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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?!?!

I denne episoden av Agendaen anbefaler Iben teaterstykket The Importance of Being Earnest. Stykket er skrevet av Oscar Wilde, og har nylig vært en del av prosjektet "National Theater Live", som betyr at teaterstykker blir filmet og vist på kino eller lagt ut for streaming. All lyd fra stykket er hentet fra National Theater Live sin youtube kanal. 

Denne helgen har Iben fått med seg to gjeste-lobbyister på filmfestivalen Oslo Fusion! Iben, Randi Linnea og Paula har fått en smakebit av hva norges største skeive filmfestival har å tilby, og de er her for å fortelle deg alt om det! 

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.

Hvilke filmformative oplevelser former en skuespillers karriere?I denne særlige gæsteepisode af Betacritic får Jacob Ege Hinchely og Rikke Collin besøg af skuespiller Iben Hjejle (Klovn, En kort en lang), som ser tilbage på High Fidelity (2000) - Stephen Frears' kultklassiker med John Cusack og Jack Black - hvor Iben selv spiller en af hovedrollerne. Filmen, der stadig regnes som en af de mest elskede musikfilm i nyere filmhistorie, var samtidig en afgørende milepæl i hendes internationale karriere.Samtalen kommer hele vejen rundt om rollen, tiden i London, musikken og den efterfølgende virkelighed, der fulgte med. Iben deler også sin egen personlige top fem over de bedste filmoplevelser, hun har haft - og giver sine egne stjerner til High Fidelity.Undervejs bliver der plads til både nørdede behind-the-scenes-historier, brancheanekdoter og rygter om både Anders W. Berthelsen og en (næsten) rolle i Ringenes Herre. Der snakkes Dune, Klovn, og om hvad musik egentlig betyder, når man skal finde sig selv - på film og i livet.Billetter til Betacritic: Det store Dellemisshow er nu til salg!Jacob og Rikke optræder live på Hotel Cecil i København den 29. september.Køb dine billetter her: https://www.hotelcecil.dk/datoer/betacriticTusind tak fordi du lytter med.

Hvordan tackler man læsegrupper, eksamenspres og studieliv, når man samtidig kæmper med en kronisk sygdom, der ikke lige tager hensyn til skemaet? Iben har haft Morbus Crohn, en kronisk inflammatorisk tarmsygdom, siden hun var 16 år – og i det her afsnit deler hun alt fra toiletstrategier og stressfaktorer til de tanker, man måske ikke altid siger højt. Det er ærligt, sårbart og fuld af små personlige anekdoter, man ikke glemmer lige foreløbig. Et afsnit for dig, der selv lever med en kronisk sygdom eller dig, der gerne vil forstå, lytte – eller bare høre, hvordan man får studielivet til at fungere, selv når kroppen har sin helt egen dagsorden.

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

Om puha-Kondo, Skinkenetsseler og førstehjælp...

For today's episode, we discuss Autism with Dr. Yehezkel Ben-Ari. Dr. Ben-Ari is a pioneer in the field of human development with over five decades of academic and private research. He has over 520 publications with a strong passion for early detection and treatment of brain disorders. His work includes studying Human Development, Autism, Epilepsy, Parkinson's, and Brain Tumors. He is a leader in how science understands the roles GABA and Chloride during early development and the NCCK1 importer and KCC2 exporter during the Excitation/Inhibition shift.In 1986, he led INSERM Neurobiology and Pathophysiology of Development before shifting to Start-Up private investigation in 2008. He is the founder of Neurocholre, B & A Biomedical, B & A Oncomedical, INMED, and IBEN. Recently, Dr. Ben-Ari has made wonderful contributions towards Autism identification in the Placenta using the work of "Neuroarchaeology" and Machine Learning. Dr. Ben-Ari is the recipient of many awards including Grand Prix de l'INSERM, Grand Prix European Society of Epilepsy, and Grand Prix Gagne Van Heck Belgian National Scientific Research (FNRS), to name a few. His book, The First 1000 Days, will soon have an English version. Treating Autism with Bumetanide is available now.Dr. Yehezkel Ben-Ari https://www.inmed.fr/en/evenement/en-yehezkel-ben-ariNeurochlore https://www.neurochlore.fr/en/Machine Learning https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7994821/Excitatory Actions of GABA https://www.nature.com/articles/nrn920GABA https://journals.physiology.org/doi/full/10.1152/physrev.00017.2006Neuro-Archaeology https://pubmed.ncbi.nlm.nih.gov/18951639/eBooks: https://www.amazon.com/s?k=yehezkel+ben-ari&crid=1LZK6JWEBG4NC&sprefix=yehezkel+ben-ari%2Caps%2C196&ref=nb_sb_noss0:00 Dr. Yehezkel Ben-Ari3:08 Understanding Autism: Origins and Early Detection8:08 The Roles of Machine Learning Data Analysis in Identification14:56 The Impact of Environment and Autism23:18 Treatment Approaches and Efficacy, Bumetanide, and NKKC1 Inhibitors31:04 Challenges in Autism Research, including the Genetic Debate, Medical Paradigms, and Decision-Makers38:00 Future Direction and Innovative Research, Autism in the Placenta and the Environment during Pregnancy53:56 Wrap Up / Reviews and Ratings, Contact InfoX: https://x.com/rps47586Hopp: https://www.hopp.bio/fromthespectrumemail: info.fromthespectrum@gmail.com

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This week it is such a pleasure to welcome Iben Dissing Sandahl to The Hamilton Review Podcast! Iben, a renowned Danish author, licensed psychotherapist, and educator, is widely recognized for her bestselling books "The Danish Way of Parenting" and its sequel, "The Danish Way of Raising Teens," which have been translated into 32 languages. In this conversation Iben discusses the following:   - The Danish way of parenting principles - The importance of trust and setting boundaries - Respectful communication with your teen and more.   Parents, the advice and principles that Iben shares is absolute gold. The teen years are tough to navigate - don't miss this important episode!  Iben Dissing Sandahl, a renowned Danish author, licensed psychotherapist, and educator, is widely recognized for her bestselling books "The Danish Way of Parenting" and its sequel, "The Danish Way of Raising Teens," which have been translated into 32 languages.  As a global advocate for children's well-being, she passionately promotes the ten principles of Danish parenting, which have significantly contributed to Denmark being ranked the happiest country in the world for more than 40 years.  Iben's work has inspired thousands of families, schools, and organizations worldwide, and she is frequently featured in esteemed publications such as The Washington Post, The New York Times, and Psychology Today.  Through her workshops, lectures, and counseling, Iben continues to make a profound impact on parents and professionals, empowering them to raise confident, happy, and resilient children. How to contact Iben Dissing Sandahl:   Instagram: @thedanishway https://www.instagram.com/thedanishway/?hl=da   LinkedIn: Iben Sandahl https://www.linkedin.com/in/iben-sandahl-75a90b1a?utm_source=share&utm_campaign=share_via&utm_content=profile&utm_medium=ios_app   Website: ibensandahl.com https://ibensandahl.com   Parenting by Iben Sandahl App: https://bit.ly/parenting_app       How to contact Dr. Bob: Dr. Bob on YouTube: https://www.youtube.com/channel/UChztMVtPCLJkiXvv7H5tpDQ Dr. Bob on Instagram: https://www.instagram.com/drroberthamilton/ Dr. Bob on Facebook: https://www.facebook.com/bob.hamilton.1656 Dr. Bob's Seven Secrets Of The Newborn website: https://7secretsofthenewborn.com/ Dr. Bob's website: https://roberthamiltonmd.com/ Pacific Ocean Pediatrics: http://www.pacificoceanpediatrics.com/  

Welcome back to the High Heels & Tea Podcast! In this episode, we are honored to have I Ben a God, a renowned Spoken Word Artist, Author, and Program Director of Thur it is Thursday - Open Mic Show. He shares the intricacies of writing his first book, St. Louis Blues, a novel, and how promoting his book led him to discover his passion for poetry. Hit that play button to tune in. HIGHLIGHT: Marketing Poetry and How to Find More Readers CONNECT WITH US: - Follow I Ben a God on Instagram @ibenagod - Highly Recommend Book: https://www.amazon.com/St-Louis-Blues-Novel-Ibenagod/dp/179190548Xz - Stay connected with the podcast across all social media platforms: - For Instagram, follow @high_heels_tea_podcast - Visit the website at munroeshoetique.com/pages/high-heels-tea-podcast - For bookings or inquiries, email booking@highheelsandteapodcast.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/high-heels--tea-podcast/message Support this podcast: https://podcasters.spotify.com/pod/show/high-heels--tea-podcast/support

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Would you like to avoid conflicts and drama with your kids? You might want to explore the principles of the Danish Way of Parenting. In this episode, Hunter talks to Iben Sandahl about shifts in mindset about trust, play, ultimatums, and how to reframe things for your child. Let's learn from the “happiest country on earth!” ABOUT HUNTER CLARKE-FIELDS: Hunter Clarke-Fields is the host Mindful Parenting Podcast (Top 0.5% podcast ), global speaker, number 1 bestselling author of “Raising Good Humans” and “Raising Good Humans Every Day,” Mindfulness Meditation teacher and creator of the Mindful Parenting Course and Teacher Training. Find more podcasts, Hunter's books, blog posts, free resources, and more at MindfulMamaMentor.com. Discover your Unique-To-You Podcast Playlist at mindfulmamamentor.com/quiz/ We love the sponsors that make this show possible! You can always find all the special deals and codes for all our current sponsors on our website: /mindfulmamamentor.com/mindful-mama-podcast-sponsors/ Learn more about your ad choices. Visit megaphone.fm/adchoices