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What is our relationship to the land, to its other-than-human inhabitants, and to the rest of humanity? These are fundamental questions for thinking through how we can transform ourselves in ways that allow a multiplicity of ecologies and human communities to thrive alongside one another. And these questions are not just fundamental to us as individuals—they are essential to how we view our cultures, traditions, institutions, and ways of knowing.Layel Camargo lives at the vibrant intersection of ecological justice, queer liberation, and indigenous culture—a cultural space that offers a distinctive vantage point on how our societies work, while holding enormous potential to both see and reorient our relationships to the land and to one another.Layel Camargo is an organizer and artist who advocates for the better health of the planet and its people by restoring land, healing communities, and promoting low-waste and low-impact lifestyles. Layel is a transgender and gender non-conforming person who is an indigenous descendant of the Yaqui and Mayo tribes of the Sonoran Desert.I met Layel at a climate storytelling retreat in New York City in 2019, where I became a huge fan of their work and of their way of being in the world.Layel is a founder of the Shelterwood Collective, a Black, Indigenous, and LGBTQ-led community forest and retreat center, healing people and ecosystems through active stewardship and community engagement.Our conversation explores the idea of culture as strategy in confronting the climate crisis, diving into Layel's work in video, podcasting, and poetry and the origins of their approach to this work of healing people and planet.You can listen on Substack, Apple Podcasts, and other podcast platforms.Please rate, review, and share to help us spread the word!Layel CamargoLayel Camargo is a cultural strategist, land steward, filmmaker, artist, and a descendant of the Yaqui tribe and Mayo tribes of the Sonoran Desert. Layel is also transgender and non-binary. They graduated from UC Santa Cruz with dual degrees in Feminist Studies and Legal Studies. Layel was the Impact Producer for “The North Pole Show” Season Two. They currently produce and host ‘Did We Go Too Far' in conjunction with Movement Generation. Alongside Favianna Rodriguez and at the Center for Cultural Power, they created ‘Climate Woke,' a national campaign to center BIPOC voices in climate justice. Wanting to shape a new world, they co-founded ‘Shelterwood Collective'. The collective is a land-based organization that teaches land stewardship, fosters inventive ideation, and encourages healing for long-term survival. Layel was a Transformative Justice practitioner for 6 years and still looks to achieve change to the carceral system in all of their work. Most recently, Layel was named on the Grist 2020 Fixers List, and named in the 2019 Yerba Buena Center of the Arts list of ‘People to Watch Out For.'Quotation Read by Layel Camargo“You wanna fly, you got to give up the s**t that weighs you down.” - Toni Morrison, Song of SolomonRecommended Readings & MediaTranscriptIntroJohn Fiege  What is our relationship to the land, to its other-than-human inhabitants, and to the rest of humanity? These are fundamental questions for thinking through how we can transform ourselves in ways that allow a multiplicity of ecologies and human communities to thrive alongside one another. And these questions are not just fundamental to us as individuals—they are essential to how we view our cultures, traditions, institutions, and ways of knowing.Layel Camargo lives at the vibrant intersection of ecological justice, queer liberation, and indigenous culture—a cultural space that offers a distinctive vantage point on how our societies work while holding enormous potential to both see and reorient our relationships to the land and to one another.And besides that, Layel is hilarious.Layel Camargo My passion for humor has come from has been maintained by a lot of data and information that I've gotten around just the importance of people being able to process things through laughter. And that the climate crisis is nothing to make mockery and or to laugh, there's this is very serious. The ways in which our species is kind of being at threat of extinction, and right before our eyes. But I think that as humans, we're so complex and layered, and we're so beautiful in the sense that we get to feel so intensely, and feeling is what motivates us to take action. And laughter helps you process so much data quicker, it helps you be able to take something in, embrace it, release, and then have it make an impression.John Fiege  I'm John Fiege, and this is Chrysalis.Layel Camargo is an organizer and artist who advocates for the better health of the planet and its people by restoring land, healing communities, and promoting low-waste, low-impact lifestyles. Layel is a transgender and gender non-conforming person who is an indigenous descendant of the Yaqui and Mayo tribes of the Sonoran Desert.I met Layel at a climate storytelling retreat in New York City in 2019, where I became a huge fan of their work and of their way of being in the world.Layel is a founder of the Shelterwood Collective, a Black, Indigenous, and LGBTQ-led community forest and retreat center, healing people and ecosystems through active stewardship and community engagement.Our conversation explores the idea of culture as strategy in confronting the climate crisis, diving into Layel's work in video, podcasting, and poetry and the origins of their approach to this work of healing people and planet.Here is Layel Camargo.ConversationJohn FiegeHow you doing?Layel Camargo I'm doing pretty good. How are you doing?John Fiege I'm doing well. I've got this thing in my throat. I, so I'm going to be drinking a lot of tea. And I might have to have a bathroom break. Know, I have forgotten to take my allergy medicine. And here we are. Great. Yeah. So can you start out by telling me where you grew up? And how you viewed your relationship to the rest of nature when you were a kid?Layel Camargo Yeah. Um, I can start off by Yeah. talking a little bit about where I grew up. Yeah, so I grew up on the Mexican border between Tijuana and San Diego. And my upbringing was in this very highly dense migrant community from Latinx to Philippines, because of the proximity to the military base. It was very military towns, pretty much the professions. They're like you're either work for Homeland Security, the military or police. And I didn't really notice what my upbringing was like till I left. But I grew up crossing the border back and forth. My grandmother migrated from the Sonoran Desert, to Tijuana. And that's basically where my mother was born. And she grew. She went to high school in San Diego, which is why I can say I'm an American citizen, but I'm a descendant of the Maya or the uremic tribes, my grandmother said, and then my grandfather said, The yucky tribes of the Sonoran Desert so I think for me, my connection ecologically was like the ocean Because I grew up in a beach city, and then it was also the desert, because of all the stories and my grandmother's connection to sanada. So high, I never felt like I was at home because as a queer person paid never really fit into the conservative nature of San Diego due to how militarized it is, and all this stuff. But it was through a drive, which I took from Northern California, down to Sonora, where my grandmother's family lives, when I drove through the saguaros and Arizona that I remember seeing the Saguaro forests and just like needing to pull over and just like, take them in. And I had this a visceral feeling that I don't think I've ever had before of just like being home. And I think this, this experience was like in 2016 2017. And that's when I realized that, in theory, I was a climate activist, I cared about the planet. But it wasn't until that moment that I was like, oh, what I'm actually doing is like actually fighting for us to return to be in better relationship with the planet. And this is where I belong, this is my source of my route, these trees and this desert. So because of that, and growing up in proximity to the beach, water conservation has always been an area of like passion for me and caring about the ocean, which pushed me to a practice of lowering my plastic consumption and being more mindful of oil consumption. And the desert has always been a source of like grounding in regards to like place and knowing that I come from the earth. So it's kind of like I was gonna say, it's kind of like, I'm from a lot of places, I moved to Northern California in 2006. So I love the forest. But nothing speaks to my heart, like the beach in the desert.John Fiege Well, they have sand in common. Is there? Is there a tension between the ocean pulling you in the desert pulling you or is it? Is it a beautiful harmony?Layel Camargo It's a bit of a tension. But I would say that in my body, it feels the same. They both dehydrate me and over, over like it's just a lot of heat, typically. So yeah, that it's different for Northern California beaches, because they're a little bit more Rocky and more cold. You have to wear more layers. Right? definitely like to where I grew up, it's it is warm, the sandy ness. That's a great connection, I definitely need to make that a little bit more concrete.TotallyJohn Fiege cool. Well, can you tell me more about the path you took from the neighborhood where you grew up in San Diego, to studying at UC Santa Cruz and what that experience was like for you?Layel Camargo Yeah, I, I went. So I grew up in a home where there was a lot of violence, which is very common in a lot of migrant-specific and indigenous communities. And I kind of came into my teenage years, like really realizing that I was different, but I didn't know how when it kind of got summarized in college around my queerness my sexuality and my gender, but just feeling this need of like needing to leave. It just didn't make sense for me to be there. And with that being said, I had a wonderful community. I still have quite a few friends in San Diego that I keep in touch with my sisters live there. And I was actually just started last weekend. So I, when I was in San Diego, I think a lot of my trauma responses of like, just ignore what doesn't make sense and just keep moving forward was how I kind of functioned. And that race. And I loved it, I succeeded at it. I've actually realized that I'm a performance artist because of that upbringing. Like I, you know, was captain of the water polo team. I was president of my senior class, I was featured in newspapers for my swimming. I was a competitive swimmer for 10 years. I I did, I did a you know, a good job. I had advanced placement classes and honors classes and I was well rounded but in the inside, I just didn't feel like I belonged. So I picked UC Santa Cruz to go to college because it was the farthest University and the University of California system that had accepted me. And they went and I didn't know what I was getting myself into. I visited the campus like two to three weeks before I had to actually be there to live on campus. Bass. And when my dad drove me, drove me up with my whole family drove me up and they left me they were like, are you sure you want to say I'm like, I got this, like, it was all redwoods. So it was definitely like, we went down to the local store. And it was like all these like hippie dreadlock, folks. And I was like, I don't even know what I got myself into. But I'm getting this degree, so we're good. And it was a big culture shock, I think for a lot of black and brown and indigenous youth when they have to leave their communities to attend. What is like better economic opportunities outside of them it is it's, it's more than just having to adjust, it's having to really like, Oh, I had to let go of everything I knew. And in order for me to take the most out of college, and I was fortunate enough that I had a container a university is like a container for young folks that I wasn't having to leave for work or opportunities. And so I fully immersed myself, and it allowed me to be able to identify myself sexually and through my gender, and a gave me solace, when you know, my family rejected me for coming out. And I think that I'm so fortunate that I had that experience. And then I also was able to gain double bachelor's when feminist studies and legal studies which allowed me to have some upward mobility that my family hadn't had, traditionally I was, I am the first person in my whole family to attend a four year university after high school. So I'm definitely very grateful that that path took me there. And at this point, I feel like it was not only good for me, but it was good for my whole family for me to have taken that journey.John Fiege And did you come out to them? In college or before college?Layel Camargo in college? Yeah, I was my second year, I had my first girlfriend. And I was a Resident Advisor, always I'm always trying to be the overachiever. So I was like Resident Advisor of my college, I was like, involved in every club, I was part of the dance team. And, you know, my mom called me, I just decided to actually move in with my girlfriend the following quarter. And she was like, What are you doing? I was like, Oh, my girlfriend's house. And she was like, why do you have to tell me those things. And I'm just like, because I'm not gonna lie to you. And she was like, I know, you're gay, but I just don't need you to rub it in my face. And I was like, then I guess we can't talk. And so we didn't talk for three months. And then she called me It's, it's, it's hard, you know, like, going to college is hard, especially when I went to very marginalized public schools before that. So I was struggling academically. And my solace was, like, being involved on campus, like to meet some social needs. And I was in, I was in a retention program for black and brown youth from urban communities. So that helped a lot. But I, I, my mom kind of rupturing that, really. I didn't realize what the impact was until probably a quarter the quarter into after that. And she called me three months later, and was like, so are you not gonna talk to me? And I was like, you're the one that doesn't talk to me. And she was like, well, let's just let's just try to make this work. And so we, you know, it took probably five to six years for my family to kind of fully integrate my, you know, my, my lifestyle as they, as they call it. The magic word of magic word. Yeah.John Fiege Yeah, wow. Well, you know, that's just what you need, right in the middle of college trying to adapt to, you know, crazy new culture and world is for your family to reject you.Layel Camargo Yeah, yeah. It's definitely one of those things that like a lot of queer LGBTQ folks. I, I feel like it's so normalized to us, right? And it's just like, well, when you come up, just expect to lose everything. And I think it is it now until I'm like, in my 30s, that I realized how painful that is, and how, like, it's just like, you know, one of the core things I think, as a human species is to know that you belong somewhere. And if you don't belong at home, then where do you belong? And I think for many of us, we've had to go through that unconsciously, without really thinking through that we're seeking to belong. And this theme of belonging has been something that's been coming up as I'm I navigate like, my professional career now is that like, I really do want people to feel like they belong somewhere. And the only thing I feel like makes sense as we all belong to the planet. We all belong to the same descendants and how we got here as a species and that I think that's being rejected from my family allowed me to be like weird do I belong? And so I fortunate that I had a best friend who was also queer. I had my queer community I had student governments and students social organizing. And then when I graduated, I was like, wait, like, Where else do I belong? So I went to my natural habitats like to the beach, and I picked up surfing again and scuba diving. And then it was like, Oh, I actually like I belong to the earth. Like, that's where I belong.John Fiege That's beautiful. Yeah. I love that. Oh, I am hearing some background noise.Layel Camargo Is it audio? Or is it just like,John Fiege people laughing?Layel Camargo It's my partner's on an Akai here, I'm going to shoot her a quick text. She like gets really loud because she gets so excited. Just going to share a quick text.John Fiege So before coming to climate justice work, you worked as an organizer with the Bay Area transformative justice collective. Can you tell me how your work in transformative justice informed your understanding of the climate crisis and how you approach ecological concerns?Layel Camargo Yeah, so I I organized with transformative justice for about six years. And then I you know, for folks who don't know, transformative justice is an alternative response model to violence, harm and hurt. And so similar to restorative justice, which works with the carceral system, so police, judicial systems, etc. to reform in order to help alleviate some of the biases that exists in the systems, transformative justice, as there's those systems actually don't serve certain communities like migrants, folks like that are trans, just the way that those systems just inherently violate certain people who are not included in our society fairly, was like, transparent justice exists to serve folks who cannot access or choose not to access or use the carceral system. So if you will, if you believe in defunding the police, and let's say you're sexually assaulted, you're probably not going to call the police for a rape kit, because there's probably ways that you've experienced those systems as harmful or violent. So when I started organizing were transferred to justice the spoke to me as somebody who had just come out as trans, somebody who grew up in a mixed status family, have relatives who have been deported. And I realized, like, Oh, it's actually worth investing in alternative models, besides the police. In order for us to get our needs met when crisises do happen, because they happen to all of us. And I was in it for six years, you know, we had built up, I had built a great capacity to work with people who had caused harm people who are caused domestic violence, sexual assaults and transforming their behavior and working towards reparation of relationships and or just like helping victims be able to move on after something like that happens. And it's it wasn't an easy task. And what we would come back to is we would spend like the first front of the months, trying to make sure that people's basic needs were met in order for them to slow down enough to process what had just happened. And basic needs included food included shelter, if they lived near, you know, a toxic site, what was infringing on their health, making sure that they had access to health coverage or health benefits. And that was about 60% of what we're doing was making sure that we could get the basics kind of stable so that they could jump into really honoring what it was a justice look like for them. And in doing this a handful of times, not too many, I will say I didn't think thankfully, we had a team. And so I did wasn't always having to handle everything. And we, the experiences that I did have, I was like, man, if people just had, like, a healthy environment where having to fight for housing wasn't a thing. Like we could just actually say, this is where I was born, this is where I belong, and I'm in relationship with the land. And that's how I feed myself, I clothe myself, like all these things that are kind of like indigenous traditional ways, then people could actually solve a lot of their crisis. He's in the moment without having it to be delayed years or having to rely on for it to get outsourced through the carceral system in order for them to feel like they get a minuscule amount of justice. And so I started to just be more cognizant of the way that we interact with the planet and how are everything from our legal structures to our economic structures are just completely devastating. Our environment that have led for us not to have good air quality for us not to have good clean water for us not to feel like we've belong to the earth that is right beneath us that we like, are in relationship with, with the rest of you know, most of our lives. And I, at the time I was living in West Oakland and I had just looked into the air quality report in the area I lived in, and I had the worst air quality in the whole Bay Area. And I started noticing my dog started developing like little spots on her skin, I started having like a lot of chronic coughing. And I was looking at how much money I was making. And so at the time, I was doing a lot of our pop ups, I was really passionate about zero waste, I cared about veganism, a lot of it was through the planet, and it just slowly started shifting away from Yes, I care about how we respond to violence and harm and all of that. And I want us to have alternatives that meet the needs of folks who fall through the waistline of certain systems. And at the same time, we don't even have clean water to come home to to drink when something violent happens, like we have to go buy it from, you know, a grocery store. Most of us don't even test our tap water anymore, because it's just consistently, we just grew up thinking that it doesn't, it's dirty, it's gross, it's non potable, so Right, right. I think at that moment, my heart just completely was like, I want to dive into this work 100% I want to fight for people to have clean air, like if you can't breathe, then you can't, you can't even do a lot, a lot of things. And so many black and brown people who grew up in rural communities have high rates of asthma have like low life expectancy because of air pollution, to you know, the logistics industry etc. And I just kind of fell in with all my heart in like, if I'm, if I'm against plastic put which at the time I was, like vegan for the planet and vegan for my health. And I was also really passionate about reducing plastic use. And I was like, if these are two things that I care about, I want to do it at a larger scale. So it meant that I had to really make those connections of if I want to end gender based violence, if I want to end large forms of violence, I have to start with the one common thing we have that we're constantly extracting and violating, which is the earth. And I think that that led me towards climate justice, because that is the most critical environmental crisis that we're in at this moment.John Fiege So what is the climate crisis? What what what causes is how do you how do you think about culture as a source of power and strategy for climate crisis?Layel Camargo Yeah, I mean, I this is this is really, you know, this, that this is what I do for my life is I spent the last 7 to 8 years really strategizing around what are the cultural shifts that are needed in order for us to be able to be in right relationship with the planet where things like the climate crisis are not happening, so that we can have an economic system and a political system that is serves the planet and the needs of our of us living and thriving, not surviving, which is I think, what we're stuck in as a global society now. And the, we have like quite a few things to kind of look at historically. And I think that there is a dominance of, which is we now know, it is like white supremacy, which is the idea that one group of human is like better than another group of human, and that because of that, everybody else needs to conform to the languages, the culture, the food, the clothes, the housing structures, that are pervasive, and that in, you know, the Euro centric way of living, and that has created a monoculture that is now spread at a global scale. And it's even because it's an economic sister in their economic system. Now we have global stock markets. Now we have the extraction at a global scale, for the sourcing of consumer goods that are all homogenous, and there. There's just one kind of how we do things. And I think the crisis that we're in is the ways that human have removed ourselves from our natural biodiversity relationships with our ecological systems. And then as removing ourselves we have are allowed for the rupture of a relationship that is very needed, which is if we're not integrated into the trees that are natural in our environment into trimming certain invasive species and supporting other biodiverse relationships around us, then we're crippling the ability of the soil to be healthy of the air to have the most amount of oxygen Have you Now we know that we need to be trapping carbon at such high rates. And I think that with a crisis that we're in is that we've allowed and have fallen victims to white supremacy, which was facilitated by colonization, that I, you know, that dominance of one group of people in the way of existing, and I think that's where we're at. I mean, if you look at the kelp forests, the kelp forest needs the otters, they need the, the sea urchins. But when you remove the otters and the sea urchins, you know, are not being preyed upon at a normal scale. And that's, you know, we're connecting it to white supremacy, let's assume that the sea urchins are like the dominant and because they're, they're the ones that ruled the kelp species are starting to be eradicated, and some of them are becoming a threat of extinction. And without a healthy kelp forests, you don't have healthy oxygen and maintenance of the acidification in the ocean, which, you know, couple that with global warming, and you basically have the rapid eradication of so many other natural ecosystems in the ocean that we need to survive. And so when you have one species dominating over another, it leads towards a crisis. So I think we're in a imbalance of relationships because of, of white supremacy. And that's what's causing the climate crisis we have. We have a monoculture. And so just as you look at mono cropping, as you look at anything that eradicates the health of the soil, because it doesn't have the reciprocal relationships that it needs from other crops, and are the resting in order for the soil to be healthy. This might not be speaking to everybody who's listening. But it makes sense that like, Yeah, definitely. The environment crisis is a symptom of Yes. Oh, the climate crisis is a symptom of a larger systemic problem.John Fiege Yeah. And in so many ways, white supremacy was created by colonialism, like, white supremacy is the cultural system that in some ways had to emerge to justify the political and economic brutality of colonialism. You know, it was a it was it was a way of organizing and understanding the world that justified these terrible things that were happening. And they're so it goes so much hand in hand.Layel Camargo Yeah, definitely. Yeah, I mean, I feel like I could talk about this for hours, because there's just so many ways in which we can break it down to the minute level. And then there's so many ways that we can think about solutions. And a lot of my my work and my passion is really bringing as much power as I can to black, indigenous and people of color. Because the retention of culture, language, and different ways of engaging with the world, everything from how we grow our food to how we dress and what we celebrate. And where we honor is what's going to help us be more resilient towards the impending and the realism of what the climate crisis means to a lot of our communities.John Fiege Yeah, totally. Yeah. And you're you're living and working at this really interesting intersection between ecological justice, queer liberation and indigenous culture. Can Can you talk a bit about the intersections of your identity and cultural background and their importance to you and how you orient yourself to this work?Layel Camargo Yeah, definitely. So as I mentioned, I'm a descendant of the Yaki and the Mio tribes in the Sonoran Desert. And I didn't really realize how much this matter to me, I think till about like five to six years ago, because I grew up because of the borders. Technically, I'm Mexican descent, and Mexican American salesperson in this country. But the Mexican government is similar to what we're talking about white supremacy was created by European settlers and, and a hybrid of mixture of stealing of indigenous cultures. And there are so many subgroups of different indigenous cultures. And my heritage is that both my grandfather and my grandmother's tribe as they were nomadic, and they used to migrate up and down the Sonoran Desert, before the border was there from seasonally for survival. And there's so many ways that like food that we eat, how we dress, how we talk that I didn't realize like, Oh, that makes me so much more than just Mexican American. It makes me more than just Latinx. And I think my background and being in such close proximity to immigration and the necessity of immigration or to survive because my grandmother came to Tijuana because it was industrialized and she needed work. And so when they migrated, they like left everything behind. And they never went back. Like, I think so many people leave their home, thinking that they're going to go back and they don't, their children are born in different places. And eventually, that led me to be born in a different country. And so because of that background, I am so keen to issues around native sovereignty and land back here in the United States is like the retention of keeping people in the place of their origin is a climate solution. It's a way of keeping that ancestral knowledge in the place that is needed. I mean, here in Northern California, we look at the wildfire crisis, and it's due to climate change. And it's also due to the lack of forest management, that our indigenous relatives that are native to that area have been robbed of the opportunity to maintain those forests at the scale, which is needed in order to adapt and prepare for wildfires. Yeah,John Fiege yeah, with with the prescribed burning, and all that maintenance that used to happen. That was invisible in so many ways to the European colonists, they didn't even understand that that was going on, or how it worked.Layel Camargo Yeah, and I feel like, you know, it goes back to the monoculture. And I think, because I have indigenous ancestry, because I understand the nature of needing to migrate. And the realities of migrant experience, I think I feel so passionate about keeping people in their place of origin as much as possible, and allowing for people to move freely when they have to. And I think as as the climate crisis gets worse, I started to realize just what a disservice we have made by instilling borders by having governments that have been so gatekeeping and operating off of scarcity, that we've kind of mandated a world where people can move freely people, and people have to leave their place of origin. And that these two paradox that we exist in, is creating the dehumanization of a group of people that if you cannot sustain yourself in your place of origin, because of global extraction, by the way, because of environmental degradation and the economic viability of your area, and how that creates wars and mass extraction, that that is why people migrate. But yet those same people who are creating those systems that make it difficult for you to stay in your place of origin have also created borders to not let you move freely. That paradox to me is also part of this climate crisis as because many of us are going to have to leave john, at some point, there's going to be floods, there's going to be hot water, we're experiencing a drought prices in California, I'm actually living between northern California and Southern California already. And a lot of it is because of the wildfires and my family's down here. And my family's at threat of sea level rise by living in San Diego, which San Diego filed a lawsuit against Exxon and Chevron. And I think one or two other oil companies is we're all we're all existing now in this global climate crisis, that it's not quite in our face every day, but we feel it seasonally now, so we're gonna have to be able to move. Right? So yeah, and last to say is like similar to my cultures I have I lived with an end an endocrine illness. And so air pollution is something that could severely impede my ability to reproduce my ability to function. At this point, I spend about four to five days a month in bed, working from bed, and I'm fortunate enough that I get to work remotely. But for a lot of people, we're going to see more and more ways in which the mass destruction of the planet which has led to the climate crisis is how we become to adopt ways of having different abilities or not being able to live our day to day function. So yeah, the intersecting points are just, they're overwhelming. And I think a lot of us are starting to feel that more as things start to kind of get a little worse.John Fiege Right, right. Yeah, I was talking to, to my partner the other day, she was she was talking to a fellow activist about this idea of ableism. And how, you know, so much of the discourse around it is you know, what are your abilities and, and this, this person was talking about how it it's how unstable that is. Like you can be able bodied today and tomorrow, you can be not able bodied in the same way. Because of, you know, like you say the changing air quality or something happens, or you just you're getting old, or you get sick. And it's one of those things that we've so ignored as a culture of what, what ableism really means about our assumptions about the world.Layel Camargo And like the economic viability and how our economic system is just so dependent on us being fully productive 24 seven, which I made a video on this called The Big Sea, which talks about the intersecting points of labor and how the labor crisis is actually the root of our climate crisis. Because if we can have people have a bigger imagination around how they can use their bodies, to serve their own needs, instead of serving the needs of corporate interests, how that would actually alleviate a lot of pressure on the planet. And that that would potentially lead to our most successful outcomes in regards to the climate crisis.John Fiege Yeah, totally, totally. Well, can you tell me about decolonizing conservation in the environmental movement and what that looks like to you?Layel Camargo Yeah, so I, I started during the beginning of the pandemic, I started a nonprofit called shelterwood collective, which is black and brown and indigenous queer folks who are aiming to steward land at the time, I was aiming to sort of land a month ago, we acquired a 900 acre camp in cassada, California, and Northern California and our team is about conservation efforts, specifically with forest resiliency against wildfires. Taking Western Western practices of conservation, mixing them with indigenous practices that are similarly to conservation. And I feel like when we think about conservation efforts, a lot of them have been dictated by European ways of thinking through conserving natural environments, which a lot of it is like humans are bad, nature must be left uncared for. And this does such a disservice because our indigenous ancestors knew that in order for a forest to be thriving, we needed to be in relationship with it, we needed to monitor monitor it, if there was a fun guy or a virus that was spreading their disease, that we could actually help it, he'll help trees, he'll help it spread less, if there was fires that were coming that we could trim, and tend and do controlled burns, if there was, you know, sucks anything happening where a species was struggling, that we could help support its growth and its population by you know, hunting its predators. And so I think that, that is the challenge between indigenous conservation efforts are traditional ways of just being in relationship with the natural environment and conservation is the western conservation is that we have been so removed from what it means to protect water systems, what it means to protect forests, that now we have a crisis of mismanagement we have and that more and more countries are adopting European Western perspectives because of the dominance that white supremacy has instilled that there are certain group of people that know more than we do. And that's just that's created, at least for me feels very heavy on when it comes to wildfires. There is certain areas in Northern California where there have been residential communities that have been built on wildfire lines that we know now, indigenous people knew that like every 30 years, for every 50 years, there would be a wildfire that would run through that area. And now that we're not that it's getting hotter, the gap of that time is getting shortened. And also that we're realizing that the years, hundreds of years of mismanagement, and lack of tending has led to also these extreme wildfires, that's now causing casualties outside of wildlife. And I feel like conservation needs to evolve. I think that there needs to be more understanding around the harm that Western conservation has done to not only the ecosystems but to the people who have traditionally been keeping those ecosystems. And I do feel like it's like it's evolving. I just think that it's not evolving as fast as we need. And unfortunately, with the climate climate crisis, we're gonna have to really come to recognize what do we need to move really fast on on what can wait because it just feels like Everything's urgent, we need to save the oceans as much as we need to save the forest as much as we need to Save the Redwoods as much as we need to take the rain forests and it just feels like and and that is like the natural environment, then we have like the growing list of extinction, threats of extinction for certain animals. And I think that I don't know why just came to my head. And then you have people like Bill Gates who want to eradicate a whole mosquito species. So it just feels like we're gonna have to pick and choose our battles here. And I do feel like coming to reckoning around the harm that this pervasiveness in western conservation, which isn't the idea that sometimes we are harmful to, you know, our natural ecosystems isn't a bad one. Yeah, we are. But how we got here was by completely removing ourselves and not knowing how to take care of those ecosystems, had we been in a relationship with them for the last 100 years, maybe we wouldn't be so wasteful, maybe we would have caught air pollution sooner than then our body is telling us, hey, we don't like this, this is bad, we're gonna die sooner if you keep doing this. And I think that that is a disservice. So it's beautiful to see more forest schools popping up for young people. It's beautiful to see more conservation groups trying to bring in indigenous leaders into the conversations. But I do feel like that overall idea needs to shift. And I also think that the land back movement, which is returning national parks back to indigenous hands, is going to help alleviate some of those major tensions that do not honor that certain people have been doing this for hundreds of years. And if we don't return it in this generation, we just run the risk of losing more language, more culture and more practices that we need at a larger scale.John Fiege Yeah, in protecting ecosystems is just not a complete picture of everything that's needed. Like as you say, it's important on some level, but it's it's not it's not a whole, it's not a whole understanding of of the problem or how to address it. There reminds me I was I was just reading or rereading a bit of Robin wall kimmerer book braiding sweetgrass, and she talks, she talks about this very issue a bunch about, you know, sweet grass in particulars is something where there's this, this back and forth relationship between humans and nature. And she talks about teaching one of her University classes up here in New York, and asking them at the beginning of the semester, you know, whether people are bad for the environment, and almost everybody says yes. And we alsoLayel Camargo have this this perception of we are bad. Right?John Fiege Yeah. Yeah, this Western guilt is pervasive in that as well. Which is,Layel Camargo which is facilitated by religion? Yes, religion has a very good job of making us feel like we are horrible for everything that we have sent us that we need to repent for our whole existence as like, going from embryo to sperm is actually a sin itself. So we're born with so much already on our shoulders.John Fiege I was gonna say Catholic guilt, but I feel like at this point, it's so much broader than that. Yeah, it is. So you work with the Center for cultural power. And, and one of the main projects you've done with them is climate woke. And I'd like to start by saying how much i'd love the artwork of the logo. It says climate woke. And it's in, in the style of this fabulous flashback 1980s airbrushed t shirts, with, you know, rainbow colors and sparkles. And it feels like there's so much meaning embedded in the artwork. And I wondered if you could tell me about climate woke, how the project emerge, but also like how this logo artwork reflects what this project is.Layel Camargo Yeah, so we when we started thinking about what climate woke would be, we didn't know what's going to be called climate woke it was through several meetings with different community partners, different funders and other stakeholders, where we kind of discussed that we wanted a unifying symbol for all the communities that we had been meeting and we kind of landed that we wanted something to look good to represent black Dan Brown young people between the ages of 16 to 25, something that was appealing that somebody would wear with pride. And, you know, at the time, there was a lot of like, different stuff coming up around the importance of wokeness. The it wasn't used as how we use it now, which is like political correctness. It's, it's, it's not where it is now. And so we decided to kind of ride on the, the term itself climate woke, which talks about uses black vernacular very intentionally that this is a racialized issue. And we spoke with several leaders in the black community, and at the time, it felt like it made sense. And, and so we kind of quickly were like, this makes sense kind of work. We want people to wake up to a climate crisis, but also be like down and enjoy it. And that it's different than this doom and gloom narrative that we constantly see when it comes to the environment. As it is kind of depressing when you think about it. But so we wanted it to feel like inviting. And at the time, which I think was like 2017 2018. All these like 90s was like coming back. So we sat with like two or three potential designers, and we didn't really like what we saw. And then it was heavy and agile that he Guess who is kind of a co creator of this. Also, like a globally recognized artist who was like, hold on, I got this and just like hopped on her computer through some colors, did some and we were like, We love it. Like we just love it. We wanted it to be bright. We wanted it to be inviting. And I feel like we've been successful just two weeks ago actually got a text from my executive producer who works on the planet. Well, content, it was like to send a photo of like, I believe it was a young male of color about 21 or 22 years old wearing a climate woke t shirt. And she was like, do you know where that's from? And he was like, No, I have no idea. And I was like, that's how, you know, we succeeded. Because we popularize something, we made it look so good. People don't necessarily need to make the connections, but they'll be promoting our work. And I'm sure and I get so many compliments when I wear t shirts and sweaters. And so she she told him to look up the videos. And you know, she sent me the photo. And she's like, we've I think we've succeeded. And I was like, I think we succeeded, I think we have you know. But at this moment, we are considering evolving the terminology because it doesn't feel as honoring. And we definitely are very sensitive to the fact that we use black vernacular intentionally. And it's time to kind of give it back and think through like what other ways can we popularize other terms to kind of help. It's about it's about to help kind of build the community because it was about building a group of people kind of drawing in a certain community that wouldn't necessarily be about it. And I feel like that to me was like a, we did it. We did it.John Fiege Yeah, it's it's it's definitely one of those terms that the the right has co opted and really done a number on they. Yeah, they're they're good at stealing those terms and turning them on their head. And usually, honestly, as a as a weapon back the other direction. Can you turn down your volume just to hear again, just noticing when you get excited? I get excited so much. Alright, how's that? Right? Great. Yes. So in a couple of your videos, you talk about what being climate milk means to you. And you say it means one, standing up for communities of color and communities most impacted by climate change, to complicating the conversations on climate in the environment. And three, doing something about it. Can you take me through each of these and break them down a bit?Layel Camargo Yeah, so the first one is, can you repeat it again, that's the firstJohn Fiege standing up for communities of color and communities most impacted by climate change,Layel Camargo right? That's right. Yeah, I've said it so much. And we actually haven't even recorded anything because of the pandemic. So I'm like, I haven't said it in a while. Yeah, standing up for communities of color. I think that that one to me specifically spoke to that. We need black, brown and indigenous people to feel protected and seen when it comes to the climate and environmental crisis. And that's everything from activating people in positions of power to empowering the people who come from those communities to know that this is an intersectional issue. I think that the climate crisis traditionally was like a lot of visuals of melting ice caps, a lot of visuals of the polar bears and you It's interesting because as we're getting more people narrative, I feel like the, we need to get a little bit more people narrative. And we need to return those images a little bit back, because the IPCC report has just been highlighting the rapid rates in which we were losing ice. And I think that when I initially thought of this at the time, there wasn't highlights of how indigenous people were protecting the large scale biodiversity that we have on the planet. There wasn't stories of, you know, urban, black or brown youth trying to make a difference around solutions towards climate change. And so I kind of made it my purpose that climate woke represent those demographics that we that I was important for me that black, brown and indigenous people of color were at the center of the solutions. And the complicated conversations and do something about it was that I actually feel like we have a crisis of binary versus complexity in our society. And I think that how we've gotten into this climate crisis is because everything's been painted. So black and white for us, that if you want a job, you have to be harming the planet, if you want to be unemployed, then. And then like all these hippies that are fighting to save the trees, they're taking away your job, you know. So I feel like there's so many ways in which our trauma responses just look for the patterns have been used against us. And it just felt really important for me, that people feel comfortable to complicate as much as possible, where we're gonna need different angles and different ways of looking at solutions that we need to embrace experimentation, where we need to embrace failures, and we need to really let go of these ideas that technology is going to come in and save us technology is a big reason why we got into this mess. And so I think that complicating the conversation to me was about this is like, if you are black, brown, indigenous, and you want to be a part of the climate crisis, but you have no way of integrating yourself besides talking about gender oppression, go for it, look at look at the leaders in this movement, and look at how many women are fighting and protecting, you know, at a larger global scale that don't get the visibility that they deserve. So I feel like that was my aim is to really invite that complexity. And then let's do something about it is that I don't want things to get stuck on the dialog. One of the biggest failures of the United Nations when addressing these crisises is that they don't have global jurisdiction. So they cannot actually mandate and or enforce a lot of these, it's usually done through economic influence, or like if one if we can get a first world to sign on to a certain agreement, then hopefully, they'll all do it. But then who ends up in implementing it, usually it's not the United States and Europe is not the first one to do it. And yet, we are the biggest global polluters on almost every sector you can think of. And I think that the do something about it is, for me a call to action, that we can talk about this, we can try to understand carbon emissions, methane emissions, global greenhouse, carbon markets, carbon, sequestering drawdown methods, we can talk about it. But if we're not doing it, putting it to practice while integrating these other two points, which is centering communities of color, and embracing the complexity of that, then it's nothing, it's pointless. We're just we're just allowing corporations to keep exploiting the planet and governments can keep, you know, sitting back and saying that they're doing something because they're convening people without actually regulating and putting down their foot for us. So, yeah, I think it was trying to summarize just my general feelings of this movement and the ways that there's been just lack of opportunities by not centering certain other people or allowing there to be more complexity.John Fiege Yeah, there's, I find, watching how those un meetings go down. So frustrating. Yes, just, you know, Time after time. It's just maddening. I'd have a hard time working in that space.Layel Camargo Yeah, I think I was fortunate enough to take I voluntarily took like a law class at pace, Pace University, pace law University, and one of the classes was United Nations policy, and so I got to witness the sub All meetings before that big meeting where Leonardo DiCaprio came out and said that we had a climate crisis, which everybody googled what the climate crisis was, I think it was called climate change. It was like the most time climate change was googled in the history of mankind. And I was sitting in those meetings and just seeing how it really is just a lot of countries just try not to step on each other's toes, because relationships translate into the economic sector, that I'm like, wow, y'all, like legit, don't care about the people you're representing?John Fiege Yeah. Yep. Yeah, it's crazy. Well, I wanted to talk a bit about what environmental justice means to you. And I thought we could start with your video called a power to rely on. And in your crudest, you include a statistic in the video that says in the US 75% of all houses without electricity, are on Navajo land. And, and then one of the people you interview in the video with Leah, John's with a group called native renewables, says, whoever controls your water and your power controls your destiny. And that's really powerful statement. Can Can you talk a bit about your experience working on this video, and how it impacted your thinking about environmental justice?Layel Camargo Yeah, so I, I realized that I'm really passionate about renewable energy and alternatives to energy capturing, probably through working on this video. And when we were first thinking about what themes we were going to cover, that's usually how I approached most of the climate world videos as I tried to talk to a few community partners. But mostly, I just do a lot of like, cultural observation, just like what are some of the themes that feel that are kind of resonating for people outside of the sector. So what's resonating for folks outside of the environmental justice world, and, you know, land back native sovereignty is something that's been popularized, especially after the Standing Rock camp, the no dapple camp, and I was noticing that it was kind of dwindling down. But a lot of data was coming up around the fact that a lot of indigenous communities are either sitting around and or holding and protecting 80% of the global biodiversity. And so something that how I approached this video was I wanted to show the native sovereignty piece with the land back as well as my passion for alternatives to our current energy use. And what Haley Johns is somebody who was recommended to me by Jade bug guy who's also featured in the videos, a dear close, like cultural strategist, filmmaker, co conspire in the sector. And she would I had initially approached her and said, I want ndn collective, which is what she works to kind of help us think through the script. And she said, Yeah, we're down and like, we trust you, like, we know you're gonna get the story, right, but we're down. And so it was, it was very easy for us to start with that. And then when I was like, Who do I talk to? They're like, you need to talk to a hayleigh. And I was like, Alright, let's talk to a healer. And so I flew out to Arizona, just to have a scout meeting with her, which I felt like I was chasing her down, because we didn't know she was going to be in Flagstaff, or if she was going to be near Phoenix, like we didn't know. So we were flying in. And we were like, Where are you today? She's like, I'm at my mom's house. I'm with my mom at this hotel. And we're like, Alright, we're coming through. So it felt very, like family off the bat, which now she has been nominated for I forget the position, but it's the internal affairs of Indian energy, energy efforts and some sort. So she's she's doing it at a federal level now. And when I was when I was working on this video, and I had talked to her and I interviewed her as she was giving me a lot of these numbers, and I just realized that, you know, the irony of this country is just beyond what we could imagine. You have a lot of these coal mines that help fuel some of the larger energy consuming cities and in the United States, like Vegas, like la that just consume energy at such high rates that are being powered by coal mines in Navajo or near Navajo Denae reservations. And yet, I was hearing about what halos program and her efforts were just trying to get funding and or subsidies from the government in order to put solar panels on folks his house because the infrastructure doesn't exist. And she was running she's letting me know about that. cost, she's like at $75,000 per house. And then we in order to like run the lines, and that's not even including the solar panel infrastructure. And then if they can't, we can't run the lines, and we're talking about batteries. And she was breaking this all down, I'm like, that is a lot of money. We need to get you that money. And then she started just educating us more through that. So I think I went into this video just knowing that I was going to try to make those connections. But what I realized was that I was actually going in to learn myself, just how much I need to humble myself with the realities that communities who have had less to nothing in certain things, everything from food, to energy to water, have made alternatives that they are, they've already created the solutions like we found one of the elders who had put up one of the first solar panels and Hopi reservation, which I highlighted in my video, she got it 30 years ago, like I, I was flabbergasted that she had the foresight, and the way that she articulated was everything from comfort to entertainment. But at the end of the was she knew she needed power. And she runs a business, the local business won a very few on the reservation that she was passionate enough to keep alive. And so this video just showed me that like, wherever you go, where there has been disenfranchisement, that's where you will find solutions. Because a lot of people have just making do for a long time, it just hasn't been seen, it hasn't been highlighted. Those are the people that like the UN should be talking to the you know, our federal government should be listening to.John Fiege Yeah, and I actually wanted to talk to you about Janice de who's the Hopi elder that you mentioned. And, you know, in particular, how it relates to how depth and skillful you are communicating with people from a wide range of backgrounds. in you, you you use humor a lot. And in this power to rely on video, you're sitting down with Janice day. And talking about how she's one of the first people to get solar power 30 years ago. And you asked her whether the first thing she charged with solar power would be a vibrator. And that was that was that was really funny. And all of a sudden, I'm watching with anticipation, asking myself, how is this woman going to react to that question? And you seem to have such a good read on the people you're speaking with. And I was hoping you could talk a bit more about how you communicate so many, so well and so many in so many different spaces and how you consciously or unconsciously lubricate the relationships with humor.Layel Camargo Yeah, I've been I I think a lot of it is my passion for humor has come from has been maintained by a lot of data and information that I've gotten around just the importance of people being able to process things through laughter. And that the climate crisis is nothing to make mockery and or to laugh, there's this is very serious. The ways in which our species is kind of being at threat of extinction, and right before our eyes. But I think that as humans, we're so complex and layered, and we're so beautiful in the sense that we get to feel so intensely and feeling is what motivates us to take action. And laughter helps you process so much data quicker, it helps you be able to take something in, embrace it, release, and then have it make an impression that is the one line that everybody brings up with that video. So I made the impression. And I hope that people watched it and then wanted to show it to other people. And so I think that, that that knowledge has retained my passion for humor. And then like I said, You know, I grew up in an abusive home where we had to process things fairly quickly in order to be able to function in the world to go to school to go to work. And growing up in a home where there was a lot of violence. I learned how to read people very keenly everything from anticipating when something was going to happen tonight, and I speak about that pretty like nonchalantly because I think a lot of us have a lot of strategies and skills that we've developed because of our traumas and our negative experiences that we've had in the world. And I think they don't often get seen as that we'll just say like, Well, I was just really I'm just really good at reading people and we'll leave it at that and it's like, but what is your learn that from like, there have been many chronic situations where you had to be really good at reading people in order for you to like practice it so clearly in it skillfully. And so I think I honor my experience in that in order for me to do that. And then I think cultural relativity and cultural content petencies is another thing like, Janice de actually reminds me a lot of my grandmother and my grandmother was somebody who was very religious. And at the same time, I always loved pushing her buttons. I would just like try to say things to get her activated. And I knew at the end of the day, she loved me. And that was about it. I didn't have to question whether she loved me because she was upset that I asked her something and appropriately. So I think it's a combination of that. And I'm grateful that I can embody that and be able to offer it to people who are curious about climate change and and feel more invited through laughter than they would about doom and gloom or heavy statistic videos and our ways of gathering information.John Fiege Awesome. Well, another kind of video you made is called consumerism, cancelled prime. And the first shot is you waiting while the camera crew sets up the shot and you're putting items in your Amazon cart on your phone. And then the quote unquote real video begins. And and you say 80% of California's cargo goes through the Inland Empire. And then you yell along expletive that's beeped out. And you ask emphatically his climate, wrote, his climate woke about to ruin amazon prime for me. And and I love how rather than just saying Amazon, or Amazon customers are bad. You're starting by implicating yourself in this system that leads to serious environmental justice issues. And again, it's really funny. Can you talk more about the situation with Amazon and other real retailers? And and how you went about positioning yourself in this story, and using humor again, and self criticism to connect to the audience?Layel Camargo Yeah, I mean, when we first started working on this video, we explore different avenues of that opening scene, when we wanted to highlight community members, I kind of at this point, have a pretty good like tempo of what it is that I want. I want a community member I want somebody who's like academic or scientifically based, and then somebody else who kind of comes in allows her to be more of a creative flow. So we have a pretty good structure at this point of the voices that we seek, we just didn't know how we wanted to hook the audience. And we went back and forth quite a bit on this, the thing that kept coming up was amazon prime memberships are very common. Most people have them most people buy on e commerce and this is pre COVID. And I was keenly aware of that I also knew that Amazon was growing as a franchise to now own Whole Foods that were just like expanding in regards to what it is that they offer people online. And as I mentioned, I, through my passion for reduction of plastic usage and plastic consumption, and plastic waste, I understand the ways that ecommerce has really hurt the planet. So I myself am not an Amazon Prime member, I I don't actually buy online and I allow myself when needed one Amazon thing a purchase a year. And it's like kind of more of a values align thing. So in order for me to reach connecting with somebody who's kind of a little bit more normal in regards to needing to rely on buying online, is I just had to exaggerate what I think happens when you're shopping, which is you look at a lot of stuff, you add them to cart, you get really excited, and then you kind of mindlessly click Buy without knowing what's going to happen. But you're excited when it arrives, surprisingly, because maybe you bought it in the middle of the night while drinking some wine and watching some Hulu. So that's like what I was trying to embody. And then what I was really trying to highlight in this video was I wanted to invite audiences to not feel shame about what they do, like we are we've all been indoctrinated by the system through what our education has taught us. Like we have values of individualism and patriotism and all these things, because that's what we were taught in schools. And that's been used and co opted by corporations in order for us to continue exploiting other humans and the planet. And that's by no fault of our own. That's a design that's an economic model that was designed since the Great Depression. It's just the way that it's been exaggerated and has scaled so quickly is beyond our control where our governments don't even regulate it anymore at the ways in which they should be. And I think that I wanted this to feel like it's not just on you as an individual, but it's specifically if you live in Europe or in the United States. You need to know that we are The biggest consumers on the planet, we have the most economic resources. We actually, if even a fraction of the United States decided to stop shopping at Amazon, we could significantly bring that Empire down. I say Empire pretty intentionally. And we could I mean, I feel like you. And that's and how I understand economics is that all you need to do is impact 10 to 20%. of supply and demand chain in order for a whole corporation to collapse. The problem is, is that our governments always come in to aid these large corporations that are hurting us on the planet by saying that they want to maintain jobs and maintain a GDP are going stock market, which they're reliant on. So this video was meant for audiences. And for people to feel like this is not just on you. But if you live

Mon, 09 Sep 2024 06:00:00 +0000 https://efm-industry-insights.podigee.io/62-pathways-to-equity-the-special-edition-seminar-podcast 53b2d69fc562df209e5fba9d4fd266ed Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by Curator and Impact Producer Nadia Denton, it delves deep into the rapidly evolving film industry. Funded by Creative Europe MEDIA and taking place yearly at the EFM 2023, 2024 and 2025, the Equity & Inclusion Pathways Seminar is an industry-wide consultation forum that brings together European decision-makers, advocacy groups, stakeholders and change-makers with the aim of shifting the needle regarding equity, inclusion and accessibility in terms of policymaking, strategy, measures and actions. The change and advances that this Seminar aims to bring about for the European film industry are resolutely structural, and involve not only integrating marginalised groups into a European film sector that is free of biases, barriers and exclusions but also valuing the hitherto unrealised potential of the contributions of marginalised film professionals to the industry as well as redistributing resources and decision-making power more equitably. Featuring the Seminar's 3 moderators (Nadia Denton, Yolanda Rother and Sailesh Naidu), one of the Ambassadors, Tina Trapp (EAVE), the leadership of OMNI Inclusion Data, Helge Albers (MOIN Film Fund) and a speaker and representative of an advocacy group, Julian Carrington (REMC - Racial Equity Media Collective), this episode will explore the mission, vision, objectives and challenges to implementing effective, long-lasting and sustainable DEI and accessibility policies at institutional level across the European screen industries. OMNI Inclusion Data aims to underpin the diversity of the media and culture sector and the people working in it with factual data. At the same time, OMNI Inclusion Data aims to close the blank spots due to a lack of data. OMNI also intends to collect data that is compliant with data protection legislation from cast and crew on a voluntary basis and provide the industry with the most up-to-date analysis on inclusion statistics. With the OMNI project, the initiator MOIN Film Fund, in co-operation with Australia's The Everyone Project, is taking on this important task for the European film industry and, more importantly, taking a leadership role in promoting diversity in the industry. The host Nadia Denton (she/her) has worked in the UK film industry for over a decade as an Impact Producer, Curator and Author. She specialises in Nigerian Cinema and coined the term BEYOND NOLLYWOOD. She has worked with the BFI London Film Festival, Berlinale EFM, British Film Institute, British Council, Doc Society, London Film School, Sundance Film Festival, Tribeca Film Festival and Comic Relief. Her books include The Nigerian Filmmaker's Guide to Success: Beyond Nollywood and The Black British Filmmaker's Guide to Success: Finance, Market and Distribute Your Film. She is an Honorary Research Fellow with the University of Exeter. Yolanda Rother (she/her) is co-founder of "The Impact Company", a diversity, audience and culture consultancy. She moderates and speaks on topics related to digital society, politics and open government, diversity and sustainability. The Berlin native is a graduate (Master of Public Policy) of the Hertie School and has lived in Brazil, France and the United States. Sailesh Naidu (they/them) is a writer, researcher, and performance artist working in the sphere of migration, gender, and education. Their work interrogates the queer body as territory, ancestral knowledge, and building of queer personal narratives as archive. Tina or Kristina Trapp (she/her) has worked in the international film industry for over 20 years, amongst others at the German regional film fund MFG-Filmförderung Baden-Württemberg, with the European culture channel ARTE, heading the Film Commission Strasbourg and with the European training programme “Atelier Ludwigsburg Paris”. She joined EAVE in 2004 as Programme Manager. In 2007, she became Deputy Chief CEO and was appointed CEO in 2009. Kristina has been closely working with several European festivals and production companies in her career. She was part of various selection committees and juries for film funds and co-production markets and is member of the European Film Academy and ARTEF (Anti-Racism Taskforce European Film). She was co-director and board member of the umbrella organisation for European training providers, ATC (audiovisual training coalition), as well as member of the advisory board of the CEE Animation Workshop and board member of EWA (European Women's Audiovisual Network). Helge Albers (he/him) Helge Albers, born in 1973, has been CEO of MOIN Film Fund Hamburg Schleswig-Holstein since April 2019. As a producer, he won the German Film Award in 2001 for ‘Havana, Mi Amor' and in 2016 for ‘Above and Below'. His other successes include ‘Full Metal Village' about the Wacken Festival as the most successful documentary film in 2007, as well as the Oscar-nominated short film ‘Ave Maria'. His experience as a producer, managing director of the VDFP (now Producers' Association), as a member of the FFA's awards committee and advisor to the World Cinema Fund ultimately led him to Germany's northernmost film funding organisation. Julian Carrington (he/him) is Managing Director of the Toronto-based Racial Equity Media Collective, a national not-for-profit research and advocacy organization dedicated to equity for equity for Black, Indigenous, and People of Colour (BIPOC) creators in Canada's film, television, and digital media industries. This episode also features short soundbite contributions from Valerie Creighton (Canada Media Fund), Regina Mosch (ARTEF) and Lissa Deonarain (BGDM). The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Film Business,Entertainment Industry,Future Trends,Berlinale,European Film Market,Collaboration Film Industry,Media Industry,Equity and Inclusion,Representation European Film Market 3083

Description: Join us for a captivating episode as we welcome Leah Warshawski—an accomplished Executive Producer, Producer, Director, Impact Producer, and even Craft Service extraordinaire. Leah shares her inspiring journey from the beautiful shores of Hawaii, where she began her film career working on iconic shows like LOST and HAWAII, to becoming a driving force in documentary filmmaking.In this episode, Leah takes us through her significant leap into filmmaking with her first feature film, FINDING HILLYWOOD (2013).Discover how this film, which profiles Rwanda's emerging film industry, was showcased at over 70 film festivals worldwide and led to the creation of rwandafilm.org—a networking platform for Rwandan filmmakers.Leah also opens up about her most recent feature documentary, BIG SONIA (2016), a deeply moving portrayal of her 94-year-old grandmother, a Holocaust survivor whose story has touched hearts globally.With 23 awards and an Academy Award qualification, BIG SONIA is a testament to Leah's dedication to powerful storytelling.Beyond filmmaking, Leah's experiences and insights have inspired a TedX Talk and contributions to the best-selling book Soul Success. She holds a certificate in Social Impact Strategy from UPenn and specializes in Positive Psychology. Leah's values of authenticity, loyalty, grit, and gratitude shine through in all her endeavors.Tune in to hear Leah's incredible journey, the challenges and triumphs she has faced, and the profound impact of her work. This episode is a must-listen for anyone passionate about filmmaking, storytelling, and making a difference through creative endeavors.Episode Highlights:Introduction to Leah Warshawski:Overview of her multi-faceted career in film and production.Early days in Hawaii, working on LOST and HAWAII.Journey to FINDING HILLYWOOD:The story behind her first feature film.The impact of showcasing Rwandan cinema globally.Co-founding rwandafilm.org to support local filmmakers.Creating BIG SONIA:Documenting her grandmother's incredible life story.The emotional and creative challenges of the project.Achievements and recognitions, including 23 awards and an Academy Award qualification.Personal Inspirations and Accomplishments:Insights from her TedX Talk and contributions to the book Soul Success.Academic achievements and certifications.The values that drive her work and life.Reflections and Key Takeaways:The importance of storytelling in healing and connecting communities.The impact of the Hillywood Film Festival in East Africa.Encouragement for listeners to pursue their creative passions.Educational Value: This episode offers invaluable insights into the world of documentary filmmaking, the importance of storytelling in addressing and healing trauma, and the impact of creative endeavors on personal and community levels.Leah's experiences provide a rich learning opportunity for aspiring filmmakers, storytellers, and anyone interested in using their creativity to make a difference.We hope today's episode inspires you to pursue your creative passions, no matter where you are. Remember, every story deserves to be told, and you never know where your next adventure might take you or what incredible projects it might lead to.Thank you for joining us. If you enjoyed this episode, please leave a review and share it with your friends. Stay tuned for more fascinating stories and insightful conversations in our next episode.W: https://www.inflatablefilm.com/how-we-work/Damien Swaby Social Media Links: Instagram: https://www.instagram.com/filmmaker_damien_swaby/

Fri, 21 Jun 2024 07:00:00 +0000 https://efm-industry-insights.podigee.io/60-arctic-indigenous-filmmakers-on-climate-change-first-hand-perspectives 7eb108c5f6a3f70277b8b738215e9757 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by Curator and Impact Producer Nadia Denton, it delves deep into the rapidly evolving film industry. Featuring the insights from film creatives and professionals from Sápmi, Canada and Yakutia, this episode will shine a light on the ground-breaking work of the Witness Program, a film training and mentorship programme for emerging Indigenous filmmakers from the Circumpolar Arctic that is the fruit of a collaboration between Telefilm Canada and the Arctic Indigenous Film Fund (AIFF). Designed as a professional development opportunity that allows Arctic Indigenous filmmakers to share their authentic perspectives on how climate change is affecting their communities through their own storytelling and in their own filmic and spoken languages, the programme supported a first cohort of 6 filmmakers who produced 5 films and were mentored by 3 Indigenous long-feature film producers and filmmakers, under the guidance of Liisa Holmberg, CEO of the AIFF. These conversations unpack the way in which these first-hand narratives convey the sense of urgency of climate change which Arctic Indigenous communities have been witnessing for decades and the ways in which their filmmaking practices can embody acts of resistance, resilience and language revitalisation. Key to understanding these films is the notion of a worldview. The speakers, Liisa Holmberg, filmmakers Sadetło Scott and Svetlana Romanova and mentor Danis Goulet, all share their experiences of how their communities' worldview, connection and deep relationship to the land are expressed in these and other films, which they made in a context of challenges to the land and Indigenous storytelling through the compounded effects of climate change and colonization. Film commissioner Liisa Holmberg (she/her) is working in International Sámi Film Institute (ISFI) in Norway. Liisa Holmberg is a Sámi film maker originally from Finnish side of the Saamiland. She has worked in the film business as a producer, production manager and film consultant from the year 1994. Big part of her work as a film commissioner is working internationally with Indigenous film makers in Alaska, Canada, Greenland, Sápmi and Russia to establish an Arctic Indigenous Film Fund (AIFF). Holmberg is a member of European Film Academy from the year 2018. Sadetło Scott (she/her) is a Tłı̨chǫ Dene filmmaker, who grew up and lives in Sǫǫ̀mbak'è, Denendeh (Yellowknife, Northwest Territories, Canada). Sadetło has a B.A. in Indigenous Governance and a Certificate in Heritage and Culture from Yukon University, and Certificates in Motion Picture Production and Cinematography from Capilano University. Sadetło's work, such as “Edaxàdets'eetè” aims to educate on the importance of Indigenous language and the Indigenous experience. Svetlana Romanova (Sakha/Even) is an artist and filmmaker born in Yakutsk, the capital city of the Sakha Republic, Russia, located south of the Arctic Circle. Her practice centers on the importance of Indigenous visual language, particularly in the Arctic regions and gravitates towards critical self historization. Writer/director Danis Goulet's films have screened at festivals around the world including Berlinale, Sundance, MoMA and the Toronto International Film Festival (TIFF). Her award-winning feature NIGHT RAIDERS premiered in the Panorama section at Berlinale and also screened at TIFF in 2021. For television, Danis has recently directed for the acclaimed FX series RESERVATION DOGS. She is Cree/Metis, originally from northern Saskatchewan. The host Nadia Denton is a film industry specialist with over a decade of experience as a Curator, Impact Producer and Author. Her focus has been on cinema of the African diaspora, she specialises in Nigerian Cinema and is author of two books The Black British Filmmakers Guide to Success and The Nigerian Filmmaker's Guide to Success: Beyond Nollywood. Nadia is also an official V&A African Heritage Tour Guide. As a Partner of Choice, Telefilm Canada is a Crown corporation dedicated to the success of Canada's audiovisual industry, fostering access and excellence by delivering programs that support cultural resonance and audience engagement. With a lens of equity, inclusivity and sustainability, Telefilm bolsters dynamic companies and a range of creative talent at home and around the world. Telefilm also makes recommendations regarding the certification of audiovisual coproduction treaties to the Minister of Canadian Heritage, and administers the programs of the Canada Media Fund. Launched in 2012, the Talent Fund raises private donations which principally support emerging talent. AIFF is a film fund dedicated to films and filmmakers with Arctic Indigenous origins. We believe it's vital to spread knowledge about Indigenous cultures, climate change, the environment, and land rights by the means of art. That's why we are committed to building capacity for Arctic filmmaking. We advance filmmakers' possibilities to produce and distribute their films by funding productions and offering training programs. Our aim is to promote high-quality film projects that enhance the cultures, languages and societies of arctic Indigenous peoples. Part of our mission is also to support cooperation among Indigenous filmmakers. We bring together the most talented filmmakers, help them to achieve the best possible production terms and encourage co-production and exchange of expertise. The Witness Program is a professional development opportunity that allows Arctic Indigenous filmmakers to share how climate change is affecting their communities, to tell their own stories, and to meet and work with an international network of Indigenous filmmakers. This initiative aims to empower Indigenous filmmakers across the Arctic through training and workshops. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. This episode has been developed in partnership with Telefilm Canada. full no Indigenous Filmmakers,Climate Change,Film Business,Entertainment Industry,Future Trends,Berlinale,European Film Market,Collaboration Film Industry,Media Industry European Film Ma

ABOUT TRAPPED IN TREATMENT Season 2 Trapped In Treatment is a new docu-style podcast series from Paris Hilton, Warner Bros. Unscripted TV In Association With Telepictures, and iHeart Media, that will examine and expose the dark secrets of the "Troubled Teen Industry." Beginning with Provo Canyon School, each season will focus on the story of one youth treatment facility, its survivors, and the traumatizing abuse at the hands of their captors. Hosted by Caroline Cole and Rebecca Mellinger, Trapped in Treatment weaves together personal accounts with historical detail and expert opinions to shine a light on what really happens at behavior modification centers and how this billion-dollar industry has flourished for so long. Episodes here:  https://www.iheart.com/podcast/1119-trapped-in-treatment-91773544/ CAROLINE COLE BIO Caroline Cole is an entrepreneur, activist, and trauma-focused women's transformation coach. At 14 years old, Caroline was sent to a lock-down behavior modification facility where she would stay for 29 months and encounter some of the most horrifying deprivations of human rights. Through her own reckoning with this experience, Caroline has channeled her outrage into public policy and social change through her role as the Director of Government Relations for the non-profit Breaking Code Silence. Her personal experiences with trauma, including domestic violence, addiction, institutionalization, homelessness, and consequentially living with C-PTSD allows her to see greater social issues through a unique and compassionate lens. Turning her pain into purpose, Caroline advocates for a world where the effects of trauma are understood and public policy effectively allows for the treatment and prevention of abuse in all forms. Caroline's background is in psychology, mental health, state government, and advocacy. She believes that through the deinstitutionalization of all people and the rebuilding of our communities and families, we may finally experience healing as a nation and throughout the world. REBECCA MELLINGER BIO Rebecca Mellinger is passionate about harnessing the power of entertainment to drive social change. As Paris Hilton's Impact Producer, she is working to reform the "Troubled Teen Industry" through policy change, public awareness, and mental health support services for institutional abuse survivors. Rebecca is also leading the impact campaign for Duty Free, an independent documentary about ageism and the need for intergenerational care. With a background in nonprofit management and the entertainment industry, Rebecca manages every aspect of each impact campaign - from working on the ground with the impacted community, interfacing with national partners, and developing effective programming.https://www.trappedintreatment.co/https://parishilton.com/1111-media/https://www.stopinstitutionalchildabuse.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.

Mon, 13 Nov 2023 15:30:00 +0000 https://efm-industry-insights.podigee.io/44-how-subscription-models-are-vitalising-the-big-screen 8f16ba39346c58ad6ad30f468e54c9e4 Industry Insights – The EFM Podcast is presented by the **European Film Market **of the Berlinale. Hosted by Curator and Impact Producer Nadia Denton, it delves deep into the rapidly evolving film industry. This episode explores how subscription models can contribute to a new form of communication among the stakeholders, entering new pathways of film exhibition. Five experts in the fields of subscription, exhibition and distribution share their experiences with subscription models and how they help them to work together towards one collective goal: loyal audiences and increased admissions. Lennart Schneider is a freelance consultant specializing in subscription models and newsletter strategies. He is also the host of the podcast “subscribe now” in which he interviews managers from the world's leadings subscription companies like Adobe, Hubspot, DIE ZEIT, Urban Sports Club, Blinkist and many more. In addition to the podcast he publishes a weekly newsletter (also called “subscribe now”) with news and deep dives into the ever growing subscription economy. His interest in this topic has developed while he was working with Germany's leading quality newsletter “DIE ZEIT” where he was responsible for the loyalty program “Freunde der ZEIT” (Friends of DIE ZEIT) and the book club “Was wir lesen” (What we are reading). Lennart is a movie fan and has written his bachelor's thesis about genre signals in movie posters. Adriënne van den Berg works at Cinéart, an independent Benelux film distributor, where she handles all digital sales, thus selling films to TV and platforms. There, she is continuously exploring new on demand and subscription models for content consumption. She is developing a TVOD platform with Cinéart content, focused on specific auteurs, to reach and build stronger audiences. Also, she involves herself in creating content by editing and assists in content acquisition. Lysann Windisch managed several art house cinemas in Munich and Berlin for more than 6 years, while also curating and organizing festivals and film events with a focus on Eastern European film. In 2018, she joined the Sino-European producers association Bridging the Dragon as manager for festivals and partnerships. From 2019-2021, she led the NEXT WAVE international education program at the Berlin film school DFFB, which focused on innovative distribution strategies in the film market. Since 2020, she has been in charge of MUBI Germany's marketing activities and, as Director of Distribution, Germany, she has been responsible for its German theatrical distribution. Since 2022 she also oversees the MUBI GO project. She is also a mentor of the CICAE trainings and a jury member of the Kinoprogrammpreis Berlin-Brandenburg. Thomas Hosman is co-founder and CEO of Cineville, an unlimited membership and online platform for everyone who loves film. Cineville was created in 2009 by four twenty-something friends working at an Amsterdam cinema. Today, Cineville is the number one film community for adventurous film fans in the Netherlands and Belgium, accounting for 2 million annual admissions in the 80+ participating cinemas. Wouter Timmermans studied Media & Culture at Universiteit van Amsterdam and finished his Masters degree in 2012. Since then he is a fulltime programmer for the oldest cinema in Amsterdam: The Movies Amsterdam, the biggest independent cinema in Amsterdam: De FilmHallen and the newest cinema in Haarlem (near Amsterdam) De FilmKoepel. The host Nadia Denton is a film industry specialist with over a decade of experience as a Curator, Impact Producer and Author. Her focus has been on cinema of the African diaspora, she specialises in Nigerian Cinema and is author of two books The Black British Filmmakers Guide to Success and The Nigerian Filmmaker's Guide to Success: Beyond Nollywood. Nadia is also an official V&A African Heritage Tour Guide. This podcast episode has been developed in partnership with film executive Vera Herchenbach. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Cinema,EFM,Industry Insights,Cineville,Mubi,Nadia Denton,Subscription Models,Lennart Schneider,Film Industry,Movies European Film Market

Prepare to be amazed and inspired by special guest Michaela Ternasky Holland, Emmy Award-Winning XR Director, Creative Strategist and Impact Producer leading equity and social change in XR and the Metaverse.  A pioneer in VR journalism and experience design, Michaela shares the evolution of her unique industry journey and how her latest immersive film, Reimagined Vol. II: Mahal, is redefining traditional narratives and Tagalog / Filipino mythology to create authentic, innovative, heart-felt stories that captivate audiences around the world.We also talk shop about the new Quest3, Apple entering the market and what every beginner should know about immersive storytelling. Don't miss it!Check out show links below and let us know your feedback on our new LinkedIn page.   CONNECT WITH MICHAELAVIDEO - Reimagined Volume II: Mahal  Official TrailerMichaela's WebsiteLinkedInIMDBFace to Face websiteVIDEO - On the Morning You Wake ICAN Nuclear Ban Forum Panel CONNECT WITH SICILIANA sicilianatrevino.com LinkedIn RESOURCESQuill VR painting app on the Meta Quest StoreAsian American Journalists AssociationDive into what you need to get started on your immersive storytelling adventure. Subscribe to Zero to Start on your favorite podcast platform, give us a rating and share this episode with your community. Thanks for listening and happy installing!

Naeema J. Torres (she/her) is an award-winning, Chicago-area filmmaker originally from New York City. She breaks down what it takes to become an Impact Producer. Her prior work for companies such as Cinverse and HBO plus passion for non-fiction storytelling, marketing, sales, and distribution strategy led her to producing. Visit our Youtube channel Vonti Pictures - YouTube for previous video episodes and more! Stay updated with our podcast schedule by: Bookmarking our website: https://filmconvopodcast.comConnect with us on Instagram @vonti_pictures Reach out to our host, Vonti McRae, on LinkedIn:www.linkedin.com/in/vonti-mcrae-3b71281 or email info@vontipictures.com for episode inquiries.

Naeema J. Torres (she/her) is an award-winning, Chicago-area filmmaker originally from New York City. She breaks down what it takes to become an Impact Producer. Her prior work for companies such as Cinverse and HBO plus passion for non-fiction storytelling, marketing, sales, and distribution strategy led her to producing. Visit our Youtube channel Vonti Pictures - YouTube for previous video episodes and more! Stay updated with our podcast schedule by: Bookmarking our website: www.filmconvopodcast.comConnect with us on Instagram @vonti_pictures Reach out to our host, Vonti McRae, on LinkedIn:www.linkedin.com/in/vonti-mcrae-3b71281 or email info@vontipictures.com for episode inquiries.

"Art and humor, our palette and brush, painting a brighter future for our planet as we strive for climate harmony with creativity and laughter"Tune into #TGV381 to get clarity on the above topic. Here are the pointers from Sunny's conversation with Naveen Samala on The Guiding Voice0:00:00 Introduction and context setting0:03:00 Sunny's PROFESSIONAL JOURNEY AND THE TOP 3 THINGS THAT HELPED IN His SUCCESS0:05:45 What role do artists and stories play in changing the world?0:07:45 Climate Change, Science, Politics... where do artists and storytellers fit in?0:10:00 Sunny's experience of working with an Impact Producer to channel the audience into action!0:13:00 How did he come up with the idea of working with 9 teams of artists around the world on this podcast?0:16:00 Why use humour about such as challenging topic as climate change?0:18:00 About a few of his episodes0:21:00 WITTY ANSWERS TO THE RAPID-FIRE QUESTIONS0:24:00 ONE PIECE OF ADVICE TO THOSE ASPIRING TO MAKE BIG IN THEIR CAREERS 0:25:10 TRIVIA ABOUT Climate Change ABOUT THE GUEST:Sunny's inventive and multi-award-winning theater works have been presented in over 60 cities across the world and translated into 6 languages.His wide range of audiences has spanned international arts festival goers, queers in underground warehouses, seniors in regional theaters, and young people in drop-in centers. In recognition of his prominence in Canadian theatre, Sunny was selected to write the World Theater Day message for Canada in 2019.Connect with Sunny:https://www.linkedin.com/in/sunny-drake-7170a68a/CONNECT WITH THE HOST ON LINKEDIN:Naveen Samala: https://www.linkedin.com/in/naveensamalahttp://www.naveensamala.comIf you'd like to contribute to our mission, please donate (any amount of your choice) through Paypalhttps://paypal.me/NaveenSamlaIf you wish to become a productivity monk: enroll for this course: https://www.udemy.com/course/productivitymonk/TGV Inspiring Lives Volume 1 is on Amazon:Kindle:https://amzn.eu/d/cKTKtyCPaperback:https://amzn.eu/d/4Y1HAXj#TGV is available in Hindi & Telugu:https://youtube.com/@tgvhindi https://youtube.com/@tgvtelugu Audio:https://open.spotify.com/show/2wyLNGG0tsHucmhRauh4o3 (#tgvhindi)https://open.spotify.com/show/3fCfHwoFIiehHJSPcgoX4I (#tgvtelugu)FOLLOW ON TWITTER:@guidingvoice@naveensamala Hosted on Acast. See acast.com/privacy for more information.

“You are meant to be here. You are worthy and you have a whole line of ancestors and family that fought and died for you to be here today.” This is a Road Dog Podcast classic from the early days. Jordan Marie Bring Three White Horses Daniel is a citizen of the Kul Wicasa Oyate (Lower Brule Sioux Tribe) as well as a passionate advocate for Indian Country and all people. She is nationally known for her advocacy and grassroots organization for anti-pipelines/climate justice efforts, change the name/not your mascot, the epidemic and crisis of missing and murdered Indigenous women (MMIW), and Native youth initiatives. Her experience in grants and project management, policy, blogging, and organizing has been leveraged by organizations working in environmental sustainability, access to quality healthcare, MMIW, the Violence Against Women Act, and a variety of other worthy causes. She is the founder of Rising Hearts, the cofounder of DC ReInvest Coalition, is on the Board of Directors with the PowerShift Network and Lab29, and is an Outreach and Project Manager with UCLA, in Los Angeles, homelands to the Tongva people. Jordan was awarded the NCAIED Native American 40 Under 40 in 2018. She's using her running platform of 21 years to help raise awareness and bring justice to missing and murdered Indigenous relatives and their families. Jordan is consulting on documentaries as an Indigenous advocate and Impact Producer, and is consulting to develop social media to protect sacred lands and support Indigenous folx. Support Road Dog Podcast by: 1. Joining the Patreon Community: https://www.patreon.com/roaddogpodcast 2. Subscribe to the podcast on whatever platform you listen on. Jordan Marie Brings Three White Horses Daniel Contact Info:  risingheartscoalition@gmail.com (email) @nativein_la & @rising_hearts (Instagram) @_NativeInLA & @_RisingHearts / @Native Perspective & @Rising Hearts (Twitter) Luis Escobar (Host) Contact: luis@roaddogpodcast.com Luis Instagram Kevin Lyons (Producer) Contact: kevin@roaddogpodcast.com yesandvideo.com Music: Slow Burn by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ Photo: Photography by Kaori Peters kaoriphoto.com Road Dog Podcast Adventure With Luis Escobar www.roaddogpodcast.com

We are delighted to welcome Melissa C. Potter to the Blk on the Scene fam this week! Melissa is a New York native and an expert at the issues of Race, Identity, Culture, Equity, and Social Justice, which she masterfully manages moments of crisis with her unflappable and vibrant style. Just peep her Instagram to see the fabulous eyewear and fashions! Melissa is a thought leader with a proven track record of creating meaningful social change through her expertise in spearheading social impact strategies and diversity, equity and inclusion initiatives across non-profit organizations and global brands.  Currently, she serves as the Vice-President, Strategy and Impact at Paramount Global, where she supervises each brand's commitment to the long-term social impact of cultural shifts in society. We get to learn how she got her start as a teenager “interning” with a family friend who was a DJ, leveraging that hustle, curiosity and passion to being a college record label rep at Northeastern University in Boston at the height of the explosion of Hip-Hop and Rap to learning the business from OGs like Mona Scott and Chris Lighty. She witnessed first hand the impact that entertainers such as Method Man, 50 Cent and more had when they hosted their community focused events which served as early inspiration to the field of social impact. Melissa openly shares her trajectory from the music industry to the political and social impact space where her ingenuity led to her winning the prize for Human Rights at the Venice Film Festival plus receiving a 2018 NAACP Image Award nomination as Impact Producer for the film “The Rape of Recy Taylor”.  Potter received her Bachelor of Arts in Sociology from Northeastern University and Masters in Corporation Communication and Public Relations from New York University. She serves as the first woman and the first African American Chair of the Board for the National Job Corps Association and is Chair of the Board of Directors of Fostering Change for Children. She was awarded “Change Agent of the Year” in 2018 from the Digital Diversity Network, is a Webby Anthem Awards juror and a Diversity Committee Member for Transform Films. She is also a member of Alpha Kappa Alpha Sorority, Inc. Melissa's RECEIPTS and her story from a self described “little bossy girl” to being an all around BOSS is just the inspiration we all need to trust our vision and keep the faith! Thanks for listening to Blk on the Scene. We hope that you will tune in for more exciting guests and conversations from this season. Be sure to subscribe, leave a review and rating. Episode Mentions: Melissa C. Potter - https://melissacpotter.com/ Content for Change - https://contentforchange.paramount.com/ Mona Scott - Young - https://www.instagram.com/monascottyoung/?hl=en Violator Records - https://en.wikipedia.org/wiki/Violator_(company) Northeastern University - https://www.northeastern.edu/ Alpha Kappa Alpha - https://aka1908.com/ Style Eyes Optical - https://styleeyesoptical.com/

Tue, 28 Feb 2023 15:20:00 +0000 https://efm-industry-insights.podigee.io/41-how-do-we-reach-and-engage-with-young-audiences be2a3ae5644cf670705d7a24871a90d6 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by Curator and Impact Producer Nadia Denton, it delves deep into the rapidly evolving film industry. What defines a young audience, what attracts a young audience and how can film professionals engage the audience of the future? In this episode of Industry Insights, guest speakers Melika Gothe and Yaron Volk reflect on these questions, shedding light on the younger generation and their perspective on cinema culture and film (festivals). This conversation shows the relevance of giving a voice to people of all ages and backgrounds, and shares ideas on how to make the film industry more accessible and sustainable. Melika Gothe has been section manager of Berlinale Generation since 2022, a position that was newly created, aimed at strengthening film education and cultural participation. She joined the Generation team in 2014 and worked as project coordinator and Head's assistant. Melika graduated in film studies, French and cultural mediation (Kulturvermittlung/Médiation Culturelle de l'Art) in Mainz, Dijon, Hildesheim and Marseille. Her focus is on supporting and engaging with young cineastes, in various jury programmes, as moderator and film educator. Yaron Volk is a 16-year old film enthusiast, about to graduate. He is part of the Youth Film Jury Berlin and the European Film Club. Being an avid Berlinale person, Yaron feels that the festival played an important part in shaping his identity in terms of taste in films and in a way made him who he is today. The host Nadia Denton is a film industry specialist with over a decade of experience as a Curator, Impact Producer and Author. Her focus has been on cinema of the African diaspora, she specialises in Nigerian Cinema and is author of two books The Black British Filmmakers Guide to Success and The Nigerian Filmmaker's Guide to Success: Beyond Nollywood. Nadia is also an official V&A African Heritage Tour Guide. This podcast episode has been developed in collaboration with Berlinale Generation. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. In this episode Melika mentiones the film Summer 1993 by Carla Simón. full no Young Audiences,Audiences,Film Industry,Melika Gothe,Berlinale Generation,Yaron Volk,Nadia Denton,European Film Market,EFM,Cinema Culture European Film Market

Thu, 23 Feb 2023 15:00:00 +0000 https://efm-industry-insights.podigee.io/33-making-a-mark-in-unstable-environments-an-encouraging-conversation 17eab58a6e3d9c3cc7d69c0b303423a0 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by Curator and Impact Producer Nadia Denton, it delves deep into the rapidly evolving film industry. In this episode movers & shakers within the international film landscape Amra Bakšić Ćamo, Hania Mroué and Sadaf Foroughi talk about their personal approaches as filmmakers living in unstable environments – all three with an immense motivation to shape change in the film industry and to move forward. They share what drives them and how they are able to navigate and overcome challenges, and reflect on sustainable leadership and humanity in our film industry. Hania Mroué is an established film programmer, distributor, and industry professional. She founded and became the director of Metropolis Cinema, the only art house movie theatre in Lebanon, in 2006, and in 2010, she established MC Distribution, a company dedicated to distributing Arab and international independent titles in the MENA region. Mroué is a founding member of the Beirut DC association, which supports and promotes independent Arab films, and she has served as the Managing Director of the organization's Arab film festival, Ayam Beirut Al Cinema'iya, for the past decade. From 2010 to 2012, she also served as Chief Arab Programmer at the Doha Tribeca Film Festival. She's currently a programming consultant for the Marrakesh International Film Festival. Mroué has been a jury member at a number of prestigious film festivals, including Cannes, Berlinale, Adelaide and Malatya International Film Festival. Amra Bakšić Ćamo is one of the founders of SCCA/pro.ba, an independent production company from Sarajevo, Bosnia and Herzegovina. She has produced and coproduced award-winning feature films, TV programs, shorts and documentaries,. Since it's inception in 2003, she is Head of the CineLink, a regional co-production market, work in progress and project development workshop for feature films and drama series at the Sarajevo Film Festival and one of the curators of Torino Film Lab. She is a member of the European Film Academy as well as ACE and EAVE producer networks. She has been a longtime collaborator of Berlinale Coproduction Market and Biennale College. Amra teaches Producing at the Academy of Preforming Arts in Sarajevo. Sadaf Foroughi is an award-winning Iranian-Canadian filmmaker and Berlinale Talents alumni. She directed a short documentary episode of The Why Democracy? Project, which was nominated for Best Non-European Film at the Grand Off-European Off Film Awards in Warsaw and won Best Short Film at the annual Oxford Brooks University Film and Music Festival. In 2009, Foroughi founded Sweet Delight Pictures (SDP) with fellow filmmaker Kiarash Anvari. SDP was nominated as one of the top five emerging Canadian production companies at the 2017 Indie Screen Awards. Sadaf Foroughi's debut feature as writer/director/producer AVA premiered at the 2017 Toronto International Film Festival, winning the FIPRESCI award in the Discovery section and earning several nominations. Her second film, Summer With Hope, won the Crystal Globe Grand Prix for Best Film at the Karlovy Vary International Film Festival 2022. Sadaf has also served as a juror for various festivals and awards, including the Academy of Canadian Cinema and Television's annual awards in 2019 and most recently the Tibilisi International Film Festival in Georgia in 2022. The host Nadia Denton is a film industry specialist with over a decade of experience as a Curator, Impact Producer and Author. Her focus has been on cinema of the African diaspora, she specialises in Nigerian Cinema and is author of two books The Black British Filmmakers Guide to Success and The Nigerian Filmmaker's Guide to Success: Beyond Nollywood. Nadia is also an official V&A African Heritage Tour Guide. This podcast episode has been developed in collaboration with Berlinale Talents. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Filmindustry,EFM,Flim Market,Sadaf Foroughi,Hania Mroué,Amra Bakšić Ćamo,Nadia Denton,Filmmaker,challenge,Industry Insights European Film Market

Thu, 24 Nov 2022 13:00:00 +0000 https://efm-industry-insights.podigee.io/30-sustainable-leadership feb3f8cb2c09af47b158c85e6de0827a Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by Curator and Impact Producer Nadia Denton, it delves deep into the rapidly evolving film industry. In this episode, guest speaker Helene Granqvist dives deep into the subject of Sustainability. Explaining the limits of our current system, she shows how discovering our impact can lead to new possibilities. In this context, she reflects on the role of leaders and collaboration, and highlights the importance of the creative industry on building a sustainable future. Helene Granqvist is a prizewinning producer who has worked with film and television for more than 30 years, with films represented at festivals - like Cannes, Toronto and Sundance. She also works as an international pitch coach and is since 2018 the president for Women in Film & Television International. Nordic Factory produces documentaries and features with a strong narrative and a feministic approach. Nordic Factory also initiated New Nordic Narrative Labs in 2022 with the aim to inspire creators to use sustainability, inclusion and outreach as inspiring input for story development and success. The host Nadia Denton is a film industry specialist with over a decade of experience as a Curator, Impact Producer and Author. Her focus has been on cinema of the African diaspora, she specialises in Nigerian Cinema and is author of two books The Black British Filmmakers Guide to Success and The Nigerian Filmmaker's Guide to Success: Beyond Nollywood. Nadia is also an official V&A African Heritage Tour Guide. This podcast episode has been developed in partnership with Industry@Tallinn and Baltic Event. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Sustainability,Leadership,EFM,Nadia Denton,Helene Granqvist,Sustainable Leadership,Film Industry,Industry Insights,Industry at Tallinn,Baltic Events European Film Market

Charlene SanJenko is a two-time Founder, Impact Producer, and Modern-Day Medicine Woman — and media is her medicine. She's taken her background in impact investing and applied it to advertising, asking the question “What if we brokered impact media deals like we do any other business deal?” In other words, how can advertising dollars shift toward more progressive goals that do good for society? Tune in as she sits down with IABC Executive Director Peter Finn to discuss her company, reGEN media, the role communicators can play in regenerative media and more. As part of her work, SanJenko is conducting market research through the “50 Fabulous Brands” campaign. Learn how some brands are shifting into a more progressive advertising space and where others can help fill in the gap when it comes to impact advertising. Learn more about Charlene and what sparked this campaign in the Catalyst article, “Walk the Walk and Talk the Talk — Will Your Brand Shift-to-Lift?” || LINKS *Episode* https://catalyst.iabc.com/Articles/walk-the-walk-and-talk-the-talk-will-your-brand-shift-to-lift | https://www.regenimpactmedia.com/50-fab-brands/ *Social Media* https://twitter.com/iabc| https://www.linkedin.com/company/iabc/| https://www.facebook.com/IABCWorld | https://www.youtube.com/user/IABClive| https://www.instagram.com/iabcgram/ *IABC Websites* https://www.iabc.com/| https://catalyst.iabc.com/ --- Send in a voice message: https://anchor.fm/iabc/message

Hannah Fowler and I talk about how she became involved in the making of the movie “The Last Ecstatic Days,” and what she has taken away from this profound project. Hannah is the Impact Producer for the film, an end-of-life doula and educator, a hospice RN, and faculty at the Conscious Dying Institute. Learn more about why Ethan chose to film himself at the end of his life, how he found community through social media and in his community, and what you can take with you from one man's approach to his own death. Watch the trailer at https://www.thelastecstaticdaysmovie.com For more information on Best Life Best Death please visit our website at www.bestlifebestdeath.com Follow us on our social channels to receive pertinent and helpful resources on death, grieving, and more at: Facebook: www.facebook.com/bestlifebestdeath Instagram: www.instagram.com/bestlifebestdeath

On January 13th, 2018 at 8:08 am, an alert was issued to the 1.4 million citizens of Hawai'i, ‍BALLISTIC MISSILE THREAT INBOUND TO HAWAII. SEEK IMMEDIATE SHELTER. THIS IS NOT A DRILL. Today on Obsessed Show, I'm excited to chat with the creative team behind the immersive and creative new VR film, “On the Morning You Wake (to the End of the World).” On the Morning You Wake uses innovative documentary storytelling and virtual production techniques to viscerally recreate the lived experiences of people who, for 38 minutes, had to react and make impossible decisions in the face of nuclear violence. Steve Jamison is an Emmy Award-winning, BAFTA-nominated Director-Producer, and the co-founder of London production company Archer's Mark., and Co-Director and Cowriter of the Morning you Wake… Michaela Ternasky-Holland is the Emmy, Webby, and Sheffield Doc/Fest award-winning storyteller and Impact Producer for the film… Lovely Umayam is the founder and chief creative producer for Bombshelltoe, an arts collective pushing for an active exploration of arts, culture, and history to promote nuclear nonproliferation, arms control, and disarmament and impact fellow for the film. So without further ado, please enjoy this conversation with the creative team from On the Morning You Wake.

Guest: Shane Diamond, Impact Producer of "Changing the Game" Discussion: What it means to be a trans athlete; Defining queering; How to change the narrative on trans representation in the media

Ani Mercedes who is C.E.O., Founder and Impact Producer of Looky Looky Pictures, an impact production company that connects the power of films with the power of people. They work with stories that go beyond empathy; that aim to participate in the transformational work of building solidarity with (rather than for) the communities they aim to serve. Ani and her team have implemented and advised on impact production for over 800 filmmakers including the films Through the Night, Councilwoman, Building the American Dream, and LIYANA.

We have the pleasure of speaking with Sarah Beard, CEO of Take 3 for the Sea, who for over 30 years has celebrated our oceans through her work in film and television making remarkable contribution to global ocean conservation and the critical issue of plastic pollution as a Producer and Impact Producer of the award-winning documentary, Blue.   Take 3 for the Sea is an incredible global movement currently contributing to the removal of 10 million pieces of rubbish annually, it has Participation in 129 countries and has educated More than 500,000 people.   Links for Take 3 for the Sea Website- take3.org Instagram- https://www.instagram.com/take3forthesea/ Facebook- https://www.facebook.com/take3forthesea    We invite you to join us in acknowledging the traditional custodians upon the lands where this podcast is created and listened to. And pay respect to their Elders, past, present, and emerging.

What are the challenges of living as a LGBTQ+ Christian? In this Zoom event, two of our friends will share their stories from their intersectional contexts. You will reaffirm the importance of being an Open and Affirming congregation and how/what we can move forward. Storyteller: Myles Markham (he/him or they/them) is a Los Angeles based graduate of Columbia Theological Seminary, an Impact Producer for Multitude Films, and a Mission Specialist for Presbyterian Disaster Assistance, the disaster and refugee response ministry of the Presbyterian Church (U.S.A.) Previous to these roles, Myles served as a faith organizer, educator, and consultant in the issue areas of racial, reproductive, and LGBTQ justice. Storyteller: Rev. Jon Gilbert Martinez (él, he, him, his), Gilbert as he prefers, is a multi-generational Tejano (Texan) and Chicano (Mexican-American) who's lived in Chicago since 2015. He is a 2019 Garrett-Evangelical Theological Seminary graduate with a Master of Divinity. He also holds a bachelor's degree in sociology minor in psychology from the University of Texas-Pan American and two associate degrees from South Texas College. Before being called as designated-term pastor (February 2021) to concentrate on interim work, Gilbert served San Lucas UCC-Chicago as the digital outreach minister, community pastoral care minister, and pulpit supply minister. He serves as vice-moderator for the Chicago Metropolitan Association, which allows him a seat on the Illinois Conference Council. Additionally, he works as the communications consultant for The Colectivo de UCC Latinx Ministries. Recently, he joined Advocate-Aurora Health's Mission & Spiritual Care committee. Gilbert also served as a board member and vice-chair for the UCC Mental Health Network Board of Directors. As an advocate for mental health awareness, Black Lives Matter, immigration justice, LGBTQ community, and an extravagant welcome to all of God's children, to name a few, Gilbert has completed Mental Health First Aid and Companionship training. Part of his self-care includes spending time with his family, consisting of his two-year-old son, teenage nieces, sister, husband, and fur babies. Moderator: Charing Wei-Jen Chen (he/him) is a PhD student at Chicago Theological Seminary. His M.Div thesis is titled “Reading Leviticus 18:22 and 20:13 in a queer lens” (2014), a first theological essay regarding queer theory in Taiwan. He is co-hosting the Queer of God Podcast that provides queer bible commentaries in Mandarin. He loves Star Trek and The Beatles. Affirming ministry at United Church of Hyde Park https://www.uchpchicago.org/affirming-ministries.html #UCHP #BestONA -- United Church of Hyde Park (1448 E 53rd St, Chicago, IL 60615) More information, https://uchpchicago.org/

Wrap up Pride month with playwright and impact producer, Javier Rivera DeBruin, and hosts Meghan and Holly! Javi discusses how queerness, magical realism/fantasy/scifi in theatre allows a unique opportunity for anything to happen, the dynamics of family in their writing and in the theatre community, and why theatre is the Grey Gardens of the arts. Learn what Javi does as an Impact Producer for documentaries like DISCLOSURE and TRANS IN TRUMPLAND, practices that theatre could adapt from documentaries, and the rewards of contributing to the counter narratives to the recent attacks against trans youth. Holly and Meghan also discuss upcoming shows in July and how you can support the Equality Act!   Upcoming Shows:  Trans Moses at Ars Nova - Created & Performed by Christian Luu   Brother, Brother at NYTW - by Aleshea Harris, directed by Shayok Misha Chowdhury Action of the Ep:  Call and email your Senators to support the Equality Act Javier Rivera DeBruin: Website | Instagram | Twitter  Parsnip Ship Radio Roots Writers' Group DISCLOSURE TRANS IN TRUMPLAND Queer Culture Recs: Cemetery Boys by Aiden Thomas  Felix Ever After by Kacen Callender Queer Gives: Third Wave Fund - DONATE Sex Worker Giving Circle Thesis on Joan: Follow Thesis on Joan on Instagram & Twitter  Leave us a voicemail at (845) 445-9251‬ Email us at thesisonjoan at gmail dot com Learn more about your ad choices. Visit megaphone.fm/adchoices

Bonus Episode of The Heumann Perspective: A Post Oscars Chat with Andraéa LaVant! We talk about all things fashion, celebrities and what you might not expect to be the highlight of Andraéa's week in LA!   Andraéa LaVant is a Disability Justice leader, Impact Producer for Crip Camp, President of LaVant Consulting, and dedicated dog mom to Goji- the first service dog to grace the red carpet at the Oscars. Be sure to follow Andraéa on twitter and Instagram @andraealavant and LaVant Consulting on Instagram @lavantconsulting

Fri, 07 May 2021 07:00:00 +0000 https://efm-industry-insights.podigee.io/12-global-north-global-south-narrative-sovereignty-2 f4c75bbd29763f7f665bc31bdaf55247 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by curator-producer Nadia Denton and industry analyst Johanna Koljonen, it delves deep into the rapidly evolving film industry. In this series of two episodes, the podcast will re-examine the influence that the Global North has on the film production, aesthetics and perspectives portrayed of the Global South. Alongside esteemed professionals across the spectrum of the film industry who are specialists in this area - Tamara Falicov, Tiny Mungwe, Tessa Boerman, Tamara Dawit, Lamia Belkaied Guiga and Abhishek Nilamber - the discussions and debates will identify the mechanisms that underpin Global North-South dynamics in the film industry, looking in particular at distribution, financing and festival engagement. We will examine the extent of the imposition of a Western gaze on the Global South and how far this leads to content which is either stereotypical or which fails to challenge the actions of the Global North. Nadia Denton [link to www.nadiadenton.com] is film industry specialist with over a decade of experience as a Curator, Impact Producer and Author. Her focus has been on cinema of the African diaspora, she specialises in Nigerian Cinema and is author of two books The Black British Filmmakers Guide to Success and The Nigerian Filmmaker's Guide to Success: Beyond Nollywood [link to www.beyondnollywood.com]. Nadia is also an official V&A African Heritage Tour Guide [link to www.africanheritagetour.co.uk]. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut. full no Film Market,Berlinale,Goethe Institut,EFM,Film Festival,Inclusion,Diversity,Entertainment Industry,Film Financing,Film Business European Film Market

Fri, 09 Apr 2021 08:15:42 +0000 https://efm-industry-insights.podigee.io/11-global-north-global-south-narrative-sovereignty-1 267297531ea908ff64844d073d4b4fc1 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by curator-producer Nadia Denton and industry analyst Johanna Koljonen, it delves deep into the rapidly evolving film industry. In this series of two episodes, the podcast will re-examine the influence that the Global North has on the film production, aesthetics and perspectives portrayed of the Global South. Alongside esteemed professionals across the spectrum of the film industry who are specialists in this area - Tamara Falicov, Tiny Mungwe, Tessa Boerman, Tamara Dawit, Lamia Belkaied Guiga and Abhishek Nilamber - the discussions and debates will identify the mechanisms that underpin Global North-South dynamics in the film industry, looking in particular at distribution, financing and festival engagement. We will examine the extent of the imposition of a Western gaze on the Global South and how far this leads to content which is either stereotypical or which fails to challenge the actions of the Global North. Nadia Denton [link to www.nadiadenton.com] is film industry specialist with over a decade of experience as a Curator, Impact Producer and Author. Her focus has been on cinema of the African diaspora, she specialises in Nigerian Cinema and is author of two books The Black British Filmmakers Guide to Success and The Nigerian Filmmaker's Guide to Success: Beyond Nollywood [link to www.beyondnollywood.com]. Nadia is also an official V&A African Heritage Tour Guide [link to www.africanheritagetour.co.uk]. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut. full no Film Market,Berlinale,Film Business,Diversity,Goethe Institut,Film Financing,Film Festival,Inclusion,EFM,Entertainment Industry European Film Market

5 Best Ways to Market and Distribute Your DocumentaryAfter all of the time, energy, and money spent getting one's documentary film to completion, how does an independent documentary filmmaker market and distribute their doc once it's finished? In this week's opening segment we'll discuss 5 best ways to market and distribute your documentary.   Podcast Conversation And in our shared conversation, we talk with http://brooklynfilmmakerscollective.com/members/nathan-fitch (Brooklyn Filmmakers Collective) alum, https://www.nathan-fitch.com/ (Nathan Fitch), whose documentary, http://www.islandsoldiermovie.com/ (Island Soldier), is making big waves on the documentary film circuit, including stops at https://www.fullframefest.org/ (Full Frame), https://www.hotdocs.com/ (Hot Docs), and this week, in http://www.docnyc.net/ (DocNYC). Among topics discussed: How a stint in the Peace Corps led to his documentary filmmaking career The importance of becoming entrenched with a community that you'd like to film How one goes about applying to film with the military How the documentary life is not an easy one, but it's a worthy one   Related ResourcesWatch the trailer for http://www.islandsoldiermovie.com/ (Island Solider) https://vimeo.com/203928301   Impact ProducerLearn more about Impact Producer position & download free booklet & video! https://impactguide.org/ (The Impact Field Guide & Toolkit)   Places to discover more about the Impact Producer and these entities can help get your film the outreach that it deserves: http://www.pbs.org/pov/ (POV) http://www.thefledglingfund.org/ (Fledgling Fund) https://www.tugg.com/ (Tugg)   Subscribehttps://podcasts.apple.com/us/podcast/the-documentary-life/id1112679868 (Apple) | https://open.spotify.com/show/0wYlYHJzyk3Y7fHzDDwvmp (Spotify) | https://www.stitcher.com/podcast/thedocumentarylife/the-documentary-life (Stitcher) |  Rate and ReviewIf you have found value in this podcast please leave a review so it can become more visible to others. Simply click the https://itunes.apple.com/us/podcast/documentary-life-filmmaking-documentary-films-documentary/id1112679868?mt=2 (link) and then click on the Ratings and Reviews tab to make your entry. Thank you for your support!