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Die Verenigde Nasies se sekretaris-generaal, António Guterres, sê die G20, as die wêreld se grootste ekonomieë, kan 'n reuse-invloed hê om lyding te verlig, te verseker dat ekonomiese groei wyd gedeel word, en die wêreld op 'n beter, meer vreedsame koers vir die toekoms te plaas. Hy het die media gister in Johannesburg ingelig voor die G20-leiersberaad. Guterres sê dit is tyd vir 'n werklik wêreldwye internasionale finansiële stelsel wat fokus op die uitdagings waarmee ontwikkelende lande te kampe het:
President Cyril Ramaphosa het Afrikalande versoek om hul ekonomiese samewerking te verbeter en gesê dit is noodsaaklik vir vastelandontwikkeling en -integrasie, en die bou van veerkragtigheid en selfstandigheid. Hy het gisteraand 'n dinee aangebied vir Afrika-staatshoofde en regeringsamptenare wat die G20-leiersberaad in Sandton bywoon. Ramaphosa sê Afrikalande moet die G20 gebruik om hul agendas te bevorder na die erosie van die Wêreldhandelsorganisasie se reëlgebaseerde stelsel:
Die Suid-Afrikaner Christiaan Burke het sy voorsprong behou in die Vodacom Origins of Golf-eindronde by die Pezula Gholflandgoed in Knysna. Hy het gister 'n rondte van 66 in die tweede ronde aangeteken, wat hom op 15 onder baansyfer geplaas het en 'n stappie nader om sy eerste Sokskyntoer-titel te verower. Hy is een hou voor sy landgenote Tyran Snyders en Casey Jarvis. Burke sê hy is tevrede met sy spel:
Graça e Paz! Que Deus fortaleça a todos! Porquanto Deus enviou o seu Filho ao mundo, não para que julgasse o mundo, mas para que o mundo fosse salvo por Ele. João 3:17Primeira Igreja Presbiteriana da Arniqueira www.1ipar.com Entre em contato conosco 1iparniqueiras@gmail.com Faça nos uma visita SHA Conjunto 3 Chácara 47A Arniqueira Brasília DF maps.app.goo.gl/iQSRtWrk9Hy6eaUT6YouTube https://youtube.com/@primeiraigrejapresbiterian1958Contribua Ore e ajude esta obra! Pix 40222748 000153 (CNPJ)Banco do Brasil Conta Corrente 51214-1Agência 2901-7Que Deus abençoe você!Porque de tal manera amó Dios al mundo, que ha dado á su Hijo unigénito, para que todo aquel que en él cree, no se pierda, mas tenga vida eterna. Juan 3:16For God so loved the world, that he gave his only begotten Son, that whoever believes in him should not perish, but have everlasting life. John 3:16¹⁶ Ибо так возлюбил Бог мир , что отдал Сына Своего Единородного , дабы всякий верующий в Него , не погиб , но имел жизнь вечную . João 3:16Car Dieu a tellement aimé le monde, qu'il a donné son Fils unique; afin que tout homme qui croit en lui ne périsse point, mais qu'il ait la vie éternelle. João 3:16¹⁶ Want so lief het God die wêreld gehad, dat Hy sy eniggebore Seun gegee het, sodat elkeen wat in Hom glo, nie verlore mag gaan nie, maar die ewige lewe kan hê. João 3:16¹⁶ 하나님이 세상을 이처럼 사랑하사 독생자를 주셨으니 이는 저를 믿는 자마다 멸망치 않고 영생을 얻게 하려 하심이니라 João 3:16¹⁷ Tanrı, Oğlunu dünyayı yargılamak için göndermedi, dünya Onun aracılığıyla kurtulsun diye gönderdi. João 3:17
Parshas Toldos: When Nations Stir This week's Parsha brings us into the very beginning of a struggle that started before Yaakov and Esav were even born. Rivkah feels something inside her that no one can explain, leading her to cry out in fear, a moment that opens one of the most meaningful revelations in the Torah. From this inner turmoil comes a story that shapes the destiny of our people: twins drawn to opposite worlds, blessings that determine the future, and a mother who sees the truth long before anyone else. With the Radak's clarity and the Lubavitcher Rebbe's deeper insight, we explore how Rivkah's fear became the first sign of a divine plan already unfolding. It's a Parsha about confusion that becomes clarity, struggle that reveals purpose, and the quiet beginning of a destiny still alive within us.
Die minister van werke en vervoer, Veikko Nekundi, sê die ministerie beplan om weerkaatsers vir diere in gemeenskaplike areas in te stel om nagtelike padongelukke wat deur vrylopende diere veroorsaak word, te verminder. Nekundi het tydens die inbedryfstelling van die DR1635-pad in Epukiro gesê dat verkryging reeds aan die gang is om die weerkaatsers aan te koop en dat dit op honde, bokke, skape, koeie, donkies en perde geplaas sal word. Hy het gesê dat 'n toetsfase eers uitgevoer sal word en indien die resultate goed is, sal die weerkaatsers op alle diere gebruik word.
Die Australiese premier, Anthony Albanese, sê die G20-leiersberaad is 'n belangrike byeenkoms vir die vereniging van die lande wat die wêreld se ekonomieë dryf. Hy het gister in Suid-Afrika aangekom voor die beraad in Johannesburg hierdie naweek. Albanese is die eerste Australiese premier wat die land sedert 2013 besoek. Hy sê in 'n tyd van wêreldwye onsekerheid moet Australië met sy internasionale vennote saamwerk om die gedeelde uitdagings en geleenthede wat voorlê, aan te pak:
Afrigter Henk Botha sê hy het verskeie bekommernisse rakende onlangse operasionele besluite en praktyke binne die Namibiese Nasionale Olimpiese Komitee. Hy sê sedert die oorgang in bestuur is daar 'n merkbare verskuiwing in prioriteite en 'n agteruitgang in die gehalte van diens wat aan atlete en sportkodes gelewer word. Een van sy dringendste bekommernisse hou verband met die bestelling en verspreiding van spanklere vir atlete. Baie atlete se groottes was nie beskikbaar nie en hy sê die gehalte is uiters swak.
Namibiërs kan dalk 'n vroeë Kershupstoot kry namate rentekoerse in die streek verlaag. Dit kom nadat die Suid-Afrikaanse Reserwebank die repokoers daar met 25 basispunte tot 6,75 persent verlaag het, wat die prima uitleenkoers tot 10,25 persent afgebring het. Namibië se repokoers staan reeds op 6,5 persent na verlede maand se verlaging, en die plaaslike ekonoom Omu Kakujaha-Matundu sê die jongste skuif van Suid-Afrika kan die deur oopmaak vir nog 'n verlaging. Hy verduidelik.
President Cyril Ramaphosa sê Suid-Afrika het geslagsgeweld en vrouemoord tot 'n nasionale krisis verklaar. Hy het Donderdag tydens die G20 Maatskaplike Beraad in Ekurhuleni gesê die land kan net gemeenskappe bou wat in gelykheid gewortel is, indien die regte van vroue en meisies gehandhaaf word. Die president sê geen samelewing kan floreer terwyl geslagsgeweld en vrouemoord voortduur en vroue ontken word nie:
Graça e Paz! Jesus dizia, pois, aos judeus que criam nEle: Se vós permanecerdes na minha Palavra, verdadeiramente sereis meus discípulos;E conhecereis a Verdade, e a Verdade vos libertará. João 8:31,32Primeira Igreja Presbiteriana da Arniqueira www.1ipar.com Entre em contato conosco 1iparniqueiras@gmail.com Faça nos uma visita SHA Conjunto 3 Chácara 47A Arniqueira Brasília DF maps.app.goo.gl/iQSRtWrk9Hy6eaUT6YouTube https://youtube.com/@primeiraigrejapresbiterian1958Contribua Ore e ajude esta obra! Pix 40222748 000153 (CNPJ)Banco do Brasil Conta Corrente 51214-1Agência 2901-7Que Deus abençoe você!Porque de tal manera amó Dios al mundo, que ha dado á su Hijo unigénito, para que todo aquel que en él cree, no se pierda, mas tenga vida eterna. Juan 3:16For God so loved the world, that he gave his only begotten Son, that whoever believes in him should not perish, but have everlasting life. John 3:16¹⁶ Ибо так возлюбил Бог мир , что отдал Сына Своего Единородного , дабы всякий верующий в Него , не погиб , но имел жизнь вечную . João 3:16Car Dieu a tellement aimé le monde, qu'il a donné son Fils unique; afin que tout homme qui croit en lui ne périsse point, mais qu'il ait la vie éternelle. João 3:16¹⁶ Want so lief het God die wêreld gehad, dat Hy sy eniggebore Seun gegee het, sodat elkeen wat in Hom glo, nie verlore mag gaan nie, maar die ewige lewe kan hê. João 3:16¹⁶ 하나님이 세상을 이처럼 사랑하사 독생자를 주셨으니 이는 저를 믿는 자마다 멸망치 않고 영생을 얻게 하려 하심이니라 João 3:16¹⁷ Tanrı, Oğlunu dünyayı yargılamak için göndermedi, dünya Onun aracılığıyla kurtulsun diye gönderdi. João 3:17
Send us a textMatteus 23:27-28 “Ellende wag vir julle, skrifgeleerdes en Fariseërs, huigelaars! Julle is soos witgeverfde grafte, wat van buite mooi lyk maar daarbinne vol doodsbene en allerhande onsuiwerheid is. So is julle ook: van buite lyk julle vir mense vroom, maar van binne is julle vol huigelary en minagting van die wet.” Sommige mense staan jou beslis nie aan nie. Die oomblik wanneer jy hulle ontmoet, kom jy tot die gevolgtrekking dat jy die res van jou lewe baie gelukkig sonder hulle sal kan deurbring. Hul lewens is deurmekaar. Hul houdings is toksies. Die maklikste ding om te doen, is om van hulle af weg te bly.Nicky Cruz se ouers was in heksery betrokke en hulle het hom fisies en geestelik mishandel. Hy het in sy tienerjare sy ouerhuis verlaat en 'n gewelddadige bendeleier van die gevreesde Mau Maus in New York geword. Toe David Wilkerson, ‘n prediker met die roeping om met bendes en verslaafdes te werk, vir Nicky gesê het dat Jesus hom liefhet, het Cruz hom geslaan en gedreig; maar Wilkerson het met onwrikbare liefde telkens na hom teruggegaan.Uiteindelik was Cruz so diep geraak deur die boodskap van Christus se liefde dat hy sy lewe aan Jesus gegee het en 'n evangelis geword het wat baie mense met die Evangelie bereik het. Dit is die krag van volgehoue Christelike liefde en God se genade om selfs die mees gebroke lewens te transformeer.Jy het 'n keuse om daardie mense, wat jy eerder sou wou vermy, te ignoreer, of lief te hê. Wat sal dit wees?Jesus het gekies om saam met sondaars te eet, om met hulle te kommunikeer, om hulle lief te hê. Dit het baie kritiek ontlok van die Fariseërs, die godsdienstige leiers van die tyd; die godsdienstige ‘hoogheiliges' wat hulle eerder in hul eie elite kringe teruggetrek het. Jesus het hulle aangespreek:Matteus 23:27-28 “Ellende wag vir julle, skrifgeleerdes en Fariseërs, huigelaars! Julle is soos witgeverfde grafte, wat van buite mooi lyk maar daarbinne vol doodsbene en allerhande onsuiwerheid is. So is julle ook: van buite lyk julle vir mense vroom, maar van binne is julle vol huigelary en minagting van die wet.”Dis God se Woord. Vars … vir jou … vandag. Support the showEnjoying The Content?For the price of a cup of coffee each month, you can enable Christianityworks to reach 10,000+ people with a message about the love of Jesus!DONATE R50 MONTHLY
Die voorsitter van die Madlanga-kommissie, regter Mbuyiseli Madlanga, het die polisie-informant Brown Mogotsi skerp gekritiseer nadat hy erken het hy het onder eed gelieg. Mogotsi het in 'n vals beëdigde verklaring teenoor 'n polisiebeampte beweer hy het in die polisie-ministerie gewerk om 'n geheime operasie te ondersteun. Madlanga sê sy getuienis toon minagting vir die waarheid. Hy voer aan misleiding was deel van Mogotsi se werk, maar in hierdie geval verwerp hy alle regverdiging daarvoor:
Die Madlanga-kommissie se mede-kommissaris, Sandile Khumalo, het die polisie se geheime informant, Brown Mogotsi, uitgedaag oor teenstrydighede in sy beëdigde verklaring in Februarie. Khumalo ondersoek sy adres in Soweto, teenstrydige geboortedatum en bewerings van Umkhonto-lidmaatskap. Khumalo merk ook op dat Mogotsi geen formele wetstoepassings- of forensiese opleiding het nie. Hy plaas druk op Mogotsi vir gedokumenteerde bewyse van beweerde ondersoeke, wat Mogotsi gesê het is nie beskikbaar nie:
Die voorsitter van die Madlanga-kommissie, regter Mbuyiseli Madlanga, het die polisie-informant Brown Mogotsi skerp gekritiseer nadat hy erken het hy het onder eed gelieg. Mogotsi het in 'n vals beëdigde verklaring teenoor 'n polisiebeampte beweer hy het in die polisie-ministerie gewerk om 'n geheime operasie te ondersteun. Madlanga sê sy getuienis toon minagting vir die waarheid. Hy voer aan misleiding was deel van Mogotsi se werk, maar in hierdie geval verwerp hy alle regverdiging daarvoor:
Reaksie kom in oor die Namibiese Groenwaterstofprogram wat op wankelrige voet is weens finansieringstekorte en geen bevestigde regeringsbevondsing nie. Dr. Chris Brown, die uitvoerende hoof van die Namibiese Kamer van die Omgewing, wat voorheen kritiek op die groenwaterstofbedryf uitgespreek het, het met Kosmos 94.1 Nuus gepraat. Hy sê ‘groen' projekte en bedrywe moenie biodiversiteit benadeel nie.
Prokureur Richard Metcalfe het kommer uitgespreek oor die sloerstaking deur landdroste, en waarsku dat dit toegang tot geregtigheid kan ondermyn. Metcalfe sê landdroste, as grondwetlike beskermers van die laerhowe, loop die risiko om die regte wat hulle moet beskerm, te belemmer. Hy het aan Kosmos 94.1 Nuus gesê dat sommige landdroste geweier het om by die aksie aan te sluit terwyl ander voortgaan, 'n gedrag wat hy as ongrondwetlik beskryf.
Die president van Ghana, John Mahama, beklemtoon Afrika moet soewereiniteit oor sy natuurlike hulpbronne terug eis om die welstand van sy mense te verseker. Hy het tydens die Verenigde Nasies se 80ste Algemene Vergadering, vandag se ongelykhede verbind aan slawerny, kolonialisme en eeue van ontginning en noem slawehandel 'n misdaad teen die mensdom. Hy versoek 'n einde aan uitbuitende kontrakte en spoor Afrikane aan om die waarde van hul hulpbronne te bepaal en hul eie ekonomiese toekoms uit te stippel:
Die landdroste se sloerstaking dryf Oshana se reeds oorvol polisieselle tot breekpunt, met polisiebevelvoerder kommissaris Naftal Sakaria wat waarsku dat oorbevolking gevaarlik geword het. Hy sê sommige van die streek se selle, wat vir 130 aangehoudenes gebou is, is nou volgepak met byna 270 mense omdat daar te min landdroste is om sake te verwerk. In 'n onderhoud met Kosmos 94.1 Nuus sê Sakaria die situasie is onvolhoubaar.
Die LPM het teruggekap nadat die Teenkorrupsie-kommissie twee van sy raadslede by die Karas-streeksraad op korrupsieklagte in hegtenis geneem het. Partypresident Bernadus Swartbooi het tydens 'n perskonferensie in Keetmanshoop gesê dat raadsvoorsitter Joseph Isaacks en raadslid Jeremia Goeieman hulself sedertdien aan die polisie oorgegee het, en daarop aangedring dat die saak polities gedrewe is. Hy het selfs 'n beroep op die Amerikaanse president Donald Trump gedoen om in te gryp en hulle te beskerm teen wat hy onderdrukking deur Swapo noem.
Graça e Paz! Por isso, vos digo: Pedi, e dar-se-vos-á; buscai, e achareis; batei, e abrir-se-vos-á.Pois todo o que pede recebe; o que busca encontra; e a quem bate, abrir-se-lhe-á. Lucas 11:9,10Primeira Igreja Presbiteriana da Arniqueira www.1ipar.com Entre em contato conosco 1iparniqueiras@gmail.com Faça nos uma visita SHA Conjunto 3 Chácara 47A Arniqueira Brasília DF maps.app.goo.gl/iQSRtWrk9Hy6eaUT6YouTube https://youtube.com/@primeiraigrejapresbiterian1958Contribua Ore e ajude esta obra! Pix 40222748 000153 (CNPJ)Banco do Brasil Conta Corrente 51214-1Agência 2901-7Que Deus abençoe você!Porque de tal manera amó Dios al mundo, que ha dado á su Hijo unigénito, para que todo aquel que en él cree, no se pierda, mas tenga vida eterna. Juan 3:16For God so loved the world, that he gave his only begotten Son, that whoever believes in him should not perish, but have everlasting life. John 3:16¹⁶ Ибо так возлюбил Бог мир , что отдал Сына Своего Единородного , дабы всякий верующий в Него , не погиб , но имел жизнь вечную . João 3:16Car Dieu a tellement aimé le monde, qu'il a donné son Fils unique; afin que tout homme qui croit en lui ne périsse point, mais qu'il ait la vie éternelle. João 3:16¹⁶ Want so lief het God die wêreld gehad, dat Hy sy eniggebore Seun gegee het, sodat elkeen wat in Hom glo, nie verlore mag gaan nie, maar die ewige lewe kan hê. João 3:16¹⁶ 하나님이 세상을 이처럼 사랑하사 독생자를 주셨으니 이는 저를 믿는 자마다 멸망치 않고 영생을 얻게 하려 하심이니라 João 3:16¹⁷ Tanrı, Oğlunu dünyayı yargılamak için göndermedi, dünya Onun aracılığıyla kurtulsun diye gönderdi. João 3:17
Die minister van Internasionale Betrekkinge en Samewerking, Ronald Lamola, sê die G20-leiersberaad sal selfs in Amerika se afwesigheid ʼn verklaring aanvaar. Hy het gister deelgeneem aan die eerste Bloomberg Africa-sakeberaad in Johannesburg. Amerika boikot die beraad blykbaar oor die vermeende volksmoord op wit Afrikaner-boere in Suid-Afrika. Lamola erken dit gaan nie maklik wees om die beraad se verklaring te aanvaar sonder die wêreld se rykste land nie:
Cosatu verwelkom die voormalige minister van Openbare Ondernemings, Malusi Gigaba, se gewilligheid om sy volle samewerking aan die howe en wetstoepassing te bied. Hy het Dinsdag in die Palm Ridge-landdroshof verskyn op aanklagte van korrupsie wat verband hou met Transnet. Cosatu se woordvoerder, Matthew Parks, sê gegewe Gigaba se senior leiersposisies in die parlement, asook dat hy 'n lid van die ANC se Nasionale Uitvoerende Komitee is, is dit noodsaaklik dat die party se opsystaan-resolusie sonder versuim toegepas word:
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Send us a textHandelinge 8:9,20-24 In dieselfde stad was daar 'n man met die naam Simon, wat die inwoners van Samaria met sy toorkunste verstom het. Maar Petrus antwoord hom: “Gaan na die verderf met jou geld en al! Dink jy jy kan die gawe van God met geld koop? In hierdie werk is daar vir jou geen plek nie, want jou gesindheid teenoor God is nie reg nie. Bekeer jou van hierdie dwaling en bid tot die Here: miskien sal Hy jou hierdie gesindheid van jou hart vergewe. Ek sien jy is deur afguns vergiftig en deur die sonde verstrik.” Toe sê Simon vir die apostels: “Bid júlle tog vir my tot die Here, sodat niks van wat julle gesê het, my tref nie.”Daar is tye wanneer die bose ons heeltemal onverhoeds betrap. Mense, omstandighede, stelsels en sosiale ordes val ‘n mens aan wanneer jy iets goeds probeer doen. Het dit ook al met jou gebeur? Ja, my vriend, daar is op die ou end niks nuuts daaraan nie. Kyk net wat het met Jesus se apostels gebeur terwyl hulle besig was om goed te doen: Handelinge 8:9 In dieselfde stad was daar 'n man met die naam Simon, wat die inwoners van Samaria met sy toorkunste verstom het. Die mense was baie beïndruk met sy towerkunsies. Toe Simon, die towenaar, egter die ongelooflik kragtige wonderwerke van die apostels sien, het hy aangebied om hulle te betaal vir hulle ‘geheime krag' wat baie beter as syne was. Handelinge 8:20-24 Maar Petrus antwoord hom: “Gaan na die verderf met jou geld en al! Dink jy jy kan die gawe van God met geld koop? In hierdie werk is daar vir jou geen plek nie, want jou gesindheid teenoor God is nie reg nie. Bekeer jou van hierdie dwaling en bid tot die Here: miskien sal Hy jou hierdie gesindheid van jou hart vergewe. Ek sien jy is deur afguns vergiftig en deur die sonde verstrik.” Toe sê Simon vir die apostels: “Bid júlle tog vir my tot die Here, sodat niks van wat julle gesê het, my tref nie.”Moenie geïntimideer word wanneer die bose jou aanval nie. Want die Een wat in jou is, is groter as die Een wat in die wêreld is. Dis God se Woord. Vars … vir jou … vandag. Support the showEnjoying The Content?For the price of a cup of coffee each month, you can enable Christianityworks to reach 10,000+ people with a message about the love of Jesus!DONATE R50 MONTHLY
The Creativity, Education, and Leadership Podcast with Ben Guest
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
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Die Soedanese stad al Fashir is 'n 'misdaadtoneel' en die 'episentrum van lyding in die wêreld', volgens die VN se hoof van hulpvereniging Tom Fletcher. Hy sê die paramilitêre wat die stad beheer, word daarvan beskuldig dat hulle gruweldade pleeg, insluitend massateregstellings en seksuele geweld.
Die DA in Gauteng sê boelie-voorvalle in skole in die provinsie het verdubbel en vanaf tien gevalle in 2023 gestyg tot 21 verlede jaar, wat leerders se veiligheid in gevaar stel. Slegs twee leerders is geskors, terwyl ander voorwaardelik kon terugkeer. Die DA se woordvoerder, Sergio Isa dos Santos, gee premier Panyaza Lesufi se administrasie die skuld vir die versuim om die krisis te bekamp. Hy vra 'n pro-aktiewe veiligheidsplan:
The orexin receptor agonists are coming. After years of managing narcolepsy with stimulants, sodium oxybate, and wake-promoting agents, we soon will have medications that target the root cause of the disorder: the loss of orexin signaling. These new drugs—developed by Takeda, Alkermes, and Centessa—aren't just incremental improvements. They represent a genuine shift in how we understand and treat hypersomnolence disorders. In this episode, we will:Define what orexin is and why losing it destabilizes wakefulness, REM boundaries, muscle tone, and cognitionLearn how orexin agonists work—not as stimulants, but as replacement therapy for a missing neurotransmitterFind out why OX2R is the key receptor, and how selective agonists restore stable wakefulness, reduce cataplexy, and normalize attentionReview the available clinical data from the new wave of programs: oveporexton (Takeda), alixorexton (Alkermes), and ORX750 (Centessa)See what makes these drugs different from modafinil, amphetamines, solriamfetol, and oxybate therapiesLearn why Phase 1, Phase 2, and Phase 3 trials matter—with quick insights on how these drugs reached such strong resultsConsider safety and side effects, including what Hy's Law means and why regulators watch liver signals so closelyLook ahead to what these medications may mean for NT1, NT2, IH, and other hypersomnolence disorders in the coming yearsSpeculate why this class represents one of the most exciting moments in modern sleep medicineProduced by: Maeve WinterMore Twitter: @drchriswinter IG: @drchriwinter Threads: @drchriswinter Bluesky: @drchriswinter The Sleep Solution and The Rested Child Thanks for listening and sleep well!
Reaksie word ontvang op die nuus dat Namibië byna twee derdes van sy werkgewers in vyf jaar verloor het. Dit is volgens Robert McGregor, hoof van navorsing by Cirrus. Hy sê die aantal individue wat hulle as werkgewers identifiseer, het van ongeveer 45 000 in 2018 tot slegs 15 000 in 2023 gedaal, wat die verlies van ongeveer 30 000 besighede verteenwoordig. Die krimpende werkgewersbasis vorm die kern van Namibië se groeiende werkloosheidskrisis. Kosmos 94.1 Nuus het kommentaar by die sekretaris-generaal van die Nasionale Unie van Namibiese Werkers, Job Muniaro gekry.
Selfmoord bly 'n ernstige bron van kommer in Namibië. Oor die naweek is drie gevalle aangemeld, 'n 21-jarige man in Ruacana, 'n 30-jarige man in Tsumeb en 'n 27-jarige vrou in Windhoek. Kosmos 94.1 Nuus het met die bekende aktivis Zack Itodo gepraat, wat die belangrikheid beklemtoon het om vroeë waarskuwingstekens van selfmoordgedagtes te herken. Hy spoor familielede en vriende aan om ondersteuning te bied en in te gryp voordat dit te laat is.
Die direktoraat van vliegtuigongelukke in die Burgerlugvaarowerheid het sy voorlopige verslag rakende die noodlanding van die G8 Airvan, V5-EEB, op 16 Oktober suidoos van die Charlottenfelder Suidelike Diamantkamp in die Namib. Die loods het ‘n noodlanding uitgevoer na hy 'n onbeheerbare enjin gerapporteer het. Die neuswiel het ingegee tydens die landing en die vliegtuig het op sy dak tot stilstand gekom. Hy het ses passasiers aanboord gehad en geen beserings is aangemeld nie. Die hoofondersoeker Hafeni Mweshixwa sê die ondersoek vorder.
Die bekende olifant, Apollo is weer in die nuus. Hy het in 2019 by die kus verskyn en is sedertdien hervestig na die Zannier-reservaat in 2020. Onlangs het Apollo 'n besering opgedoen en het hy kruppel voorgekom. Wildsveearts, dr. Ulf Tubbesing van Wildlife Vets Namibia het ondersoek ingestel en die olifant het swelling op sy knie opgedoen. Rudie van Vuuren van N/a'an ku sê het die jongste.
Die Windhoek-aktivis Shaun Gariseb sal weer môre in die Katutura-landdroshof verskyn na hy en gemeenskapslede van die Katutura Sentrale Kiesafdeling, rioolafval by die Katutura Munisipale kantoor gestort het. Hy staar klagtes van aanhitsing tot openbare geweld, obstruksie en openbare onsedelikheid in die gesig. Hy vra ondersteuners om op te daag omdat hy meen hy word verhoed om verkies te word as 'n raadslid.
Die minister van Elektrisiteit en Energie, Kgosientsho Ramokgopa, sê Suid-Afrika het die nasionale instituut vir die verwydering van radioaktiewe afval gestig om alle radioaktiewe afval in die land te verwyder. Hy sê Vaalput se lae- en intermediêre afvalverwydering sal belangrik wees en sluit in die verwydering van Koeberg se langtermyn-bedryfsafval vir 'n bykomende 20 jaar. Ramokgopa sê Vaalputs verskaf verwyderingskapasiteit om 'n kernprogram van tien gigawatt te handhaaf:
Die wêreld-nommer-twee Jannik Sinner het sy naaste teenstander, Carlos Alcaraz, geklop en sy titel in die ATP-jaareindtoernooi behou. Die 24-jarige Italianer het die titel gewen sonder om een stel in die toernooi af te staan, en die eindstryd met 7-6, 7-5 te buit. Hy het sy binnenshuise wenstreep tot 31 wedstryde uitgebrei. Sinner is die negende man wat in agtereenvolgende jare by die jaareindkampioenskap koning kraai, en sê die trofee is die beste manier om die seisoen af te sluit:
Die voorsitter van die ANC se nasionale uitvoerende komitee vir ekonomiese transformasie, Zuko Godlimpi, sê die DA se beswaar teen swartbemagtiging is gebaseer op vals inligting. Godlimpi het tydens die vergadering van die nasionale uitvoerende komitee in Ekurhuleni gepraat. Hy het reageer op onlangse druk deur die DA om swart ekonomiese bemagtiging te vervang met sy eie Wetsontwerp op Ekonomiese Insluiting vir Almal:
“…Jesus was nie alleen nie. Die wilde diere van die veld was by Hom en die engele het gesorg dat Hy alles het wat nodig was.” Markus 1:13 (Die Boodskap)
ActionSA se studente-afdeling het die oproep deur die minister van finansies, Enoch Godongwana, verwelkom om die Nasionale Finansiële Hulpskema vir Studente te skrap en studentefinansiering regstreeks na hoëronderwysinstellings te herlei. Die hoof van ActionSA se studente-afdeling, Thabo Malosi, sê studente regoor Suid-Afrika het jare lank onder die gevolge van wanbestuur, korrupsie en administratiewe mislukkings binne NSFAS gely. Hy sê hierdie kwessies het gelei tot laat betalings, akademiese uitsluitings, honger en onnodige stres vir studente:
Die ANC se sekretaris-generaal, Fikile Mbalula, sê die regering het swak gekommunikeer oor die 153 Palestynse asielsoekers. Hy het tydens die ANC se nasionale uitvoerende komiteevergadering gepraat en gesê veral die departement van binnelandse sake onder leiding van die DA se minister, Leon Schreiber, het versuim om burgers doeltreffend in te lig oor hierdie kwessie:
Die Khomas-goewerneur Sam Nujoma het homself gedistansieer van sy beloftes in April vanjaar om 5 000 huise in een jaar te bou en aan The Namibian gesê die teiken is deel van die Swapo-verkiesingsmanifes en nie 'n persoonlike verbintenis nie. In April vanjaar het Kosmos 94.1 die uiters verdagte teiken met die oud-hoof van die Namibiese Behuisingsonderneming Mike Kavekotora gepraat. Hy het ook gesê die teiken is twyfelagtig.
Verwikkelinge in Amerika rondom die nuut-vrygestelde persoonlike e-posse van die veroordeelde seksoortreder Jeffrey Epstein, waarin president Donald Trump en ander prominente figure herhaaldelik genoem word, kring steeds uit. Die Withuis het die belangrikheid daarvan van die hand gewys, met adjunk-perssekretaris Abigail Jackson wat aan die BBC gesê het: "Hierdie e-posse bewys letterlik niks nie." Volgens CNN se hoof data-analis, Harry Enten, is die Amerikaanse publiek nie tevrede met Trump se hantering van die kwessie nie. Hy het die syfers.
President Cyril Ramaphosa sê infrastruktuur gee mense die grondslag om te floreer. Hy het gepraat op die tweede Nasionale Bouberaad in Boksburg, Gauteng. Ramaphosa sê gehalte-infrastruktuur verhoog produktiwiteit, verlaag lewenskoste en vuur belegging aan. Hy voer aan die boubedryf kan gemeenskappe hervorm deur werk te skep en dienste te verbeter. Ramaphosa voeg by dat Suid-Afrika se boubedryf aan die herstel en gereed is om weereens die land se ekonomie aan te dryf:
'n Britse joernalis en politieke kommentator wat vir meer as twee weke deur Amerikaanse immigrasiebeamptes aangehou is, het Donderdag terug in Brittanje aangekom. Immigrasie-beamptes het Sami Hamdi, 'n pa van drie, op 26 Oktober by San Francisco Internasionale Lughawe aangehou. Hy is voorgekeer die dag nadat hy die jaarlikse gala van die Raad vir Amerikaans-Islamitiese Betrekkinge in Kalifornië toegespreek het. Hamdi het met Sky News gepraat.
Gift of the Givers vra president Cyril Ramaphosa om Binnelandse Sake en die Grensbestuursowerheid te ondersoek nadat 153 Palestynse reisigers gister toegang tot die land geweier is op die OR Tambo Internasionale Lughawe in Gauteng. Stigter Imtiaz Sooliman sê die owerheid het opgetree ingevolge sy mandaat om passasiers sonder 'n geldige vertrek-stempel toegang te weier. Hy sê Israel het hierdie arme mense se paspoorte doelbewus nie gestempel nie om hul lyding in 'n vreemde land te vererger:
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