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Kvinnedagen var 8. mars, og året 2026 ble markeringen historisk. Nina og Ilja diskuterer kvinnebevegelsen og feminisme i studio, Iben og Ilja snakker med folk på ulike markeringer, og på veien er det både gråt, latter, og dans. Hør hvorfor årets markering ble historisk, og hva det betyr for folk, i ukas episode!

Great marketing does not start with your product. It starts with your customer. In this conversation, I speak with marketing strategist Scott Hornstein about why storytelling, customer research, and trust are the real drivers behind successful brands. Scott shares lessons from decades in marketing, including his work with IBM and major technology launches, and explains how companies often fail when they focus on themselves instead of the people they serve. You will hear how listening to the voice of the customer can reshape messaging, build trust, and unlock growth. Scott also reflects on entrepreneurship, resilience, family, and the mindset required to get back up after setbacks. I believe you will find this conversation both practical and encouraging as you think about how relationships and trust shape business success. Highlights: · Creativity in Queens – Scott reflects on how music and culture shaped his early creativity.04:10 · From Literature to Marketing – His love of books leads him toward storytelling and marketing.12:57 · Learning to Experiment – A mentor teaches the value of trying ideas and learning from failure.20:46 · The Customer as the Hero – Scott explains why marketing must center on the customer.31:48 · Customer Insight Drives Messaging – Research helps reshape a company's message and market entry.41:23 · Resilience Through Setbacks – Scott reflects on perseverance in life and business.50:59 Top of Form Bottom of Form About the Guest: I currently live in Reston VA, my wife and I having moved there to be close to our 2 daughters and our 2 granddaughters. I am an independent business consultant specializing in storytelling – which embraces marketing, research, and content. Family is the most important thing in my life and it has taught me that lasting relationships, business and personal, are steeped in empathy and commitment. I was born in Manhattan on July 25, 1950. My parents soon moved the family to the up-and-coming borough of Queens. I attended the public schools in and around Forest Hills.  Writing was always my goal. I graduated NYU as an English major.  Upon graduation I traveled, then pursued my (naïve) dream of living as an artist – as a writer, an actor, and a musician. I wrote plays for the brand-new cable industry, wrote for a movie-making magazine, was in several off-off Broadway plays, worked as a pick-up musician. I helped in the office for a former professor to earn subway money. Got tired of starving to death. Took a job with CBS in the Broadcast Center, pulling together the Daily Log for the local station. Then, got hired to answer Bill Paley's mail. Then, I was hired as a marketing manager for Columbia House where I got some of the best advice – keep going. I met this guy from my neighborhood while commuting to my job in Manhattan. Turns our he worked for Y&R and said they were looking for someone. I interviewed and jumped over to agency-side work as an Account Executive, then Account Supervisor, then, going back to my roots, copywriter and eventually Creative Director. The entrepreneurial life has been a roller coaster, but I have been blessed to work with some brilliant people in marketing and sales, and some great companies. It allowed me to understand how I can really help my customers become successful in the long-term. Ways to connect with Scott**:** LinkedIn Medium www.hornsteinassociates.com About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Well, hi everyone, and welcome once again to another episode of unstoppable mindset today. Our guest is Scott Hornstein, although when he came into the Zoom Room, I said, is it Hornstein or Hornstein? And of course, he also understood, because we're both of the same age, and are both fans of Young Frankenstein, who always said that his name was really pronounced Frankenstein. But you know, you have to have to know Gene Wilder for that. But anyway, if you haven't seen that movie, you got to see it. Mel Brooks at his best, but Scott is a marketing person and specializes a lot in storytelling, which fascinates me a lot, because I am a firm believer in storytelling, and I know we're going to have a lot of fun talking about that today. So Scott, I want to welcome you to unstoppable mindset. We're really glad you're here. Scott Hornstein  02:20 Thank you so much, Michael. I have to start by saying I have great respect for your work, and this is really quite a privilege for me. Thank you very much. Michael Hingson  02:32 Well, thank you. You're a long way from where you were born, in New York, in Manhattan. Now you're in Reston, Virginia, but that's okay. Well, you're not that far. It's just a short train ride, a few hours. Scott Hornstein  02:41 I That's true. That's true, although with that particular train, you can never be sure exactly how long it's going to be good Michael Hingson  02:52 point, yeah, yeah, good point. It is one of the things one has to deal with. But that's okay. But, you know, I've taken that train many times, and I've taken the the Metro liner as well, and also just the regular train. And I like the trains. I enjoy the train. I wish we had more of them out here. Scott Hornstein  03:15 I do too. I when it a long time ago in business, when I had a client here in DC, and I was living in Connecticut, I started taking the train, and it was so superior to flying. Oh yeah. And then recently I was, as I was mentioning to you, I was in Germany and taking the trains there is just wonderful. It's so superior. Michael Hingson  03:47 Yeah, I wish we would have more of them out here. If I, for example, want to take a train to San Francisco from where I live in Victorville, the only way I can do it is to take a train at roughly four in the morning to Los Angeles and then transfer on a train to go to San Francisco, which is no fun. I'll fly because it's it's kind of crazy, but I like the trains, and wish we wish we had more of them all over, and wish more people would use them. It's a lot better than driving, and it's a lot more pleasant. When I lived in the east, there were any number of times that I knew people who would travel from like Bucks County in Pennsylvania to New York Wall Street people, and they would go two, two and a half hours on the train every day and back again. And they formed discussion groups or other sorts of things. They they made it a part of their regular day, and it was there was nothing to them to do that. Scott Hornstein  04:54 And to them, I say, God bless. I am not in love with commuting, right? Yeah. Michael Hingson  05:00 Well, I understand that. I appreciate that, but they, they did well with it, and so good for them, or, as I would say in Australia, good on them. But you know, well, why don't we start tell us a little bit about you, maybe growing up in the early Scott and all that stuff. Let's start with that, sure. Scott Hornstein  05:21 First one brief aside about Young Frankenstein when I was living in Connecticut, I would go to the theater in Stanford, and for one performance, my tickets were at the will call, so I went up to the ticket booth, gave them my name, and the woman be on the other side of the iron bars keeps throwing her head to the side, wanting me to look over to my left, and I finally look over to my left, and there's Gene Wilder. Oh my gosh. What an enormously tall individual, very gracious, very nice. In any case, yes, Michael Hingson  06:06 with him, did you? Did you talk with Scott Hornstein  06:09 him just for a moment, just for a moment, you know, just Mr. Wilder, how nice to meet you. And he said a couple of nice things. And that was about it. Still, we all went to see the to see the show. Still, it was quite a thrill for me. What show I do not. Oh, that was, oh, no, excuse me. That was the the madness of King Charles, madness of King George. King George. But he was quite mad, and the play is excellent, excellent. Well, anyway, in any case, I grew I was born in Manhattan. I spent the first couple of years of life on the west side. I don't remember much of that. But my parents quickly moved us out to Queens, which at that point was rather undeveloped. You could get a lot more for your money, and we have lived in an apartment building. And around our apartment building was nothing but empty lots. It was just not developed yet. But it was a great place to grow up because the there was so much going on in those years and so much so much music that was going on. The first recollection I have, in light of all the talk about vaccines and healthcare and all of this is I really remember that polio was a real thing there, and I remember kids with the braces on their legs. And I remember that when one of my friends got chicken pox, that the mothers would get us all together and have a play date so that we got chicken pox too. Okay, but it was, Michael Hingson  08:20 I'm sorry, remember, I remember getting the polio vaccinations, even starting in kindergarten, Scott Hornstein  08:24 yes, yes. And it was such a remarkable thing at that time. We all thought it was like a miracle. And, and Jonas Salk, I mean, he was like, such a hero, yeah. The other thing, so I, we were out in Queens, in an area that's the larger area is called Forest Hills, and it was, it was a great place, because the the whole museum, whole music scene was just exploding. So I'm moving on until my junior high school and high school years, and it was just all over the place. Yes, we were playing in bands, but also there were these wonderful venues to go to. And there was the subway. If my parents only knew where I really was, we would get on the subway, go down in the village, go to all the cafe bar Gertie spoke city, all these places to hear the this wonderful mind changing music. And by mind changing, I don't mean drugs. I mean mind changing that it was, it was just everything in life. Michael Hingson  09:57 And there's nothing like hearing a lot. Music, Scott Hornstein  10:01 even to this day, it's my very, very favorite thing to do. Yeah, and so many musicians and artists came out of that area. I not being one of them. But it was so exciting. Michael Hingson  10:27 I remember when we lived in New Jersey, and I would commute into New York. I heard, for example, even then, and it was in like 96 to beginning of 2002 Woody Allen on Monday night would play his clarinet somewhere. And less, less, Paul was still doing music and playing music at the meridian ballroom. And you can even take your guitar in and he would sign it for you Scott Hornstein  10:55 the it was Joe's Pub. Woody Allen would right. And I went there a couple of times to see him. Of course, it was so pricey that we had to kind of sneak in have one beer, yeah, Michael Hingson  11:16 but still, it was worth doing. Scott Hornstein  11:19 And then they Yeah, and they were great clubs. I think that was, there's certainly the blue note for jazz that I went to a lot. And then there in Times Square, there was iridium, which was where I was able to see Les Paul, right? And many of those greats. Michael Hingson  11:42 Yeah, I never did get to go and get my guitar signed, and now it's too late. But oh, well, do you play? I play at it more than anything else. My father, I think, even before the war, before World War Two, or somewhere around there anyway, he traded something and got a Martin grand concert guitar. Oh, still, I still have it. That's wonderful. What a wonderful sound it is. Scott Hornstein  12:15 What a wonderful story. Yes, I play as well. I And growing up very early on, I decided I wanted to be Ricky Nelson. Oh, there you go. But I quickly learned that I was not going to be Ricky Nelson. However, the guy that was standing behind him playing guitar, now that might be something that I could do. So yes, so I picked it up, and I played in all the bands and then, which quickly taught me that I was not cut out for rock and roll, that I wasn't very good at it, but it led me into many other avenues of music, certainly listening, certainly being part of that scene, I'd go see friends of mine who could play well rock and roll and And that was so exciting for me. And then I, I played in pickup bands through college. So on a weekend night there would be a wedding, Bar Mitzvah, and this guy, I forget his name, piano player, he he got all the gigs and Howie was the first choice for guitar, and if Howie wasn't available, they'd call me. Michael Hingson  13:47 There you go, hey. So second choice is better than no choice. Absolutely. Scott Hornstein  13:54 I i enjoyed it thoroughly and that they paid me money to do this. There you go, right, inconceivable to me. Michael Hingson  14:05 So what did you major in in college? Scott Hornstein  14:10 Well, I started off majoring in biology, and there you go. And why I chose biology is is a mystery to this day, it didn't last long. I cycled through a number of things, and I graduated with a degree in literature, in English, particularly American literature, which is not quite the same as learning a trade. But you know it, it was consistent with with who I was at that time. I was the guy who, if he went out the door, would have two books with him, just in case I finished one. I didn't want to be left at sea, so a voracious reader couldn't stay away from the theater. So it was very consistent with who I was and and it was good for me, because I think through things like like literature and fiction and biography, you learn so much about the world, about how different people are confronted with challenges, how they process their lives, how they overcome these challenges or not or not, it just exposes you to so much. Michael Hingson  15:49 Yeah, and so I'll bet you had some challenges finding some sort of real, permanent job after getting a degree in English? Scott Hornstein  16:03 Yes, I did. But when I got out the idea of it didn't cross my mind that people actually would not earn a great living by being just an artist. What did I want to do? I wanted to write. I wanted to be involved in music. I wanted to act. I did all these things until the point when I got thoroughly fed up with being poor, with not having a dime in my pocket. Ever starving to death is, is sort of what you would call it. Yeah, yeah. You know, I did. I have modest success. Yes, I was able to keep myself off the streets, but no, it was no way for a career. It was no way to even be able to afford your own apartment, for gosh sakes. So I from there i i had done a lot of promotion for the different things that I was involved in, trying to get audiences, trying to get awareness of what I was doing, and that led me to have some contacts inside of CBS. And when I started looking for a job, I started talking to these folks, and they offered me a job. So here I was, and actually gainfully employed. Michael Hingson  17:44 What was the job? Well, I Scott Hornstein  17:47 was sort of a gopher for my first job. Mostly what I did was type, but I do have one good story for you. So I was down in the depths of the CBS Broadcast Center, which is all the way on the west side of 5017 and it's an old milk factory, so which they had converted to broadcast purposes. And so there were long holes, and the halls would always slope down. And there was one day where I was late for a meeting, and I came running down the halls, and there are always these swinging doors, I guess, for in case there's a fire or something, and I'm bursting through the doors, and I go running, and I burst through the next set of doors, and I'm running, and I burst through the next set of doors, and I knock this guy right on his bum. I pick him up, I dust him off. I say, I am so sorry. He says, Don't worry about a thing. It's all fine. I continue running. A friend of mine grabs me and says, Did you see Paul Newman? Michael Hingson  19:10 There you are. Scott Hornstein  19:12 So I have the unique entry on my resume of knocking Paul Newman to the ground. Michael Hingson  19:22 I Well, at least he was civil and nice about it. Scott Hornstein  19:26 He was very nice about it, though. Yeah, so I worked there and then through my writing, because I was writing for a film magazine at night, which, of course, didn't pay a cent, not a cent, but I got to go to all the premiers, and I got to meet all the people and interview all the people so whatever. So through that, I was able to go over to the main building and answer letters for Bill Paley, who was the. Michael Hingson  20:00 Chairman, Chairman, I said, Yes, right, Scott Hornstein  20:02 and it was my job to explain to everybody why Mr. Paley, I never called him, Bill, never, nobody, no, no, why he was right and they were wrong. That was my job, and that I did that for a little while, I can honestly say that I enjoyed having money in my pocket, but that was not the most fulfilling of jobs, and from there, I was able to go over and get my first marketing position, working for the Columbia record and tape Club, which was part of CBS Records at that time. And when I Ben or Dover was the president of Columbia House at that time, and when he made me the offer, he gave me one of the great life lessons that I've I've ever had. And he said, Scott, if you sit in your office and you do exactly what I ask you to do, and you do it on time, and you do it perfectly, we are not going to get along. But if you are out there and you're trying this and you're trying that, and this works, and that doesn't work, but you get up and you keep trying, we're going to be fast friends. Interesting. Yeah, yeah. That's something that has stayed with me my whole life. One of the great pieces of advice that I've ever gotten, Michael Hingson  21:57 well the for me, what's fascinating about it is thinking about how many people would really do that and allow that to happen, but it's really what more people should be doing. I've I've always maintained that the biggest problem with bosses is that they boss people around too much, rather than encouraging them and helping them and using their own talents to help people be more creative. When I hire sales people, the first thing I always told them was, well, the second thing because the first thing I always told them was, you need to understand right up front if you're going to sell here, you have to learn to turn perceived liabilities into assets. And that's got a story behind it. But the second thing that I always talked about was my job isn't to boss you around. I hired you because you convinced me that you're supposed to be able to do the job, and we'll see how that goes. But you should be able to but my job is to work with you to figure out how I can use my talents to help you and to enhance what you do to make you more successful. And the people who got that did really well, because we usually did things differently, and we both learned how to figure out and actually figure out how to work with each other and be very successful. But the people who didn't get it and wouldn't try that, generally, weren't all that successful. Scott Hornstein  23:26 Not terribly surprised, sir. You know, I think that people miss the the humanity of all this. And that if we bring our respective strengths and work together, that it's going to be a more complete and more successful whole than if I try and dominate you and tell you what to do, right, just that hasn't been a successful formula for me. I have never done well with people who tried to tell me exactly what to do, which is probably why I went out on my own. Probably why, in the greater scheme of things that I I did well, working for people from Columbia House. I met this guy on the train, and we got friendly, and he said he worked for an advertising agency, and they were looking for somebody would I be interested in interviewing? And this was with the young and Rubicon. And I did get the job, and I did work my way up to an account supervisor. And then i i said, i. Hate this, and I went back to be a copywriter and worked my way up to be a creative director. But, you know, I went on my own on January 1 of 86 and it was like a liberation for me, because at that point there was a new a new president of the division that I worked for, and he was not a nurturing individual. He was more of the dominant kind of you'll do what I tell you to do. Didn't sit well with me at all, and I had the opportunity to go on my own. So I I packed up my dolls and dishes, and I walked in on January 2, and I said, Bill, I quit. Michael Hingson  26:02 There you go. Was it hard for you to do that? Scott Hornstein  26:11 You know, at that point? So I here I am. I'm a creative director. I got the office on Madison Avenue, and I'm doing freelance all over the place, not only because it was extra money, but because it was it was fueling my creativity. It was giving me something back. It was fun. And I really like to have fun. I have so much fun working with people and that interaction that that humanity, the spark of humanity. So I was doing a lot of freelance, and I wrote this proposal for this one design group who was near where I was living at that time, and it got sold. So they said, Do you want to you want to work on it? And at that point in my life, I didn't have any responsibilities. I had a studio apartment there that was real cheap. And I said, If I don't try this now, yeah, I don't think I'll ever try it. So that's what I did. I quit, and I walked out the door into the great unknown, Michael Hingson  27:39 and the entrepreneurial spirit took over. Scott Hornstein  27:43 It did, and it worked well for about six, seven months, and then we got to the summertime, and I couldn't get arrested for a while. But you know, you have to take it one day at a time. And I figured, all right, well, let's just be open and network and see what's going on. It's not the time to quit. It's not the time to go back and get a job. And I was fortunate in that I was sitting at the desk one day, and this one guy called me, and I had met him before his folks ran one of the biggest, or actually the biggest, telemarketing agency in New York at that time, and I had met, met this fellow, and he said, I got this project. I've been asking around for creative source, and three people gave me your name. So I figured, well, let's go talk. And that turned into a very, very good situation for me, it gave me a lot of responsibility and a lot of leeway to take all the things that I had learned and put them in service of my client and I had a ball. I loved it. The only thing I didn't love was the and I did love this for a while was the constant travel. Now, everybody doesn't travel, and they're all sitting in their rooms at home, looking at screens. But that was that was a great opportunity for me to to spread my wings and to take and I learned so much one of the. Initial assignments I had was for IBM and IBM at that time was, was Mount Olympus. Oh my gosh, working for IBM, and I worked in tandem with this research group. We were all working on the introduction of the IBM ThinkPad and what these folks, they had a methodology they called voice of customer research, which was a qualitative research we're talking to decision makers from a carefully prepared Interview Guide to come up with the attitudes, the insights that we could put together to to come up with a solution. And I was fascinated by this of how to tap into what what the customer really wants by talking to the customer. How unusual. Michael Hingson  31:16 What a concept. Oh yeah. I mean Scott Hornstein  31:19 then and now, it's still the operative phrase of this would be a wonderful business, business, if it wasn't for all those annoying customers and and this just turned that on its head. That's another thing that I learned that has stayed with me through my entire career, is that for the the storytelling, and what I mean by storytelling is, is two things. Is, first, you know all your stories are going to come from what you consider to be your brand, but if you're not developing your brand according to the wants, the needs, the desires, the expressed future state that your Customers want, then then you're wide of the mark. So I was able to bring this in, and I think do a much better job for my customers. Now, the way that relates into storytelling is that you're you're able to take what you do and put it into the story of how your customer succeeds with the hero in the hero's journey, is Michael Hingson  32:55 your customer, your customer? Why do you think that is such a successful tactic to use, Scott Hornstein  33:02 because everybody else is completely enamored of themselves. When other companies craft their their brand, it's mostly because why they think they are special and what their vision tells them is their future. And quite frankly, most customers really don't care when, when a new customer first confronts you and your brand. They ask three questions, who are you? Why should I care? And what's in it for me? And if you can't answer those, if the story that you tell whether complete or in fragments or in in different parts according to where they are on their consideration journey. It doesn't resonate. It doesn't resonate. Hey, I have the best technology out there. I have brilliant people working on this technology. And guess what? Your technology? Somebody will eat your technology in 18 months, and I don't care, I want to know. What does it do for me? Michael Hingson  34:28 Yeah, as opposed to saying, After asking enough questions, I have technology that will solve this problem that you have identified. Let me tell you about it. Is that okay? Exactly? Scott Hornstein  34:44 Yeah, exactly. And as odd as it sounds, that helps you to stand out in the field, in a crowded Michael Hingson  34:55 field, it does, but it's also all about the. Relating to the customer and getting the customer to establish a rapport and relating to you. And when you, as you pointed out, make it about the customer, and you talk in such a way that clearly, you're demonstrating you're interested in the customer and what they want they're going to relate to you. Scott Hornstein  35:24 There's two, two things in there that, well, there's a million things in there that are particularly true. And the first is not only recognizing and and internalizing the goals of your client, but also opening yourself up and saying, these are people. These are humans. And the other real distinguishing fact that a lot of people don't either realize or embrace is that in business to business, and I've spent most of my life in business to business, it's all personal. It's all about personal connections. It's all about trust. And call me crazy, but I am not going to trust a machine. I will have confidence in technology, but my trust is going to be placed in the human through this, one anecdote that that is has really impressed me is that I was doing one of these interviews once, and I was talking to the CEO of of this company. And I said, Well, you know, I of course, I'm working for company A and you've been a client for a long time. What's, what's the greatest benefit that you get from this company? And without hesitation, he said, our salesman. Our salesman is part of our team. He understands who we are, he knows what we need, and he goes and he gets it. So that kind of that, to me, has always been a touchstone on things. Michael Hingson  37:43 Well, the fact that the salesman earned that reputation, and the President was willing to acknowledge it is really important and crucial. Scott Hornstein  37:56 And within that, I would say the very important word that you used is earn. You need to earn that trust. Sure it doesn't come just because you have brilliant technology. It's all people. It's all personal, all people. Michael Hingson  38:20 And that's success, the successful sales people are people who understand and work to earn trust. Scott Hornstein  38:32 Well said, and I think that particularly in this age of accelerating remoteness, that this concept of earning the trust and the person to person becomes a compelling competitive differentiator. And I think that that telling the story of of how you make your customers successful, of the role you play, of where you're going, this allows you to bridge some of those troubled waters to people who are sitting remote. It helps you to open your ears you know where you're going, so you can listen, yeah, Michael Hingson  39:40 well, and that's an extremely important thing to to keep in mind and to continue to hone, because bottom line is, it's all about, as I said, trust, and it certainly is about earning, and that isn't something you. First, it's something that you understand. Scott Hornstein  40:04 It's a gift that can only be bestowed on your customer. You can want it, but they're the only ones who can give you. Your brand is the meal you prepare. You but your reputation is the review, right? So, yeah, you gotta earn that trust. Michael Hingson  40:32 So how long so you you own your own company? How long has the company been in existence? Scott Hornstein  40:40 I Well, let's see. I went on my own on January 1 in 1986 and I am still without visible means of support. Michael Hingson  40:58 Well, there you go, same company all along, huh? Scott Hornstein  41:03 I Yeah, you know, do different work with different people, sure, but yes, it's still me. Michael Hingson  41:13 It's still, do you actually have a company and a name or anything like that? Scott Hornstein  41:17 I did. I did for a long time. I operated under Hornstein associates, okay, and recently I have dropped that and I just work as myself. I think that I had employees, then I had expandable, retractable resources then, and I'm not so interested in doing that right now. I am interested in working as and I love working as part of a team. Collaboration is my middle name. I might not have put that on my resume, but yeah, and I'm just, I'm really just interested in being me these days. Michael Hingson  42:13 That's fair. There's nothing wrong with that. No, well, in your current role, what do you think is the greatest contribution you've made to your clients, and I'd love an example, a story about that. Scott Hornstein  42:28 I would love to tell you a story. Oh, good. So one of my clients is a manufacturer. And they manufacture of all things, barcode scanners, as you would use in a warehouse and in a warehouse, absolutely everything, including the employees, has a barcode. Theirs is different than the the ones that you would normally see, the ones that like have a pistol grip. These are, these are new. It's new technology. They're ergonomically designed. They sit on the back of your hand. They're lightweight. They have more capabilities. They're faster and more accurate. Well, that sounds like sliced bread. However, they had a big problem in that all the scanners in all the warehouses come from the titans of the universe, the Motorola's, the great big names and these great, you know the old saying of Nobody ever got fired for buying IBM. Well, you know, if they need more scanners. Why would they go elsewhere? They just go back and get the same thing. So the the big problem is, is how to penetrate this market? And we did it. I worked with them in a number of ways. The first way was to conduct interviews, qualitative interviews, with the executive team, to come up with their their brand. What did they think? What did they think that was most important? And they said, clearly, the productivity gains, not only is this faster, not only can we prove that this is faster, but the the technology is so advanced that now we can also give you. Information from the shop floor. Well, then we talked to their their partners, who were already selling things into these warehouses. And we talked to a number of companies that were within their ICP, their ideal customer profile, I think that's very important to be prospecting with the folks who can make best use of your products and services. And what we found is that it wasn't just the productivity, it was that we solved other problems as well, and without going heavily into it, we solved the a big safety problem. We made the shop floor more secure and safer for the workers. So we changed the message from Warehouse productivity to the warehouse floor of making each employee safer, able to contribute more and able to have a better satisfaction, and that we were able to roll out into a into great messaging. The initial campaign was solely focused on the workers, and our offer was We challenge you to a scan off our scanners, against yours, your employees, your products, your warehouse. Let's have a head to head competition, because we then knew from these interviews, from working with the partners, that once these employees got the ergonomic the lightweight, ergonomic scanners on their hands, and realized how much faster They were, and how much safer that they were, that they would be our champions. And in fact, that's what, what happened. I can go deeper into the story, but it it became a story. Instead of coming in and just saying, boost your productivity, it's the scanners work for your your overall productivity. It helps you to keep your customers satisfied, your workers, one of the big problems that they're having is maintaining a stable and experienced workforce, this changed the characteristic of the shop floor, and it changed the character, how the employees themselves described their work environment. So we were able to take that and weave a story that went from one end of the warehouse to the other with benefits for everybody in between. So you said, What is the the one you said, the greatest benefit, I would say the contribution that I'm most proud of, it's that it's to recast the brand, the messaging, in the form, in the shape of the customer, of what they need, of helping them to achieve the future state that they want. And I'm sorry for a long winded answer, Michael Hingson  49:10 yes, that's okay. Not a not a problem. So let me what would you say are the two or three major accomplishments or achievements in your career, and what did they teach you? Scott Hornstein  49:26 Well, you know, I think the the achievements in my career, well, the first one I would mention was incorporating that, that voice of customer research, bringing the customer to the planning table, letting the executives, the sales people, the marketers, unite around, how does the customer express their hopes, their dreams, their challenges? I would say the second. Uh, is this idea of taking all of the content of all of the messaging and and unifying it? Some people call it a pillar view. I call it storytelling, of relaying these things so that you are giving your prospects and your customers the information that they need when they need it, at the specific point in their consideration journey, when this is most important, and it might be that a research report for a prospect that talks about some of the challenges in the marketplace and what's being done, it might be as simple for a customer as a as a video on how do you do this? You know, how do you screw in a light bulb? Oh, here it is. Everybody's used to that. The the third thing, and, and this is something, forgive me, for which I am, I am very proud, is that now I take this experience and this expertise, and through the organization called score, I'm able to give this back to people who are are trying to make their way as entrepreneurs Michael Hingson  51:35 through the Small Business Administration. And score, yes, Scott Hornstein  51:40 very proud of that. I get so much for from that. Michael Hingson  51:46 Well, what would you say are maybe the two or three major achievements for you in life, and what did you learn? Or what did they teach you? Or are they the same Scott Hornstein  51:57 I did? Well, I would say they're they're the same, and yet they're a little bit different. The first one is, is that it's only very few people who lead the charmed life where they are never knocked down. I'm not one of those people, and I've been knocked down several times, both professionally and personally, and to get back up, I to have that, and you will forgive me if I borrow a phrase that indomitable spirit that says, no, sorry, I'm getting back up again. And I can do this. And it may not be comfortable and it may not be easy, but I can do this. So there was that I think that having kids and then grandkids has taught me an awful lot about about interpersonal relationships, about the fact that there isn't anything more important than family, not by a long shot, and from these different things. I mean, certainly, as you I was, I didn't have the same experience, but 911 affected me deeply, deeply and and then it quite frankly, there was 2008 when I saw my my business and my finances sort of twirl up into the sky like like the Wizard of Oz, like that house in the beginning, Michael Hingson  54:09 but still, Scott Hornstein  54:16 And I persevere, yeah. So I think that that perseverance, that that focus on on family, on humanity. And I would say there's one other thing in there, is that. And this is a hard one. Observation is that I can't do anything about yesterday, and tomorrow is beyond my reach, so I I have to take Michael Hingson  54:56 today, but you can certainly use yesterday. As a learning experience, Scott Hornstein  55:01 I am the sum of all my parts, absolutely, but my focus isn't today, and using everything that I've learned certainly. You know, I got tongue tied there for just a minute. Michael Hingson  55:19 I hear you, though, when did you get married? Scott Hornstein  55:25 I got married in 87 I I met my wife commuting on the train to New York. Michael Hingson  55:35 So you had actually made the decision to could to quit and so on, before you met and married her. Scott Hornstein  55:43 No, no, I was, I was I met her while I still had a job in advertising. That's why I was commuting to New York. And you know, in the morning there was a bunch of us. We'd hold seats for each other and just camaraderie, yeah, you know, have our coffee. Did she? Did she work? She did she did she was she joined the group because she knew she had just gotten a job in New York. And of course, for those who don't know New York? When I say New York, I mean Manhattan, the city. Nobody thinks of any of the boroughs Michael Hingson  56:27 as part of New York. Scott Hornstein  56:31 And yeah, I and one day gone in, she fell asleep on my shoulder, and the rest is history. There you go. Michael Hingson  56:41 What So, what did she think when you quit and went completely out on your own? Scott Hornstein  56:48 I you know, I never specifically asked her, but I would think that she would have thought that maybe I was not as solid, maybe not as much marriage material, maybe a little bit of a risk taker. I did not see it as as taking a risk, though, at that time, but it was actually great for us, just great for us. And yeah, met there, and then I quit. Shortly thereafter, she was still commuting. And then things started to just take off, yeah, yeah, both for my career and for the relationship, yeah. Michael Hingson  57:51 And again, the rest of course, as they say, is history. Scott Hornstein  57:56 It is. And here I am now in Reston, Virginia, and we moved to Reston because both daughters are in close proximity, and my two grandchildren. And you know, am I still confronted with the knock downs and the and the get up again. Yeah, the marketplace is very crazy today. The big companies are doing great, the mid size companies, which is my Market, and it's by choice, because I like dealing with senior management. I like dealing with the people who make the decisions, who if we decide something's going to happen, it happens and and you can see the impact on the culture, on on the finances, on the customer base. These guys are it's tough out there right now. Let me say that it's it's tough to know which way to go. This doesn't seem to be anything that's sure at the moment. Michael Hingson  59:11 Yeah, it's definitely a challenging world and and then the government isn't necessarily helping that a lot either. But again, resilience is an important thing, and the fact is that we all need to learn that we can survive and surmount whatever comes along. Scott Hornstein  59:33 And let me just throw in AI that is a big disruptor at the moment that nobody actually knows Michael Hingson  59:43 what to do with it. I think people have various ideas there. There are a lot of different people with a lot of different ideas. And AI can be a very powerful tool to help but it is a tool. It is not an end all. Um. Yeah, and well said, I think that, you know, even I, when I first heard about AI, I heard people complaining about how students were writing their papers using AI, and you couldn't tell and almost immediately I realized, and thought, so what the trick is, what are you going to do about it. And what I've what I've said many times to teachers, is let students use AI if that's what they're going to use to write their papers, and then they turn them in. And what you do is you take one period, and you call each student up and you say, All right, I've read your paper. I have it here. I want you now to defend your paper, and you have one minute, you're going to find out very quickly who really knows what they're talking about. Scott Hornstein  1:00:47 That, in fact, is brilliant. Michael Hingson  1:00:49 I think it's a very I think it's a very powerful tool. I use AI in writing, but I use it in that. I will use it, I will I will ask it questions and get ideas, and I'll ask other questions and get other ideas, and then I will put them together, however, because I know that I can write better than AI can write, and maybe the time will come when it'll mimic me pretty well, but still, I can write better than AI can write, but AI's got a lot more resources to come up with ideas. Scott Hornstein  1:01:21 It does. It does. And with that, it's a fantastic tool. The differentiator, as I see it, for most of my stuff, is that AI has read about all this stuff, but I've lived it, so I'm going to trust me at the end, Michael Hingson  1:01:45 and when I talk about surviving the World Trade Center and teaching people what I learned that helped me in the World Trade Center, I point out most people, if there's an emergency, read signs and they're told go this way to escape or to get out or do this or do that, but there's still signs, and they don't know anything. I don't read signs, needless to say, and what I did was spent a fair amount of time truly learning all I could about the World Trade Center where things were, what the emergency evacuation procedures were what would happen in an emergency and so on. And so for me, it was knowledge and not just relying on a sign. And so when September 11 happened, a mindset kicked in, and we talked about that in my my latest book, live like a guide dog. But that's what it's about, is it's all about knowledge and truly having that information, and that's what you can trust. Scott Hornstein  1:02:48 I'll give you a big amen on that one. Michael Hingson  1:02:52 Well, this has been a lot of fun to do. We've been Can you believe we've been doing this an hour? My gosh, time, I know having fun. Scott Hornstein  1:03:03 It's fun. And I would say again, in closing, I just have enormous respect for what you've accomplished, what you've done. This is been a great privilege for me. I thank you very much. Michael Hingson  1:03:19 Well, it's been an honor for me, and I really value all the comments, the advice, the thoughts that you've shared, and hopefully people will take them to heart. And I would say to all of you out there, if you'd like to reach out to Scott, how do they do that? Well, there you go. See, just, just type, well, right? Scott Hornstein  1:03:42 That's it. If you, if you sent an email to Scott dot Hornstein at Gmail, you'll get me. Michael Hingson  1:03:56 And Hornstein is spelled Scott Hornstein  1:03:58 H, O, R, N, S, T, E, I, Michael Hingson  1:04:03 N, and again, it's scott.hornstein@gmail.com Scott Hornstein  1:04:09 that's that's the deal. There you go. Well, find me on LinkedIn. You can find me on medium. I'm all over the place. Michael Hingson  1:04:18 There you are. Well, I hope people will reach out, because I think you will enhance anything that they're doing, and certainly trust is a big part of it, and you earn it, which is great. So thank you for being here, and I want to thank all of you for listening and watching us wherever you are. Please give us a five star review and a rating and but definitely give us a review as well. We appreciate that. If you know anyone else who ought to be a guest, Scott, you as well. We're always looking for more people to have on, so please introduce us and Scott. If you want to come on again, we can talk about that too. That'd be kind of fun. But I want to thank what I want to thank you again for being here. This has been fun, and I appreciate you being here with us today and and so thank you very much for doing it. Scott Hornstein  1:05:07 My all the pleasure is all mine. Michael Hingson  1:05:14 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

We are pink! Godgjengen Linea, Iben og Emil gosser seg i studio om hvilke dyr LHBTQ+ er, hvorfor ingen synes gay er intens og masse mer! Bli med og hør på hvilke tull de gjør

Send a textLeah Thayer has spent a lifetime supporting people in transition. From her work in conflict zones, developing public health supports, and now in counseling students, Leah has been there to meet the needs of the people she serves.Young people exiting the Diploma Programme are understandably anxious about what comes next for them. What if they don't pass the exams? How do they find a good school? How does the school find them? How can teachers help their students find a match for their skills and their aspirations?Leah has some great ideas for all these questions. If you work with students as a counselor, a teacher, or are a parent of a high school student check out what Leah shares in this episode.At the end we talked about the new IB Matters project where we are recording teachers as they describe the IB course(s) they teach. This should help students choose courses they find interesting and are a good fit for their future plans. These short (under 15 minute) recordings can also help colleges better understand what the IB student brings with them as they matriculate to the university. If you are an IBEN member and a teacher of a DP course, please contact me at the email link. I'm also looking to record all aspects of the DP and the CP core to be included in the project. Leah's Substack: Pathways, Partnerships, and PerspectivesLeah's LinkedInEmail IB Matters: IBMatters@mnibschools.orgInstagram (IB_Matters) Twitter @MattersIBIB Matters websiteMN Association of IB World Schools (MNIB) websiteDonate to IB Matters Podcast: Education by Design with host Phil Evans IB Matters T-shirts (and other MNIB clothing) To appear on the podcast or if you would like to sponsor the podcast, please contact us at the email above.

Da Iben Mondrup skal fortælle sine børn, at hun nu har forladt den mand, hun forlod deres far for, kan hun godt høre, hvor sindssygt det lyder. ”Iben, du er jo gal” tænker hun. Men det kan ikke være anderledes. Hun ved, at hun skal være sammen med Peter. I hvert fald håber hun det. Hun har allerede forladt ham tre gange, men er alligevel vendt tilbage. Og denne gang ved hun, at hun i hvert fald ikke skal giftes. Vært: Anne Sofie Kragh Klipper: Leo Peter Larsen Redaktør: Christian Stemann Research: Sarah BechSee omnystudio.com/listener for privacy information.

Iben Mondrup forlader sin familie, fordi hun møder Niels, der også er forfatter. Også ham bliver hun gift med, og de lever en tilværelse, der primært foregår fra soveværelset. Det er der, de skriver, dyrker sex og drikker litervis af Cremant som de har stående i hele kasser. Sammen udforsker de grænserne for, hvad man kan i et forhold. Sex har altid været en stærk drivkraft i hendes liv, men til sidst får hun alligevel nok. Og hun gør det, hun plejer at gøre: Bliver forelsket i en ny. Vært: Anne Sofie Kragh Klipper: Leo Peter Larsen Redaktør: Christian Stemann Research: Sarah BechSee omnystudio.com/listener for privacy information.

Iben Mondrup finder den mand hun gerne vil have børn med og ret hurtigt to børn. Hun ved, at hun ikke vil være mor på den måde hendes egen mor var det. Hendes børn skal aldrig føle sig forladte. Da den yngste er 10 uger gammel, får hun en alvorlig fødselsdepression. For det er første gang i hendes liv, at hun er i en relation som hun ved, at hun aldrig kan forlade. Hun har drømme om at være spærret inde i et fængsel. Vært: Anne Sofie Kragh Klipper: Leo Peter Larsen Redaktør: Christian Stemann Research: Sarah BechSee omnystudio.com/listener for privacy information.

Da Iben Mondrup er i midten af 40'erne har hun allerede været gift og skilt tre gange. Første gang krævede det et kongebrev, for hun var kun 17 år. Hver gang hun er blevet gift, har hun et håb om, at de skal blive sammen, selvom der er en stemme inden i hende, der siger nej, nej nej. For Iben er så bange for at blive forladt, at hun ikke tør knytte sig. Vært: Anne Sofie Kragh Klipper: Leo Peter Larsen Redaktør: Christian Stemann Research: Sarah BechSee omnystudio.com/listener for privacy information.

Iben Mondrup vokser op i Grønland i 1970’erne, og der får hun lov til at passe sig selv. Hendes forældre er mest optagede af hinanden, og Iben føler sig ofte ladt alene. I Grønland bliver hun også vænnet til, at folk forlader hende, fordi folk altid rejser tilbage til Danmark. Som danskfødt har hun også en helt generel oplevelse af ikke at høre til og være som de andre. Hun udser sig veninder og senere drenge, som hun får tætte og intense relationer til. Lige til de ikke er det længere. Som teenager er Iben lidt af en cassanovaVært: Anne Sofie KraghKlipper: Leo Peter LarsenRedaktør: Christian Stemann Research: Sarah BechSee omnystudio.com/listener for privacy information.

Iben Mondrups liv har hverken været snorlige eller nemt. Det kan ikke være anderledes og det ønsker hun egentlig heller ikke. Men hun har også et åbenlyst problem med at knytte sig til andre mennesker. Lige den del ville hun nu gerne have undværet. Og det ville hendes venner og tidligere kærester nok også. Vært: Anne Sofie Kragh Klipper: Leo Peter Larsen Redaktør: Christian Stemann Research: Sarah BechSee omnystudio.com/listener for privacy information.

Teď vás vezmeme na okraj Orlických hor. Necelý kilometr od městyse Nový Hrádek tam čeká připomínka někdejšího větrného parku, rozhledna na Šibeníku. Je pozoruhodná tím, že vznikla z tubusu větrné elektrárny a v České knize rekordů je zapsaná jako první svého druhu u nás. Patří k ní také infocentrum v bývalé trafostanici, které je i v zimě otevřené každý den vyjma pondělí.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.

Necelý kilometr od městyse Nový Hrádek na okraji Orlických hor v Královéhradeckém kraji stojí připomínka někdejšího větrného parku. Z jednoho tubusu větrné elektrárny vznikla totiž rozhledna. Stojí na vrchu Šibeníku, podle kterého dostala i své jméno. V České knize rekordů je zapsaná jako první svého druhu u nás. Navíc k ní patří i nevšední infocentrum, které bylo otevřeno v bývalé trafostanici.Všechny díly podcastu Výlety můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Jacob har løyet, Iben skal reise og Ida har sendt fyllamelding. Om dette pirrer deg, hør!

Mar Valo har returnert til sitt barndomshjem i Sande (i Vestfold), hvor foreldrene hens fremdeles holder til. Med morsdagen rett rundt hjørnet og diverse medbrakt, personlig lydutstyr, har Mar Valo invitert moren sin til en åpen samtale om hennes reise som mor til et skeivt barn, som har pågått parallellt med Mar Valos lange og innviklede reise med kjønn, seksualitet, identitet og livet generelt. Her blir det pratet om personlig utvikling som menneske, åpenhet, hverdagsaktivisme, personlige historier og masse kjærlighet.P.S. Hvis du ønsker å høre en annen episode hvor en lobbyist har en litt lignende samtale med en forelder, bør du høre på episode 179 («En Prat om Kjønn på Tvers av Generasjoner»), hvor Iben har med faren sin i studio.

I denne episoden trylles du tilbake til den beste måneden i året: juni og pride month. I hagen til lobbyist Mio på Montebello står det en stol på en presenning, og på stolen sitter lobbyist Iben, og lent opp mot en annen stol står det et helfigurspeil. Det skal klippes og det skal yappes. Mest om hår og frisører, men litt om andre ting også. Lobbyist Ilja dukker også opp etterhvert! Hva har hen tatt med seg? Og skal hen skinne seg? Den som lytter får høre!(Mer hårpreik finner du i episode 41 og episode 149!)

Forrige uke, fredag 16. januar 2026, falt dommen mot Afran Bhatti for medvirkning til terrorangrepet 25. juni 2022. Med det har to av de fem siktede i saken om angrepet stilt i retten og blitt dømt. I denne ukens episode av Agendaen forklarer Iben hva som har skjedd i rettsforhandlingene så langt, og litt om hva som står igjen. Referanser: - Få hjelp. n.d. Retrieved January 22, 2026. https://www.tjuefemtejuni.no/pages/fa-hjelp.- Informasjon om dommen mot Arfan Bhatti. 2026. https://www.tjuefemtejuni.no/blogs/news/informasjon-om-dommen-mot-arfan-bhatti.- Rettsprosessene etter 25. juni: Dette er status. 2025. https://www.tjuefemtejuni.no/blogs/news/slik-er-dommen-mot-gjerningsmannen.- Rettssaken: Praktisk informasjon. 2024. https://www.tjuefemtejuni.no/blogs/news/rettssaken-praktisk-informasjon.- Thommessen, Julia Kirsebom. 2025. “Tiltalt for terrorangrepet 25. juni – her er Arfan Bhatti i retten.” https://www.nrk.no/norge/tiltalt-for-terrorangrepet-25.-juni-_-her-er-arfan-bhatti-i-retten-1.17549934.- Thommessen, Julia Kirsebom. 2026. “Bhatti dømt til forvaring i 30 år: – Bhatti er en farlig mann.” https://www.nrk.no/norge/bhatti-domt-til-forvaring-i-30-ar_-_-bhatti-er-en-farlig-mann-1.17728806.- Waaler, Emilie. 2024. “Zaniar Matapour dømmes til 30 års forvaring for terroren 25. juni.” https://www.nrk.no/norge/zaniar-matapour-dommes-til-30-ars-forvaring-for-terroren-25.-juni-1.16940218.

I ukas episode diskuterer Ilja, Mar Valo, Emma og Iben hva som beveger seg i det skeive miljøet lokalt, nasjonalt og internasjonalt. Elsker har lukket dørene og det blir mimrestund, Ilja prøver å overbevise verden om å se Heated Rivalry, og tre lobbyister har mange tanker rundt den norske versjonen av I Kissed a Boy. 

Da Katrine er otte år gammel, finder hun ud af, at manden hun kalder far, ikke er hendes biologiske far: hun er donorbarn. På en måde er det forbundet med skam – og derfor taler hun ikke om det. Hun gemmer det væk. Indtil hendes gode barndomsveninde Iben forærer hende en DNA-test i fødselsdagsgave. Iben er nemlig også donorbarn og har selv taget en test. I første omgang har Katrine ikke lyst, men til sidst kan hun ikke lade være. Og svaret kommer som et chok for Katrine. Det får hende til at tænke over alt det, hun ikke ved om sit biologiske ophav. Hvad nu hvis hun blev tiltrukket af en, hun er i familie med? Hvad nu hvis hun aldrig får at vide, at hun lider af en arvelig sygdom? De tanker er Katrine ikke alene med. De seneste år er diskussionen om anonyme sæddonorer vokset herhjemme. Og det har fået hende til at skrive et debatindlæg i Politiken om den tavshed og mangel på debat, der er om donorbørns rettigheder herhjemme. Hør Katrine Goli Jensen fortælle sin historie i dagens 'Du lytter til Politiken'.See omnystudio.com/listener for privacy information.

Tiden tikker mot jul og Emil, Ilja og Iben er her for å si takk for i år. Gjengen har vært på julebord og kommer seg fortsatt etter det, men har julestemning og er klare for ferie snart. Vi har hentet opp både 2025 bingoen og nyttårsforsetter, og snakker om året som har vært, samt planer for året som kommer.God jul, godt nyttår, og takk for følge til alle som har hørt på oss i 2025. Vi høres på nyåret!

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. 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

Bogbrevkassen har fået et brev fra Iben, en lytter, som er glad for krimier og på jagt efter læseoplevelser der er spændende, men ikke for spændende, hyggelige, men ikke for langsommelige og som kan give sin læser et tiltrængt og medrivende afbræk fra hverdagen. Alle spor leder i retning af genren "hyggekrimi", men hvad er det egentlig for en størrelse? Hvad er det, der gør, at så mange af os synes det er herligt og hyggeligt at læse med over skulderen, når efterforskere prøver at løse drabelige mordgåder? For at give vores lytter de bedst mulige læseforslag og for at åbne hyggekrimiernes verden op, har Bogbrevkassen tilkaldt forstærkninger i skikkelse af vores yderst krimi-kyndige kollega Katrine. Det blev til en hyggelig og stemningsfuld snak om dødbringende bagværk, pensionerede agenter, fængende fortællinger og elskeligt gnavne karakterer, som du ikke har lyst til at gå glip af! Se liste af de omtalte bøger her: https://www.lyngbybib.dk/artikler/bogbrevkassen-72-hyggekrimi Medvirkende: Katrine Pedersen, Ole Dissing & Emilie Bessing. Redigering: Ole Dissing. Musik: Nikolaj Lind Christensen. Og husk, at Bogbrevkassens bagmænd meget gerne modtager breve fra folk, der mangler gode boganbefalinger. Skriv til Emilie, Henrik og Ole på info@ltk.dk.

I dag, tordag 20. november, er det transminnedagen. Dette er en dag for å minnes og hedre alle transpersoner som har gått bort som følge av transfobi og transfobisk vold. Dagen er også avslutningen på transsynlighets-uka, en uke for å skape synlighet for alle som definerer seg som trans. Mar Valo og Iben forteller derfor om sine reiser med kjønn og viktigheten av å fortelle forskjellige trans-historier for å skape bredere forståelse, så ingen flere skal bøte med livet på grunn av uvitenhet og hat. God transminnedag !

Iben Akerlie har hatt stor suksess med sine barnebøker "Lars er LOL" og "Sommeren alt skjedde". Årets bok, "Nils non grata", er resultatet av flere regler som hun satte for seg selv før hun gikk i gang med skrivingen. (00:00) "Nils non grata" og det å synes synd på folk (06:54) Å skrive for unge (09:05) "Iben er ..." (10:37) Hvorfor er litteratur viktig? --- Innspilt på Sølvberget bibliotek og kulturhus i september 2025. Medvirkende: Iben Akerlie og Åsmund Ådnøy. Produksjon: Asbjørn Goa og Åsmund Ådnøy.

In this episode of the Value Perspective, we're joined by David Iben, the founder and CIO of Kopernik Global Investors. Kopernik has a unique practice, in that they relocate their entire investment team each summer to immerse themselves in a market's culture, economy and on-the-ground reality. This summer, they were in London. In the episode we uncover what makes those short location focused deep dives so valuable for Kopernik; sectors in the UK that have caught David's attention; how they balance bottom-up fundamentals with the macro picture; their off-benchmark ideas sourcing; and finally, how they communicate their philosophy to clients. Enjoy! NEW EPISODES: We release main series episodes every two weeks on Mondays. You can subscribe via Podbean or use this feed URL (https://tvpschroders.podbean.com/feed.xml) in Apple Podcasts, Spotify, Google Podcasts and other podcast players. GET IN TOUCH: send us a tweet: @TheValueTeam  Important information. This podcast is for investment professionals only. Marketing material for Financial Professionals and Professional Clients only.  The material is not intended to provide, and should not be relied on for, accounting, legal or tax advice, or investment recommendations.  Reliance should not be placed on any views or information in the material when taking individual investment and/or strategic decisions.  Past Performance is not a guide to future performance and may not be repeated.  Diversification cannot ensure profits or protect against loss of principal.  The value of investments and the income from them may go down as well as up and investors may not get back the amounts originally invested.  Exchange rate changes may cause the value of investments to fall as well as rise.  Investing in emerging markets and securities with limited liquidity can expose investors to greater risk.  Private assets investments are only available to Qualified Investors, who are sophisticated enough to understand the risk associated with these investments.  This material may contain “forward-looking” information, such as forecasts or projections. Please note that any such information is not a guarantee of any future performance and there is no assurance that any forecast or projection will be realised.  Reliance should not be placed on any views or information in the material when taking individual investment and/or strategic decisions. The views and opinions contained herein are those of the individuals to whom they are attributed and may not necessarily represent views expressed or reflected in other Schroders communications, strategies or funds.  Any reference to regions/ countries/ sectors/ stocks/ securities is for illustrative purposes only and not a recommendation to buy or sell any financial instruments or adopt a specific investment strategy. Any data has been sourced by us and is provided without any warranties of any kind. It should be independently verified before further publication or use. Third party data is owned or licenced by the data provider and may not be reproduced, extracted or used for any other purpose without the data provider's consent. Neither we, nor the data provider, will have any liability in connection with the third party data.  

I anledning farsdagen har Iben fått med seg sin pappa, Øystein, inn i studio for å prate om det de to kaller GENDERasjons-kløften, altså en kløft som har oppstått mellom deres generasjoner med bakgrunn i diskusjon og åpenhet om skeivhet og spesielt kjønns-skeivhet. Øystein forklarer hva kløften går ut på, far og barn reflekterer rundt holdninger i sine egne generasjoner, de har en prat om vanskelighetene rundt å bruke nye pronomen, og de stiller hverandre spørsmål de kanskje ikke har turt å stille tidligere. I dagens politiske og sosiale klima er det viktigste å prate med hverandre. Selv når det er vanskelig. Selv når noen sier noe feil. Selv om du kan bli såra. Selv når du må innrømme at det er noe du ikke forstår. 

Hvordan er det med Guds dom? Iben Munkgaard Davids, sognepræst i Brændkjærkirken i Kolding og uddannelseskonsulent i Haderslev Stift taler med Lene Kjemtrup Christensen, Korup, om teksten til sidste søndag i kirkeåret. Det handler om Helle Helles roman Ned til hundene, om den modige ungdom og om lysten til at hjælpe. Og om at Gud er med os hele vejen, om at gå med Jesus i hånden og om håbet, der peger frem mod advent. Prædiken på vej er præster, der taler med andre præster og teologer om den kommende prædikentekst - til faglig inspiration og almindelig opbyggelse, til forberedelse for den, der skal prædike på søndag, og til glæde for alle, der vil lytte til en fri og teologisk kvalificeret samtale om de tekster, der skal prædikes over. Podcastserien blev lanceret i 2020 og er siden blevet produceret i skiftende samarbejde med folkekirkens stifter. Der er over 300 afsnit i serien, og der kommer hver uge et nyt til. Prædiken på vej bliver fra palmesøndag 2025 og det kommende år til i et samarbejde mellem Fyens Stift og Folkekirkens Uddannelses- og Videnscenter.

I denne ukas episode så blir det full fest;Iben er blitt påkjørt, Ida har fått seg nytt kjendis-crush, og Jenny og Amalie skal faste!???!??! Hør oss live hver hverdag fra 7-9! 

Halloween nærmer seg med stormskritt (tihi «storm»), og Iben, Mar Valo og Melinda benytter anledningen til å prate om et høyest aktuelt tema: hvorfor er vampyrer så skeive? Og kanskje enda viktigere – er de selv vampyrer, kanskje? Og kanskje aller viktigst – hvorfor har Mar Valo konsumert sjokkerende lite vampyrrelatert media?Her blir det diskusjoner og refleksjoner (som vampyrer ironisk nok ikke har) rundt hvor skeive vampyrer egentlig er og hvorfor. Det kommer i tillegg flere gode forslag til filmer, serier, bøker osv. som omhandler vampyrer.Happy Halloween

Det er høst, noe som bare kan bety en ting: tid for å sitte inne og overtenke. I dagens episode overtenker og diskuterer Bea, Iben og Jens Elwyn hva de syntes om barn, om de vil ha barn, og ikke minst hvorfor man i det hele tatt vil ha barn?!?!

Join us as Ben, Dessy, Tiago, and Rose cover the inspirations behind Ace Attorney! Today we've got a special guest, an expert in shin honkaku mysteries: MinovskyArticle! He graciously agreed to help break down this influential novel by Alice Arisugawa that helped inspired many other modern mystery writers, including our favorite Ace Attorney directors Shu Takumi and Takeshi Yamazaki. We chat about the fun character interactions, the strange island that revolves around puzzles, and what the solution to it all could be! And we also engage in some classic UAR diversions, although less than usual, because I (Ben) threatened everyone to be on their best behavior. Maybe. :) Who's the REAL mastermind? Find out as we break down "The Moai Island Puzzle!" NEXT TIME: Columbo, "Short Fuse" Follow us online: aceattorney.bsky / aceattorneypod.tumblr.com / updatedautopsy.report Watch Ben, Dessy, & Iro's Let's Plays of the series on YouTube here! Want a shirt? Check out our store here! Ben: yotsuben.bsky Dessy: dessy.bsky Rose: rosenonsense.bsky Tiago: tiagosdutra.bsky / linktr.ee MinovskyArticle: minovskyarticle.bsky Show notes: Egami as drawn by Gosho Aoyama

Da Katrine er otte år gammel, finder hun ud af, at manden hun kalder far, ikke er hendes biologiske far: hun er donorbarn. På en måde er det forbundet med skam – og derfor taler hun ikke om det. Hun gemmer det væk. Indtil hendes gode barndomsveninde Iben forærer hende en DNA-test i fødselsdagsgave. Iben er nemlig også donorbarn og har selv taget en test. I første omgang har Katrine ikke lyst, men til sidst kan hun ikke lade være. Og svaret kommer som et chok for Katrine. Det får hende til at tænke over alt det, hun ikke ved om sit biologiske ophav. Hvad nu hvis hun blev tiltrukket af en, hun er i familie med? Hvad nu hvis hun aldrig får at vide, at hun lider af en arvelig sygdom? De tanker er Katrine ikke alene med. De seneste år er diskussionen om anonyme sæddonorer vokset herhjemme. Og det har fået hende til at skrive et debatindlæg i Politiken om den tavshed og mangel på debat, der er om donorbørns rettigheder herhjemme. Hør Katrine Goli Jensen fortælle sin historie i dagens 'Du lytter til Politiken'.See omnystudio.com/listener for privacy information.

Coop and I (Ben) drove down to New Orleans form North Carolina for the PCA trade show and, while on the way, we stopped by The Cigar Shop in Biloxi, MS for a visit.  As most of you know, this is my first home shop. My home away from home.  During our visit, a particular light caught my eye.  In the glass case was a slim lighter with a striking copper and gunmetal color scheme that I thought looked really great. I asked, Rob, one of the tobacconist there if he could bring it out of the case to let me check it out.  Soon as he put it in my hand, it never made it back in the case. That light was the Rocky Patel H. E. lighter.  The light was very sturdily built with a good heft.  Its a single flame lighter with a stronger pinpoint flame.  I don't know the type or name of the jet flame, but I've seen it before in other higher end lighters.  It has a blue ring inside and the flame has a flower shape when ignited at the bottom.  You've probably seen these as well.  For more details on what I think about the lighter, check out the video. Thanks for watching.

Coop and I (Ben) drove down to New Orleans form North Carolina for the PCA trade show and, while on the way, we stopped by The Cigar Shop in Biloxi, MS for a visit.  As most of you know, this is my first home shop. My home away from home.  During our visit, a particular light caught my eye.  In the glass case was a slim lighter with a striking copper and gunmetal color scheme that I thought looked really great. I asked, Rob, one of the tobacconist there if he could bring it out of the case to let me check it out.  Soon as he put it in my hand, it never made it back in the case. That light was the Rocky Patel H. E. lighter.  The light was very sturdily built with a good heft.  Its a single flame lighter with a stronger pinpoint flame.  I don't know the type or name of the jet flame, but I've seen it before in other higher end lighters.  It has a blue ring inside and the flame has a flower shape when ignited at the bottom.  You've probably seen these as well.  For more details on what I think about the lighter, check out the video. Thanks for watching.

Iben Hjejle is an actor of both screen and stage, who burst onto the international scene with her critically-acclaimed performance in Søren Kragh Jacobsen's Dogme 95 classic Mifunes Sidste Sang as well as starring in Stephen Frear's romantic comedy hit, High Fidelity.  In addition, Iben has become a household name in her native Denmark by virtue of her memorable roles in Langt Fra Las Vegas, Klovn, Dicte as well as stage productions of Faust, Hamlet and Jordens Indre.  

In this second of three episodes in a series about ‘feeling responsible for the safety of colleagues in a shrinking humanitarian space' MHPSS Hub, Senior Communication Officer, Villads Zahle interviews former Communication Team lead for a large humanitarian INGO, Iben de Neergaard.Almost 300 aid workers were killed in 2024 – the largest number in history. Additionally, more than 220 were wounded and more than 90 kidnapped. These dire numbers reflect a shrinking humanitarian space. A situation worsening over the last decade where it is increasingly challenging to deliver aid unhindered and safely.  This has serious direct implications for humanitarian staff and volunteers but also increases the pressure of those responsible for the security within our organizations. In this three episode podcast series we will discuss the mental challenges and coping mechanisms of the people who are working to keep their colleagues safe.     

It's Seeking Sunday! And we have norovirus. At least Jen and I (Ben) do. Hesse is on this one with us too. We talk about congestion pricing, going to Thailand for normal reasons, and really stupid TV shows. If you hate this one, well....we'll have another episode out soon.

On this channel, we often highlight abnormalities we notice in the financial markets. Today's guest actively embraces them as gifts from the investment gods. In his words: "Fortunately, the financial markets are often quite inefficient, presenting opportunities for us to generate substantial value for our clients' portfolios." So, where are the biggest inefficiencies in markets today? And what opportunities are they presenting? To find out, we have the great fortune to speak today with highly respected money manager Dave Iben, Chief Investment Officer, Managing Member, Founder, and Chairman of the Board of Kopernik Global Investors, as well as Portfolio Manager of its main funds. Kopernik manages $billions in client capital. WORRIED ABOUT THE MARKET? SCHEDULE YOUR FREE PORTFOLIO REVIEW with Thoughtful Money's endorsed financial advisors at https://www.thoughtfulmoney.com

EP. 281 - Julefrokosten 2; Det vi ikke lærte

Julefrokosten 1; Året der guggigak