibertyVisiting the Statue of Liberty – Island Access vs Pedestal vs CrownEllis Island Overview + Hard Hat Tour ReviewCommon Statue of Liberty ScamsCheapest Ways to See the Statue of LibertyLet's look at them all below.

Listen to Tuesday's "Dan O'Donnell Show" as Dan decimates leftist arguments that I-794 through downtown Milwaukee should be torn down and converted to city streets. Plus, the latest on the online sports betting bill and why utility bills are rising in Wisconsin again (hint: It's because of the Evers Administration).

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

Parag Agrawal, Founder & CEO of Parallel Web Systems, talks with TITV Host Akash Pasricha about his $100M AI infrastructure startup and the future of AI agents on the web. We also talk with Sid Sheth, Founder & CEO of d-Matrix, about taking on NVIDIA with their specialized inference chip, and Cory Weinberg about the escalating boardroom battle at Grindr. Lastly, we get into Waymo's freeway expansion and the autonomous vehicle landscape with The Information's Ken Brown and Nick Wingfield.Articles discussed on this episode:https://www.theinformation.com/articles/buyout-offer-boardroom-feud-festered-grindrTITV airs on YouTube, X and LinkedIn at 10AM PT / 1PM ET. Or check us out wherever you get your podcasts.Subscribe to: - The Information on YouTube: https://www.youtube.com/@theinformation- The Information: https://www.theinformation.com/subscribe_hSign up for the AI Agenda newsletter: https://www.theinformation.com/features/ai-agenda

Waymo now offers fully driverless Level 4 robotaxi rides on freeways in San Francisco, Los Angeles, and Phoenix, and it connects San Francisco to San Jose with curbside pickup at SJC. This expansion enables faster airport trips and cross metro rides without a safety driver and brings autonomous service to everyday commuter use cases.Learn how highway driving, availability, safety protocols, pricing pressure, and competition from Uber, Tesla, and Zoox will shape self driving car adoption in 2025 across California and Arizona. Keywords to help discovery include robotaxi, autonomous vehicles, driverless rides, freeway routes, airport pickup, SJC, SF to San Jose, LA, Phoenix, reliability, and scale.

The Most Dangerous Freeways full 384 Thu, 13 Nov 2025 16:24:00 +0000 U26MaCHhqA0VMK6oNHtWRmy6OaXwuqxE society & culture Klein/Ally Show: The Podcast society & culture The Most Dangerous Freeways Klein.Ally.Show on KROQ is more than just a "dynamic, irreverent morning radio show that mixes humor, pop culture, and unpredictable conversation with a heavy dose of realness." (but thanks for that quote anyway). Hosted by Klein, Ally, and a cast of weirdos (both on the team and from their audience), the show is known for its raw, offbeat style, offering a mix of sarcastic banter, candid interviews, and an unfiltered take on everything from culture to the chaos of everyday life. With a loyal, engaged fanbase and an addiction for pushing boundaries, the show delivers the perfect blend of humor and insight, all while keeping things fun, fresh, and sometimes a little bit illegal. 2024 © 2021 Audacy, Inc. Society & Culture False https://player.amperwavepodcasting.com?feed-link=https%3A%2F%2Frs

MRKT Matrix - Thursday, November 13th Dow drops more than 800 for worst day in over a month (CNBC) Markets no longer view the December rate cut as a sure bet, with Fed officials casting doubts (CNBC) New foreclosures jump 20% in October, a sign of more distress in the housing market (CNBC) October Jobs Report to Skip Unemployment Rate, Hassett Says (Bloomberg) Verizon to Cut About 15,000 Jobs (WSJ) Companies Begin to See a Return on AI Agents (WSJ) Big Tech's Soaring Profits Have an Ugly Underside: OpenAI's Losses (WSJ) Wall Street cools on Oracle's buildout plans as debt concerns mount: ‘AI sentiment is waning' (CNBC) Microsoft to Use OpenAI's Custom Chip Work to Help In-House Effort (Bloomberg) Zuckerberg Weighs Ideas for Too Many AI Data Centers (Bloomberg) Waymo Launches Driverless Robotaxis on Freeways in First for US (Bloomberg) --- Subscribe to our newsletter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://riskreversalmedia.beehiiv.com/subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ MRKT Matrix by RiskReversal Media is a daily AI powered podcast bringing you the top stories moving financial markets Story curation by RiskReversal, scripts by Perplexity Pro, voice by ElevenLabs

Waymo is the first to offer humans a ride without other humans that use the expressway. Plus, Even Realities makes a smart glass that works with a smart ring. Starring Tom Merritt and Sarah Lane.Links to stories discussed in this episode can be found here. Hosted on Acast. See acast.com/privacy for more information.

The new capability will gradually roll out to riders in San Francisco, Phoenix and Los Angeles.

Ever wasted months on something four minutes could've solved?I share a story that had me laughing at myself and realizing just how often we waste time trying to fix the wrong thing. What started as a dumb Zoom glitch turned into a much bigger lesson about blindspots, stubbornness, and the real cost of doing it alone. Just like in our health and fitness journey, we can be doing all the right things and still miss the one piece that changes everything. Sometimes it's not about working harder, it's about getting the right perspective.If you're feeling stuck despite your effort, this episode is exactly what you need.Episode Timeline: 00:00 – Episode Preview01:29 – Podcast Intro02:20 – The Zoom Background Story04:40 – What It Revealed About Our Habits05:42 – Doing Everything Right but Still Stuck07:18 – The Real Cost of Blind Spots08:47 – Asking for Help Isn't Weakness10:20 – Shortcutting Struggle Through Coaching12:15 – Clarity Is Priceless13:35 – What's Your “Orange Background”?14:35 – Don't Wait to Ask for Help15:09 – Outro and Free Ways to Get SupportLinks & Resources:Connect with Ben on Instagram: https://www.instagram.com/bodysystemscoaching/Learn more about Ben's coaching program: www.bodysystems.comSubscribe to the Smart Nutrition Made Simple Show on Apple Podcasts - https://podcasts.apple.com/us/podcast/the-smart-nutrition-made-simple-show-with-ben-brown/id1244912234 Spotify - https://open.spotify.com/show/4H8vUlwYvKcAXZOv84sFgT Youtube - https://www.youtube.com/@bodysystemscoaching Book Free Nutrition Strategy Call - https://bodysystems.com/free-strategy-call/

It's time to audit your pricing and make sure your photography packages are actually setting you up for profit in 2026. In this episode, I'm walking you through a hands-on pricing audit so you can stop guessing what to charge and start paying yourself what you deserve. Grab your notebook and calculator—we're doing the work together in real time!Here's what you'll learn:How to find your true hourly rate (and what it reveals about your pricing)My step-by-step formula for setting profitable session ratesHow to align your packages and client experience with your pricesIf you're ready to confidently raise your rates and step into your role as the CEO of your photography business, press play now.

The sister of a Houston, Texas man found hanging and burned under a freeway overpass says her brother was murdered—and she’s begging for justice. A 2-year-old boy in Brick Township, New Jersey, is rushed to the hospital after being stabbed in the chest, and police say the attacker was his big sister. Drew Nelson reportsSee omnystudio.com/listener for privacy information.

What REALLY happens when you nearly die: 48 people reveal exactly what they saw during their near-death experience – from black holes to God https://www.dailymail.co.uk/sciencetech/article-15223139/near-death-experience-visions-revealed.html 00:00:00 – Halloween costumes; "Freeway to the Problem Area" v3 and a whole Kenny Loggins–parody EP brainstorm 00:07:18 – Alex Jones Clips of the Week: "pound town," animal list, social-media rants, rapid-fire soundboard chaos 00:11:12 – More AJ quotes; hosts pivot to the Charlie Kirk case and odd Google Trends chatter 00:16:04 – Google Trends deep-dive: pre-incident searches from D.C. and Huntsville; layers of clips on clips on clips 00:39:08 – Musical interlude: "Totally Not Footloose" work-in-progress (future Loggins-style track), then back to news 00:42:46 – Government shutdown fallout: SNAP stoppage Nov 1, ACA premium spikes, travel delays; who gets blamed 00:47:29 – "Walmart will lose billions" without SNAP; talk of possible food-riot optics both sides "want" 00:52:16 – Truck hauling research monkeys crashes; disease scare and déjà-vu of the 2022 Pennsylvania monkey truck story 00:57:06 – Poll: 60% of Americans report a paranormal experience; "being watched" sensation, Rockwell/MJ aside 01:01:32 – Belief stats: demons (43%), psychics (41%), ghosts (30%); haunted houses and disclosure laws chat 01:06:29 – Southern-accent bit, AI voice cloning, and tee-up for near-death experiences segment 01:11:13 – NDEs: Jesus on the stairs, angels with "Greek-statue hair," tunnels and light; culture shapes visions 01:16:07 – NDEs get sci-fi: black holes, "the Matrix" lattice, instant travel by thought 01:20:00 – Back to Loggins covers; listener's Montana "OBDM" Sasquatch plate; tee-up for Fat Squirrel Week 01:23:52 – Texas Fat Squirrel Week: Chonk-a-saurus Rex beats Chunk Norris; local-news riffing 01:28:53 – Music news: Wolfgang Van Halen on "nepo baby"; talent vs. parentage debate 01:33:34 – Furloughed IRS lawyer becomes hot-dog vendor; the $10 (or $17?) dog saga begins 01:38:27 – "Correct hot dog" menu rules (mustard + sauerkraut) and $1 penalty for "wrong toppings" 01:56:58 – Vintage Halloween candy rabbit hole: wax lips, Chick-O-Sticks, Sugar Babies and more nostalgia Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research ▀▄▀▄▀ CONTACT LINKS ▀▄▀▄▀ ► Website: http://obdmpod.com ► Twitch: https://www.twitch.tv/obdmpod ► Full Videos at Odysee: https://odysee.com/@obdm:0 ► Twitter: https://twitter.com/obdmpod ► Instagram: obdmpod ► Email: ourbigdumbmouth at gmail ► RSS: http://ourbigdumbmouth.libsyn.com/rss ► iTunes: https://itunes.apple.com/us/podcast/our-big-dumb-mouth/id261189509?mt=2

Let's talk about reviews—because they're one of the most powerful ways to build trust and attract new photography clients. But how do you actually get more of them without feeling pushy or awkward? In this episode, I'm breaking down the simple system I use (and teach inside The Fully Booked Method) to help you collect more glowing reviews with ease.Here's what you'll learn:The best time to ask for a review so clients actually follow throughHow to make the process easy and natural (no awkward begging!)What to do if you receive negative feedback—and how to handle it like a proIf you're ready to start turning happy clients into your biggest marketing asset, press play now.

https://youtu.be/1wafN9yAoZESee omnystudio.com/listener for privacy information.

Conway hopes and prays tonight's Dodgers game doesn't go for 18 innings, like last night's epic battle against Toronto. We're keeping an eye on Hurricane Melissa as it barrels through Jamaica on its way to Cuba. It's predicted to be bigger than 2005's Hurricane Katrina. Yesterday's suspect in the killing of a San Bernardino police officer, followed by a police pursuit on the 210 Freeway, has been identified as Angelo Jose Saldivar. There's a weather warning for the Santa Ana winds, with hot weather causing fire danger, and wind gusts predicted up to 45 miles per hour. 

A procession for Deputy Andrew Nunez began staging as Angel provided traffic updates on the growing road closures. A tough inning for the Dodgers unfolded while the solemn procession for the fallen San Bernardino deputy officially got underway. Coverage continued with the procession honoring Deputy Nunez, followed by a remarkable story about the first person to ski down Mount Everest. Closing the hour more bad news for Hollywood — a beloved costume shop shut its doors, marking another blow to California's struggling film and TV industry. 

A serial killer is on the loose in the nation's capital, and police are baffled to learn that most of the victim's have the same middle name.  Who is the Freeway Phantom?If you have any information that can help, please call 202-727-9099 or email unsolved.murder@dc.gov.  You could receive up to $150,000 dollars in reward money.Thank you The Huntsville Times, the Culpeper Star-Exponent, the Bristol Herald Courier, The Sacramento Bee, The Washington Afro American, The Cinemaholic, the Biographics YouTube channel and Wikipedia for information contributing to today's story.Written by Frederick Crook - check out our other collaboration WRAITHWORKS - Wraithworks at Amazon https://www.amzn.com/dp/B07HXNCW4L (audiobook narrated by John Lordan) Also avaible on iTunes: https://apple.co/2OFXb8LDo you have any comments, or a case you'd like to suggest? You'll find a comment form and case submission link at LordanArts.com.This is not intended to act as a means of proving or disproving anything related to the investigation.  It is a conversation about the current known facts and theories being discussed.  Everyone directly or indirectly referred to is innocent until proven guilty in a court of law.LordanArts 2025

Angel Studios https://Angel.com/ToddJoin the Angel Guild today and know you are not just watching, you're helping make bold, faith driven stories like Disciples in the Moonlight possible. That's Angel.com/Todd.Bizable https://GoBizable.comUntie your business exposure from your personal exposure with BiZABLE.  Schedule your FREE consultation at GoBizAble.com today. Renue Healthcare https://Renue.Healthcare/ToddYour journey to a better life starts at Renue Healthcare. Visit https://Renue.Healthcare/Todd Bulwark Capital https://KnowYourRiskPodcast.comBe confident in your portfolio with Bulwark! Schedule your free Know Your Risk Portfolio review. Go to KnowYourRiskPodcast.com today. Alan's Soaps https://www.AlansArtisanSoaps.comUse coupon code TODD to save an additional 10% off the bundle price.Bonefrog https://BonefrogCoffee.com/toddThe new GOLDEN AGE is here!  Use code TODD at checkout to receive 10% off your first purchase and 15% on subscriptions.LISTEN and SUBSCRIBE at:The Todd Herman Show - Podcast - Apple PodcastsThe Todd Herman Show | Podcast on SpotifyWATCH and SUBSCRIBE at: Todd Herman - The Todd Herman Show - YouTubeIf the Mockingbird Media wanted to be distrusted and loathed by more than half of society, how would they behave differently? Let's look at this idea through their narrative on immigration.Episode Links:I can't believe this is real but it is. CBS Sacramento did a segment last night on the growing threat to Sikh truck drivers. - "The roadway risk for Sikh truck drivers is growing." Even the ending is comedy. They can't read English street signs and that could be a problem. You think CBS? BTW, half of west coast truck drivers are Sikh? When did that happen?BREAKING: A senior official in the FL AG's office tells me initial results of their investigation into Harjinder Singh, the Indian illegal alien truck driver charged w/ killing 3 people in a crash in FL in August, reveal Singh failed his CDL test 10 times in a 2-month window between 3/10/2023 and 5/5/2023 in the state of Washington.BOMBSHELL: A federal audit of CDL's issued in California just EXPOSED a huge corruption scandal over TENS OF THOUSANDS of illegal aliens being given a CDL. There were MULITPLE instances of ILLEGAL ALIENS who also had a REAL ID, which is OUTRAGEOUS.JUST IN: Dash-cam footage shows a semi-truck plowing into multiple vehicles on the 10 Freeway in California. The 21-year-old driver was arrested for driving under the influence of drugs. At least three people were k*lled and two others were hospitalizedBREAKING: An Illegal Alien from Venezuela being harbored by @GovPritzker was just arrested for committing 4 home invasion rapes, has been arrested 5 times since June while on pretrial release under JB Pritzker's cashless bail system and then shielded from ICE deportation.Portland Mayor Keith Wilson in a bizarre speech saying he ran for mayor to make sure no one gets left behind, including street junkies and illegal immigrants.  “If you are an undocumented immigrant, we need you. If you are in Portland, you're a Portlander.”Well, here it is: Conspiracy theory no more: Not only did @DOGE confirm it — the Congressional Budget Office (CBO) has re-confirmed: Illegal aliens were issued Social Security numbers by the Biden–Harris terrorist administration.      •      270,425 in 2021      •      590,193 in 2022      •      964,163 in 2023      •      2,095,247 in 2024 — on their way out the doorWith a whopping 1.4 million illegals on Medicaid. You have been Robbed. Deceived, Blackmailed. Extorted.

00:00:00 – Intro, missed “1337” leetspeak milestone; coffee sponsor; caller-art bit 00:04:54 – Trump fighter-jet poop meme sparks Kenny Loggins/Danger Zone backlash 00:09:53 – Variety piece read; “Freeway to the Problem Area” legal/AI riff 00:14:44 – Top Gun, Pentagon-Hollywood office, celeb “No Kings” reactions 00:19:30 – More on protests; tee-up to AI parody song bit 00:23:14 – Performing the AI parody: “Freeway to the Problem Area” lyric gag 00:27:40 – HBO developing David Chase MKULTRA series; Gottlieb & Manchurian-candidate talk 00:32:21 – “We're all living through MKULTRA” via social media; pivot to 3I/Atlas 00:36:44 – Avi Loeb TV clip: delayed NASA images; mothership/probes speculation 00:41:38 – NY Post write-up: NASA group watching 3I/Atlas; anti-tail, weird alloy, IAWN campaign 00:46:21 – Remote-viewing recap: thousands of probes, “sleepers,” super-intelligence controller 00:50:24 – Sleeper pods & humanoids; Star Trek “Nth Degree” tangent connects to AI ship 01:00:02 – 3I/Atlas tail reversal explained; CO₂ jet model; not a “simple comet” 01:04:21 – NASA/China rant: “look up, not down”; missed PR moment on comet 01:08:43 – Music bit redux; Battlefield-6 squad-up chatter; setting up calls 01:13:36 – Edgy “Jeopardy!” parody audio; open the phone lines 01:18:29 – Call-ins: new baby Oliver (G.I. Joe name), “Queen from beyond the grave,” Electric-Universe angle on 3I 01:22:24 – Drawbridge donations & Cave-of-Honor thanks; Discord shout-outs 01:27:10 – List: “most controversial Halloween costumes 2025” (Epstein list, ICE agent, etc.) 01:32:05 – Travel rant: WestJet to remove recline/charge for space; viewer reactions clip 01:43:48 – Ohio bill would ban AI personhood/marriages; liability stays with humans 01:48:18 – Halloween drinks & party trends; jello-syringe nostalgia; “candy economy” talk begins 01:53:08 – Candy searches: jello-syringe spikes; New Hampshire loves trick-or-treating 01:57:23 – Wrap-up: host's moon costume plan; thanks; “keep watching the skies” sign-off Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research ▀▄▀▄▀ CONTACT LINKS ▀▄▀▄▀ ► Website: http://obdmpod.com ► Twitch: https://www.twitch.tv/obdmpod ► Full Videos at Odysee: https://odysee.com/@obdm:0 ► Twitter: https://twitter.com/obdmpod ► Instagram: obdmpod ► Email: ourbigdumbmouth at gmail ► RSS: http://ourbigdumbmouth.libsyn.com/rss ► iTunes: https://itunes.apple.com/us/podcast/our-big-dumb-mouth/id261189509?mt=2  

It's that time of year again—Black Friday is coming, and it's one of the best opportunities to bring in cash flow and fill your calendar before the slower season hits. In this episode, I'm walking you step-by-step through how to plan your Black Friday strategy so you're ready to launch with confidence instead of scrambling at the last minute.Here's what you'll learn:5 creative Black Friday offer ideas that don't involve discounting your sessionsHow to plan, prep, and promote your sale without burnoutSimple ways to infuse cash into your business before winterGrab your notebook, press play, and let's map out your most profitable Black Friday yet!

The John Kobylt Show Hour 1 (10/23) - Tim Conway Jr. fills in for John. Reporter Jayson Campadonia detailed that 21-year-old Jashanpreet Singh of Yuba City, California, has been identified and charged in connection with the fiery 10 Freeway crash that killed three people and injured four others. Authorities allege Singh, an Indian national who entered the U.S. via the Mexico border in 2022, was driving under the influence of drugs and failed to brake before the collision. Later, Eric Sklar (“The Duke of Sports”) joined to discuss the NBA gambling scandal, highlighting a developing story that reportedly involves both a current coach and player. Betting lines for the Chargers vs. Vikings game were also mentioned (Chargers –3.5). The scandal reportedly ties to former NBA player Damon Jones, who is alleged to have traded insider information—including details about LeBron James missing a 2023 Lakers game—as part of a broader gambling probe shaking the league. 

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⚾ The Duke of Sports Talks Lakers & Dodgers – Eric Sklar breaks down the Lakers' opening day excitement and the Dodgers' big trip to Toronto for Game 1 of the World Series.