Podcasts about itvs

Welcome to Media in the Mix, the only podcast produced and hosted by the School of Communication at American University. Join us as we create a safe space to explore topics and communication at the intersection of social justice, tech, innovation & pop culture. This week on Media in the Mix, we're joined by none other than, Jamie Sisley! Jamie Sisley is an Emmy Award-winning filmmaker who recently wrote and directed "Stay Awake," a narrative feature film that premiered at the 2022 Berlin Film Festival, where it won the AG Kino Gilde Auteur Award and was Honorable Mention for the Crystal Bear. Starring Chrissy Metz ("This Is Us"), Wyatt Oleff (“IT," Netflix's “I Am Not Okay With This," Apple's “City on Fire”), and Fin Argus (Max's “Queer As Folk,” “The Other Two”), "Stay Awake" is a personal exploration of the roller coaster ride that families go on while trying to help their loved ones battle addiction. The feature is based off a short film of the same name that Jamie also wrote and directed. The short film premiered at the 2015 Berlin Film Festival, won both the National Board of Review Film Prize and Slamdance Grand Jury Prize, and played over 120 film festivals around the world.In addition, Jamie received an Emmy Nomination for his feature documentary, "Farewell Ferris Wheel." Shot over the course of six years, "Farewell Ferris Wheel" explores how the U.S. Carnival industry fights to keep itself alive by legally employing Mexican migrant workers with the controversial H-2B guestworker visa. The film won the Creative Promise Award from the Tribeca Film Institute, received an Imagen Award Nomination for the positive portrayal of Latinos in entertainment, and was nationally broadcast on PBS and Netflix.Jamie's work has been supported by the Sundance Institute, SFFILM, Tribeca Film Institute, Film Independent, ITVS, and The Smithsonian Institute. Prior to film, Jamie was an artist manager in the music industry at Red Light Management.Learn more about SOC in the links below. Graduate Admissions:http://www.american.edu/soc/admissions/index.cfmUndergraduate Admission:https://www.american.edu/admissions/ Follow us on Facebook: https://www.facebook.com/ausoc/Follow us on Twitter: https://twitter.com/au_socFollow us on Instagram: https://www.instagram.com/ausoc/?hl=en

This episode offers a valuable, concrete opportunity for funders to collectively and individually support their grantee organizations and the nonprofit sector, and to break out of a period of general confusion, silence, and inaction. In this fourth installment of our bi-weekly “Defend Nonprofit, Defend Democracy” Series, host Rusty Stahl sits down in-person with Shaady Salehi, co-executive director of the Trust-Based Philanthropy Project. They discuss a new action pledge designed to unite philanthropic funders in support of nonprofits in this new political period of political attacks on nonprofits and philanthropy, fear of speaking out, destabilized government funding, and increasing demand on nonprofits. Shaady introduces the "Commitment for Trust-Based Action," a funder pledge developed by Trust-Based Philanthropy Project, Grantmakers for Effective Organizations, and the National Center for Family Philanthropy. The pledge outlines three key commitments: moving in solidarity with nonprofits; mobilizing money in a trust-based way; and nurturing possibility and innovation.The conversation highlights how nonprofits are facing unprecedented challenges, with 90% reporting negative impacts from federal policies. Salehi emphasizes practical actions funders can take, including offering multiyear unrestricted funding, increasing grant budgets, simplifying application processes, and considering alternative funding structures like gifts instead of grants. She explains these recommendations were developed by listening directly to nonprofit leaders who reported feeling isolated and pulled in different directions by uncoordinated funder responses.Salehi also discusses how this commitment addresses the need to resource nonprofit leaders' creativity and strategic thinking as they reimagine their work for a dramatically different future. She encourages foundations to support connection and convening among nonprofits and explore creative funding opportunities beyond traditional 501c3 structures. The initiative aims to create a united front for the social sector during turbulent times, with Salehi inviting both funders to sign on and nonprofits to share the commitment with their funders to start conversations.You can find all the episodes of this podcast plus our blog, toolkit and other resources at ⁠⁠⁠⁠⁠⁠⁠fundthepeople.org⁠⁠⁠⁠⁠⁠⁠. And we invite you to learn from all the amazing past guests of Fund the People - A Podcast with Rusty Stahl at ⁠⁠⁠⁠⁠⁠fundthepeople.org/ftp_podcast⁠⁠⁠⁠⁠⁠.BioShaady Salehi is the co-executive director of the Trust-Based Philanthropy Project, a 5-year learning and advocacy initiative to make trust-based practices the norm in the philanthropic sector. Throughout her career, Shaady has worked in various social sectors using strategic communications to galvanize coalitions, establish legacies, generate buy-in, and strengthen networks. Previously, Shaady was Managing Director of Distribution and Impact at ITVS, where she led a team to advance the reach and impact of documentaries on public television. Prior to ITVS, she was Executive Director of Active Voice, a pioneering organization that uses storytelling to catalyze social change. Shaady is a 2014 Aspen Institute Fellow and sits on the board of Let It Ripple, a nonprofit that experiments with collaborative filmmaking for the common good. She holds an M.S. in Strategic Communications from Columbia University, an M.A. in Anthropology from UC Davis, and a B.A. in Anthropology from Oberlin College.ResourcesMeet the Moment: A Call to Action for PhilanthropyCEP report: How U.S. Nonprofit Leaders Are Experiencing the Political ContextTrust-Based Philanthropy ProjectGrantmakers for Effective OrganizationsNational Center for Family Philanthropy

Fasten your seatbelt—this episode is about to take off! Anne Bonney welcomes Emma Henderson (www.emma-henderson.com), a former airline captain, leadership expert, and charity founder, to share her journey of resilience, leadership, and making a difference. Emma's story takes you from the skies to the frontlines of the pandemic, with lessons that will inspire you to lead with humanity, humility, and humor.What You'll Discover in This EpisodeHow a 10-Year-Old Girl Dreamed of Flying High:Emma's fascination with aviation began at age 10 with a chance encounter at an airport. Find out how her unconventional path led her to the captain's seat in a male-dominated industry.Grounded but Not Defeated:A neurological disorder once clipped her wings, but Emma turned failure into fuel for growth. Curious about what she learned from being grounded? Tune in to hear her take on resilience and the value of embracing setbacks.The Birth of Project Wingman:When the pandemic grounded planes, Emma co-founded a charity that brought airline crews together to support frontline medical staff. Discover how this initiative grew into a nationwide movement, complete with mobile lounges and even an MBE from the Queen!Leadership Lessons from 35,000 Feet:Emma's time as a captain taught her the power of decision-making, teamwork, and leading under pressure. She now shares her principles of "Grounded Leadership" that prioritize humanity, humility, and humor.Life Beyond the Skies:From writing her book Grounded to planning a new project about pandemic resilience, Emma's story is still unfolding. Could her leadership insights change how you approach challenges?Plans Over Resolutions:Emma's philosophy? Purposeful plans beat fleeting resolutions every time. How does this approach shape her leadership style and personal growth? Listen to find out!Why You Need to Tune InThis episode is packed with wisdom, inspiration, and plenty of surprises. Emma's story isn't just for aspiring pilots—it's for anyone who wants to rise above setbacks, lead with purpose, and make a lasting impact.

Hoy por Hoy Castilla-La Mancha

Hoy por Hoy Castilla-La Mancha

Our special guest today is Karla Murthy, an Emmy-nominated producer who has been working on news documentaries for over 15 years. She began her career working for the veteran journalist Bill Moyers and has been a producer, cinematographer, and correspondent for several news programs on PBS. Her award-winning work was described in the Columbia Journalism Review as “compelling, informative, and compassionate.” Her directorial debut, the feature documentary The Place That Makes Us screened at numerous film festivals and had its national broadcast premiere on America ReFramed. She is now working on her next feature documentary film called The Gas Station Attendant, a co-production with ITVS for public television. Karla is of Filipino and South Asian descent. She grew up in Texas studying classical piano and graduated from Oberlin College with a degree in Religion and Computer Science. Today we'll discuss her recent short film Love, Jamie, about a transgender artist incarcerated in Texas.

Nueva jornada de paros de los trabajadores de las ITVs, los sindicatos anuncian que ante la falta de acuerdo el lunes van a registrar una convocatoria de huelga indefinida para todo el mes de octubre.  Protestas también esta tarde en Campillo del Río, en Jaén, los vecinos rechazan la instalación de una macrogranja de cerdos en el término municipal; denuncian los problemas de contaminación y de malos olores de este tipo de instalaciones ... Un juzgado de Vélez Málaga investiga a más de medio millar de personas por presuntos delitos de fraude fiscal y blanqueo de capitales en la compraventa de frutas subtropicales en la comarca malagueña de la Axarquía. Escuchar audio

Nuevo tiroteo en una reyerta esta vez en Loja, en Granada, hay dos heridos, uno de ellos grave que ha sido trasladado a un centro hospitalario de la capital.  Jornada de protestas y manifestaciones, en Sevilla centenares de vecinos de varios barrios de la capital han denunciado los cortes de luz que se ven obligados a sufrir y el estado de abandono por parte del ayuntamiento de la capital. En Baza varias asociaciones han reclamado la vuelta de la línea férrea Guadix-Baza...  Sigue la huelga en toda Andalucía de los trabajadores de las ITVs que exigen la renovación de su convenio....  Sábado 21 de septiembre en el que se celebra el día mundial del Alzheimer. Las asociaciones de familiares y afectados piden más investigación y más apoyo de las administraciones a los enfermos ...Escuchar audio

La Guardia Civil ha detenido al acusado de asesinar presuntamente a los dos guardias civiles, David Pérez y Miguel Ángel González, que murieron arrollados por una narcolancha el pasado mes de febrero en Barbate. Ha sido arrestado esta mañana en la provincia de Cádiz. También se han solicitado tres órdenes internacionales de detención contra los otros tres ocupantes de la embarcación, también identificados. El arrestado es Karim El Baqqali, de 32 años. Se encuentra arrestado en los calabozos de la comandancia de la Guardia Civil de Cádiz a la espera de pasar a disposición judicial.En Bruselas, última reunión para tratar de avanzar en el acuerdo de la futura relación de Gibraltar con España y el resto de la Unión Europea tras el Bréxit. Un encuentro en el que participan los ministros de Exteriores de España y Reino Unido, el ministro principal de Gibraltar y el vicepresidente de la Comisión Europea y con el que pretenden reactivar y cerrar próximamente todas las negociaciones con el nuevo gobierno británico. Mientras, en el Campo de Gibraltar siguen mirando con recelo a unos negociaciones que, esperan trabajadores transfronterizos y ayuntamientos, acabe pronto. Jornada de huelga general hoy en todos los centro de las Inspecciones Técnicas de Vehículos, las ITVs, cuyos trabajadores reclaman mejoras en sus condiciones de trabajo. Huelga que comienza hoy y se extenderá lo que resta de septiembre convocada por Comisiones Obreras y UGT con el que buscan que la empresa pública VEIASA firme un nuevo convenio colectivo que iguale las condiciones de sus 2.000 trabajadores al resto de empleados públicos. Esta primera jornada, según los sindicatos, está teniendo un seguimiento del 98%.Escuchar audio

Jamila Wignot is an award-winning documentary filmmaker. Her body of work includes, the Emmy-nominated MAKERS: WOMEN IN BUSINESS; THE AFRICAN AMERICANS: MANY RIVERS TO CROSS, hosted by Henry Louis Gates, which won a Peabody, Emmy, and NAACP awards; TOWN HALL a feature-length co-production with ITVS about the Tea Party movement; and for AMERICAN EXPERIENCE the Peabody Award-winning, "Triangle Fire" and Emmy-nominated "Walt Whitman". Wignot's producing credits include “The Rehnquist Revolution,” the fourth episode of WNET's series THE SUPREME COURT which was an IDA Best Limited Series winner and STREET FIGHTING MAN, character-driven documentary, currently in post-production, about the daily lives of three men surviving in the neighborhoods of post-industrial Detroit.

I'm beyond thrilled to have my next guest on the show. Not only is Lois Vossen a legend in documentary film but she's also the person that put my first film into the world. We cover a lot of ground and her perspective on the state of things will be very interesting to anyone working doc film today. Lois Vossen is the Founding Executive Producer of Independent Lens, leading the PBS series to win 27 Emmy Awards, 28 Peabody Awards, 10 duPont-Columbia Awards, and 10 Oscar nominations. Previously, she was the Associate Managing Director of Sundance Film Festival and Labs. She served on the Television Academy Board of Governors and continues on its DEIA Committee. Lois is a member of AMPAS and has been on juries for festivals like TIFF, SXSW, and Palm Springs. Under her leadership, Independent Lens has co-produced notable films like Philly D.A., I Am Not Your Negro, and The Trials of Muhammad Ali. Please reach out if you have questions or guest suggestions. neil@brkly.com IG: neilpberkeley

Jaume Segalés y su equipo hablan de ITVs en la carretera y de cine clásico, en este caso con Papá piernas largas.

Alexis Neophytides is a distinguished documentary filmmaker based in New York City, recognized for her impactful storytelling and advocacy through film.Her recent co-directorial work includes "Fire Through Dry Grass" with Andres “Jay” Molina, a poignant exploration of art and activism by the Reality Poets inside their nursing home during the COVID-19 pandemic. This film garnered acclaim as a New York Times Critic's Pick, premiered at BlackStar in 2023 winning the jury award for Best Feature Documentary, and is broadcast + streaming on POV/PBS.Alexis's debut feature-length documentary, "Dear Thirteen," premiered at DOC NYC in 2022 and is distributed by Journeyman Pictures + Grasshopper Film, delving into the complexities of coming of age in today's world.Alexis Neophytides is also the co-creator, co-director, and producer of "Neighborhood Slice," an Emmy-nominated public television series highlighting the stories of longtime New Yorkers navigating gentrification. Her dedication to storytelling earned her a NY Emmy for the series "9.99."Throughout her career, Alexis has garnered support from esteemed organizations such as ITVS, the Ford Foundation, Field of Vision, IDA, Perspective Fund, Fork Films, the New York State Council on the Arts, the NYC Women's Fund, and she is a Sundance Institute Documentary Film Grantee.In addition to her filmmaking achievements, Alexis has been instrumental in developing filmmaking programs, designing curricula, and mentoring students across New York City, including roles at The Video Lab at The New School, The TEAK Fellowship, and OPEN DOORS. She holds a BA from Brown University and an MA in Media Studies from The New School.Alexis Neophytides continues to provoke meaningful dialogue on critical social issues through the powerful medium of documentary film, inspiring audiences worldwide.W: https://www.alexisneophytides.com/aboutVoices of Change: A Conversation with Alexis Neophytides on Documentary Filmmaking and Storytelling for ImpactPath to Documentary Filmmaking:Alexis Neophytides' journey from Brown University and The New School to acclaimed documentary filmmaking.What initially drew her to the art and power of documentary storytelling?Insight on "Fire Through Dry Grass":A deep dive into "Fire Through Dry Grass," exploring life inside a nursing home during the COVID-19 pandemic.How Alexis managed to convey a personal and impactful narrative amidst pandemic challenges.Messages she hopes audiences take away from the film.Creative Process Behind "Dear Thirteen":Exploring adolescence and cultural diversity through "Dear Thirteen."Approach to capturing the universal yet unique experiences of coming of age across different cultures.Surprising discoveries from the stories uncovered.Neighborhood Slice and New York City:Showcasing resilience in the face of gentrification through "Neighborhood Slice."Lessons learned about the spirit of New York City from documenting community narratives.Criteria for selecting compelling stories to tell.Awards, Recognition, and Impact:How Alexis measures success beyond awards and critical acclaim.Memorable feedback or moments from audiences that have resonated deeply.Educational Involvement and Mentoring:Alexis' contributions to education and mentorship in NYC.Influence of her educational work on her filmmaking and vice versa.Projects Supported by Major Organizations:Insights into securing support and partnerships from Sundance, Ford Foundation, ITVS, and others.Importance of these collaborations in realizing her documentary visions.Advice to Aspiring Documentarians:Guidance for emerging filmmakers navigating the evolving landscape of documentary filmmaking.Tips for tackling important social issues through film.Looking Ahead:Future themes and stories Alexis is eager to explore in her upcoming projects.Educational Benefits: This episode provides valuable insights into the creative and logistical processes behind documentary filmmaking, offering aspiring filmmakers a roadmap to storytelling that resonates with audiences while addressing pressing social issues. Alexis Neophytides' journey and experiences also highlight the educational and societal impacts of documentary films, making it a rich resource for students and educators interested in film studies, social sciences, and media literacy.Damien Swaby Social Media Links: Instagram: https://www.instagram.com/filmmaker_damien_swaby/ Twitter: https://twitter.com/i/flow/login?redirect_after_login=%2FDamienSwaby Also, you can check out my documentary The People of Brixton, on Kwelitv here: The People of Brixton https://www.kweli.tv/watch/kweli/the-people-of-brixton

Tom Bradby is joined by Robert Peston and Anushka Asthana to discuss the fallout from ITVs debate as Rishi Sunak and Sir Keir Starmer went head-to-head for the first time.Plus Julie Etchingham discusses the challenges of moderating the live debate, and Carl Dinnen also speaks of the mood in the Labour camp after Mr Sunak's £2,000 tax hike claim.

In Berkeley Talks episode 198, documentary filmmaker Carrie Lozano delivers the keynote address at the 2024 Berkeley Journalism commencement ceremony. Lozano, who graduated from the school of journalism in 2005 and later taught in its documentary program, is now president and CEO of ITVS, a nonprofit that coproduces independent films for PBS and produces the acclaimed series, Independent Lens. “I've had a lot of tough moments in my career, sometimes feeling like I was not going to recover,” Lozano told the graduates at the May 11 event. “I have put energy into my process for dealing with staggering mistakes and things that don't work out.“First, I own my mistakes. We all make mistakes and it's OK to own them and take responsibility. And it's so liberating actually to just take responsibility for them. And then I do this: I allow myself, depending on the gravity of the situation, time to sulk or to cry, to be depressed, to be upset, to be angry, to feel all the feelings. But I am finite about it. Some things require a few hours. Some things might require a few days. Some things might require therapy. Whatever it is, I figure it out.“And then, I just try to figure out: What did I learn? How can I make it worth it? That was so damn painful … how can I make this mean something to me? How can I do better next time? Or at least not repeat it?"“It's super helpful to know that the feeling of failure is not the same thing as failing," she continued. "It's part of being human. It's part of growing. It's necessary. It's messy. It's life.”Berkeley Journalism recently launched a $54.4-million campaign to support the next generation of journalists whose stories will affect democracy, justice, human rights and the health of our environment. Learn more about the Campaign for Berkeley Journalism.Listen to the episode and read the transcript on Berkeley News (news.berkeley.edu/podcasts).Music by Blue Dot Sessions.UC Berkeley photo by Amin Muhammad. Hosted on Acast. See acast.com/privacy for more information.

Produced and directed by Margo Guernsey and Time Travel Productions, this film tells a story that continues to resonate today as women seeking ordination continue to face resistance, disrespect and exclusion from roles reserved by men for men. The documentary explores the lives of these remarkable women who succeeded in transforming an age-old institution despite the threats to their personal safety and the risk of rejection by the church they loved. (This is still a controversial issue today and worth examining to stay informed in our thinking.) Margo Guernsey Filmmaker Margo Guernsey: Films include Councilwoman (America ReFramed 2019), No Time To Fail (America Reframed 2023) and The Philadelphia Eleven (opening in select theaters this May). Prior to film, Margo worked as a union organizer, non-profit development director, and Spanish/English translator. Margo's work has received support from Chicken & Egg Pictures, ITVS, Catapult Film Fund, GoodPitch, Perspective Fund, Ford Foundation, LEF Moving Image Fund and the National Endowment for the Humanities, among others. She holds an MFA in Film (University of Miami), MA in History (UMass Amherst), and a BA in History (Brown University). Margo teaches production as affiliated faculty at Emerson CollegeFilm SiteMay 21, 2024Select release cities and theaters:Phoenix, AZ (Scottsdale) — Harkins Shea 14Washington DC (Silver Spring, MD) — AFI Silver Theater Philadelphia, PA — Bryn Mawr Film Institute New York City, NY — DCTV

Rural hospitals around America are closing at alarming rates, leaving communities without care. Since 2005 more than 190 rural community hospitals, mostly in the South, have closed. In this documentary If Dreams Were Lightning: Rural Healthcare Crisis Oscar-and Emmy-nominated director Ramin Bahrani visits Appalachia, where American communities are left with limited or no access to healthcare. Explore the rural healthcare crisis in the South through the eyes of those struggling in it and the dedicated doctors trying to reach them. If Dreams Were Lightning: Rural Healthcare highlight the challenges faced by Rural American communities today intimately through the lens of individuals, families, and tight-knit towns, underscoring the urgent need for systemic change in the national healthcare, climate and mental health systems. If Dreams Were Lightning: Rural Healthcare Crisis capped off the 2023 Winter Season for INDEPENDENT LENS, the award-winning PBS documentary anthology series presented by ITVS. Director Ramin Bahrani (Chop Shop, 99 Homes) joins us for a conversation on the existential and personal inspiration for the film, traveling around Appalachia in the Health Wagon with Dr. Teresa Tyson and Dr. Paula Hill-Collins and how the heartbreaking stories told by the people living without access to affordable healthcare has impacted his life. For more go to: pbs.org/if-dreams-were-lightning Support affordable healthcare @thehealthwagon.org

Todo el mundo ha tenido alguna mala experiencia ya sea en la compra de sus vehiculos, en las visitas a los talleres o en las infames ITVs. En este capitulo comentamos las nuetras con el invitado de hoy, @KiraMoto el cual nos trae un tema jugosito como es "motos vs enlatados"

Carrie Lozano has played a lot of important roles in the documentary field. Until not long ago she headed the Sundance Institute's Documentary Film and Artist Programs. Before that, she designed and directed the International Documentary Association's Enterprise Fund. Her gig right now is heading up ITVS, the Independent Television Service, which, among other things, funds and distributes public TV docs, and brings us the long-running, much-decorated PBS series Independent Lens. All her experience puts her smack in the middle of a lot of the conversations going on in the documentary world about cinema, journalism, and about the role of both in a democracy, and we talk about all that and more. More about Carrie here. Note: In this episode, we mention the fact that one of my favorite films of 2022, Reid Davenport's “I Didn't See You There,” is not streaming. Reid tells me he hopes to have it available on iTunes and Amazon on 1/10/24. Highly recommended!Films mentioned in this episode:I Didn't See You There (2022), Dir. Reid DavenportThe Day After Trinity (1981), Dir. Jon ElseThe Devil Never Sleeps (1994), Dir. Lourdes PortilloOppenheimer (2023), Dir. Christopher NolanOther mentions:Independent LensFault LinesIndependent Television  Service (ITVS)FrontlinePOVAmerica ReframedFirelight MediaFollow us on Instagram! @ThousandRoadsPodSpecial thanks for helping make this series happen: Sara Archambault, Florence Barrau-Adams, Jon Berman, Ben Cuomo (music), Jax Deluca, Pallavi Deshpande, Nancy Gibbs, Kathleen Hughes, Caroline Kracunas, Laura Manley, Alexis Pancrazi, Liz Schwartz, Jeff Seelbach, Lindsay Underwood (logo/graphics)This episode was supported by a fellowship at the Shorenstein Center on Media, Politics and Public Policy at Harvard Kennedy School.

This week we have Clodagh McKenna on our mini episode: The Dream Dinner Party. Clodagh is so much fun. She makes the most delicious food but she also makes the setting and everything look so beautiful. You'll have seen her cooking on ITVs this morning, as well as her brilliant instagram videos she did during lockdown that brought a lot of cheer to people. I think she is one of the only dream dinner party hosts where I have actually been to a dinner party she hosted and it was so much fun. A lot of dancing, mainly to Tina Turner and so I knew her dream dinner party would be very special. Clodagh has just announced that her Irish Tea Brack has launched - you can order it from her website www.clodaghmckenna.com and it will be delivered 24 hours after it comes out of the oven! Delicious!!Don't forget to leave a review if you havent already. And sign up for the newsletter at www.desertislanddishes.co - there are now over 12,000 of you on the newsletter which is so so exciting to me. THANK YOU!And a huge thanks to my amazing producer Georgie - find her at www.rutherfordproductions.co.uk. She's the best and I'm so grateful for all her help with bringing this to you each week. See you next time for more Desert Island Dishes x Hosted on Acast. See acast.com/privacy for more information.

Estrenamos una temática nueva en nuestro podcast. Descubrimos el mundo de las ITVs de la mano de Nicolás Aymerich, Director General de ITEVELESA Automotive, una empresa especializada en proporcionar servicios de ITV sobre los vehículos para profesionales y recientemente también para particulares. Tanto en el momento de compra como de venta del coche por parte del profesional, la revisión exhaustiva del estado del vehículo es un punto fundamental para establecer un precio acorde al valor real del vehículo y para evitar compras o ventas que se terminen complicando para el compraventa con todo lo que esto comporta en pérdida de tiempo y dinero, y quizás también de reputación. ITEVELESA Automotive nos comparte sus consejos prácticos para mitigar estos riesgos y nos explica cómo están ayudando a concesionarios y compraventas muy relevantes del mercado español a realizar la tarea del outsourcing de la función de revisión del vehículo. Si eres un concesionario o compraventa de vehículos y te interesa saber cómo podría incorporar tu empresa un proceso fiable y externalizado de la función de revisión vía ITVs del vehículo, este capítulo te va a ayudar.

This time Maynard Paton and Roland Head discuss ITV and the investment potential of commercial television. Roland owns ITV making his first purchase in 2019 with subsequent purchases in 2020. Roland believes ITV is currently undervalued, making the case that the market is undervaluing the studio side of the business and that ITV's shift to digital streaming is actually going much better than they are being credited for. This Combined with a 6% yield makes it an attractive position for Roland's dividend-producing portfolio. This is a great analysis of a company that perhaps many have dismissed due to the rise of streaming but ITV has done a fairly good job of navigating this transition with the rise of the studio business becoming a large part of their revenue. Roland shares the bull case for ITV while Maynard looks at the company with his trademark forensic analysis of ITVs strategy, financials and management. Is Maynard convinced, or has Roland missed something that could change his mind? Timestamps: 2:15 Overview of ITV's recent financials and strategy. 3:35 Discussing the 6% dividend yield. 5:00 Roland's bull case for ITV. 6:20 Discussing the financial record of ITV. 8:15 Discussing the studio's part of the business. 10:00 Discussing other income streams such as high-value scripted content. 12:20 The KPIs for the studios. 13:30 Discussing the traditional advertising side of the business. 15:25 Shifting to ITVs new streaming platforms ITVX, Planet V and Brit Box. 21:35 Discussing the valuation of ITV and pension deficits. 29:25 Discussing the revenue per employee. 30:15 Discussing the Debt of ITV. 32:00 Discussing current management, AGM votes and CEO Carolyn McCall's remuneration.  36:45 ITV's relationship with System 1. 38:30 Final thoughts and wrap up. If you like the episode, please subscribe for future company reviews. Maynard & Roland. You can listen to more investor content from our partner podcasts The Value Trapped Podcast and The Fund Your Retirement Podcast. Maynard, Roland & ITV Resources:  ITV.com/investors: https://www.itvplc.com/investors Follow Maynard on Twitter: https://twitter.com/maynardpaton Follow Roland on Twitter: https://twitter.com/rolandhead Visit Maynard's Quality UK Investment website here https://maynardpaton.com/ Visit Roland's Dividends Investing website here: https://www.rolandhead.com/ Visit Fund Your Retirement: https://www.fundyourretirement.com/ Disclaimer: This presentation is for educational purposes only. All opinions and information are for demonstrational purposes and do not constitute investment advice. Trading and investing carries a high level of risk and are not right for everyone. If you need financial advice, consult with a regulated financial adviser in your country before making any decisions.

Welcome back to Girls Know Nothing!

Award-winning filmmaker Tyler Measom specializes in high profile, character-based nonfiction films and series.Measom is the co-director of the hit Netflix series Murder Among the Mormons. He also co-directed the documentaries In The Balance: Ballet's Lost Year and I Want My MTV (Tribeca, A&E), An Honest Liar (Tribeca, ITVS) and Sons of Perdition (Tribeca, Oprah Documentary Club). He has produced the films TAKE (Tribeca, Showtime), the Showtime doc Jesus Town, USA, and the NYTimes documentary ELDER. Measom is the producer and host of the Webby Award winning documentary podcast Was I In a Cult?Tyler is currently directing the three-part documentary series I Wanna Rock: Chasing the 80's Metal Dream for Paramount+ and the music documentary Lost and Found for Boardwalk Pictures.Murder Among the MormonsTyler co-directed, with Jared Hess (Napoleon Dynamite), the Netflix true-crime documentary series Murder Among the Mormons. Produced by: Jannat GargiExecutive producer: Joe Berlinger Sons of Perditionfollows three teenage boys after they escape from the secretive FLDS polygamist sect and must fend for themselves in mainstream America.After premiering at the 2010 Tribeca Film Festival, Sons of Perdition went on to play at over 60 film festivals worldwide and in 20 U.S. theaters. It is part of the OWN Network and is currently on Netflix.Tyler Measom co-directed the film with Jennilyn MertenI Want my MTVco-director, producer, cinematographerI Want My MTV details the implausible genesis of MTV, the rapid rise of the brand, and the global revolution that followed. Features interviews with Sting, Billy Idol, Pat Benatar, Run DMC, Dee Snider, Eurythmics, Tori Amos, Bret Michaels, Norman Lear and many moreThe film had its World Premiere at the Tribeca Film Festival and is playing on A&E.Variety Review - “The first thing you want from a history of MTV is to get dunked in the hot-but-cool nostalgia of it, and the fast, fleet documentary “I Want My MTV” delivers those 1980s goods about as good as you can get.”Was I in a Cult PodcastHosted by Tyler Measom and Liz Iacuzzi, Was I In A Cult? is a documentary-style podcast showcasing individuals who have been in, and most importantly, successfully left a cult. Told first-hand by the experiencer themself, these are raw, riveting and inspirational tales of what it means to be a survivor. ShannyPantsShow.com Hosted on Acast. See acast.com/privacy for more information.

Meet David Casey! David is a Showrunner, Director, and TV executive. He lives in Detroit and is an award-winning filmmaker who specializes in directing, writing, showrunning, show development, and leading logistics for large-scale teams in challenging environments around the world from preproduction through post. Much of David's work focuses on high-impact storytelling in travel, social justice, natural history, adventure, and environmentalism. David has executive produced and showrun over 100 hours of television and his work has been seen on Netflix, Intel, Discovery, Animal Planet, History Channel, MTV, Paramount+, and Amazon to name a few. David's extensive showrunner and executive producer credits include the globally produced Coyote Peterson: Brave the Wild, Ocean Warriors from Executive Producers Robert Redford and the late Paul Allen, and long-running Ice Cold Gold for Animal Planet, which he created. On the executive side, David he has held positions at History, Moxie Pictures, Wilderness Productions, ITVS, Cineflix Productions, and Vice President Al Gore's Current TV.  David and I met when I was brought on to Season 3 of Ice Cold Gold as a Story Producer and a friendship quickly sparked. I'm super excited to share our conversation with you all.  We chat about the importance of saying yes when you're leading and hiring to your weaknesses, why collaboration is the heart of elevating your own work, and how it's possible to be intentional with the choices you make with your career if advocacy for the environment and human rights are important for you. Learn more about the Blissful Spinster Podcast and connect with Cris on the website at: https://www.blissfulspinster.com

https://mamabearsdoc.com/ https://www.instagram.com/mamabearsdoc/ Daresha writes, produces, and directs film and television in Spanish and English. A graduate of NYU Film School, she recently completed Mama Bears, her second feature documentary about how conservative, Christian mothers are transformed when they decide to accept their LGBTQ children, which premiered at SXSW and won Best Documentary at the Sun Valley Film Festival. In 2018 she was commissioned by the ACLU to direct Trans In America: Texas Strong, which garnered over 4 million views online, screened at SXSW, and won two Webby Awards and an Emmy for “Outstanding Short Documentary.” In 2017 she co-directed and produced Chavela, a multiple award-winning documentary about iconic singer Chavela Vargas that was distributed by Music Box Pictures and screened in over 40 countries, including Translyvania. In 2015 she produced Kristina Wong's How Not to Pick Up Asian Women. In 2014 she served as EP of Emmy-winning writer Kevin Avery's satirical take on The Wiz starring an all-white cast called The Whizz and in 2011 she produced his short comedy, Thugs, The Musical. In 1992 Daresha won a full fellowship from Tri-Star Pictures to attend the directors' program at the AFI Conservatory based on her short, award-winning narrative Land Where My Fathers Died, co-starring Isaiah Washington. She produced her first, award winning drama, The Thinnest Line, as a student at NYU. Daresha's films have been funded by ITVS, NEA, IDA Enterprise, Creative Capital, the Jerome Foundation, and many other foundations. She was a fellow in the Firelight Media Documentary Lab, Chicken & Egg Eggcelerator Lab, Sundance Institute: Women and Film Financing Intensive, Breaking Through the Lens, Film Independent Documentary Lab, Creative Capital, and A Blade of Grass cohorts. Daresha also has an extensive background in television and has produced programming for FX, WE, AMC, Telemundo, and FUSE, among other networks. Tammi Terrell Morris was born, raised, and currently resides in Southern California with her fiance, Shadae and 2 sons.She has a degree in Sociology and a Masters of Leadership and Management. Tammi has spent her professional life serving the community of individuals with developmental disabilities in the Inland Empire in multiple capacities, from Job Coach to Regional Center Case Coordinator. Tammi has recently transitioned to a full time Caregiver (Stay at home Mom). In her spare time, she enjoys producing and recording material for her podcast Confused Reality. She hopes to use her talents of writing poetry, performing spoken word, motivational speaking, and ability to connect with people to make the world a more loving and accepting place. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/bravemaker/message Support this podcast: https://anchor.fm/bravemaker/support

Arianna got interested in documentary filmmaking because she asks too many questions. This turned out to be an excellent discipline to direct this sort of energy. Arianna most recently directed two films for a new CNN Films shorts series; The Bunker Boom, about a subterranean prepper community in South Dakota, and Super Reviewers, an unusual journey into a surprising sub-culture on the internet. Prior to this, Arianna's television directing credits include the Emmy-nominated Netflix documentary series Connected: The Hidden Science of Everything, Emmy-nominated Pandemic: How to prevent an Outbreak, and Edward R. Murrow award-winning Unadopted on PBS. Arianna has directed and shot Emmy-nominated and Edward R. Murrow award-winning work for The New York Times, Nat Geo, Al Jazeera, and Viceland on issues ranging from child marriage, gang violence, to political conflicts around the world. Her work has taken her to more than fifty countries; directing crews in the sewers beneath London, to a locked down “clean room” at the NASA space center in Houston. She has embedded with female Kurdish soldiers fighting ISIS in Syria and Iraq and documented the effects of Rhino breeding in South Africa for National Geographic.Films she has directed have screened at SXSW, DOCFest, Tribeca, DOC NYC, and PBS, and have been supported by the Sundance Labs, ITVS, IFP, and won a Peabody Award. Arianna was a Director of Photography for many years before pivoting to directing full time.SHOW LESS

BioA graduate of the American Film Institute, I am a documentary director, producer and editor whose work has aired on PBS series such as Independent Lens and has been seen at film festivals around the world, including Sundance, SXSW, New Directors, New Films and DOC NYC.My 2013 directing debut THE HILL, about the demolition of an African-American neighborhood in New Haven, CT, premiered on the PBS series America Reframed and won best documentary at Greenpoint Film Festival.My 2014 film SCHOOL'S OUT, about a forest kindergarten in Switzerland, premiered on the PBS series Natural Heroes, won best short at several festivals, and was written about on Slate.com, in The Atlantic, and in National Geographic. With screenings at over 100 film festivals and public screenings around the world, SCHOOL'S OUT sparked a movement among early childhood educators to set up their own versions of an outdoor kindergarten. There are now over 250 forest kindergartens in the U.S.My recent feature documentary MISSING IN BROOKS COUNTY premiered in fall of 2020 at Hot Springs Documentary Film Festival, has won 11 awards since and received funding from ITVS and is Executive Produced by Abigail Disney. The film was released theatrically this past summer and will air on the PBS series Independent Lens in January 2022.I spent the spring of 2019 on a Fulbright Scholarship in Toronto working on the documentary SAFE HAVEN about U.S. war resisters seeking asylum in Canada and the award-winning short film SOLEDAD about an asylum case. Both films are currently screening at film festivals in North America.Some of my other films about the Southwest are the award-winning TEACHING IN ARIZONA (2018) and THE CLEANERS. (2017).I have taught filmmaking at Yale University, Wesleyan University, Colorado College and Trinity College and currently teach at the School of Theatre, Film and Television, the Human Rights Practice Program and the James E. Rogers College of Law at the University of Arizona. I am a member of the film collective New Day Films.LinksApple TV (iTunes) in the U.S. : https://tv.apple.com/us/movie/missing-in-brooks-county/umc.cmc.5bnccj1evebuqd9yrt97l2u2zOnly the 1 hour version is available internationally: https://itunes.apple.com/gb/movie/missing-in-brooks-county/id1577162619PBS' Independent Lens in US: https://www.pbs.org/independentlens/documentaries/missing-in-brooks-county/Article in the Guardian: https://www.theguardian.com/us-news/2021/sep/20/us-immigration-checkpoint-falfurrias-station-texas-documentaryAlso, you can check out my documentary The People of Brixton, on Kwelitv here: https://www.kweli.tv/programs/the-people-of-brixtonDamien Swaby Social Media Links:Instagram https://www.instagram.com/filmmaker_damien_swaby/Twitterhttps://twitter.com/DamienSwaby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorWebsite http://filmmakingconversations.com/If you enjoy listening to Filmmaking Conversations with Damien Swaby, I would love a coffee. Podcasting is thirsty work https://ko-fi.com/damienswaby

We are joined by Tyler Measom, filmmaker, producer, host, and all-around amazing human as we discuss his new hit podcast Was I In A Cult?, his Netflix documentary series Murder Among the Mormons and how psychedelics changed his life!You don't want to miss this one!About Tyler:An award-winning non-fiction filmmaker with 25 years of experience, Measom is the co-director of the hit Netflix original series Murder Among the Mormons. He also co-directed the documentaries In The Balance: Ballet's Lost Year and I Want My MTV (Tribeca Film Festival, A&E), An Honest Liar (Tribeca, ITVS) and Sons of Perdition (Tribeca, Oprah Documentary Club). He has produced the films TAKE (Tribeca, Showtime) starring Jeremy Renner, the Showtime doc Jesus Town, USA, and the NYTimes documentary ELDER. Measom has produced and directed many commercials, short documentaries and industrials for a range of clients. Measom is the producer and host of the hit podcast series  Was I In a Cult? from iHeart Radio. Measom is currently directing the doc series Nothing to Lose for Paramount+.WebsiteWas I In A Cult?Episode mixed/edited by SoundsofGenki.com

REMY BLUMENFELD is an entrepreneur, coach and business adviser to the creative industries. He's been named by Broadcast Magazine as one of the world's top 5 Format Kings and by The Independent as one of the Top 20 most influential Gay People in the UK. He works primarily with the founders of content companies who want to build, grow and sell. He is former director of formats for ITVS, and the founder of two TV Production companies. He has written extensively for Forbes, Inc. and Thrive Global.  He is the creator of a nine part online course, Standout For Media Founders In this session Remy speaks about : how do we get other people to be enrolled in who we are? How do we get other people hooked on our ideas? The distinction between being committed and being attached The distinction between being responsible but not to blame The distinction between enrolling and selling Date of Session: 28th April 2021

The Fall Film Festival season has begun! And to kick things off, we invited Milton Guillén, a programmer from the Camden International Film Festival, to take us through the 17th edition of the festival lineup, featuring over 70 documentary films (features and shorts). In this episode, Milton provides a peek into how the program came together and adds texture to some of the films in the different sections. This year, the festival will take place both physically (September 16 - 19th) as well as virtually. An online edition of the program will be available to stream for North American audiences from September 16 - 26th. It's a truly excellent curation of films and for folks who are unable to attend in person, please do consider streaming via their online platform as it is a wonderful way to support a festival that has long had a tremendous impact on advancing the documentary film genre.FILMS DISCUSSED INCLUDE:SPIRITS AND ROCKS AN AZOREAN MYTH by Aylin GökmenMOTORCYCLIST'S HAPPINESS WON'T FIT INTO HIS SUIT by Gabriel HerreraDATURA'S AUBADE by Jean-Jacques Martinod and Bretta C. Walker A NIGHT OF KNOWING NOTHING by Payal KapadiaFAYA DAYI by Jessica BeshirOSTROV - LOST ISLAND by Svetlana Rodina and Laurent Stoop PROCESSION by Robert GreenMAGALUF GHOST TOWN by Miguel Ángel BlancaNORTH BY CURRENT by Angelo Madsen MinaxLAST DAYS AT SEA by Venice AtienzaROOTS by Tea LukačTERRA FEMME by Courtney Stephensand others! We covered a lot of ground! https://pointsnorthinstitute.org/ciff/ABOUT MILTON GUILLÉNMilton Guillén is an award-winning Nicaraguan filmmaker and programmer whose work centers on the cinematic intersections of de-colonial ethnographic research and affect. Milton's films have screened globally at CPH: DOX, Hot Docs, DOK Leipzig, Rooftop Films, and more. In 2017, his debut feature, The Maribor Uprisings, co-directed with Maple Razsa, received the Society for Visual Anthropology's Best Feature Award. Milton recently received support from the Tribeca Film Institute and ITVS for his project, On the Move. He also was named a North Star fellow at the Points North Institute, a MediaMaker Fellow at Bay Area Video Coalition, a Kartemquin Diverse Voices in Documentary, and is the recipient of several international artists' residencies and grants.

PHILLY D.A. is a multi-part series that details the dramatic work inside the office of Philadelphia District Attorney Larry Krasner as he and his team work to end mass incarceration and transform the criminal justice system from the inside. In 2017, Philadelphia, Pennsylvania had one of the highest incarceration rates of any major city in the United States. And it's become the epicenter of a historic experiment that could shape the future of prosecution in America for decades to come. When civil rights attorney Larry Krasner mounted a long-shot campaign to become District Attorney, he ran on a bold pledge: to end mass incarceration by changing the culture of the criminal justice system from within. He shocked the establishment by winning in a landslide. Now, the bureaucrats he spent his campaign denigrating are his co-workers; the police he alienated are his rank-and-file law enforcers. Pressure comes from all sides of a system resistant to reform. Krasner's unapologetic promise to use the power of the D.A.'s office for sweeping change is what got him elected; now that he's in office, that same stubbornness threatens to alienate those he needs to work with the most. From the eye of this political storm, filmmakers Ted Passon, Yoni Brook, and Nicole Salazar gained unprecedented access into Krasner's office and behind the scenes of the criminal justice system. Over the course of eight episodes, PHILLY D.A.  explores the most pressing social issues of our time—police brutality, the opioid crisis, gun violence, and mass incarceration—through the lens of an idealistic team attempting fundamental overhaul from within the system. The series debuted at the Sundance Film Festival in January, with its broadcast premiere in April of 2021 on ITVS's flagship, Emmy award-winning documentary anthology series Independent Lens on PBS, followed by First Look Media's streaming service Topic.
 For more news go to: pbs.org/independentlens/philly-da

He's been on our TV screens and airwaves for 2 decades now, and having entertained the nation in the ‘I'm a Celebrity' castle earlier on this year, Vernon is back on prime time Saturday night telly, hosting ITVs brilliant new show ‘Game of Talents'. Away from the sharp suits though, Vernon is one of the most down to earth people you could ever wish to meet, and is an out and out car fanatic! He inherited his love of cars from his lorry driving dad Norman, and it's taken him on to owning a brutal Noble M400 and now a Nissan GTR that  he's got tuned to a manageable 958 BHP! Vernon takes Jason and Dave on a little stroll down motoring memory lane, starting with an unfortunate incident on the day he passed his test! Fuelling Around is powered by Adrian Flux. This episode was recorded remotely.

The new Hollywood film “Judas and the Black Messiah” is based on the lives of Black Panther leader Fred Hampton and the person who betrayed him, FBI informant William O'Neal. The film's director Shaka King has credited documentaries for playing a key role in his research. One of his main influences was “Eyes on the Prize II” (1990) that scored the journalistic feat of interviewing O'Neal after he had gone into a federal witness protection program. Pure Nonfiction host Thom Powers interviews four members of the “Eyes” team - directors Louis Massiah and Terry Kay Rockefeller along with researchers Noland Walker and co-director Bennett Singer. They describe how they got O'Neal to talk, why questions still linger about his reported suicide, and the legacy of the Black Panthers.Further resources:- Learn more about our guests: Louis Massiah (executive director, Scribe Video Center), Terry Kay Rockefeller, Bennett Singer (co-director, Brother Outsider: The Life of Bayard Rustin and Cured), Noland Walker (co-programmer, ITVS's Independent Lens)- Watch all 14 episodes of Eyes on the Prize on Kanopy This podcast conversation touches upon episode 9 “Power!” about the Black Panthers and especially focuses on episode 12 “A Nation of Law?” both co-directed by Louis Massiah and Terry Kay Rockefeller. Read the book Voices of Freedom, an oral history based on interviews from "Eyes on the Prize,” edited in part by Bennett Singer.- Watch the raw footage of William O'Neal's interview on Vimeo or read the transcript from the "Eyes on the Prize" archives at Washington University. Browse the full collection.- Watch The Murder of Fred Hampton (1971), directed by Howard Alk and Michael Gray, on Vimeo from the Chicago Film Archives.- Read the TruthOut article by Fred Hampton's attorney Flint Taylor on recent revelations about J. Edgar Hoover's connection to William O'Neal.- Read articles from 1990 about the death of William O'Neal in the Chicago Tribune and Chicago Reader.- Listen to the Pure Nonfiction interview with Jon Else discussing his book True South about the making of "Eyes on the Prize.”- For more on COINTELPRO, watch Sam Pollard's MLK/FBI about surveillance of Martin Luther King Jr; Johanna Hamilton's 1971 about the break-in to a FBI office that revealed the counter intelligence program.- Watch Stanley Nelson's Black Panthers: Vanguard of the Revolution.- In the podcast, Noland Walker mentions the COINTELPRO plan to disrupt the 1972 National Black Political Convention in Gary, Indiana. Watch William Greaves' recently restored film Nationtime covering that event.- For further viewing related to this era, watch Shola Lynch's Free Angela and All Political Prisoners and Sam Green and Bill Siegel's Weather Underground.- For more recent documentaries on FBI surveillance and informants, see Lyric Cabral and David Felix Sutcliffe's (T)ERROR, Assia Boundaoui's The Feeling of Being Watched, Katie Galloway and Kelly Duane de la Vega's Better This World and Jamie Meltzer's Informant.

From 1968 to 1973, the public television variety show SOUL!, guided by the enigmatic producer and host Ellis Haizlip, offered an unfiltered, uncompromising celebration of Black literature, poetry, music, and politics—voices that had few other options for national exposure, and, as a result, found the program an improbable place to call home.The series was among the first to provide expanded images of African Americans on television, shifting the gaze from inner-city poverty and violence to the vibrancy of the Black Arts Movement. With participants' recollections and illuminating archival clips, Mr. SOUL! captures a critical moment in culture whose impact continues to resonate, and an unsung hero whose voice we need now more than ever to restore the SOUL of a nation. Stream MR. SOUL! on PBS today.Melissa Haizlip - director/producerBorn in Boston and raised in the US Virgin Islands, Connecticut and New York, director, Melissa Haizlip attended Yale University. After a 25-year career as a professional Broadway stage performer and film and television actor, Haizlip moved to Los Angeles to work in development at the American Film Institute and began casting for independent features. Her film 40, a multi-storyline, international thriller set in Turkey and Africa, premiered at Toronto International Film Festival 2010. Currently a fellow in Stanley Nelson's Firelight Media Producers' Lab, Haizlip participated in the Producers Guild of America Diversity Workshop 2011.She founded Shoes In The Bed Productions, an independent film production company producing cinematic works of non-fiction with an emphasis on diverse new voices and filmmakers of color. Haizlip has received grants from the National Endowment for the Arts, the National Black Programming Consortium, and ITVS' Diversity Development Fund. Currently, Haizlip is in production with Mr. SOUL! and has several other projects in development.Ed Gerard  - Music Supervisor Ed Gerrard is a Grammy winning Music Supervisor and current Board member for the Guild of Music Supervisors.  The Guild consists of Music Supervisors in the world of Film, TV, Games, Commercials, and Brand Marketing. Ed has also managed artists such as Jon Cleary, Dr. John, Eliane Elias, Gogol Bordello, Hugh Masekela, Ike Turner, Angelique Kidjo, Cassandra Wilson, Deee-Lite, Lisa Fischer, Teddy Pendergrass, Bang Tango, Marcus Roberts, Cheb Khaled, Michelle Shocked, Simi Stone, and Thomas Dolby. Learn more about Lyte Hosted on Acast. See acast.com/privacy for more information.

The great penny debate continues! Although many Americans support the penny, others say the currency doesn’t make sense. Listen to our conversation with the co-directors of “Heads-Up: Will We Stop Making Cents?” for both sides of the debate. Hosted by: Jeff Lenard, VP Strategic Industry Initiatives, NACS and Carolyn Schnare, Director Strategic Initiatives, NACS About our Guests: Zach Edick and Jamie Kovach, Directors, "Heads-Up: Will We Stop Making Cents?" Zach Edick and Jamie Kovach are a husband-and-wife filmmaking team based in Austin, Texas. The pair met in art school and have been working and creating together since. Zach has spent the last decade working as a director and cinematographer on various commercial, narrative, and music video projects. He recently co-directed “The Tacos of Texas,” a documentary mini-series produced by ITVS for PBS Digital Studios, and “Heads-Up: Will We Stop Making Cents?,” a feature documentary about coin production. Jamie received her MFA from the University of New Mexico in 2013 and has since taught photography and design at Central Texas College while working side-by-side with Zach on “Heads-Up.”It

Suzan is an Hispana-Latina-American and was born and raised in the Caribbean. Her films have been shown on Independent Lens, World Channel, Pivot TV and on the Documentary Channel, at Lincoln Center, and at many festivals. Her first film, BAG IT, was a winner of the Britdoc Impact Award in Berlin and has been televised in over fifty countries. URANIUM DRIVE-IN was a recipient of Sundance Institute and Chicken and Egg funding and was featured at Good Pitch and at Hot Docs Pitch Forum. The film was awarded the Big Sky Award, was honored for documentary excellence by the Alliance of Women Film Journalists, and was part of the American Film Showcase, an international film program of the U.S. State Department. Her most recent film, MASSACRE RIVER: The Woman Without a Country aired on PBS in 2019, is the recipient of ITVS funding, and was selected for the Latino Media Market, Camden International Film Festival Points North Fellowship, and IFP Spotlight on Documentaries. Suzan became Festival Director for Mountainfilm festival in Telluride, Colorado in 2017, and is currently Chair of New Day Films’ Steering Committee.Suzan’s films:Bag It | vimeoThe Last Plastic Straw Environmental Working Group: verified personal care + cleaning productsUranium Drive-In Massacre River | watch pageSuzan’s film recommendations:Close to Eden (original title: Urga). (1991) Directed by Nikita Mikhalkov. American Factory (2019) Oscar winner directed by Julia Reichert and Steven BognarMinding the Gap (2018) Audience Choice and Best Doc Winner at Mountainfilm. Directed by Bing Liu. (on Hulu)Film festivals recommended by Suzan:Mountainfilm | Facebook | Twitter | Instagram (Telluride, CO)Telluride Film Festival (Telluride, CO)Big Sky Documentary Film Festival (Missoula, MT)Hot Springs Documentary Film Festival (Arkansas)Hot Docs (Toronto)Camden International Film Festival (Maine)Sundance Film Festival (Utah)Additional Resources:Protect Our WintersNew Day Films

Peshawn Bread is a screenwriter, poet, and cinematographer from the Penatʉkʉ (sugar eater) and Yapurʉkʉ (root eater) bands of the Comanche tribe. Her writing capitalizes Indigenous women, sexuality and humorous experiences. In the winter of 2015, she was introduced and welcomed as one of Sundance Institute's Full Circle Fellows. She was a 2015-16 recipient of the 4th World-Indigenous Media Lab Fellowship supported by SIFF (Seattle International Film Festival) in partnership with Longhouse Media, Sundance Institute and ITVS. Peshawn also participated in a Screenwriter's "Designed Obstacles" workshop led by Joan Tewksbury (Thieves Like Us, Nashville). Throughout the years she has worked on many sets, including Drunktown's Finest (2014) and Mud (Hashtl'ishnii) (2017). Recently, she had the honor of receiving Sundance's Native Filmmakers Lab Fellowship where she had the opportunity to workshop her script "The Daily Life of Mistress Red" a mockumentary short film about a Native Dominatrix for hire who whips apologies out of white supremacists. The Daily life of Mistress Red is currently in post-production. Listen in as we talk about living in Santa Fe, New Mexico, Art School, Acting, Producing and Directing films, the portrayal of queer peoples and women in film, and just in general about natives making and acting in films. Show Notes:  Peshawn Bread  Instagram Write up: ‘I Was Afraid I Wouldn’t Be Accepted’: Peshawn Bread on Bringing Her Dominatrix Film to the Native Filmmakers Lab The Daily  Life if Mistress Red Website Music: Carry On My Friends  Written By Michael Thomas Geiger  Performed By Mikey Geiger Produced  By Mikey Geiger https://app.soundstripe.com/songs/11061

Suzan was born and raised in the Caribbean. Broadcast includes - Independent Lens, PBS, World Channel, Lincoln Center. BAG IT - winner of the Britdoc Impact Award, televised in over thirty countries. URANIUM DRIVE-IN - Sundance Institute, Good Pitch and Hot Docs Pitch Forum. Documentary Excellence by the Alliance of Women Film Journalists. MASSACRE RIVER - ITVS funded, Latino Media Market, Points North Fellowship, and IFP Spotlight on Documentaries. Suzan became Festival Director for Mountainfilm festival in Telluride, Colorado in 2017. Suzan is a Hispana-Latina-American and was born and raised in the Caribbean. Her films have shown on Independent Lens, PBS, Pivot TV and on the Documentary Channel, at Lincoln Center, and at many festivals. Her first film, BAG IT, was a winner of the Britdoc Impact Award in Berlin and has been televised in over thirty countries. URANIUM DRIVE-IN was a recipient of Sundance Institute and Chicken and Egg funding and was featured at Good Pitch and at Hot Docs Pitch Forum. The film was awarded the Big Sky Award, was honored for documentary excellence by the Alliance of Women Film Journalists, and was part of the American Film Showcase, an international film program of the U.S. State Department. Her most recent film, MASSACRE RIVER aired on PBS in 2019 and is the recipient of ITVS funding and was selected for the Latino Media Market, Camden International Film Festival Points North Fellowship, and IFP Spotlight on Documentaries. Suzan became Festival Director for Mountainfilm festival in Telluride, Colorado in 2017.FILMS BY SUZAN BERAZAMASSACRE RIVER: The Woman Without a CountryPikilina is a Dominican-born woman of Haitian descent. Racial and political violence erupt when the country of her birth, the Dominican Republic, reverses its birthright citizenship law and she is left stateless, along with over 200,000 others.Uranium Drive-InBag ItTry going a day without plastic. In this touching and often flat-out-funny film, we follow "everyman" Jeb Berrier as he embarks on a global tour to unravel the complexities of our plastic world.New Day was initially formed because the women's movement had arrived and a group of independent filmmakers couldn't find distribution for their feminist films. New Day sustains the ideas that inspired its formation in 1971 - collaboration, hope and social change.“We met at the 1971 Flaherty Seminar, where some of our films were programmed,” recalled founding member Amalie Rothschild. “I was in production with It Happens to Us. I'd been trying to get distribution for Woo Who? May Wilson. I'd take it to non-theatrical distribution companies and they'd say 'It's wonderful, dear, we really like it. But there's no audience...' ”Founding members Julia Reichert and Jim Klein had already started self-distributing their film, Growing Up Female. "The whole idea of distribution," explained Julia Reichert, "was to help the women's movement grow. Films could do that, they could get the ideas out. We could watch the women's movement spread across the country just by who was ordering our films. First it was Cambridge and Berkeley. I remember the first showing in the deep South."Soon, a fourth member joined the three: "When I first met them," Liane Brandon explains, "I'd been inundated with requests to show Anything You Want To Be. I'd been running back and forth to the Post Office, making myself crazy. Other distributors wanted my film, but the most they would offer was a two-year contract, as they were sure the women's movement wouldn't last any longer than that. Because I'd been active in women's groups since 1969, I knew there was a huge demand, but most distributors didn't, so they offered bad deals, or they wanted to ghettoize the films. When I first talked with Jim and Julia and Amalie, I thought 'Ah-hah! Someone else who's experiencing the same things I am.'Much has changed in media distribution since 1971 when the early members were selling 16 mm film prints! But the commitment to quality content and cutting edge distribution remains.Shown at right: left to right back row: Amalie R. Rothschild, Julia Reichert, Jim Klein; front: Liane Brandon.https://www.newday.com/Suzan Berazahttp://reelthing.usLike to have a ASC cinematographer as a mentor?Have you thought of upgrading your cinematography game? Would you like to have an ASC Cinematographer mentor you for free? Join veteran cinematographer Suki Medencevic, A.S.C. (Disney, Pixar, FX Networks, Netflix, American Horror Story). He teaches you how to create beautiful images using three lighting techniques he has mastered on film sets over his 30+ years in the film industry. Each technique uses basic, low-cost lighting equipment so that anyone can achieve beautiful visuals no matter your projects's budget.Learn film lighting from an ASC cinematographer. If you want to take your cinematography to the next level, this free training will get you there. These videos are available for a limited time, so sign up for instant access. CLICK HERE TO REGISTERhttps://www.ifhacademy.com/a/28632/aLFBXkpNIf you liked this podcast, shoot me an e-mail at filmmakingconversations@mail.comAlso, you can check out my documentary The People of Brixton, on Kwelitv here: https://www.kweli.tv/programs/the-people-of-brixtonDamien Swaby Social Media Links:Instagram https://www.instagram.com/filmmaker_damien_swaby/Twitterhttps://twitter.com/DamienSwaby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorWebsite http://filmmakingconversations.com/If you enjoy listening to Filmmaking Conversations with Damien Swaby, I would love a coffee. Podcasting is thirsty work https://ko-fi.com/damienswaby​

Hao Wu and Face2Face host David Peck talk about his beautiful, brilliant and important new film 76 Days, similarity through difference, united healthcare workers and hope, community and commonality that lead to understanding and personal, powerful, human stories.TrailerWebsiteWatch in a Virtual CinemaSynopsis:On January 23rd, 2020, China locked down Wuhan, a city of 11 million, to combat the emerging COVID-19 outbreak. Set deep inside the frontlines of the crisis in four hospitals, 76 DAYS tells indelible human stories at the center of this pandemic—from a woman begging in vain to bid a final farewell to her father, a grandfather with dementia searching for his way home, a couple anxious to meet their newborn, to a nurse determined to return personal items to families of the deceased. These raw and intimate stories bear witness to the death and rebirth of a city under a 76-day lockdown, and to the human resilience that persists in times of profound tragedy.About Hao:Hao Wu’s documentary films have received funding support from The Ford Foundation JustFilms, ITVS, Sundance Institute, Tribeca Film Institute, NYSCA and international broadcasters. His previous feature documentary, People’s Republic of Desire, about China’s live-streaming phenomenon, won the Grand Jury Award at the 2018 SXSW festival, among many other awards. It has screened at over 40 film festivals worldwide and broadcasted nationally on PBS Independent Lens. The New York Times calls the film “hypercharged,” while The Los Angeles Times says it’s “invariably surprising and never less than compelling.” His latest short, All in My Family, is a Netflix Original Documentary and launched globally in May 2019.Born and raised in China, Wu now travels between the US and China. From 2008-2011, he was a fellow at New America, a D.C.-based think tank. His writing has appeared on Time.com, Slate.com, Marketplace Radio, Strait Times, China Newsweek, and China Daily. He is a member of the Documentary branch of the Academy of Motion Picture Arts and Sciences.Image Copyright and Credit: MTV Films and Hao WuF2F Music and Image Copyright: David Peck and Face2Face. Used with permission.For more information about David Peck’s podcasting, writing and public speaking please visit his site here.With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

What is the process like for choosing the documentary subjects? What types of conversations have started because of the documentary? This week, Yi Chen and I discuss her film First Vote and the impact the process and aftermath have had on the subjects and her. YI CHEN, Director, Producer, Cinematographer, Editor Yi Chen is a documentary filmmaker based in Washington, DC. Her work explores the intersection of racial justice, immigration, and democracy. She is a 2019 Open Society Foundations Soros Equality Fellow and 2020 DC Arts and Humanities Fellow. Her first feature length documentary FIRST VOTE received grants from the Ford Foundation JustFilms, CAAM, ITVS, DC Commission on the Arts and Humanities, Kartemquin Films and Southern Documentary Fund. The film participated in pitches at HotDocs, DOC NYC Pitch Perfect, Tribeca IF/Then, AFI Docs, and Double Exposure Film Festival. It was workshopped through DCTV Docu Work-In-Progress Lab, Kartemquin Films KTQ Lab, UC Berkeley Investigative Reporting Program, and Docs in Progress Fellowship Program. Her previous film CHINATOWN, about the activism of long-time residents to keep Wah Luck House affordable for low income seniors to stay in DC Chinatown, won IndieCapitol Awards Best Documentary Short and aired on PBS station WHUT. The film was featured by the Washington Post, NPR and NBC4. Yi holds an MFA in Film and Media Arts from American University. Find the documentary at https://www.firstvotefilm.com/ or https://worldchannel.org/episode/arf-first-vote/ Watch the Documentary Panel Discussion at https://youtu.be/0pNQI_141CY Support this podcast at — https://redcircle.com/shake-the-cosmos-empower-your-vision/donations

Peshawn Bread is a filmmaker who is going to the places we are not always willing to talk about in our daily lives, but need to. Through her new film in production, The Daily Life of Mistress Red, Peshawn is reframing how we look at sexuality and indigenous women. As a Comanche woman and a former dominatrix, Peshawn found herself in situations where racism would come into play, during sessions with her white male clients. Over time, there began a BDSM relationship where Peshawn confronted their white supremacy. This became a transformative experience and fostered a deeper understanding of race for these clients. The Daily Life of Mistress Red is about reclaiming narratives about sexuality as an indigenous women. This film is currently in the Sundance Film Lab. The Daily Life of Mistress Red is a mockumentary that explores the world of kink, native women and defeating white supremacy. Marie Callingbird is a Native fashion boutique owner by day and Mistress Red by night. Mistress Red is a dominatrix for hire who takes the effects of racism, sexism and colonization into her own hands by educating white supremacists through pleasure. This project focuses on issues within the circle of indigenous women, racism and the acceptance of sexuality.    In the winter of 2015 she was introduced and welcomed as one of Sundance Institute’s Full Circle Kellogg Fellows. As well a 2015-16 recipient of the 4thWorld- Indigenous Media Lab Fellowship supported by SIFF (Seattle International Film Festival) and in partnership with Longhouse Media, Sundance and ITVS. She also attended the Sundance Screenwriter’s lab hosted by Joan Tewksbury. Throughout the years she has worked on many sets from Drunktown’s Finest (2014) to Mud (Hashtl’ishnii) (2017). She currently resides in San Francisco where she is a fourth year student at the Academy of Art University.    Follow Peshawn on Instagram.

Jonathan Berman (Producer/Director) has had a longtime obsession with film and film-making, beginning as an assistant editor and as a stock footage researcher. His film Commune (2006), looked at a seminal commune, the Black Bear Ranch, to explore the wins and excesses of the Sixties and Seventies. His film My Friend Paul (2000), about his relationship to his bipolar best friend, was produced with ITVS, a part of the US public broadcasting family. He is director and producer of The Shvitz (1994), a film about the last traditional steambaths in New York. His films have been awarded grants from the NEA, NYSCA, The Jerome Foundation and more; broadcasts include the BBC, PBS, Sundance Channel, Discovery, ARTE, and others. Festival screenings include SXSW, Slamdance, Amsterdam Documentary Festival, (IDFA), Karlovy Vary and many others. Berman co-wrote the story for the independent comedy On The Run. He was the American producer on Claudia Heuermann’s German TV project Sabbath in Paradise, which featured Harvey Pekar and John Zorn. Berman helped create On The Run for director Bruno De Almeida. "CALLING ALL EARTHLINGS" Calling All Earthlings explores a mid-century UFO cult led by one-time Howard Hughes confidante, George Van Tassel. Van Tassel claimed to have combined alien guidance with the writings of inventor/physicist Nikola Tesla, and other controversial science, to build an electromagnetic time machine he dubbed “The Integratron.” Was he insane? Or could the dome really break through boundaries of space, time, and energy? FBI agents worked against Van Tassel and the alternative community that formed out of his work. Would he finish the Integratron before the government finished him? Calling All Earthlings looks at all the roots of counterculture, particularly through the lens of the reactions against and inspiration of "Big Science" and "The Bomb." The story portrays the roots of the Peace Movement, Burning Man and even the FBI's notorious COINTELPRO program. The verité tale of Van Tassel and his dome is told by relatives, neighbors, skeptics, believers, scientists, healers, artists and historians. The film features the "stewards" and owners of the Integratron, the Karl sisters; Dr. Kevin Starr, the preeminent historian of California; Eric Burdon, Singer for The Animals and War; and the legendary Drs. J.J, and Desiree Hurtak. "Calling All Earthlings" Website:http://www.callingallearthlingsmovie.com/Social Media Links:https://www.facebook.com/groups/callingallearthlings/https://www.instagram.com/callingallearthlingsmovie/https://vimeo.com/user4219207/videoshttps://callingallearthlings.tumblr.com/Music:Guru Blake Boyer"Mera Man Loche""Adi Shakti"Support the show (https://cash.app/$2Dabs)

#ITV #pasarITV #juanfranciscocalero En el siguiente podcast hacemos un repaso a las ITV, que en los últimos años intentan evolucionar en un entorno más tecnológico, en el que la complejidad del parque móvil está poniendo en evidencia cómo se van quedando cada vez más obsoletas a la hora de reparar e inspeccionar coches. En España se tomó la decisión de poner una gran mano dura sobre cualquier modificación sobre los coches, pero lo cierto es que por encima de eso, y lo que hay que pasar por caja para homologar cualquier mínimo detalle, nuestra cultura del mantenimiento sigue siendo muy baja y hay todavía mucho trabajo que hacer. ITVs que tienen equipos distintos según dónde vayas, normativas diferentes, precios que pueden ser el doble según si la pasas en un lugar u otro, trucos propios del Lazarillo de Tormes y otras anécdotas e historias para no dormir en este vídeo sobre nuestros magníficos centros de Inspección Técnica de Vehículos y sus normas y triquiñuelas.

Link ranking autingo: https://drive.google.com/file/d/1kUif... En el siguiente podcast de la serie de vídeos sobre fiabilidad y costes de reparación de coches, añadimos una nueva variable y presentamos la siguiente: Os voy a dar los datos de cuánto cuesta reparar y hacer el mantenimiento de un coche en un taller independiente en promedio, lo cual nos da una idea de cuáles son las marcas con más o menos coste a la hora de pasar por el taller: Si cruzamos estos datos con los datos de fiabilidad por marcas, podemos saber no sólo cuáles son los coches que más se averían, si no también cuáles cuestan más para reparar y mantener, lo cual nos da una doble variable. Y en tercer lugar, a lo largo del podcast, introduzco los datos básicos que hay que saber de por dónde tiran los coches atrás en la ITVs. ITV que nos pueda dar una información fiable igualmente sobre cuál es la calidad de vida media de posibles coches para comprar entre 5 y 20 años, e igualmente cuál es el cuidado que tienen sus dueños de ellos. En este vídeo os cuento cuáles son las averías más frecuentes por las que se tiran atrás los coches en la ITV, y en un futuro vídeo, os pasaré en exclusiva un ranking con los coches que tienen más y menos fallos en la inspección técnica. Con todos estos datos y los que he publicado en pasados vídeos, vamos a poder realizar el retrato robot más certero sobre cuáles son los coches usados que son más interesantes para comprar, y también cuáles son los usados que salen más caros a corto y a largo, recabando información de rankings de fiabilidad proporcionados por aseguradoras, datos de ITVs y también información técnica de talleres y distribuidores de recambios. Suscríbete al canal y no te pierdas ninguno de estos vídeos, en los que vas a descubrir información que no te cuentan en ninguna otra parte. RANKING COCHES MENOS FIABLES https://youtu.be/Abx_Hm0Si-E RANKING COCHES MÁS FIABLES https://youtu.be/lQ3cK5R5EKw TOP FALLOS en COCHES PREMIUM https://youtu.be/wpu0dFID50Y #fiabilidad #cochebarato #usadobueno

El peso de la industria del automóvil en España no se reduce sólo a la cantidad de personas que de manera directa e indirecta se dedican a fabricarlos para vender nuevos, e igualmente los que trabajan en repararlos. Es además, en cualquier estado, un importante elemento de recaudación para el estado, por lo que si no se venden coches nuevos, no sólo se pierde puestos de trabajo, con lo que eso conlleva, sino la necesidad que tiene el estado de recaudar a través del IVA, impuestos de circulación y matriculación, y los carburantes. Con todo este panorama, y un sector que está en un momento de crisis y transformación, llega un plan de ayudas ambiciosos con paquetes de hasta 5500 euros de aportación en la compra de un automóvil nuevo. Llegados a este punto, y más allá de la tabla de ayudas y los titulares relacionados, en este vídeo te voy a contar las cosas menos conocidas y amables: Cómo el estado recupera esas cantidades en forma de impuestos, cómo afecta a tu IRPF, e igualmente, también, cómo estas ayudas se diluyen entre los descuentos que ya aplicaban las marcas, de tal manera que el usuario, al final, acaba comprando un coche nuevo que no va a tener un precio inferior, e incluso lo puede tener superior, ya que los fabricantes de coches sabiendo que iba a venir un plan de ayudas podrían haber estado preparando su oferta de descuentos de una manera “cocinada” para salir con ventaja cuando hubiera que adaptarlos a la venta de coches nuevos. Igualmente, en este podcast explico cómo creo que la industria va hacia un callejón sin salida con su política de precios y ofertas, el peso de la financiación cada vez mayor en la manera de ofrecerlas, y cómo nos han colado una trampa con las ITVS, e igualmente cómo se ha olvidado, premeditadamente, el peso del sector de la posventa independiente del automóvil para el sector de una manera de nuevo flagrante, con la que se refuerza la idea de que le estado busca la forma más rápida y gruesa de recaudar, que es vendiendo coches nuevos. #coche2020 #comprarcoche #cochebarato

Sonya Childress served as the Director of Partnerships and Engagement for Firelight Media for 16 years, where she led impact campaigns for veteran director Stanley Nelson’s films, including Freedom Summer, Freedom Riders, Tell Them We Are Rising: The Story of Black Colleges and Universities and The Black Panthers: Vanguard of the Revolution. Sonya previously held staff and consulting positions at Active Voice, California Newsreel, Kartemquin Films, ITVS, and Working Films. She founded Firelight’s Impact Producer Fellowship, a yearlong mentorship and training program for impact producers of color. She currently serves as a Senior Fellow with the Perspective Fund, a philanthropic resource for documentary film and impact campaigns, where she conducts field-building research.

Te Whatarangi Dixon is a man with much "Mana' (The Maori word that means to have great authority, presence to command respect). Despite his relative youth at age just 30 he has twice already stared his own mortality in the face.  He was the victim of Guellain Barre Syndrome or GBS for short. Guillain-Barre ) syndrome is a rare disorder in which your body's immune system attacks your nerves. Weakness and tingling in your extremities are usually the first symptoms. These sensations can quickly spread, eventually paralysing your whole body. In its most severe form Guillain-Barre syndrome is a medical emergency and in this case is what severe and meant Te Whatarangi was months in hospital. The exact cause of Guillain-Barre syndrome is unknown. But two-thirds of patients report symptoms of an infection in the six weeks preceding. These include respiratory or a gastrointestinal infection or Zika virus. Te Whatarangi lost all control over his body and literally watched his body fail and start to die while his brain remained fully conscious. The fear, the uncertainty, not knowing if he would live or die or if he lived if he would ever have any quality of life again or be trapped in a body that no longer worked sent Te Whatarangi through a long night of the soul. But he eventually emerged. Stronger, more resilient, more empathetic and more driven that ever before. This is a comeback story of survival and of love. The importance of family and how they helped him through. Te Whatarangi is now a qualified neuro-physio and knows exactly what his patients and clients are going through. He knows the battles they face and he guides them back on the path to their goals. Heartwarming and raw this interview will inspire you and make you grateful for the blessings you have.    Te Whatarangi's greeting to you all in Maori   Ko Putauaki te māunga Ko Rangitaiki te awa Ko Mataatua te waka Ko Ngāti Awa tōku iwi Ko Te Pahipoto tōku hapū Ko Wayne Haeata tōku matua Ko Kay Mereana tōku whaea Ko Blair Te Whatarangi Dixon ahau   I have come from very humble beginnings. I am a product of my whānau (family) and I would not be the man I am today without them supporting me every step of the way. Everything that I am and everything that I strive to be is a reflection of not only myself but my whānau. I represent them and I hope to make them just as proud as I am of them. I was diagnosed with Guillain-Barre Syndrome (GBS) in 2014 and again in 2019 where only 1 in 100'000 people are diagnosed globally with a 1% chance of contracting it twice. Always an optimist and through my journey of self-discovery having faced the possibility of my own mortality, I am now proud to call myself a Neurophysiotherapist. My journey has been challenging yet unique and I wish to share my story with the world in the hope others feel inspired and to allow their light to shine.   We would like to thank our sponsors for this show: For more information on Lisa Tamati's programs, books and documentaries please visit www.lisatamati.com For Lisa's online run training coaching go to https://www.lisatamati.com/page/runni... Join hundreds of athletes from all over the world and all levels smashing their running goals while staying healthy in mind and body. Lisa's Epigenetics Testing Program https://www.lisatamati.com/page/epigenetics/ measurement and lifestyle stress data, that can all be captured from the comfort of your own home For Lisa's Mental Toughness online course visit: https://www.lisatamati.com/page/mindsetu-mindset-university/ Lisa's third book has just been released. It's titled "Relentless - How A Mother And Daughter Defied The Odds" Visit: https://relentlessbook.lisatamati.com/ for more Information ABOUT THE BOOK: When extreme endurance athlete, Lisa Tamati, was confronted with the hardest challenge of her life, she fought with everything she had. Her beloved mother, Isobel, had suffered a huge aneurysm and stroke and was left with massive brain damage; she was like a baby in a woman's body. The prognosis was dire. There was very little hope that she would ever have any quality of life again. But Lisa is a fighter and stubborn. She absolutely refused to accept the words of the medical fraternity and instead decided that she was going to get her mother back or die trying. This book tells of the horrors, despair, hope, love, and incredible experiences and insights of that journey. It shares the difficulties of going against a medical system that has major problems and limitations. Amongst the darkest times were moments of great laughter and joy. Relentless will not only take the reader on a journey from despair to hope and joy, but it also provides information on the treatments used, expert advice and key principles to overcoming obstacles and winning in all of life's challenges. It will inspire and guide anyone who wants to achieve their goals in life, overcome massive obstacles or limiting beliefs. It's for those who are facing terrible odds, for those who can't see light at the end of the tunnel. It's about courage, self-belief, and mental toughness. And it's also about vulnerability... it's real, raw, and genuine. This is not just a story about the love and dedication between a mother and a daughter. It is about beating the odds, never giving up hope, doing whatever it takes, and what it means to go 'all in'. Isobel's miraculous recovery is a true tale of what can be accomplished when love is the motivating factor and when being relentless is the only option. Here's What NY Times Best Selling author and Nobel Prize Winner Author says of The Book: "There is nothing more powerful than overcoming physical illness when doctors don't have answers and the odds are stacked against you. This is a fiercely inspiring journey of a mother and daughter that never give up. It's a powerful example for all of us." —Dr. Bill Andrews, Nobel Prize Winner, author of Curing Aging and Telomere Lengthening. "A hero is someone that refuses to let anything stand in her way, and Lisa Tamati is such an individual. Faced with the insurmountable challenge of bringing her ailing mother back to health, Lisa harnessed a deeper strength to overcome impossible odds. Her story is gritty, genuine and raw, but ultimately uplifting and endearing. If you want to harness the power of hope and conviction to overcome the obstacles in your life, Lisa's inspiring story will show you the path." —Dean Karnazes, New York Times best selling author and Extreme Endurance Athlete.   Transcript of the Podcast:   Speaker 1: (00:01) Welcome to pushing the limits, the show that helps you reach your full potential with your host, Lisa Tamati, brought to you by Lisatamati.com Speaker 2: (00:13) You're listening to pushing the limits with Lisa Tamati. Today I have a guest to Te Whatarangi Dixon from Rotorua who is an amazing young man. He's a neurophysio something I'm very interested in. But he is also a victim of the Guellain Barre Syndrome. Very hard to say. We'll call it GBS. Now this is a syndrome that's a rare disorder in which the body's immune system, attacks your nerves, weakness and tingling in the extremities are usually the first sort of symptoms and the spread right throughout his body and it can be fatal. And he was certainly in deep die trouble for many weeks in the hospital and he shares his story today and his comeback journey. It's a really interesting, I'm very interested in people who have overcome the odds in comeback. Journeys for obvious reasons. And I think this journey just really that fax has been on is incredible and why he's tackled it in the way he's coped with it. Speaker 2: (01:09) He was then gone on because of this to become a neurophysio. So he's used what was a terrible thing in his life to do something good. So it was a real honor to have him on the show. I just want to remind you before we go over and talk to te there, my book is now available on audio. It's available on ebook, on Amazon on my website every which way you can get it now. Relentless. It's also in the bookshops. I had the greatest pleasure the other day when I walked finally into a shop and there was my book. So that was a pretty exciting moment. After seven weeks on lockdown, it's finally out there. So if you're interested in getting that, the book is called relentless and you can grab it on my book, my website at lisatamati.com Right now over the to the show with Te Whatarangi Dixon. Speaker 1: (01:54) Them. Speaker 3: (01:57) Well, hi everyone. Welcome back to the sharp pushing the limits. It's fantastic to have you back again. I am sitting with Te Whatarangi Dixon all the way over in the Rotorua. How are you doing mate? Good, thank you. Good. Thank you. Super excited to have you on the show. It's really cool. We've connected through your father in law who is a lovely man, Steven who I spoke for. He is a great man. He is a lovely man. And he just said, you've got to talk to my son in law. He's so interesting and I thought, yes, he is very interesting and I want him on my show. So today I was going to hear a little bit about Whatarangi and we're going to call them facts from here on. And and now Whatarangi is a equally a neurophysio. You're just just qualifying right now, sort of in the midst of finishing things up and getting him into a new career and job. Speaker 3: (02:49) But the reason, one of the reasons I want, I want to talk to you about that, but I also want to talk to you about you've got an inspiring comeback story. Can you tell us a little bit about GBS we, we you've had GBS twice and we're trying to pronounce it before Guellain Barre Syndrome, something like that. So yeah, it's a very big word. So we'll call it GBS and can you explain what that is and your, your journey with us a little bit and a little bit who you are for status. Speaker 4: (03:22) Yep. Okay. So my story basically starts from a little town called tickle. So that's where I'm actually from and my family is, and I grew up pretty much in the Bay. TNT. I think probably people will always think that my story is interesting is because Guellain Barre Syndrome or GBS as we call it is as 100, a hundred thousand people, I think contracted, well that's the neurological condition. And then basically a textual, your peripheral nervous system. So it's quite similar. That's how I kind of describe it to people. I'm totally on the stand that getting into the technical kind of tends of things is similar to that. You miss you miss the textural central nervous system either and GBS a textual peripheral nervous system. Wow. Cause people get what that is so they can proceed. It's kind of similar but there are differences. Speaker 4: (04:20) So I had a strength called ampersand, which is what's a text basically or your motor neurons. Annual sensory neurons. You can have different trends with the tech, just primarily your motor neurons or your sensory or I think he got five different Sharon's, I'm not, can't remember specifically about each one, but yeah, those two. Yeah. I had em send, so I took an attack my motor neurons in my, in my sensory neurons. But the potential for it to recover as higher because you have a special cell called Schwann cells in your peripheral nervous system and they can regenerate over time. So that's why if you have, if I wouldn't wish it upon anybody, but basically if you had GBS your what your and you and you were able to stop it from progressing, quite possibly, even people have, it can't be fatal. Speaker 4: (05:11) But if you at the interventions from the hospital placed on you I think within three to four weeks until you sat on told JPA starts to kind of overtake your body, you'll be lucky to recovering this quite high but post four weeks and you haven't had an intervention with they call it immunoglobulin therapy or plasma faceless where they basically take our, your white blood cells and replace it with others. Wow. so basically you'll be your pasta, your, your ability to recover. That's a lot higher with your peripheral nervous system because your central nervous system are made out of oligodendrocytes and that's what they make up are once they damage, they don't rip you. Wow. So if you about a motorway system, once you've got an issue major, such a major highway, so one roads basically destroyed, it'll never be recovered. Speaker 4: (06:05) You'll be able to actually try and tap into other areas and go off road and then come back on, wow, I want to kind of destroy their part of the road and we'll never recover. Whereas Guellain Barren Syndrom, once that Schwann cell is basically damaged, if they're forced to before the damage, its ability to, to re regenerate as higher Scwh is in. This isn't the bird Swan. Swan. So S C W H. Okay. So that's a german. SCWH. Okay. So how does it manifest itself in your body? So you've got the, luckily not the central nervous system one, but more of the peripheral. How did that sort of manifest and what were the symptoms? Okay, so for me in 2014 mindset of half the thing is they don't actually fully understand why it HIPAA or like what actually causes causes a bacteria virus. Speaker 4: (07:09) We don't yet, but they understand what happens to once it starts. What's a, what's a begins to happen. So for me how they described the words, I, I basically called a guarantee Stein bug basically a month before GBS kind of started to could have been related. I go to my body, yes. So what they, what they perceive as what happens, it's an auto immune disease. So I had discussion or anti Stein nonfiction and I recovered from that. But however, what happened is you obviously when you get sick, you build up your immune cell or your immune system starts to kick in and you build get your killer T cells and then eventually you'll have resistant T-cells to action to buy down the killer T cells. Cause they've already destroyed the bug. Yep. What's happened is in my immune system, my resistant T cells to to actually hinder and stop the killer T cells from producing and actually start to generate around the body, they don't actually start to kick in. Speaker 4: (08:12) So your immune system had all these killer T cells floating around. And then I think obviously then I just got another random cold bug about a month later. And because you had these killer cells, so floating around in my body, I'm talking kind of later and I used to help you find fully understand it's important. Yeah. And so basically what's happened is my immune cell, my immune system has decided to, they've got this new bug, these qualities are the floating around. I have no idea what to do with this new bug and all of a sudden have started to just manipulate itself and then attach in a tech my, my peripheral nervous system. So phone cells instead of that classic auto immune shoot all the goodies and the baddies at the same time. Yeah. So it spawns my, my immune system starts to attack my own body. Speaker 4: (09:03) Yep. Essentially. Yeah. And so you don't, you don't know whether it's coming from there you know, that that gastrointestinal thing or not, but quite likely that that's caused that caused this reaction in the body. Obviously when you, when you're sick, obviously you get increased inflammation, which means that increases your immune system. And so it just, just helps you like a, like a, like as if you're standing in front of her train. And so basically how mine started was I just started getting pins and needles and my peripheral, like basically in my hands and my feet. Yeah. And it slowly kind of, I started basically just getting pins and needles and it started gradually kind of coming out of my arm of my legs. And then I started losing sets on my sensory kind of went, went away first. So SABIC losing sensation. Speaker 4: (09:54) And then basically as it came up through my, through my feet and into my ankles, we have a thing called proprioception. And they basically tell us it helps you understand its joints on the stand we are in relation to space. And that's that it's to dissipate and actually kind of disappear for me. So I started losing balance. It wasn't anything wrong with my brain, it's just that I couldn't get the right signals from my feet and from the white bearings, my weight bearing joints to my brain to understand and tell my body where I was. I had that with mum, but from a brain injury. Yeah. And so she didn't know who she was away. She stopped the way the world started. Special awareness because it's very hard to explain. Yeah. So this all just started happening. I don't know why, what's happening? Speaker 4: (10:43) You just kind of just randomly came on. So I started losing sensation and eventually started losing weakness in my hands. My jaw. I just knew something was wrong. I went to the doctors. The first time when I started getting pins and needles actually seeping into a physio, like some form of nerve issue of my lower back or, or something. Cause at the time I had, I had an injury, I'm a little bit. Yep. So say me, the basically nothing happened. A week later it started getting worse. Went back to my GP. He doesn't know, he didn't know what was happening. Obviously we could have the GP and had, you know, had I had signs of symptoms, they kind of live on possibly being meningitis as well. Yeah. He's sent me into, he see me in hospital, showed away basically after their next visit. Speaker 4: (11:31) So this was two weeks after that sort of started happening. A huge and obviously because he sent me diagnosed me possibly with a hypothesis of possible, possibly meningitis. I was treated for meningitis when I got there. By winter it wasn't, it wasn't I went and had my spinal taps. Yeah, spinal tap generally for meningitis in GBS cause they do present quite similar if they, if they think so. They're trying to cross the cross all the T's. We then, and then as they actually, when I went into hospital, I started getting huge migraines. I was getting migraines and I was skinning photophobia. So I've kind of actually optimized the life would just penetrate and just give me huge headaches. So I, when I was presenting what's, you know, and that's even another sign of possibly being in Jarvis and migraines. I, however, I didn't have a rash. That was, I need public one real, something they usually would get from in a data cell. We then had my spinal tap done, went for a CT scan. And then I was isolated basically because if I'm in a ditis spread it out at this point they still didn't know what I actually had. They were just going on. You know, the signs and symptoms on me, possibly heavy meningitis skins fascination and hits the spinal tap, then CT scan. Speaker 3: (12:55) Yep. Carry on. Mum's bringing in the middle of the webcast. She always does. Everybody who listens to the podcast knows this is a key ring from Mark to carry on mate. Speaker 4: (13:08) Yeah. And then and then I'll, then they for a week nothing basically improved. So all the all the drugs that they go to me throughout the time to help me try and beat meningitis were working. I was getting worse and I started losing what I'd done in relevance to that. I was actually getting really weak, but I couldn't actually convey that to them because I started getting, you know, I started losing my, my, I couldn't breathe and I started, I get to be on a ventilation also just so much pain. So I started getting hyper sensitivity. So basically cold felt like hot hot, felt like cold, a polo felt like a waste of time. I felt like I was driving into into the beat. So when I was just lying on the bed, I felt like I was getting pulled down by gravity. So [inaudible] rotation or anything kind of going out of whack, you everything just becomes imbalanced and it might, your brain can not understand or what, and it's trying to rebalance itself. And in that process that's kind of having, it's actually being detrimental to your, to your ability to kind of actually understanding the world just cause everything. Like basically if you'll need to bombard your nurse to actually understand, you know touch smells like every foot of sensation that you can basically think of. Speaker 3: (14:27) We had for granted so much and we know that this is, yeah, something's touching my right hand or I'm feeling my left hand or, Speaker 4: (14:35) And then basically third weekend I had an MRI and then the neurologist was actually away at the time. So the neurologist said that was actually from the house and told him the hospital for us. He was a white, you ever sees on a, on a spent sabbatical at another hospital. And so the neurologist from Palm smelt was coming up two or three times a week. Yep. So he came up and he basically once they won't say best, so he thought busters, a meningitis B bike. And I started and I had an Ida, my sister in law, she found a possible link to being something more neurological because I had this window of opportunity. We actually felt, you know, everything kind of normal, a little bit full for a time. And I asked Glen to kind of do some, do some assistance on me, who's my sister in law. Speaker 4: (15:25) She's now registered, now open a hospital. Wow. and she just chose a fifth year medical student at the time and she just done some systems on me and she felt my reflex is going through. I couldn't, my sensation was, was basically gone and she just went straight to straight to my consultant. My consultant got the neurologist to come in and they're all just basically look there, make straight away any new show way that ITVS basically Australian. I went straight into HDU. I was throwing spirometry, so I actually checked around my lung capacity was gone of the migraines. They organized for me to go for an MRI just to see what type of thing my body information was. And all of my, you know, all of my CRP scans, we were just through the roof. White blood cell counts were through the roof. So they knew that your, your menu system, but they couldn't, they didn't know what was happening on it. And obviously people, it's so rare you know, you, you come across that every, I don't know, once or twice in your lifetime. Speaker 4: (16:33) Okay. So now you're, you're in the, the finally worked out does it, is this thing. Yep. What sort of a battle did you have on your hands then? I was in the battle. Basically, they're trying to save my life. Wow. Yeah. Yeah. So my, my, basically my, my lungs started to shut down. I immediately went down to about 50% capacity. As soon as I went into HDU I was intubated with mechanical ventilation to the full Monte, so conscious, so my brain's still, they're not just getting migraines. Stuff's like, it's still kind of occupational life. Nothing's happening mentally. It's all just the, my physical body shutting down. I can't move. I started all like, basically I lost all control of my bowels and whatnot as well. So there was things we didn't see wise. It was just, it just, everything went away. Speaker 4: (17:29) So like a massive brain damage. Yeah, something's happened to the brain, but it's just a little bit, it's just my, my peripheral nervous system is shutting down. So I was 23. Wow. I was 20. It started 2014 and yeah, so that, that all happened aren't you baited? And they basically, they started me on what they call immunoglobulin therapy, which is basically other people's antibodies. So, and that's about $1,500 a bottle. And I had about, I don't know, I think it was a call center of over five days, three bottles a day. Sorry, I'm trying to overpower it with, with normal white blood cells. Yeah. So basically trying to combat my immune system so they're pumping and you know what white blood cells from other, basically it's basically a blood transfusion into my body to basically, it can't stop DBS, it can only spoke. Speaker 4: (18:41) So the progress of it. So like I said before, you know, these, they're four week kind of if their month window that month window to try and stop it to get possibly from being a fatal condition. So I was in the third week, halfway through the three weeks, so they just water them. And you know, I already got to the stage where basically I was a vegetable and basically I was just trying to save my life. So I was intubated, heading immunoglobulin, stuck to a wall hours days. And I was in the hospital for about three months in ICU for about a month and a half. And then I went up to just the general ward. So it was amazing. So once they open up here, but it's just a waiting game, you can't really, you can't do much, they can do something else. Speaker 4: (19:30) You can do. You just watch you just hoping that, you know, me being a young kind of 24 year old at the time, it was going to kind of, that was going to be in a box, which to me, thankfully it was. It was. Yeah. And that's very grateful. Someone under the age of basically 50, 40, 50 to get genius. Wow. cause you, have, you got, you know, I, I love diving into the body. Do you think you have a predisposition to immune and overreactive immune system? Have you even thought about functional genomics and doing some testing along that lines to see? Well, you know, I've always thought that I'd always thought about looking at basically my DNA cause but you know, when I look at my, look at my look at my family, but I look at my family history, I've got none of that in my family. No kind of history of a neurological emission. We've got you know, quite a, the only thing we probably have in my family is the Alzheimer's cancer in our family. We don't have you know, you know, really what do you call it? Systemic kind of conditions, you know, mommy and my family have died of heart attacks. I think one. Yeah. [inaudible] Speaker 3: (20:50) We've got type two diabetes, but that's not genetic. That's just, you know, your modifiable risk factors that you can change. Well there is genetic fathers did it as well. Yeah. But it would be interesting. I mean I'm just fascinated by functional genomics and looking at understanding of why your immune system would kick into overdrive and actually cause an S is this likely to happen again? Not GBS. Well, we'll get to that in a minute, but you know, for other immune responses now here on land. Yeah, I'll definitely be interested in looking at research that we can. When I'm working with the DNA company and I've had dr mincer on the say they've just opened their labs up again and it'll be a few months before I'm qualified. But I can definitely connect you this if you want to have a look at that just to, I mean it's, I think it's something that everybody should do once in their life anyway. Speaker 3: (21:49) Yeah, it's fantastic, Dan. The stain, it can definitely help you plan and prepare for your future. Not stupidly, but just preparation was, you know, you'll tell him to stay on what's happened. Like what could possibly happen for you and what, you know, change it while you can change in regards to modifying your lifestyle to be able to enjoy, enjoy your, you know, your quality of life to the full extent. And even like things like, and this is getting a bit off topic, but you know what medications you might interact with in a, in a bad way or you know what your detox pathways are like. So do you need to be super vigilant when it comes to outside toxins, that type of thing or your hormone pathways or everything like that is involved at, so it's pretty, pretty, pretty good information to have. It's like, I reckon it should be like passport. Speaker 3: (22:43) So you have it, you know, and then you take the interventions to stop problems. But back, back to give a story. So you, you, you're fighting for your life now in your, you've, you've gotten through that really bad, horrific stage. How were you mentally coping with us as a 23 year old when you started to come back to life, if you like what you've been through, this traumatic, horrific experience. Have you dealt with that? You know, I've probably, I'm a very optimistic person, just like as a put my personality. I have a very optimistic look and I'm just in life in general. It was really tough. So at the challenge me a lot I wish I knew my wife, that's, it would've been easier, definitely been easier. You know, just being, you're being 23 and I'm very much a mum mama's boy. Yeah, absolutely. Nothing wrong with that. And my mum at the time Speaker 4: (23:47) You know, after raising my brother, my sister and I her entire life as a single mother. Wow. yeah, it's off to half. Yeah. I have a lot of, a lot of things in life. She was in Spain, so she decided, you know, how all of us, we're all growing up, we're living our lives. We started our new careers and, you know, looking, you know, what's going on in our own adult lives. If you took this opportunity, you know, to actually just enjoy this and go off on another Valium sabbatical for six, seven months over in Spain, lift my lift, my stepdad, he just say, I'm going to Spain. I'm going to go off and have all that. And she was basically two months in over there, and then they'll say, great. Trip as well. You know, I tried to, we rang basically nearly ever tried to ring every night through Oh, he used to be called Viber, you know, the original kind of. Yep. I guess. And you know, I basically said to every single time, as hard as it was to me, just to say on the phone was, you know, I said, I kept on saying to mum, don't come back. I'm going to beat this. And I'm not gonna pray, I'm not going to buy as much as I probably cried a lot of the time thinking that I was going to die. Speaker 4: (25:17) Yeah. To face your own mortality though, I mean ridiculously young age you know, like how do you see that now? What's your relationship with it now? I mean it's a pretty hard thing to buddy. Others that's I think I look at it more is I don't ever look at it as a, it's a fear concept. I probably look at it as a, as an opportunity to kind of, like I said, like before we even started a podcast, that's just an opportunity to actually still learn. Even though, even though I was going through this, I was like knocking it, if I get through this, what am I going to learn from this? So that's how I actually probably got me through. A lot of it was, you know, I'm not going to let this beat me, so what can I do with my life if I, you know, not if I was going to, it's like I was spicy. Speaker 4: (26:06) I was trying to tell myself that I wasn't going to, but you know, facing, facing that possible. Yeah, it was either I have my down moments. You know, you sometimes you're probably just thinking about wanting just to give up because it was just so that was quite hard and you know, seeing my family and my family and my family just probably, which has definitely been, you know, my Maori being from a Maori family, my and my mum overseas, I'd always had someone next to me. So yeah, my aunties, my uncles, my brothers, my sisters, my Dad, they all kind of took their time out of their days to kind of one at a time, go on a roster and just be there 24, seven basically, isn't it? It's so important to have that support. Yeah. And you know, like I'm a big, I'm a very holistic kind of person. Then before MALDI back home we have a thing called all, you know, like mother that can be, and so basically in anything, so a person, an object or you know, any inanimate kind of thing. But by them being there, they actually predicting them announcing me, if that makes sense. Absolutely makes sense. You know, if I didn't have them, I don't know if I'd even be here. Being beside your loved ones and having walking with them and their dark times is just so, so, so crucial. Like very family orientated person. So yeah. Speaker 4: (27:36) And you got a good one. I didn't have them beside me. I don't think I definitely would not have probably made it on my own. Because they were actually my thyroid, my motivation to actually fight and fight cause you need to fight, you need to fight when you're in deep, deep trouble and to find that fight when you're in pain and in, in terror and fear and all the rest of it. And the reason probably why I say I would show my wife at the time was because she's actually given me that strength and power to actually on the same or separate afflictions. Yes. I never actually fully understood it and she comprehended it. So I was obviously me being a 20 young, 23, all these just think of the physical aspects of life. And I never really considered, you know, how impactful the mental side of things, the emotional side of things and the spiritual side of things. Speaker 4: (28:25) But it's actually, she really helped me also is actually trying to understand who I am, what my identity is. Wow. I shocked. Cause if I had that back then as well, you know, I definitely would. Mmm. Fully understand and actually I would have been a hell of a lot better position to actually get full without ever even thinking or considering those kinds of things I would consider and think about them, but I wouldn't have, I wouldn't, you know, consume me. Yup. Yup. If they make sense. So I'm a big believer in if you have a strong, I didn't say even cultural identity, if you understand who you are, yeah. It gets you through. So, and that's, you know, being honest to yourself, being yeah, even on the others. And just taking them one step at a time, you know, it's not going to, you need to fully appreciate it. Speaker 4: (29:17) I understand that sometimes you do need that time to just kind of look at yourself and understand who you are. Cause if we don't, then you struggle. So this has brought you wisdom beyond your years really, isn't it? Yeah. So, okay, so, so you, you were in the rehab now for over a year trying to come from this thing and what was that better like? Like was it like coming back from a stroke or a brain injury? Was it like that now? Yeah, so basically it was really weird. So for me, I actually quite enjoyed it, but obviously obviously food through. I, I enjoyed the rehab, but the time that I was in the hospital, that was the tough part. So yeah, it wasn't until I probably got past it every elevation there point where I knew I wasn't going to buy. Yeah. Basically once they, once their fear of my own mortality here to pass, I was, you know, basically they basically told me, I was like, I've been in it and now all I have to do is put the work in. Yep. So be able to give myself from where I am right now, being dependent and now becoming, you know, my independent self again. Wow. I'm still alive so I'm stoked. Speaker 4: (30:39) I'm going to fight like crazy to get better. So I'd never looked at it as being, you know, I never looked at myself as being disabled ever. Maybe sometimes I maybe shouldn't because I know I probably pushed a lot of stress and, and you know I'm on my family when I was going through it there first time cause I, you know, obviously I think we forgot to mention them. I got this last year as well. Yeah, yeah, yeah. This is what we've got to get to yet. So, yeah. So that, you know, I wish I probably was able to be honest. If I say, you know, on, on basically my family going through a lifetime because I know how stressful it was for them to kind of see me in that position and all they wanted to do was just help me and all in all I would do was just kind of internalize it and just keep it to myself and say, no, I almost went homeless and do it myself. Speaker 4: (31:36) Right. But, you know, that was a very selfish thing. Like when I look back on it, it's a very selfish approach that I had on it, even though I know they called me it. But that's because I was only ever thinking about the physical side of things still because you were young and I was young and you know, for me, being a 23 year old, you know, the physical side of life, very, very important. And being a man, you know, you messed the and he gets challenged and it was very, very hard to kind of get through that without ever feeling like I was burdening my family. So, you know, and that way when I look at it now, I, that was the wrong approach. But yeah, so basically once I got past, they pointed at this past the point that I wasn't going to be, that wasn't going to die. I was in hospital until basically I was my, I wasn't head. I took out the mechanical ventilation and I started doing some form of physiotherapy in the hospital and then they had organized me to go to a festival or a Ferguson. I know I Speaker 3: (32:40) Tried to get mum in there, couldn't get her and sorry. Speaker 4: (32:43) I got, I don't know where I got my funding from yeah since I was three months in hospital. And my rehab basically consisted of a lot of it was orientated around my goals and what I wanted to reach back to. However, when I read what I really enjoyed about lower foods, and it's basically like a campus that's a rehabilitation campus and it's for people that are under the age of 60. So it's not a, it's not a retirement village. It's actually for people that are, wants a big goal, be there long term. They had some of them who have long term conditions and took some of them terminal to a certain extent, but they're all there for the purpose of what's in there. Try and get better. Speaker 3: (33:29) Love that. I love that. Yeah. I did try to get my mum in there. She was too old to get there and we couldn't get funding and so on. But it did feel like a place where you were going to actually do something because I must say you're a neurophysio now, so we'll get to that shortly. But I must say the physio care that we had in the hospital was nothing short of atrocious. Yeah. I could have done it in my sleep. I think they went, they'd eat the lunch. That's pretty harsh. But that's, that's how I felt. Speaker 4: (34:02) And it's, it's really hard when I think about that because they are quite restricted in a lot of what they can provide. You know, me being like going through placements in one note as well in the hospitals, they all want to change how they approach things on the hospitals. That's why they're trying to implement, you know, code rehabilitation, gems and whatnot there as well to get more involved. But at the same time it's really tough because systems at the system is built around, you know, you've got so many patients that you have to see on a ward and you've got what, 10, 2030, 30 minutes at the met with them. Speaker 3: (34:41) I must say I must, I must re repair what I just said. The ones that were came round to us on the ward during the acute phase were lovely. Awesome. Yeah. When we were later put into the rehab with mum I fought to get her back into the system to get, you know, cause they said at the beginning she's never going to do anything again. We're not going to bother basically. And I fought and after a year I got her back in for two times a week and there was atrocious. And I felt like a box ticking exercise. The ones on the ward were different. They were very passionate and really, really wanting to help. So in, and this is no indictment on any one person or thing, but there was a systemic problem and there is a systemic problem with the way that the, the things are run at least an hour, the, our hospital and the way that you are judged, I remember and don't want to take her out for the interview, but six weeks she had as a block of two times a week. Speaker 3: (35:43) And honestly what she would do in that six weeks I would have done in a day with her. The tests that they tried to put her through, she was intimidated. She felt like a school girl, so she was not interacting with them. Because they were very judging her all the time, whether she should continue in the program. And at the very end of the program, they had a big panel where they all came in to decide your fate, whether you'd be considered to continue in the program. And they, they talked to me not to hear who's sitting next to them and says she's below the level of the worst dementia patient we've ever seen. You know, she's never going to do anything and this is a waste of time. And I turned to my mom and I said, well how does that make you feel mum? Speaker 3: (36:28) And she said, you know, well I was feeling quite empowered until I came in here. Now I feel totally, you know, down before. And they just looked at me and then jaws drop cause I had never heard her speak because they had never spoken to her as a intelligent person. So she had responded because she was intimidated by that medical setting and I knew that she was a nurse. I knew she had a, you know, stuff going on and she was intelligent and she was coming back. I believed in her and I just said to them, you can stick your program up there somewhere. I'm going to bring my mum back. And I did. From that point on I was like, right there is no help. I will go and do this all myself. And that's, you know, that's, that's just that particular bunch of people in one particular place. And that's not an indictment on them all. But that was, that was quite sad. And then I had a wonderful neurophysio. So let's get onto your neurophysio cause you've gone down this path now after going through this. Was that the reason that you went and studied neurophysiology? Speaker 4: (37:35) Yeah, definitely swung my Martha sessions that go that way. Yeah. I wasn't actually through PSI. I had an amazing neurophysio and when I went, when I was at Laura, focus on the reason why I decided to go down this path though you know, it was just, she just knew how to push me in the right ways and I wanted to do that for other people. And even when I was at Laura Ferguson, I met so many amazing people that had never asked the, you know, to have a stroke, to have no image, to have Huntington's disease, to have pockets. And so, you know, they never, never, they never asked for that. And just to be able to have it's just you know, the, the, the thing I think about the most is people, there's dependent, you know, if you're, if you lose your independence, I feel that's the huge, like the biggest thing as a human, you don't read it like it, it's that old cliche of, you know, you don't know what you have until it's gone. Speaker 4: (38:36) And so basically it's a pout. Somebody that does the pendant become independent again. That's the most rewarding thing that I can even think of from from, from absolutely. When I, when people ask me why I wanted to become a pussy, I say there's three things. So one of those I knew I always wanted to help people work from a health perspective. And originally I actually wanted to become a doctor and do medicine. So they laid onto their leads onto my second reason. That was the reason why I toasted the physio and it's purely because I probably had hit the, you know, Gordon, she was amazing. I'm going to start her name out there because she is amazing. They she made me understand that being a physiotherapist you just were able to have. And there's just this natural and therapeutic relationship that you just can't have as a doctor is, you know, as a relationship proficient. Speaker 4: (39:34) Yeah. Your ability to be able to have those real deep connection with, with your patients was like, there was, that's the reason why I really got back to where I am today because of that. So, yeah. Yeah, yeah. I'm a very people person. So having that intense of kind of relationship with each other collectively, you know, having that shared goal of kind of getting to that, to that same, to that shared place where they want to, that they want to achieve. As you know, second to none. It's a bond for life really, isn't it? I can see how much you love and respect what she did for you and how much it means. And this is why it's on me to becoming a physiotherapist rather than a doctor. The complete opposite of like, I had a neurophysio too who came to our house afterwards and he was wonderful. Speaker 4: (40:31) He gave me the belief that we could do this. He gave me the basic tools so that I could work every day with here cause I couldn't afford obviously everything. But he gave me the information that I could then put that into practice on a day by day by day basis. It's really common sense. It's just being able to apply it in the right way and try to break movements down. Now how do you teach someone to, I specifically look at it in three ways, you know, narrow cause as I think of it as he got function, strategy and impairment, that's basically, that's, that's my, that's like my go to for anything basically. So you know what you wanna achieve as function, you have strategies to achieve that function and then by you have an impairment which affects the strategy to be able to perform the function. Speaker 4: (41:18) Yes. Yep. So obviously the goal is function by why you have to do a specifically time work on the impairment and then effectively your strategies should try and improve and then you start, that's how you progress to the next kind of thing. And then, then what happens is you'll be able to perform their function again. It's like a soap tech. I'm like, I'm trying to simplify it, but that's how I try and approach things. Yeah, no, that makes absolute sense to me. Yeah. That's like free three steps and there's a variety of ways of how you can integrate your treatment methods. So there's a variety of treatment methods that you can use, but that's the ultimate call it, that's the, that's the basis of it that I run by. Wow, I'm going to bring them up to see you one day, what's the next thing I can do with it? Speaker 4: (42:06) So they basically, when I funded, when I recovered, I decided to become a therapist. So I enrolled into A A T and started in 2016. Obviously because I got a dog, cause 2015 had already started because I had a bit of paper and I just kinda wanted to give them my stuff that either actual year where I just worked and just got back on it to actually get back to normality. And then I decide to go on on the intake in 2016. And AAT is now I'm gonna fly should be an, it should be an advertisement for them or something. Yeah. Yeah. They're amazing. So I love that. I love being a part of that. They invest like the way our lectures were, they all came from a clinical experience. They weren't, they were heavily based on the theory. Speaker 4: (43:02) So, you know, they, they basically, they, they pushed down a farts to be able to have a clinical reasoning. And maybe I want to think on a fetus practitioners as clinicians, I want us to be clinicians. They want, they don't want us to be bookworms and lab and just writing, research things out all the time. Cause at the end of the day, you know, our, we're providing a service and we want it to be based around real good quality service. Not just, you know, anyone go on Google and find out and do this, you know, you know, I can do that. We want it to be able to, so they've really and forced their kind of encourage and encourage that type of learning. So it was very practical. And I'm a very practical kind of person. And it's really weird, you know, obviously when I was going through my rehab with his 2014 and they're learning and become in basically going through my physiotherapy degree, I look back on when I was through my rehab and I could see all the little tricks that you said. They will create these signs and your physio you create like the games and really it's actually, it's an objective measure for being. So I didn't really realize that it was actually like a, she's, she's testing me but I didn't know that. Wow. We've got them on or big take tests in all photos just to help me with like picking up things and putting them in. But secretly she had been timing me. Speaker 4: (44:37) She had made it basically. She made a lot of things cause I'm very sport all of my sports. So she made a lot of things in the games like paying the, we you know, you just, you can be as creative as you like as a neurophysio just to get that function back. Yeah. and you know, you learn, you learn basically all the main three, which is cardio, musculoskeletal and neuro. You always remember the principles of all three. Highly effective when you come out of uni, you kind of the side, we really want to kind of stop that all like basically to down and down. And so I obviously obviously matches. Obviously neuro, I do have a miscarriage. I do like that as well. And most people do do musculoskeletal. That's like your normal, full possessive, your body. Everybody knows about. Speaker 4: (45:28) But yeah, my interest is always possibly always going to be neurons just purely from an empathetic point of view. Having that rewarding feeling of being able to help someone get from a to B and just being a part of their journey with them. Yeah. They've ever wanted to be a credited with any of the, you know, them getting there. It's because it's all in. It's just being able to share their journey with them. But it's amazing to be able to, to provide that framework for people to, to learn from and to grow from. And so I just wanna like wrap up in a few minutes, but I want you, you got this again. Yes. You went through this whole thing again in January this year. Speaker 4: (46:12) August last August, 2019 so I was the special 1% of the entire world to get GPS twice. Wow. That's insane. It's super, super unlucky. But this time I have my wife, yes. Father-In-Law. I can never be grateful and thankful enough for them because this time, at least they, we knew what we were dealing with and we see Australia and stuff. It was just a lot and was still very tough and I still kind of, you know, internalized a lot of things. And you know, that, that same thing that the last time when I kind of found my cell phone with regards to my, you know, challenging my masculinity and keeping things internalized, trying to get through myself instead of feeling like I'm burdening everyone else with what's going on with me. But you know, Claire and Steven definitely helped me get through that. And I should apologize to my wife because I know it's probably very, very, very tough on it. Anyone you love and when you're going through hard times, you're always going to have moments where you didn't do what you wanted to do. When you look back afterwards. I mean, I've had times like with where I've been, like Speaker 3: (47:30) Afterwards gone, shit that wasn't good behavior, you know, on my behalf and, or you think, you know, but you're just in a desperate state of exhaustion and fatigue and the grind of it all and you did things that you're not surprised of. Now, you know, in my case where you think, you know, we have yelled at her for something or you know, just gotten frustrated and gone, Oh for goodness sake, you know, and then you're like, that's Speaker 4: (48:03) Time is as much as I was plus time round. It was amazing. Effectively Steven was my head of Gordon the farm. That's, you know, we went, we went to the polls basically three times a week and we went into the hospital twice a week. And he was the one basically taking me through all of my exerciser and whatnot and you know, clearly had to obviously go to work every day. But at the end of the day, she's like my biggest inspiration, the person that I aspire to be like, cause she knows who she is. She sounds awesome. Gotta meet. He's he always makes me want to be a better person or just a better man. Yeah. She, she sees me like she, she can, she sees through me if they make sense, she feeds me. She knows me better than I did myself. Yeah, Speaker 3: (48:52) You can be, you can be real with her too. You, you are who you are and she loves you for all the, all the good, the bad and the ugly. And isn't that what it's a wonderful thing. Yeah. Speaker 4: (49:05) Well the whole my kids look, I mean to me I couldn't make it bad side loss basically up to my elbows, into my knees as time. So I still had function and my, you know, basically my, it wasn't as bad, but it was still GBS even still take like six to seven months before I can actually, he's coming out the other end of this couldn't have been on myself. Yeah. Speaker 3: (49:31) Right. We're gonna wrap up now. What's the message? You know, there's a couple of good messages that have come out of today saying like, as a, as a young Mari, you know, men, you've faced us with amazing strengths and the wisdom that you are beyond your years. I mean, what are you now, 29, 2030 29 30 turning 30 wisdom beyond your years because of what you've been through and that is going to help so many people and your career and what you, what you do. And I'm very excited as it is. I know Steven is to see where you go in life because you know the power and the money that you already have now because of what you've experienced and your openness and your thing. I just think it's fantastic. And you're going to really be empowering lots of other people going through and this is probably, you know, your life's call and you know, is to help people and to do this and to share your story. You know, I think it's important. So this is hopefully the first time you were sharing it and won't be the last, I guess Speaker 4: (50:37) My take home is search after everything that I've been through with everything and all the people that I met. And then I have my wife and Steve and everyone inclusive my family. I think the biggest thing for me will be I think I'll probably look at it at this time of the kind of leader that I want to be like. So it's really, as I said before, it's being able to understand and having their perception of others, you know, never worrying, never caring about the perception of myself. You'll never, if you, if you can understand the perception of others you want to have, you always have an empathetic point of view on my fear. You'll be able to actually stand on the feet, stand in their shoes, sorry. And then understand, tied on the stand, what they're going through and instead of a sympathetic point in life, because at a point when you can become too sympathetic in not feeling sorry for them and then that's not going to help them at all. Empathetic, sympathetic. So that's the kind of leader that I want to be like. And that's what I want to, Speaker 3: (51:41) You're well on your way to doing that and you have a lot of money. You can see it. It just comes out through the screen. So thank you very much for sharing so openly and honestly today, your journey because it is empowering to other people who are going through difficult times. And this is, you know, part of the job of the show is to educate people around, you know, health and fitness and the latest science and the latest stuff. But also to make us understand like we're all human and we all have these feelings and we can get through tough times strategies and tools to do that. And you obviously found a few along the way. So I wish you well and you know, I'm excited to see where you go mate. And any last words, any last words before? Speaker 4: (52:29) Speaker 3: (52:35) Love it. Thanks. Thanks. Bye. Speaker 1: (52:37) That's it this week for pushing the limits. Be sure to write, review and share with your friends and head over and visit Lisa and her team lisatamati.com.

Jaume Segalés habla de las 3 millones de ITVS pendientes a causa del coronavirus y entrevista a Eva Ruíz por ‘Boy, bye’.

Bhawin: http://www.youthfx.org/donate Bhawin is an educator and filmmaker born in Dar es Salaam, Tanzania and now based in Albany, NY. In 2008 he co-founded Youth FX, a media arts organization focused on empowering young people of color in the City of Albany and around the world by teaching them creative and technical skills in film and digital media while supporting communities of young artists. Bhawin is the co-founder and co-director of NeXt Doc, a year-round fellowship program that exists to amplify the voices of documentary filmmakers of color between the ages of 20-24 years old. Bhawin is currently in production on Outta The Muck, a feature length documentary supported by Sundance Institute, JustFilms, ITVS and Southern Documentary Fund. He previously directed the award-winning documentary, The Throwaways (2014). Originally recorded on April 21 2020 ----- DiDi Delgado is creating change (unapologetically). http://linktr.ee/thedididelgado https://thedididelgado.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/the-full-set-podcast/support

Matthew talks with Kelsey Peterson, the woman behind the documentary film SUBMERGED - formerly titled “The Cure Map”. Matthew and Kelsey talk about her pathway to advocacy and the genesis of the Cure Map project, the recent announcement of being the recipient of the highly competitive ITVS Open Call award, the effects of the COVID-19 troubles and lots more. Follow Kelsey on social media here: https://www.facebook.com/submergeddocumentaryfilm/ https://www.instagram.com/submergedfilm/ https://www.youtube.com/channel/UC0uh96WZU_X46JIWSCqM6bw

Today we are celebrating the life and the achievements of the Emmy award-winner, Mr. Charles Hobson. Your Life Now show is honoring Mr. Hobson’s accomplishments.  When I watch a documentary that address cultural affairs and social values, I walk away with a different perceptive. How do they affect you???? What inspires filmmakers to produce such valuable movies to help us understand our culture and others better? It's my pleasure to introduce you to our featured guest for this week the Emmy award-winning producer Charles Hobson. Itys was honor to meet him and to lsten to words of wisdom. Mr. Hobson was the founder of Vanguard Documentaries and had been producing films of cultural and social value for over thirty years. Mr. Hobson also co-produced films with PBS, BBC, Arte, ITVS, and many other notable networks.  For more information about all the upcoming movies from Vanguard visit: http://vanguarddocumentaries.com Contact us today at: http://YourLifeNow.info

Our star trio of Tom Stanley, Sam Turner & Donn McClean preview the best of Saturday's action from Cheltenham and Doncaster including all of ITVs live races. Matchbook Sign Up Offer - https://offer.matchbook.com/ Time Stamps Cheltenham:   13:55 - Caspian Caviar Gold Cup - (02:15) 14:30 - Albert Bartlett Novices Hurdle - (14:40) 15:05 - International Hurdle - (19:54) 15:40 - olbg.com Mares Handicap Hurdle - (31:10) Doncaster: 14:10 - December Novices Chase - (34:49) 14:45 - Summit Juvenile Hurdle - (40:50) 15:20 - bet365 Handicap Chase - (44:02) Best Longshot - (47:57) Best Bets - (49:34)

What are unconscious biases and how are they making their way into your work? Well, here's a definition for you:“Unconscious biases are social stereotypes about certain groups of people that individuals form outside of their own conscious awareness. Everyone holds unconscious beliefs about various social and identity groups, and these biases stem from one's tendency to organize social worlds by categorizing.”In this episode, Dixon's Diana Dixon, TV One's Lori Hall and ITVS' Lisa Tawil explain what unconscious bias is with a little help from 'Conan''s Andy Richter. They then discuss how you can identify your own unconscious biases and ferret them out of your work.Listen in to this insightful session from Promax's 2019 June conference in Los Angeles.

Tracy Rector (Choctaw/Seminole) is a mixed race filmmaker, curator, community organizer, and programmer. Currently, she is serving as Director of Storytelling at Nia Tero, a non-profit committed to supporting Indigenous governance and guardianship. She has directed and produced over 400 shorts and other films including the award-winning Teachings of the Tree People, March Point, Maiden of Deception Pass, and Ch'aak' S'aagi. She is in production on her sixth feature documentary Outta the Muck with support from ITVS. As an impact producer, Tracy served on the team for the feature documentary Dawnland, which premiered on Independent Lens’ 2018/19 season to 2.1 million viewers in its opening week. Her work has also been featured in National Geographic, imagineNATIVE Film + Media Arts Festival, Cannes Film Festival, Toronto International Film Festival, and the Smithsonian’s Museum of the American Indian. Tracy is the co-founder of Longhouse Media, a non-profit focused on galvanizing Indigenous and local communities through film production. Since 2005, she has worked with over 50 tribal nations and helped train 3,000 young people. Tracy has received the National Association for Media Literacy Education Award, 2016 Stranger Genius Award, and the Horace Mann Award for her work in utilizing media for social justice. She is a Firelight Media Fellow, WGBH Producer Fellow, Sundance Institute Lab Fellow, and Tribeca All Access Grantee. Tracy’s first major museum installation opened in June 2018 at the Seattle Art Museum. Tracy serves as a Mize Foundation board member, senior programmer at the Seattle International Film Festival, and is in her second term as a Seattle Arts Commissioner. She is a mother of two young men. Social Media & Web instagram.com/tracyrector/ facebook.com/tracyrector/ No Blueprint & AmbassadorStories Social Media: instagram.com/ambassadorstories/ twitter.com/AMBStories facebook.com/NoBlueprintPodcast/ ambassadorstoriesllc@gmail.com Support + Merch paypal.me/AmbassadorStories patreon.com/AmbassadorStories ambassadorstories.bigcartel.com/ Official Websites: NoBlueprintPodcast.com/ AmbassadorStories.com/

Talking American Studies with Kristina Baudemann from the Europa-Universität Flensburg about her and Prof. Birgit Däwes’ new project - Knowing Tomorrow 2.0: Twenty-first Century Native North American Archives of Futurity - about Indigenous Futurisms, Indigenous Studies, and so many great articles and artworks.www.uni-flensburg.de/nativefutures http://abtec.org/Barnaby, Jeff, director. File Under Miscellaneous. Prospector Films/John Christou, 2010. https://www.youtube.com/watch?v=Zi3B2V_e8fY .Deloria, Philip J. Playing Indian, Yale UP, 2007.Derrida, Jacques. Archive Fever, 1995, U of Chicago P, 1996.Dillon, Grace L., editor. Walking the Clouds, U of Arizona P, 2012.Dimaline, Cherie. The Marrow Thieves, Cormorant Books, 2017.Foucault, Michel. The Archaeology of Knowledge, 1969, Pantheon, 1972.Goulet, Danis, director. Wakening. Glen Wood, 2013. https://www.youtube.com/watch?v=bbmi2ff3MBk .Guzmán, Alicia Inez. “Indigenous Futurisms.” InVisible Culture: An Electronic Journal for Visual Culture, 2015, https://ivc.lib.rochester.edu/indigenous-​futurisms/ .Hearne, Joanna. “Native to the Device: Thoughts on Digital Indigenous Studies.” Studies in American Indian Literatures, vol. 29, no. 1, 2017, pp. 3–26. https://muse.jhu.edu/article/659888 .Hopkinson, Nalo. Midnight Robber, Warner, 2000.imagineNative Film + Media Arts Festival. 2167. 2017, www.imaginenative.org​/​2167 .Keene, Adrienne. “Wakanda Forever: Using Indigenous Futurisms to Survive the Present.” Native Appropriations, 24 Feb. 2018, https://nativeappropriations.com​/​2018/​02/​wakanda-​forever-​using-​indigenous-​futurisms-​to-​survive-​the-​present.html .Larson, Sidner J. Captured in the Middle, U of Washington P, 2000.Lutz, Hartmut, et al., editors. Indianthusiasm, Wilfrid Laurier UP, 2019.Nanobah Becker. The 6th World. Futurestates, ITVS, www.youtube.com​/​watch​?​v=​7f4Jm0y_iLk .Roanhorse, Rebecca. “Welcome to Your Authentic Indian Experience™.” APEX Magazine. Science Fiction, Fantasy and Horror, no. 99, 2017, www.apex-magazine.com​/​welcome-​to-​your-​authentic-​indian-​experience/ ​.Roanhorse, Rebecca. “Postcards from the Apocalypse.” Uncanny. A Magazine of Science Fiction and Fantasy, vol. 20, 2018, https://uncannymagazine.com​/​article/​postcards-​from-​the-​apocalypse/ .Roanhorse, Rebecca. Welcome to Your Authentic Indian Experience™. Read by LeVar Burton, 2018, www.levarburtonpodcast.com .Todd, Lauretta. “Aboriginal Narratives in Cyberspace,” Immersed in Technology: Art and Virtual Environments, edited by Mary Ann Moser and Douglas MacLeod, MIT P, 1996.Waititi, Taika, director. Thor. Warner, 2017.Yuxweluptun, Lawrence Paul. “Inherent Rights, Vision Rights,” Immersed in Technology: Art and Virtual Environments, edited by Mary Ann Moser and Douglas MacLeod, MIT P, 1996.

E07: The Video Insiders talk with a pioneering software development company who is at the center of the microservices trend in modern video workflows. Featuring Dom Robinson & Adrian Roe from id3as. Beamr blog: https://blog.beamr.com/2019/02/04/microservices-good-on-a-bad-day-podcast/ Following is an undedited transcript of the episode. Enjoy, but please look past mistakes. Mark & Dror Intro: 00:00 The Video Insiders is the show that makes sense of all that is happening in the world of online video as seen through the eyes of a second generation Kodak nerd and a marketing guy who knows what I-frames and Macroblocks are. And, here are your hosts, Mark Donnigan and Dror Gill. Mark Donnigan: 00:22 Well, welcome back to the Video Insiders. It's so great to be here. Dror, how are you doing? Dror Gill: 00:29 I'm doing great and I'm really excited to do another episode of the Video Insiders. I would say this is probably the best part of my day now doing the Podcast. Although, watching video all day isn't bad at all. Mark Donnigan: 00:45 That's not a bad job. I mean, hey, what do you tell your kids? Dror Gill: 00:49 So, exactly, this is [crosstalk 00:00:52]. I work part-time out of my home office and my daughter comes in after school and she sees me watching those videos and she says, "Dad, what are you doing?" So, I said, I'm watching videos, it's part of my work. I'm checking quality, stuff like that. Then she says, "What? That's your work? You mean they pay you to do that? Where can I get a job like that? You get paid to watch TV." Dror Gill: 01:18 Now, of course, I'm not laid back on a sofa with some popcorn watching a full length movie, no. I'm watching the same boring video clip again and again, the same 20, 30 seconds segments, and I'm watching it with our player tool, with Beamr view and typically one half is flipped over like butterfly mode. And then, you're pausing on a frame and you're looking for these tiny differences in artifacts. So, it's not exactly like watching TV in the evening, but you get to see stuff, you get to watch content, it's nice but could get tiring after a while. But, I don't think I'll ever get tired of this Podcast Mark. Mark Donnigan: 02:04 No, no. I know I won't. And, I think going back to what you do in your day job watching video, I think our listeners can relate to. It's a little bit of a curse, because here you are on a Friday night, you want to relax, you just want to enjoy the movie, and what do you see? All of the freaking artifacts and all the ... And, you're thinking that ABR recipe sure could have been better because I can see it just switched and it shouldn't have, anyway, I think we can all relate to that. Enough about us, let's launch into this episode, and I know that we're both super excited. I was thinking about the intro here, and one of the challenges is all of our guests are awesome, and yet it feels like each guest is like this is the best yet. Dror Gill: 02:56 Yeah. Really today we have two of really the leading experts on video delivery. I've been running into these guys at various industry events and conferences, they also organize conferences and moderate panels and chair sessions, and really lead the industry over the top delivery and CDNs and all of that. So, it's a real pleasure for me to welcome to today's Podcast Dom and Adrian from id3as, hi there? Adrian Roe: 03:26 Hey, thank you very much. Dom Robinson: 03:27 Hey guys. Adrian Roe: 03:27 It's great to be on. Dom Robinson: 03:28 How are you doing? Dror Gill: 03:29 Okay. So, can you tell us a little bit about id3as and stuff you do there? Adrian Roe: 03:34 Sure. So, id3as is a specialist media workflow creation company. We build large scale media systems almost always dealing with live video, so live events, be that sporting events or financial service type announcements, and we specialize in doing so on a very, very large scale and with extremely high service levels. And, both of those I guess are really crucial in a live arena. You only get one shot at doing a live announcement of any sort, so if you missed the goal because the stream was temporary glitch to that point, that's something that's pretty hard to recover from. Adrian Roe: 04:14 We've passionate about the climate and how that can help you build some interesting workflows and deliver some interesting levels of scale and we're primary constructors. Yeah, we're a software company first and foremost, a couple of the founders have a software background. Dom is one of the original streamers ever, so Dom knows everything there is to know about streaming and the rest of us hang on his coattails, but have some of the skills to turn that into one's a note, so work for our customers. Dror Gill: 04:46 Really Dom, so how far back do you go in your streaming history? Dom Robinson: 04:50 Well, anecdotally I sometimes like to count myself in the second or third webcasters in Europe. And interestingly, actually one of the people who's slightly ahead of me in the queue is Steve Clee who works with you guys. So, did the dance around Steve Clee in the mid '90s. So, yeah, it's a good 20, 23 years now I've been streaming [inaudible 00:05:12]. Dror Gill: 05:11 Actually, I mean, we've come a long way and probably we'll talk a bit about this in today's episode. But first, there's something that really puzzles me is your tagline. The tagline of id3as is, good on a bad day. So, can you tell us a bit more about this? What do you mean by good on a bad day? Adrian Roe: 05:33 We think is probably the most important single facet about how your systems behave, especially again in a live context. There are hundreds or possibly even thousands of companies out there who can do perfectly good A to B video encoding and transcoding and delivery when they're running in the lab. And, there's some great tools, open source tools to enable you to do that, things like FFmpeg and so on. What differentiates a great service from a merely good service though is what happens when things go wrong. And especially when you're working at scale, we think it's really important to embrace the fact that things will go wrong. If you have a thousand servers running in your x hundred events at any one particular time, every now and then, yeah, one of those servers is going to go up in a puff of smoke. Your network's going to fail, or a power supply is going to blow up, or whatever else it may be. Adrian Roe: 06:31 And so, what we think differentiates a great service from a merely good one is how well it behaves when things are going wrong or ranji, and partly because of the technology we use and partly because of the background we come from. Technically, when we entered the media space, so as a company that was about eight years ago, obviously Dom's been in the space forever, but as a company it's been eight years or so, we came to it from exactly that angle of how can we ... So, our first customer was Nasdaq delivering financial announcements on a purely cloud based system, and they needed to be able to deliver SLAS to their customers that were vastly higher than the SLAS you could get for any one particular cloud service or cloud server. And so, how you can deliver a fantastic end to end user experience even when things inside your infrastructure are going wrong, we think is much more important than merely, can you do an A to B media chain? Mark Donnigan: 07:27 That's interesting Adrian. I know you guys are really focused on micro services, and maybe you can comment about what you've built and why you're so vested in data architecture. Adrian Roe: 07:39 With both things, there's nothing new in technology. So, Microservices as a phrase, I guess has been particularly hot the last, I don't know, three, four years. Mark Donnigan: 07:49 Oh, it's the buzzy, it's the buzzy word. Dror loves buzzy words. Dror Gill: 07:54 Micro services, buzz, buzz. Mark Donnigan: 07:54 There we go. I'm afraid you have to hear the rap, you have to hear his rap. I'm telling you it's going to be number one on the radio, number one on the charts. It's going to be a hit, it's going to be viral, it's going to be [inaudible 00:08:08]. Adrian Roe: 08:09 So, our approach to Microservices I'm afraid is grounded in the 1980s, so if we're going to do a rap at that point, I'd need to have a big bouffant hair or something in order to do my Microservices- Mark Donnigan: 08:18 And new eyes. Dom Robinson: 08:21 You left your flares in my house dude. Adrian Roe: 08:23 Oh, no, my spare pairs are on, it's okay. Actually, a lot of that thinking comes from the Telco space where when we were starting to get into ... In a past life I used to build online banks and big scale systems like that, but one of the things that was interesting when we came to media is actually if you've got 500 live events running, that's a big system. The amount of data flowing through that with all the different bit rates and so on and so forth is extremely high. Those 500 events might be running on a thousand servers plus in order to give you a full scale redundancy and so on and so forth, and those servers might well be spread across three, four, five different data centers in three, four, five different continents. Adrian Roe: 09:14 And, there are some properly difficult problems to solve in the wider space rather than specifically in the narrow space of a particular single element to that workflow. And, we did some research a while back, we said actually other people must have faced some of these challenges before. And, in particular the Telco space has faced some of these challenges for a long time, and people get so used to just being able to pick up the phone and have the call go from A to B, and the technology by and large works so well that you don't really notice it's there, which is actually another good strap line I think, technology is so good you ignore it, that's what we aspire to. Adrian Roe: 09:51 So, we came across a technology called Erlang, which takes a whole approach to how you build systems. It's different to the traditional. As I say, in itself is not a new technology and that's one of the things we like about it, but basically it says the problems that Erlang was trying to solve when it was created back in the '80s was specifically for things like mobile phones, which is where you would have a mobile phone switch, would be a whole bunch of proprietary boards, each of which could handle maybe, I don't know, five or 10 calls or something, and they'd be stuck together and a dish great big rack with some kind of backplane joining them altogether. And, the boards themselves were not very reliable, and in order for the mobile or for the Telcos to be able to deliver a reliable service using this kind of infrastructure, if any one particular board blew up, the service itself had to continue and other calls, it was really important to those other calls weren't impacted and so on and so forth. Adrian Roe: 10:48 So, this language Erlang was invented specifically to try and solve that class of problem. Now, what was interesting is if you then wind the clock forward 20, 30 years from that particular point and you consider something like the cloud, the cloud is lots and lots of individual computers that on their own aren't particularly powerful and on their own aren't particularly reliable, but they're probably connected together with some kind of LAN or WAN that actually is in pretty good shape. Adrian Roe: 11:17 And, the challenges that back then were really customed to the mobile and network space suddenly become incredibly good patterns of behavior for how you can build high scale cloud systems and super reliable cloud systems. And so, this as is always the case, these new shiny technologies, Erlang, for example, had its moment in the sun about a year or so back when WhatsApp was bought by Facebook, because when WhatsApp were bought by Facebook for $18,000,000,000 or whatever it was, I believe that WhatsApp had a total of 30 technical staff of which only 10 were developers, and they build all of their systems on top of Erlang and got some major advantage from that. Adrian Roe: 11:57 And so, when we came into the whole media space, we thought that there were some very interesting opportunities that would be presented by adopting those kinds of strategies. And now, what's nice then about what a Microservices come into that, so in Erlang or the way we build systems, you have lots of single responsibility, small bits of function, and you gather those bits of function together to make bigger, more complex bits of function and then you gather those together to make progressively more larger scale and more complex workflows. And, what's really nice about that as a strategy so people are increasingly comfortable with using Microservices where I'll have this to do my packaging and this to do my encoding, and then I'll plug these together and so on and so forth. Adrian Roe: 12:46 But, when your language itself is built in those kinds of terms, it gives you a very consistent way of describing about the user experience all the way through your stack. And, the sorts of strategies you have for dealing with challenges or problems that are very low level are exactly the same as the strategies you have for dealing with server outages, and so on and so forth. So, it gives you a very consistent way that you can think about the kind of problems you're trying to solve and how to go about them. Dror Gill: 13:10 Yeah, that's really fascinating. So basically, we're talking about building a very reliable system out of components where not all of these components are reliable all the time, and inside those components are made out of further sub components, which may fail. Adrian Roe: 13:28 Correct, yeah. Dror Gill: 13:29 And then, when you employ a strategy of handling those failures and failing over to different components, you can apply that strategy at all levels of your system from the very small components to the large servers that do large chunks of work. Adrian Roe: 13:45 I could not have put it better myself, that is exactly right. And, you get some secondary benefits, so one is I am strongly of the opinion that when you have systems as large and as complex as the media workflows that we all deal in, there will be issues. Things will go wrong either because of physical infrastructure role, just because of the straight complexity of the kinds of challenges you're looking to meet. So, Erlang would take an approach that says let's treat errors as a first class citizen, let's not try and pretend they're never going to happen, but let's instead have a very, very clear pattern of behavior about how you go about dealing with them, so you can deal with them in a very systematic way. And, if those errors that are very, very micro level, then the system will probably replace the things that's gone bad, and do so in a few well under a fractions of a millisecond. So, you literally don't notice. Adrian Roe: 14:41 We had one particular customer where they had a component that allowed them to patch audio into a live media workflow, and they upgraded their end of that particular system without telling us or going through a test cycle or something which was kind of disappointing. And, a week or so after their upgrade, we were looking at just some logs from an event somewhere, and they seemed a bit noisier than usual. We couldn't work out why and the event had been perfect, nothing had gone wrong, and we discovered that they started to send us messages, one part of the protocol, so they were just incorrectly sending us messages as part of this audio integration that they'd done and they were just sending us junk. Adrian Roe: 15:24 And, the handler forwarded our end was doing what it ought to do in those particular cases that was crashing and getting itself replaced. But, because we designed the system really well, the handler and the logic for it got replaced. The actual underlying TCP connection, for example, stayed up and there wasn't a problem. And, actually we're having to restart the handler several times a second on a live two way audio connection and you literally couldn't hear that it was happening. Mark Donnigan: 15:49 Wow. Adrian Roe: 15:49 Yeah. So yeah, you can get ... But, what's nice is exactly the same strategy in the way of thinking about things and works. Yeah, right at the other level where I've gone seven data centers, and 1000, or 1500 servers running and so on and so forth, and it gives you a camera and a consistent strategy for how you reason about how you're going to behave in order to deliver a service that just keeps on running and running and running even when things go bad. I will give one example, then I'll probably let Dom share some of his views for a second, which was there was a reasonably famous incident a few years back when Amazon in US East just disappeared off the map for about four days and a number of very large companies had some really big challenges with that, and frankly we were just offline for four days. Adrian Roe: 16:36 We had 168 servers running in US East at the time for Nasdaq, one of our customers, we did not get a support call. And so, all of the events that were running on there failed over to other servers that we're running in US West typically. About five minutes later we were back in a fully resilient setup, because we'd created infrastructure in Tokyo and Dublin and various other data center, so that had US West disappeared off the face of the earth as well. Again, we might've got a support call the second time around, but we literally read about it in the papers the next day. Mark Donnigan: 17:06 That's pretty incredible. Are there any other video systems platforms that are architected on Erlang, or are you guys the only ones? Adrian Roe: 17:15 The only other one I am aware of out of the box is a company that specializes more in the CDN and final content delivery side of things, so we're not quite unique, but we are certainly highly, highly unusual. Mark Donnigan: 17:28 Yeah. Yeah. I didn't want to go to Dom, and Dom with your experience in the industry, I'm curious what you're seeing in terms of how companies are architecting their workflows. Are you getting involved in, I guess evolutionary projects, that is you're extending existing platforms and you're in some cases probably shoe honing, legacy approaches, solutions, technologies, et cetera, to try and maybe bring them to the cloud or provide some sort of scale or redundancy that they need? Or, are people just re architecting and building from the ground up? What are people doing out there and what are specifically your clients doing in terms of- Dom Robinson: 18:20 So, it's interesting, I was talking, I did a big review of the Microservices space for Streaming Media Magazine, which came out I think in the October edition this year, and that generated quite a lot of conversations and panel sessions and so on. When we've been approached by broadcasters who have established working workflows, and they're sometimes quite testy because they've spent a lot of time and then they're emotionally quite invested in what they might have spent a decade building and so on. So, they often come with quite testy challenges, what advantages would this bring me? And quite often, there's very little advantage in just making the change for the sake of making the change. The value really comes when you're trying to scale up or take benefit from scaling down. So, with a lot of our financial needs clients the cycle of webcasts, if you'd like a strongly quarterly though, it's all about financial reporting at the end of financial quarters. So, they often want to scale down their infrastructure while during the quiet weeks or quiet months because it saves them costs. Dom Robinson: 19:25 Now, if you're doing 24/7 linear broadcasting, the opportunity to scale down may simply never present itself, you just don't have the opportunity to scale down. Scaling up is a different question, but scaling down, if it's 24/7, there's no real advantage to scaling down, and this is true of cloud as much as it is of Microservices specifically. But, when people come to us and say, right, we've really want to make that migration, they sometimes start with the premise that they'd like to take tiny little pieces of the workflow, and just migrate those little tiny incremental steps. In some cases we may do that, but we tend to try to convince them to actually build a Microservice architecture or virtualized architecture to run in parallel. So, quite often we might start with the client by proposing that they look at their virtualized strategies disaster recovery strategy in the first instance. And then, what happens is after the first disaster, they never go back to their old infrastructure. Mark Donnigan: 20:21 I'm sure, yeah. Dom Robinson: 20:22 And after that, they suddenly see they have all the benefits and it is reliable and despite the fact that they have no idea where on earth this physically is happening, it's working and it works really reliably. And, when it goes wrong, they can conjure up another one in a matter of seconds or minutes. These are not apparent until the broadcaster actually puts them into use. I spent 20 years trying to convince the broadcast industry that IP was going to be a thing, and then overnight they suddenly embraced it fully, and these things people do have epiphany's and they suddenly understand the value. Dom Robinson: 20:56 Disaster recovery has been a nice way to make people feel comfortable because it's not a suggestion of one day we're going to turn off your trusted familiar, nailed down tin and move it all into something you have no idea where it is, what it's running on, how it's running and so on. People are risk averse naturally in taking that type of leap of faith, but once they've done it, they almost invariably see the benefits and so on. So, it's about waiting for the culture in the larger broadcasters to actually place that confidence in the, if you like, the internet era, which generally means as people who are being cynical. I used to make testy comments on panel sessions about the over '50s, '60s, I don't know where you want to put your peg in there. Once those guys finally let internet natives take control, that's when the migration happens. Mark Donnigan: 21:48 Yeah, that's interesting. I can remember going back, oh, 10 years or more and sitting in the cable show which no longer exists, but certain sessions there and Cisco was presenting virtualized network function. And, when the room would always be packed and you'd have a sense if you're sitting in these sessions like this is really happening. This is, wow, this is really happening in all the biggest MSLs were there, all the people were there, right? And then, you'd come back the next year, it'd be the same talk the same people in the room, then come back the next year after that and nobody was [crosstalk 00:22:25], because it's the future. Dom Robinson: 22:23 Yeah, absolutely. Dror Gill: 22:28 It was always the future I was making fun of. Mark Donnigan: 22:30 Now, the switch has absolutely flipped and we're seeing that even on the codecs side, because there was a time where unless you were internet native as you said, you needed a full solution, a black box. It had to go on a rack, it had to ... That's what they bought. And so, selling a codec alone was a little bit of a challenge, but now they can't use black boxes, and they're ... So. Dom Robinson: 22:58 Sometimes I liken it to the era of HI-FI as digital audio and MP3 started to arrive, I was quite involved in MP3 as it emerged in the mid '90s. And, I have over the last two decades flip flop from being the musicians, worst enemy to best friend to worst enemy to best friend, and everybody just depends on the mood of the day. I was reflecting, and this is a bit of a tangent, but I was reflecting when you guys were talking about watching for artifacts in videos. I've spent so long watching 56K blocky video that Adrian, Nick and Steven, the rest of the team never ever let me give any opinion on the quality of video, because I'm quite happy watching a 56K video projected on my wall three meters wide and it doesn't bother me, but I'm sure Dror would be banging his head against the wall if he [inaudible 00:23:47] videos. Dror Gill: 23:49 No, I also started with 56K video and real video, and all of those the players and still in the '90s, but I managed to upgrade myself to SD and then to HD, and now if it's not HDR, it's difficult to view. But in any case, if we look at this transition that is happening, there are several levels to this transition. I mean, first of all, you make the transition from hardware to software then from the software to the cloud, and then from regular software running in the cloud and VMs to this kind of Microservices architecture with Dockers. And, when I talk to customers they say, yeah, we need it as a Docker, we're going to do everything as a Docker. But then, as Mark said, you're not always sure if they're talking about the far future, the new future, the present, and of course it changes if you're talking to the R&D department or you're talking with the people who are actually doing the day to day production. Adrian Roe: 24:51 There were some interesting ... And, I think Docker, this maybe a slightly unpopular thing to say, but yeah, so I think Docker is fantastic and yeah, we use it on a daily basis and development and it's a great on my laptop, I can simulate a cluster of eight servers or doing stuff and failing over between them and so on and so forth and it's fantastic. And, and we've had Docker based solutions in production for four years, five years, certainly a long time, and actually we were starting to move away from Docker as a delivery platform. Dror Gill: 25:22 Really? That's interesting. So, you were in the post Docker era? Adrian Roe: 25:26 Yes, I think just as other people are getting very excited that their software can run on Docker, which I always get confused with announcements like that, because Docker is essentially another layer of virtualization, and strangely enough people first all got excited because their software would run not on a machine but on a virtual machine and it takes quite a strange software requirement before the software can really even tell the difference between those. And then, you move from a virtual machine to a Docker type environment. Adrian Roe: 25:52 Yeah. Docker of course being conceptually nothing new and yeah, it's a wrapper around something the Linux kernel has been able to do for 10 years or so. Yeah. And, it gives you certain guarantees about kerniless and that the sandbox isn't going to interfere with the sandbox and so on and so forth. And, if those things are useful to you, then absolutely use Docker to solve those business problems. Adrian Roe: 26:13 And another thing that Docker can do that again solves a business problem for me when I'm developing is I can spin up a machine, I can instantiate a whole bunch of stuff, I can create virtual networks between them, and then when I rip it all down my laptop's back in pretty much the same state as it was before I started, and I have some guarantees around that. But especially in a cloud environment where I've got a premium job coming in of some sort, I'll spin up a server to do that and probably two servers in different locations to be able to do that. And, they'll do whatever they need to do and yeah, there'll be some complex network flows and so on and so on and so forth to deliver that. Adrian Roe: 26:48 And then, when that event's finished, what I do is I throw that server in the bin. And so, actually Docker there typically is just adding an extra abstraction layer, and that abstraction layer comes at a cost in particular incidence of disk I/O and network I/O that for high quality video workflows you want to go into with your eyes open. And so, when it's solving a business problem for you, I think Docker is a fantastic technology, and some very clever people are involved and so on and so forth. I think there's a massive amount of koolaid been drunk just to see if Docker where it's actually adding complexity and essentially no value. Dror Gill: 27:25 So, I would say that if you have, as I said, if you have a business problem, for example, you have Linux and Windows servers, it's a given you can't change that infrastructure and then you want to deploy a certain task with certain servers, and you wanted to work across them seamlessly with those standard interfaces that you mentioned, then Docker could be a good solution. On the other hand, what you're saying is that if I know that my cluster is fully Linux, certain version of Ubuntu, whatever, and because that's how I set it up, there's no advantage in using the Dockers because I can plan the workflow or the workload on each one of those servers, and at the level of cloud instances launch and terminate them, and then I don't need the Docker. And the issue of overhead, we haven't seen a very large overhead for Docker, we always compare it to running natively. However, we did find that if your software is structured in a certain way, it can increase the overhead of Docker beyond the average. Dom Robinson: 28:31 Something important that came up in some of the panels, Streaming Media West and content delivery world recently on this topic, at the moment people talk synonymously about Microservices and Docker, and that's not true. Just because something's running in Docker does not mean you're running a Microservices architecture. In fact if you dig under the ... All too often- Dror Gill: 28:50 Right, it could be a huge one of the thick servers. Servers that are just running on Docker. Dom Robinson: 28:54 Exactly. All too often people have just simply drop their monolith into a Docker container and called it a Microservice, and that's a ... Well, I won't say it on your Podcast, but that's not true. And, I think that's very important, hence we very much describe our own Erlang based architecture as a Microservices architecture. Docker is as Adrian was explaining, it's nice to have in certain circumstances, it's an essential, but in other circumstances it's just not relevant to us. So, it is important that Docker is a type of virtualization and is nothing to do with Microservices architecture, and it's a very different thing. So, well Adrian might kick me under the virtual table. Adrian Roe: 29:27 No, no, that's all ... Yeah, there's a lot of people who will say if you take an application and you turn it into ... You take a monolithic application and Microservicize it what you have is a monolithic application that's now distributed. So, you've taken a hard problem and made it slightly harder. Dom Robinson: 29:44 Exactly. Adrian Roe: 29:45 So, what's probably more important is that you have good tools and skills and understanding to deal with the kinds of challenges you get in distributed environments. And, actually understanding your own limitations is interesting there. I think if you look at how one coordinate stuff within a particular OS application, then Microservices are a great way of structuring individual applications, and they can cooperate, and they're all in the same space, and you can replace bits of them and that's cool. And then, if you look at one particular server, again, you're Microservices architecture there might go, okay, this component is an an unhealthy state, I'm going to replace it with a clean version and yeah, you can do that in very, very quick time and that's all fantastic. Adrian Roe: 30:33 And then, maybe even if I'm running in some kind of local cluster, I can make similar decisions, but as soon as I'm running in some kind of local cluster, you have to ask the question, what happens if the network fails? What's the probability of the network failing? And if it does, what impact is that going to have on my service? Because yeah, it's just as bad typically to have two servers trying to deliver the same instance of the same live services as it is to have none, because there'll probably be a closed network floods and all sorts of bad things can happen as a result, so. Adrian Roe: 31:08 And then, if you look at a system that's distributed over more than one day center that absolutely just going, oh, I can't see that other service. Yeah, so Microservice is part of my overall delivery. Making decisions based on that is is something you need to do extremely carefully and there's an awful lot of academic work done around consensus algorithms in the presence of network splits and so on and so forth, and it's not until you understand the problem quite well that you actually understand how damned hard the problem is. You're just naive understanding of it is, oh, how hard can it be just to have three servers agree on which of them should currently be doing x, y, z job? Turns out it's really, really, really hard, and that you stand on the shoulders of giants because there's some amazing work done by the academic community over the last few decades, go and leverage the kind of solutions that they've put together to help facilitate that. Dom Robinson: 31:59 I think one of the upsides of Docker though is it has subtly changed how dev teams are thinking, and I think it's because it represents the ability to build these isolated processes and think about passing data between processes rather than just sharing data in a way a monolith might have done. I think that started people to architect in a Microservices architecture. I think people think that that's a Docker thing, but it's not. Docker is more of a catalyst to it than actually bringing about the Microservices architecture. Mark Donnigan: 32:33 That's interesting Dom. I was literally just about to make the point or ask the question even. I wonder if Docker is the first step towards truly Microservices architecture for a lot of these organizations, and I think Adrian did a great job of breaking down the fact that a lot of maybe what is getting sold or assumed to be Microservices really isn't, but in reality it's kind of that next step towards a Microservices architecture. And, it sounds like you agree with that. Dom Robinson: 33:09 Yeah, yeah, yeah. I think it's part of the path, but it's a- Mark Donnigan: 33:12 That's right. Dom Robinson: 33:13 Going back to my original statement Doc- Adrian Roe: 33:13 I am not even sure that strongly it's an available tool in this space. Mark Donnigan: 33:18 It's an available tool, yeah. Adrian Roe: 33:18 You can absolutely build Microservices at dentonville Docker anywhere. Yeah. Mark Donnigan: 33:24 Sure. Absolutely. Yeah. I wasn't saying that Docker's a part of that, but I'm saying if you come from this completely black box environment where everything's in a rack, it's in a physical location, the leap to a truly Microservices architecture is massive. I mean, it's disruptive on every level. Adrian Roe: 33:46 And, it's a great tool, it's part of that journey. I completely do agree with that. Mark Donnigan: 33:48 Yeah, exactly. Exactly. Well, this leads into a conversation or a topic that's really hot in the industry right now, and that's a low latency. I was chuckling, I was walking around Streaming Media West just couple of weeks ago, and I don't think there was one booth, maybe there was one, I just didn't see it. Maybe the Panasonic camera booth, they didn't have low latency plastered all over it, but every booth, low latency, low latency, Adrian Roe: 34:16 There's some interesting stuff around low latency because there's a beautiful reinvention of the wheel happening because, [crosstalk 00:34:28]. Mark Donnigan: 34:29 Well, let's talk about this because maybe we can pull back a little bit of the, I don't know the myths that are out there right now. And also, I'd like to have a brief real honest conversation about what low latency actually means. I think that's one of the things that, again, everybody's head nods, low latency. Oh yeah, yeah, yeah, yeah. We want that too, but then you're like what does it mean? Dror Gill: 34:57 Yeah, everybody wants it. Why do they want it, is an interesting question. And, I heard a very interesting theory today because all the time you hear about this effect of if you're watching a soccer game and you have a lot of latency because you're viewing it over the internet and somebody else has cable or satellite and they view it before you, then you hear all those roars of the goal from around the neighborhood and this annoys the viewer. Dror Gill: 35:25 So, today I heard another theory that that's not the problem of low latency because to block those roars you can just isolate your house and put on headphones or whatever. The real problem that I heard today is that, if there's a large latency between when the game actually happens and when you see it, then you cannot affect the result of the game. Okay? So, the theory goes like this, you're sitting at home, you're wearing your shirt and your fan, and you're sitting in a position that is a lucky position that will help your team. So, if the latency is high then anything you do cannot affect the game because it's too late, because the latency is low you'll have some effect over the result of the game. Adrian Roe: 36:13 When TiVo was brand new and there was the first personal video digital video recorders were a thing. They had this fantastic advert where somebody was watching an american football game, and as they're in sudden death overtime and the kick is just about to do a 45 yard kick. Yeah, and if it goes over, they win the game and if it doesn't, they lose the game. Kickers just running up towards it and he hits pools on the live stream, runs off to the church, prays for half an hour, comes back, and it's really good. Dror Gill: 36:47 Oh, so that's the reason for having a high latency. Adrian Roe: 36:55 It's interesting, the primary businesses in broadcast distribution as In over the air type distribution, but we do a bunch of the hybrid TV services, and as part of that we actually have to do the direct hand off to a bunch of the TVs and set top boxes and so on and so forth. Principally because, the TVs and sets of boxes are so appallingly behaved in terms of the extent to which they deal with then follow standards and so on. So, in order to deliver the streams to a free view plus HDTV in the UK, we just deliver them a broadcast quality transport stream as a progressive download, and entirely so this has been live in the field for, I don't, seven years or something. And entirely without trying to, we have an end to end latency of around two seconds from when the viewer in the home sees it on the TV, as opposed to the original signal coming off the satellite. And nowadays, that would be called super low latency and actually clever and remarkable and so on and so forth. And actually, it's primarily created by the lack of segmentation. Mark Donnigan: 38:01 That's right. Adrian Roe: 38:03 What's happened that suddenly made you have an RTMP streams. It's depended a little bit on how much buffering you had in the player and so on, but they typically have an end to end latency in a video workflow based around RTMP, five, six seconds, that was normal and they would really comment on it. And now, suddenly that you have segment oriented distribution mechanisms like HLS and Dash and all these kinds of things, people talk about low latency and suddenly they mean five to 10 seconds and so on and so forth. And, that's actually all been driven by the fact that I think by and large CDNS hate media, and they want to pretend that all media or assets are in fact JPEGS or JavaScript files and so and so forth. Dror Gill: 38:48 Or webpages. Adrian Roe: 38:49 Exactly. Dror Gill: 38:50 Yeah, like small chunks of data that's what they know how to handle best. Adrian Roe: 38:52 Exactly. And so, the people distributing the content like to treat them as static assets, and they all have their infrastructures built around the very, very efficient delivery of static assets, and that creates high high latency. So, you then get technologies like WebRTC which is emerging, which we use heavily in production for ... So, one of our customers is a sports broadcaster, their customers can deliver their own live commentary on a system over WebRTC, and it basically doesn't add any latency to the process because while we'll hand off a low latency encoder of the feed over WebRTC to wherever the commentator is, the commentator will view the stream and commentate. Adrian Roe: 39:34 In the meantime, we're going to a really high quality encode. In fact, this might be a mutual customer, but I probably won't say their name on air. We're going to do a really high quality encoder that same content in the meantime, and by the time we get the audio back from the commentator, we just mix that in with the crowd noise, add it to the video that we've already encoded at that point and away you go. And, you're pretty much getting live commentary on a system for free in terms of end to end latency. Yeah, and then sports, so we should be using WebRTC, we should be in this ... Adrian Roe: 40:05 The problem, CDNS don't like WebRTC not at least because it's a connection oriented protocol. You can't just do the same for everybody. You've got to have separate encryption keys and it's all peer to peer and so on and so forth. And so, it doesn't scale using their standard models. And so, most of the discussion around low latency as far as I can tell is the extent to which you can pretend that your segmented assets are in fact live streams, and so Akamai has this thing where they'll start playing a segment before it's finished and so on and so forth. Well actually, it starts to look an awful lot like a progressive download at that point. Mark Donnigan: 40:41 That's a great point. That's absolutely. Absolutely. And, what I find as I've walked around, like I said, walking around Streaming Media West, and looking at websites, reading marketing material, of everybody who has a low latency solution with a few exceptions, nobody's addressing the end to end factor of it. So, it cracks me up when I see an encoding vendor really touting low latency, low latency and I'm sitting here thinking, I mean Dror, what are we like 20 milliseconds? How much more low latency can you get than that? Dror Gill: 41:19 Yeah, at the Kodak level it is very low. Mark Donnigan: 41:21 Yeah, at the Kodak level. And then, when you begin to abstract out and of course the process adds time, right? But still, I mean the point is, is like it's ... I don't know, I guess part of what am reacting to and what I'm looking for, even in your response is that end to end, yes, but addressing latency end to end is really complicated because now just as you said, Adrian, now you have to look at the CDN, and you have to look at what you're doing on packaging, and you have to look at even your player architecture like progressive download. Some players can deal with that, great, other players can't. So, what do you do? Dom Robinson: 42:04 So, one of the things that I think just stepping back and having a reasonably long game view of the evolution of the industry over here in, in the UK, particularly in Europe general, low latency has been a thing for 15, 20 years. And, the big thing that's changed and why low latencies all over the global US driven press is the deregulation of the gambling market, and that's why everyone's interested in low latency. Over here in the UK, we've had gambling online for live sports for 15, 20 years. And, for everyone ... I used to run a CDN from 2001 to end of the 2000s, and all the clients were interested in was fast start for advertising for VOD assets and low latency for betting delivery. And obviously, low latency is important because the lower the latency, the later you can shut your betting gates. And, if you've got a ten second segment or 30 seconds to an hour, three segments to wait, you've got to shut your betting maybe a minute, half a minute before the race finishes or before the race starts, whichever way you're doing the betting. Dom Robinson: 43:14 And, that was very important over here. You didn't have a gambling market in the states online until last year I believe. And so, low latency just really wasn't very interesting. People were really only interested in can actually deliver reliably a big audience rather than can I deliver this to even small audiences, but with low latency, because I've got a betting market going on. And, as that betting deregulations come in, suddenly all the US centric companies have become really fascinated in whether they can shorten that low latency and so on and so forth. And, that's why companies 15, 20 years ago, over here, some of the big sports broadcast and so on, they were using RTMP extensively so that they could run their betting gates until the last second, and it really ramps up the amount of betting in those few seconds before the race starts. Dom Robinson: 44:03 So, that's why it's important. It's not for any other reason. In fact, I sometimes rather sourly ask audiences if they really ever heard their neighbors cheering to a football game before they've seen it because being caught on a sweeney of socially gathering around the TV, and it's an important game like that where your neighbors might have have their TV on loud enough, you frankly got a TV and it's on as well. Dom Robinson: 44:28 The real benchmark of the whole thing is can you beat the tweet, that's the measurable thing, and there's absurd little data in a tweet and a lot of tweets are machine generated, a goal is scored and it doesn't even take a fan in the stadium to type it, and send it to his friends, it's just instantly updated trying to beat a few packets of data across the world compared to trying to compress video, get it buffered, get it distributed across probably two or three stages of workflow decoded in the player and rendered. You're never going to be to tweet at that level. So, really the excitement is about betting, the deregulation of the betting market and gambling market. Dror Gill: 45:06 So, that's interesting. Today you don't measure the latency between and over the air broadcast and the top over the internet broadcasts, but you want to beat another over the internet broadcast, which is a very small packets of the tweet. So. Adrian Roe: 45:22 Exactly right. Dror Gill: 45:23 Actually, competing with the social networks and other broadcast networks. Dom Robinson: 45:26 Exactly. Adrian Roe: 45:28 I can remember, there were tongue in cheek when WhatsApp were bought, they were boasting about the number of messages that they dealt with a day, and yeah it was very large number, billions of messages a day. And, I remembered a little back of an envelope calculation that if you ... Based on the adage that a picture was worth a thousand words, and across all the various different events and channels and live sports and stuff like that we cover, if you counted a thousand words for every frame of video that we delivered, we were two orders of magnitude higher than WhatsApp. Dror Gill: 46:07 So, yeah. So, you had more traffic in your small company, you had more traffic than WhatsApp. Adrian Roe: 46:11 Yeah. Dror Gill: 46:13 A picture is worth a thousand words, and then you have 25 or 50 pictures every second. And, this is across all of your channels. So, yeah [crosstalk 00:46:22]. Mark Donnigan: 46:21 That's a lot of words. It maybe chuckle up. Well, this is- Dror Gill: 46:27 We always say video is complicated and now we know why. Mark Donnigan: 46:32 Exactly. Well, this has been an amazing discussion, and I think we should bring into a close with, I'd really like your perspective, Adrian and Dom, you're working with broadcasters and presumably sitting right in the middle of this OTT transition. Dom, I know you mentioned that for 20 years you'd been evangelizing IP, and now finally it's a thing, everybody gets it. But, just curious, maybe you can share with the listeners some trends that you're seeing, how is a traditional broadcast or someone who's operating a little more of your traditional infrastructure, et cetera, how are they adopting OTT into their workflows? Are they building parallel workflows? Are some fork lifting and making the full IP transition. I think this is a great conversation to end with. Adrian Roe: 47:25 I think we're right at the cusp of exactly that. So, none of our customers are doing it side by side if they are full blown traditional broadcasters. I think increasingly a lot of our customers who may be deliver exclusively over the internet would also consider themselves broadcasters, and so I think the parlance is perhaps slightly out of date, but that's one of the things that I think is really interesting is some of the cultural challenges that come out of this. So, one of our customers who is a full blown traditional broadcaster, when you're dealing with fault tolerant large scale systems of the sort, that idea is built, then one of the things that's a given is that it's going to be a computer that decides which server is going to be responsible for which particular, this is BBC one's encoder, this is ... Yeah, whatever ITVs encoder or whatever. It's going to be a computer that makes those decisions because a computer can react in milliseconds if one of those services is no longer available and reroute it somewhere else. Adrian Roe: 48:28 And, this wasn't a public cloud implementation it was a private cloud implementation that they had couple of racks of servers and data management infrastructure on top that was doing all of the dynamic allocation and tolerance and all this clever stuff. And they said, so when we're showing our customers around, if channel four comes around, how can we tell then which is their encoder? And we said, you count. There isn't a channel four encoder there's an encoder that might be doing the job. Adrian Roe: 48:55 And, one of the features we had to add to the product as just to get over the cultural hurdle with them was the concept of a preferred encoder. So, if everything was in its normal happy state, then yeah, this particular encoder, halfway down on the right hand side of rack three, was going to be the one doing channel four, and just those simple things where they think people do still think in terms of appliances and raw rian and so on and so forth, and some of the challenges to move away from that into cloud thinking bit actually on the cloud or not, cloud thinking still applies it. It's funny where people trip up. Dom Robinson: 49:36 One of my bugbears in the industry, I'm a bit of a pedant with some of the terminology that gets used and so on. One of my bugbears is the term OTT. So, having spent a good long while playing with video and audio distribution over IP networks and so on, I struggle to think of any broadcast technology, which doesn't use IP at some point in this either production or distribution workflow, there just isn't any now. And so, if you're watching live news, the contribution visa coming over cell phones which are contribution is some sort of streaming protocol or a film or TV program production people are emailing files or they're dropboxing files, or they're sending them through digital asset management systems or however it may be. Dom Robinson: 50:20 But, the programs are being created using IP and have been for quite a while and increasingly nobody replaces technology with some sort of proprietary non IP based tool these days at any level in the broadcast industry. I rather store everything I can to try to avoid using the word OTT. And being a pedant about it, OTT simply means the paywall is outside of this last mile access network. That's all it means. It has nothing whatsoever to do with video distribution or streaming or anything like that. It's simply to do with where you take your payment from somebody. Dom Robinson: 50:57 So, Netflix has a hybridized side, but Netflix, you generally access through an ISP and when you make your payment, you pay Netflix directly. You don't pay through your ISP, that is an OTT service. Skype is an OTT service. Again, you connect through your phone service, your cable service, whatever it may be, but you actually subscribe directly with Skype, that is a true OTT service, and that's what OTT means. It's become in the last eight years synonymous with streaming ,and I can't think of a broadcast network which doesn't at some point use IP either streaming or file transfer based technologies to compose the program. Dom Robinson: 51:37 So, broadcast is streaming, streaming is broadcast. They have been synonymous for over a decade. It is how you connect the payment, which defines something as OTT, and it may well be that you can receive a video stream outside of one particular ISPs network, but that doesn't really mean anything. So, this battle between broadcast and OTT, it's a meaningless decision of where you're collecting payments for me. It really doesn't have any bearing on the technologies that we all work with which are video compression and distribution and so on. So. Mark Donnigan: 52:11 That's brilliant. That is really, really a smart observation and analysis there Dom. Well, I think we should wrap it up here. We definitely need to do a part two. I think we will have you guys back, there's so much more we could be talking about, but I want to thank our amazing audience, without you the Video Insiders Podcast would just be Dror and me talking to ourselves. Dror Gill: 52:38 Buzzing to ourselves some buzzy words. Mark Donnigan: 52:40 Buzzy words, buzzing, buzzing, taking up bits on a server somewhere and this has been a production of Beamer Imaging Limited, you can subscribe at thevideoinsiders.com where you can listen to us on Spotify, on iTunes, on Google Play, and more platforms coming soon. And, if you'd like to try out Beamer Codecs in your lab or production environment, we're actually giving away up to 100 hours of HEVC and H.264 encoding every month. Just go to beamer.com/free, that's F-R-E-E to get started. And until next time, thank you and have an awesome day encoding video. Speaker 1: 53:30 Thank you for listening to the Video Insiders Podcast, a production of Beamr Limited. To begin using Beamrs' Codecs today, go to https://beamr.com/free to receive up to 100 hours of no cost HEVC and H.264 trans coding every month.

Lois Vossen is the Executive Producer of Independent Lens and has been with the show since its inception as a primetime series on PBS. Lois is responsible for commissioning new films, programming the series and working with filmmakers on editorial and broadcast issues. Independent Lens films have received 17 Emmy Awards, 16 George Foster Peabody Awards, five Alfred I. DuPont-Columbia Journalism Awards and eight Academy Award nominations. The series was honored in 2013, 2014, 2015  and 2017 with the International Documentary Association (IDA) Award for Best Series. Before joining ITVS, Lois was the Associate Managing Director of Sundance Film Festival and Sundance Labs. Lois is a member of the Television Academy Board of Governors, representing the documentary branch. She has served on the jury at Shanghai Festival, Toronto International Film Festival, SXSW, DOC New Zealand and Palm Springs International Film Festival, among others. Under her leadership, films funded or co-produced by Independent Lens include I Am Not Your Negro, Always in Season, Bedlam, One Child Nation, Black Memorabilia, The King, People’s Republic of Desire, Won’t You Be My Neighbor, TOWER, Newtown, Best of Enemies, The Black Panthers: Vanguard of the Revolution, (T)ERROR, The House I Live In, The Invisible War, and The Trials of Muhammad Ali, among many others. Widely regarded as one of the most influential supporters of independent and documentary filmmaking, Lois Vossen joins us for a conversation on the role that Independent Lens /POV and Public Broadcasting has had in maintaining the highest standards for innovative storytelling in non-fiction cinema. For news and updates go to: pbs.org/independentlens/films Social Media: facebook.com/independentlens twitter.com/independentlens instagram.com/independentlens

Cameron Mullenneaux and David Peck talk about her brave and brilliant new film Exit Music, regrets and imagination, living and dying well, short-term goals and being guided by love. Synopsis Exit Music is a documentary film that travels the intimate and complex path of terminal illness. Ethan Rice was born with cystic fibrosis, an incurable genetic illness that eventually leads to respiratory failure. At their home in a small upstate New York community, Ethan and his family live in constant uncertainty as the disease takes more and more away from them. While medical interventions continue to keep him alive well beyond his prognosis, 28-year-old Ethan questions day-by-day how long he is willing to fight and what his absence will mean to those he leaves behind. With stunning access, the film closely follows Ethan’s final months, weeks, days and hours and is witness to death’s transformative influence on a family. Home video footage traces the bond between Ethan and his father Ed, a Vietnam veteran with PTSD who withdrew from the world to become a stay-at-home dad. Ed immersed Ethan in a world of art, creativity, and imagination and documented it all on camera, a hobby that provided relief from the fear of his son's prognosis and his own painful past. These archives show the progression of Ethan’s illness over time and reveal Ed’s obsession with preserving his son’s memory. Even during his final days with Ethan, Ed had a camera in hand. Interweaving home movies with Ethan’s original music and animation, his story is an unflinching meditation on mortality and invites the viewer to experience Ethan’s transition from reality to memory. In a culture that often looks away from death, Exit Music demystifies the dying process, a universal cornerstone of the human experience. Biography Cameron Mullenneaux is an independent filmmaker based in San Francisco. Her directorial debut, Exit Music (formerly How Do You Feel About Dying) is a co-production with ITVS and received additional support from LEF Foundation, The Visual Storytelling Consortium, Independent Filmmakers Project, and the San Francisco Film Society. She directed and produced the short film Angelique for Conde Nast’s digital Glamour brand. She has an MFA in documentary film production from Wake Forest University and a self-designed major in death and dying from Warren Wilson College. For more info about the film head here. Image Copyright: Cameron Mullenneaux. Used with permission. For more information about his podcasting, writing and public speaking please visit his site here. With thanks to producer Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

In this week's episode of Saturday School, we're going back to 1993 to revisit Jon Moritsugu's Terminal USA, his over-the-top, grotesque, drug-filled take on a Japanese American sitcom family. Moritsugu plays dual roles: twins Katsumi, a punk drug dealer, and Marvin, the repressed model minority. Their sister Holly is not as pure as the all-American cheerleader vibe she gives off, the father has some issues with murderous rage, and the mother makes a barter to have sex with the pizza boy, under the condition that he gives her extra cheese bread. Plus, they're waiting for grandpa, who is bed-ridden, to finally kick the bucket so they get a hefty pay-out. The hour-long film was commissioned by ITVS looking for unique stories about the American family. However, once it was finished, many PBS stations across the US refused to play it. Understandably! Though what's funnier to us, 25 years later, is that many PBS stations DID play it. Moritsugu often makes films that aren't about Asian Americans, so it's a delight to see what he accomplishes once he turned his focus on Asian American stereotypes and identity.

Charlie Condou well known for being Marcus Dent in ITVs soap Coronation Street, Join Scott talk about getting into acting, giving advice on hard it can be, his experience on coronation street and will he return?  Also Charlie share with us his coming out story, life as a father plus a very fun game of "What you rather"? and Snog, Marry or Kill corrie style. Enjoy the episode, dont forget to subscriuve, like and share

PRODUCER/DIRECTOR- Garland McLaurin. Garland McLaurin is a Peabody-Award winning filmmaker; his love for storytelling comes from its power to artistically explore the complex and conflicting social and psychological layers of people and society. His web series POPS explores fatherhood for African American men and was funded by ITVS Digital and National Black Programming Consortium. He co-directed/produced the Peabody-winning documentary series, 180 Days a Year Inside an American High School and Hartsville that aired on PBS. He served as co-cinematographer on Wes Moore’s Coming Back documentary series, highlighting veterans, and for award-winning documentary filmmaker Yoruba Richen's The New Black (Independent Lens), which explores the fight for marriage equality in the African American community. His other professional credits include field producing on CNN’s Black in America 4, producer/shooter for WAMU 88.5 American University/BET’s special Homecoming: The Killing of DJ Henry. Additional past digital media work includes work for Black Public Media, Time.com, NY Times video division and video editing at the National Geographic digital news division. He holds a BA in Radio-TV-Film from Howard University and an MFA from New York University’s Tisch School of the Arts graduate film school. The Film Pops Three stories of African American men from different socio-economic backgrounds and regions engaged in the beautiful struggle of fatherhood. Pops is a documentary web series about African American men facing the toughest challenge of their lives: becoming good fathers. Pops addresses the reality and challenges of 21st-century parenthood for African American fathers. The media narrative of the deadbeat black father is generally accepted as a fact of life for African American children. Buried beneath these assumptions are the facts of black fatherhood that dispel some of those stereotypes. The web series follows the parenting experiences of Shaka Senghor, LaGuardia Cross, and the Stroman-Iniss family during the course of a year. Each father explores the universal themes of responsibility, nurturing and love. They differ in personalities, socioeconomic backgrounds, and struggles but share the collective experience of fatherhood. Their stories serve to reflect the reality of black fathers in America. Shot in verité documentary style rich with raw, intimate moments, each character reveals what fatherhood looks like in their world. CREDITS: CHRIS AND SHELTON Chris and Shelton Stroman-Inniss, are a same-sex couple who were on the forefront of fighting for marriage equality in Georgia. We follow them as they navigate the world of adoption and parenting as a gay couple by building a support community. Chris and Shelton also explore fractured relationships with their own fathers as they cultivate a relationship between their son Jonathan and his birth mother. Follow Chris and Shelton on social media! Facebook: @shelton.stroman @cinniss Instagram: @sls287 LA GUARDIA CROSS JR. La Guardia Cross Jr., is an online sensation. His YouTube show “New Fatherhood Chronicles” is a fast-growing and influential social network with thousands of followers and millions of views. POPS follows La Guardia as he grapples with the reality of being a new father to his newborn Amalah and a supportive husband to his wife Leah. La Guardia learns to balance his burgeoning career with his family responsibilities through trial and error. Follow La Guardia at http://www.laguardiacross.com/ and on social media! Facebook: @iamlaguardiacross Twitter & Instagram: @laguardiacross SHAKA SENGHOR Shaka Senghor is the New York Times Best-Selling Author of "Writing My Wrongs", a gripping memoir about seeking redemption after serving 19 years in prison. POPS follows Shaka as he gains national recognition for his activism and writing, all the while actively co-parenting his 3-year-old son Sekou Senghor with partner Ebony Roberts. Follow Shaka Senghor on social media! Facebook: @shaka.senghor Twitter & Instagram: @ShakaSenghor Filmmaker: Garland McLaurin is a Peabody-Award winning filmmaker. His latest project POPS is a web-series exploring fatherhood for African American men and funded by ITVS Digital and National Black Programming Consortium. He co-directed/produced the Peabody winning documentary series, “180 Days A Year Inside An American High School" and "Hartsville” that aired on PBS. He holds a BA in Radio-TV-Film from Howard University and an MFA from New York University’s Tisch School of the Arts graduate film school. http://www.garlandmclaurin.com #BLACKDADJOY #POPSLIFE SPREAD THE WORD: Help spread the word about POPS! Use the suggested messages and images below. Use #POPSLIFE #BLACKDADJOY or tag @PopsWebseries. Pops site: http://pops.life/ ITVS: https://itvs.org/films/pops Black Public Media: https://blackpublicmedia.org/pops THIRTEEN: http://www.thirteen.org/ Thank You for checking out Hollywood Breakthrough Show | Follow us on Twitter @TheBreakThur This podcast main purpose is to serve up positive information without shade. There are thousands of great Films & TV shows with, Staff Writers, Editors, Cinematographer, Actors, Set Designers, and Make-up Artist just to name a few.  Join us at Hollywood Breakthrough Show, as we interview some of the most talented people in the business, which names you may, or may not know! But you have seen their work! Whether they're well- established veterans of the business, or current up and comers, these are the people who are making a living in Hollywood. Screenwriters, directors, producers and entertainment industry professionals share inside perspective on writing, filmmaking, breaking into Hollywood and navigating SHOW BUSINESS, along with stories of their journey to success!      HELP SPREAD THE WORD PLEASE! SCREENWRITERS, DIRECTORS, AUTHORS, we would love to help spread the word about your Film, Book, Crowdfunding, etc., Contact us! (EMAIL: Info@hollywoodbreakthrough.com ) See Videos of all interviews at http://www.hollywoodbreakthrough.com Please subscribe to iTunes and write us a review! Follow us on  Social Media Sites |  Twitter @TheBreakThur|  Facebook: facebook.com/HollywoodBreakthroughPodcast Subscribe! Or, Please contact us for Interviews or Sponsorship of an episode!  Hollywood Breakthrough Show Website (EMAIL: Info@hollywoodbreakthrough.com )     Hollywood Hero Agent Fenix Hill  https://itunes.apple.com/us/app/hollywood-hero-agent-fenix-hill/id884073171?mt=8   Scottie The Baby Dino https://itunes.apple.com/us/app/scottie-the-baby-dino/id872904259?mt=8    Filmmaker: Garland McLaurin - Pops Documentary Film  Shaka Senghor:  La Guardia Cross Jr: Chris and Shelton Stroman-Inniss:    

Erika and Face2Face host David Peck talk about Shari’a law, gender justice, and life for women in the Middle East, education, power, politics and storytelling. Biography Erika Cohn has received numerous accolades for her work, including a Director’s Guild of America award for her film, When the Voices Fade, a narrative profile of the Lebanese-Israeli war of 2006. Erika co-directed/produced, In Football We Trust, an Emmy nominated, feature documentary about the unique faith and culture that ultimately drives young Pacific Islander men into the NFL, which premiered at the 2015 Sundance Film Festival and was broadcast on PBS’ 2016 Independent Lens series. Most recently, Erika completed The Judge, a film about the first woman judge to be appointed to the Middle East’s Shari’a courts, which will premiere at the 2017 Toronto International Film Festival and broadcast on PBS’ 2018 Independent Lens series. Her work has been supported by IFP, the Sundance Institute, Tribeca Institute, Hot Docs, Sheffield, ITVS, Women in Film, BAVC and the CPB Producer’s Academy among others. Erika grew up attending the Sundance Film Festival as a native Utahn, where she first began her career. In 2008, Erika traveled to Cambodia where she shot Giant Steps, a documentary about the restitution of art after the Khmer Rouge rule, which aired on PBS. Later that year she directed La Guerrera, a narrative short about a young girl in Mexico pursuing her dreams to become a professional soccer player, which premiered at the Los Angeles Latino International Film Festival. In 2010, Erika associate produced the six-part Frontline/American Experience historical series, God in America, which explored the intersection of religion and public life in America. Erika has been a featured panelist/speaker at various film festivals and university conferences and mentors youth filmmakers across the globe. She studied at Chapman University (California) and Hebrew University (Jerusalem) and has degrees in Film Production, Middle Eastern Studies, and Acting Performance. In 2013, Erika founded Idle Wild Films, Inc., which has released three feature documentaries and produced numerous branded content and commercial spots, including Gatorade’s Win from Within series, for which she received a 2016 Webby award nomination. Erika is also an avid photographer and served as a U.S. Ambassadorial Film Scholar to Israel/Palestine. Synopsis The Judge provides rare insight into Shari’a law, an often misunderstood legal framework for Muslims, told through the eyes of the first woman judge to be appointed to the Middle East’s religious courts. When she was a young lawyer, Kholoud Al-Faqih walked into the office of Palestine’s Chief Justice and announced she wanted to join the bench.   He laughed at her. But just a few years later, Kholoud became the first woman judge in the Shari’a courts. THE JUDGE offers a unique portrait of Kholoud—her brave journey as a lawyer, her tireless fight for justice for women, and her drop-in visits with clients, friends, and family. In the process, the film illuminates some of the universal conflicts in the domestic life of Palestine—custody of children, divorce, abuse—while offering an unvarnished look at life for women under Shari’a law. Trailer More about the film here. ---------- For more information about David Peck's podcasting, writing and public speaking please visit his site here or check out the site of his podcast on film, social change and much more. With thanks to producer Josh Snethlage and Mixed Media Sound. Image Copyright: Erika Cohn and Three Judges LLC. Used with permission.   See acast.com/privacy for privacy and opt-out information.

In the first of this two-part interview, George and producer Will speak to Jim Granato, director of D Tour (2009). D Tour is the story of musician Pat Spurgeon who is in need of a kidney transplant right when his band Rogue Wave is taking off. This leads to situations like Pat having to perform portable dialysis in the back of a van or the green room of a club. Though it has the shape of a music documentary, it's about dealing with healthcare, mortality, and human generosity. Jim talks about how his friendship with Pat and the band lead to this film, handling the delicate subject matter, and his background in filmmaking. There are many twists and turns to be revealed, and we follow up on Monday June 5th with the documentary's subject, Pat Spurgeon. *Pat and Jim will also be at a screening Monday June 5th (the same day part 2 drops) at the Alamo Drafthouse Mission Theater in SF, followed by a Q&A and a live performance from Rogue Wave. Jim Granato is a self-taught, award-winning filmmaker based in Oakland, California. He has directed and produced several short films and music videos since 1996. His most recent shorts, A Day With My Boy: Slug War (2014), premiered on PBS Online Film Festival, and Angels (2013), screened at the San Francisco International Film Festival and was nominated for a Golden Gate Award. He has made music videos for Sonny & The Sunsets, Ramon & Jessica, Pancho-San and The Bobbyteens. D Tour, his first feature film as director and producer, has won several awards including the Golden Gate Award for Bay Area Feature Documentary from the San Francisco International Film Festival and the Jury Prize for Best Documentary from the Bend Film Festival. D Tour premiered nationwide on the PBS Emmy award-winning program Independent Lens in November 2009. He is currently working on a second feature film project with underground "budget rock" legends, The Mummies. As a freelance Director, Producer, Videographer and Editor, he has worked on projects for ITVS, The History Channel, The Travel Channel, Court TV, San Francisco Museum of Modern Art, Oakland Museum of California, The Exploratorium and dozens of independent filmmakers and organizations worldwide.Follow us on:Twitter: @supdocpodcastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.

Host Lisa Kiefer interviews Oakland based filmmaker Alix Blair about the challenges of making her first feature documentary FARMER VETERAN premiering on local PBS station KQED May 29 through Independent Lens. The film focuses on veteran Alex Sutton, home from three combat tours in Iraq, suffering from PTSD, and forging a new identity as a farmer.TRANSCRIPTSpeaker 1:Method to the madness is next. You're listening to method to the madness, a weekly public affairs show on k a l x Berkeley Celebrating Bay area innovators. I'm your host, Lisa Kiefer, and today I'm speaking with Oakland based documentary filmmaker Alex Blair Speaker 2:[inaudible]. Speaker 1:[00:00:30] Welcome to the program Alex, and actually this film Speaker 3:armor veteran. Can you just give us a brief synopsis of what's this about? Yes, so it is about a one man who comes back from three tours in Iraq and starts a farm in rural North Carolina with his girlfriend Jessica. And then things are not what they seem to be as the film goes on. What drew you to examining a veteran? Let's talk about your [00:01:00] subject. Yes, Alex. Yes. I actually did a farm program at UC Santa Cruz and I met a veteran who had fought in Iraq down there and he had some amazing things to say about the connection between being a soldier and being a farmer. And so when I was in North Carolina and I met this man, that becomes the main character of our film. My mind was primed to be curious about how can your experience in war translate once you become a civilian again and what are, what are ways we can support [00:01:30] our veterans as they transition back into civilian life and my dad went to Vietnam and never, never, never talked about his experience and I think there was a seed in me that was curious. Speaker 3:Did you grow up in North Carolina? No, I grew up in Chicago. Okay. I grew up in Chicago but I moved to North Carolina for a job in documentary work and then being part of the farm community and I worked for a farming nonprofit and that's how I met our main character was through that work and I thought this is so interesting why he's so perfect. Three tours, three tours in Iraq, [00:02:00] Afghanistan is less clear. That is part of the story that kind of unravels in this film is as we are trying to understand his PTSD and what happened to him in Iraq and what it is to come back from combat, we start learning a lot about how the stories we tell ourselves is a part of coping with trauma. It sounds like it's mostly about the mental health issues. Yes. That this 1.2 million veterans in the United States come home and suffer from. Speaker 3:Right? Absolutely. [00:02:30] And that wasn't our intention. We thought we were making a short film about how great farming is for veterans and the more we gain trust and build relationship with the veteran and his wife, the more we kind of dove deep into the worlds of mental health, especially of these most recent wars. Half of all farmers will retire in the next decade and the biggest number of returning veterans are from agricultural areas where most people are unemployed. So it's this perfect juxtaposition of solving [00:03:00] two of our greatest challenges in the United States. And I still believe in that greatly. What I learned is that you cannot take someone who has no background in farming, give them some land, give them some money and expect that they're going to be okay. Like we have to have community support not only for our veterans but for our farmers. I mean farming is one of the hardest jobs that exist. Speaker 3:That's why the USDA, its beginning farmer qualification is 10 years or less. Like you work 10 years at any other job, [00:03:30] you are going to be an expert but you're still a beginner and farming and like all the things you can't control whether you know the seeds, the insects, the, especially if you're doing it organically, like there's so much that you are up against and if you are not being supported either with mentorship or with community support or with classes, it's another kind of battle. I wanted you to talk about Alex A. Little bit. He got injured and what was the outcome of that? He did get injured, um, in [00:04:00] his first tour in Iraq. And I think it's important to say he was diagnosed with PTSD after his first tour and sent back two more times after being diagnosed as [inaudible] we've learned from making the film. Speaker 3:It is really common and I think it's part of having a volunteer military is that if you are short on people you send people back, that may be shouldn't be going back if they have very severe trauma experience. So I mean we dove into that world with Alex of understanding more deeply [00:04:30] like what is the toll our modern experience with war takes on these young men and women and mostly coming from rural areas mostly, you know, enticed to be able to go to college or serve their country or getting out of the women or have employment. Like if we could support our farmers so that it was like they were level of Rockstar, you know, that's what I always say like we exist because they're growing food. Like nothing is more direct connection than that. And yet the stakes are stacked against farmers in so many ways. Speaker 3:Yes. [00:05:00] This guy that you interviewed, this veteran, he had both of his legs blown off and he has titanium legs. Is that correct? You will need to see the movie to find out if that is true or not. Okay. The reason I'm being cagey is I think the film explores a lot of in experience of trauma and especially in experience of PTSD. The stories that we tell ourselves about what happened to us, whether we're a soldier or a rape victim or someone else in some kind of trauma stories are how we [00:05:30] survive and get through. But then there's a certain point where stories we tell ourselves may be causing harm. Also, if you think of a man like our main character who his whole life has wanted to go to serve and being a soldier is the ultimate thing you can be. And being the perfect soldier, like just think of our mainstream media, like we glorify war and snipers and everything from you know, World War II movies to now. Speaker 3:And so if you are removed from that world, you need to understand [00:06:00] like you need a new story of your self identity. And so stories of like the ultimate strangeness or Massive Event I think are ways that you cope. You did a Kickstarter campaign and get this going. Yup. And you had this intention to tell this story. And so midway through you uncovered a completely different story about this man. And I think this is very true of documentary film. You know, of course the difference from fiction film fiction film, you get to control the entire story, start to finish [00:06:30] and documentary. You're dealing with real human lives over a very long time. Like this is the sixth year since this started. We were filming for about two years. Very, very consistently. Humans have messy, complicated, strange lives. And I think any documentary, you never know when you start what it will be at the end. Speaker 3:But in this one specifically, that was startling. And my team, the team I work with is amazing. They started as dear friends, the other director with me as Jeremy Lang, DL Anderson as the producer, Michael Barton, [00:07:00] associate producer and this amazing editor Nina of Manir. We just held a really safe, terrifying, vulnerable space to think about, oh my God, what, what has just happened? This is totally different than we thought we were going to make. How do we go forward honoring that change and also, which I think is so important, communicating it to the people you're making a film about. Speaker 1:If you're just tuning in, you're listening to method to the madness, a weekly public affairs show on k a l x Berkeley Celebrating Bay [00:07:30] area innovators. Today I'm speaking with Alex flair. She's the director of a documentary film called farmer veteran Erin next week on PBS. It examines the challenges veterans face when they returned to civilian life after Iraq and Afghanistan. I mean it is an enormous privilege and burden to be responsible for someone else's story. So how did you, it must have added time and money on, Speaker 3:yes, yes. Documentary filmmaking is not a glamorous high paying. So [00:08:00] did you have to do, we had the amazing privilege and opportunity to be part of Itvs, which is independent television service, which you applied to them through a grant process and they're a branch of PBS. And then they come on as your co-producer if you get it. So did they come on with your previous story? No, they came on after mom learned the surprises. I mean, and we were all Jeremy and DLR dads. I was in Grad school. We were all working other jobs like this. This was in the most purest [00:08:30] form of labor of love. Like we went out in our free time when we could, we borrowed gear, you know, we use very old technology compared to, you know, what is available nowadays. So it was absolutely a shoe string doing it out of the love of it. Speaker 3:And then once we got itvs, which would be the path to getting on independent lens next week on PBS, they, they gave us the money for all our postproduction. Did you start a production company? Actually it's part of the origin story is I had met Alex Sutton, our [00:09:00] main character through my job outreaching to farms around the same time DL was starting a skill share collective because in that part of North Carolina, like Durham Chapel Hill, there are a lot of documentary makers. So DL DL had the idea to basically trade skills and support each other. I showed up with this idea to make a film about a farmer veteran. Jeremy, the other director with me was working in a, a beautiful photography project about veterans soldiers coming home. [00:09:30] So the three of us hooked up and then to make this story and then out of that DL with Michael founded, um, vittles as a production company. Speaker 3:So you don't have to go to school to make a film. It might make some things easier, but you can definitely learn, learn along the way. But it was a challenge and a challenge. They are dear friends and people I care about deeply. But you have multiple creative ideas. I would say at times that was a challenge of, and that comes with great trust and I think patient [00:10:00] work over time that we could make space that we could hear each other's thoughts challenged when we wanted to challenge or suggest other ideas, especially when the huge twist came in the story that was a deeply emotional and vulnerable place to have invested so much time, so much personal money, deep sacrifice of, you know, social connections and friendships to make this film out of nothing. So there were some very, very hard times of really believing [00:10:30] that we were making something that was worth it because it's easy to be discouraged. Speaker 3:You were also on a bunch of festivals and you got a lot of great accolades and awards. I think one of the lessons learned is it's worth your money to get a publicist because we were pretty much, you know, nobody's, none of us had ever worked on feature films before ever. And we were all coming from backgrounds different than filmmaking and only our producer had taken any classes in film making. So this was kind of diving [00:11:00] off the deep end, not knowing what we were getting into, but we had lots of success, especially in the southeast being a film out of the south, out of North Carolina. And I think that might be part of it is, is having that connection to place and issues of veterans and rural areas is, I mean is across our entire country. But in the southeast is definitely, um, it is a very real issue that I think people face and, and lot of lots of military families, again everywhere, but lots of them in the southeast. Speaker 3:What are some [00:11:30] of those groups or people that you met and what are they saying we need to do? We're um, informally partnering with a lot of groups that look at the trauma side of it and also the side of the burden that comes onto caregivers. Like the people that love the veteran that is suffering from trauma and talking about what it is to live with someone with that kind of trauma. So we had recently an Oakland did a screening and we had um, Dr Broder who works with a group called horse sensing in the bay area that [00:12:00] does Aquinas horse therapy with veterans. There's a lot of groups that do animal therapy, fishing therapy, wilderness therapy. There's a group called vet scape that is started by a veteran that is almost like outdoor adventure for veterans and the VA, the few VA's that we've connected with, there's an amazing man named Dr. Cooper at the Arkansas VA in their mental health department who said that this film is like the film for Understanding PTSD and how it affects the [00:12:30] veterans that are trying to integrate back into society. Speaker 3:There's also the farmer veteran coalition and they do everything from having local chapters in, I don't know if it's every state, but also they do a lot of policy work to try to help veterans. Our biggest hope for this film is to ignite a new conversation the same that there's an urban rural divide and we saw that play out in our election. I think there's also a veterans' civilian divide and I mean I think of my [00:13:00] community and I only know one veteran as a friend. I think there's this massive disconnection between who serves in our wars and who doesn't and then what is the responsibility for those of us that don't serve to understand the experience of those coming back and that it's a very nuanced, complicated, messy experience. I think one thing I learned about PTSD and trauma healing is it's not linear like you don't, there is no pill that you can take that it, things might make you feel a little [00:13:30] better, but it's therapy work. Speaker 3:It's group work. It's agriculture work. Like because trauma is so subjective, you have to find the thing that works for that person. And also like our main character's wife, Jessica in the film, she says it might get better. It might not. If it doesn't, you still have to live with that person and, and love them and support them and understand them. It bothers me that so many people with these issues also have access to a lot of guns. Absolutely. That's, that's in the [00:14:00] film. And I think that's another kind of human messy area is that his guns in Iraq was the single thing that kept him safe in many ways. So we shouldn't blame them for then as they need to seek safety, having a relationship with their guns. But again, it's that line of like is it to their benefit to keep having a relationship with the guns. Speaker 3:And that's one reason why I think agriculture life can be of benefit to veterans. What were some of the challenges you encountered besides the fact [00:14:30] that the plot basically changed in making your first film? I mean, I think you touched on it before Lisa, but I think money is a huge, huge challenge. Being newcomers who you know, makes a big difference. So if you don't know people, it can be, it can be tricky to find, you know, find your way into festivals or things like that. Challenges with them. I mean they, they were so open and so brave. I think it's so brave to let someone make a film about you. [00:15:00] I see it as a courageous, deeply compassionate act to, to have your story, hopefully make other lives better. And, and in our conversations with them, that is what they hoped for by laying themselves bare, including their darkness than their hardness is that their story might make it better for other people. Speaker 3:And though a challenge was continuing to communicate along the way, they got sick of us. Of course. I mean you can't, you're basically living with these basically. Yeah, having a camera in their [00:15:30] face. I mean it would be Jeremy and I out there with, you know, saying ignore us and, but like you can't ignore someone that's right there. I think one thing that frustrates me is when filmmakers say they're a fly on the wall, like you're never ever a fly on the wall. You can do things to become more invisible to your, your people in your story. But you're always changing it because you're there with a camera filming. What's happening? Does he come out to your screenings? He is not come out. He has seen the film. So a lot of people asked that like, have they seen the film? What [00:16:00] do they think? Speaker 3:What do they think? I mean they feel exposed. They feels like very personal things that are revealed to audiences but they maintain them and I still talk to them all the time. I talked to his wife very frequently and I don't know if it made things better or worse. And I think that's again like a cross that the filmmaker has to bear in many cases as not really knowing like was it better that we asked them all these very difficult questions that a therapist might ask when we started, we thought it was going to be a very quick short film. So [00:16:30] negotiating like, okay, a year has passed, we still want to be here, we still want to talk. We think the story's changing. We think it's going to be more about you know, your trauma and, and how it affects you. I mean we did our best to be as transparent and communicative all the way as possible, but you know, and also like I see photographs, I hate what I look like. Speaker 3:Like I think that's a very human experience to like think you look one way. And then see a film and you don't look the way, you know you're not Rambo on film and like, cause that came up [00:17:00] a little bit of like discouragement of even just like the physical, like I don't look like a movie star. And we're like well it's not. This is a Hollywood movie. You talk about the cocktail of drugs that he saw and I have read a lot about veterans, who they're given drugs when they're in service and then when they come back that continued to do drugs. And how does your character, Alex feel about having to be on so many drugs? When men and women are in service, they're under the Department of Defense, [00:17:30] the dod. And when they come back they're under the veterans affairs, the VA and the dod and the VA. Speaker 3:What I've read is that they don't always talk to each other. So the treatment that the men and women are getting under the dod while they're in combat, they are with extremely well intentioned doctors doing the best they can to handle the situation at the time. So you say you can't sleep, you're given sleep meds, you're saying you have anxiety, which who wouldn't in combat, you're given anti-anxiety man, you need to stay [00:18:00] awake and you need to stay awake or you need, I mean whatever's going on, they're doing the best they can to treat them and then they come back. And when you take things to just cope with really stressful circumstances, those aren't necessarily the same things you should be taking when you come back. But, and then you don't really have the departments talking to each other that well and again at the VA for as much press as they've gotten, they are extremely dedicated people working at the VA to try to do their best to take care of veterans on not enough resources. Speaker 3:[00:18:30] And the other thing is most medicine that we have as civilians is tested in like data trials and controlled trials. Veterans as a, as a group don't really want to wait around maybe having a placebo. I know a trial they're doing, they're using psychedelics. Yes. And MTMA for veterans to see if it can reduce and it's been really successful. The other thing too, if you think about so much of the brain when it has to do with like depression or not sleeping or anxiety, it's very subjective. So the [00:19:00] pill that might work for Bob does not necessarily cure PTSD in John, you know, for example. So I think that's one of the battles that we have to treat trauma and PTSD is fine. There's no one size fits all. And that's one thing I learned a lot in making this lesson. It's very expensive to have that kind of individual attention. Speaker 3:Absolutely. And individual therapy and diagnosis. Exactly. And I think for myself, like I use the Benadryl example, but [00:19:30] when I take a Benadryl, I don't feel like myself, you know, it alters the way I feel in my body. In our main character here is a man who for years and years has been on a mix of up to 15 different medications. He doesn't know who he is, like who he is without those drugs. He has not met that person in years. And I think what is common in many veterans that are dependent on medication to wake up, to go to sleep, to not freak out to [00:20:00] whatever is the fear of unknowing what would happen if they stopped or were able to wean off. There's such a dependency. You make a good point there about years of this cause you give the example that he joined up at the age of 17 and how old is he now? Speaker 3:I am making the film. We met him at 33 so lots of years to lie on drugs and Afghanistan and Iraq are the longest wars we've ever had in the United States history [00:20:30] with the least serving with the least serving that. Thus the repeated tours. You said you came out of radio and so my background is in college. I got involved in the student radio station and fell in love with it. And where was this? And this was at Brown University and back in the early two thousands late nineties early two thousands and I had a a teacher I loved that suggested I try my hand at radio and I had listened to it like this. American life was early days and I loved that but I [00:21:00] never thought it was something accessible to me. And then once I got the mic in my hands like this world opened up to access people's stories and I love, I love when you are limited to sound only and how you craft a story when all you have is sound. Speaker 3:I love that and I went on to work as a freelancer making radio stories for different shows. I worked for several years at the Center for Documentary Studies in North Carolina at Duke. It's part of Duke University, so I was a student of theirs for [00:21:30] a couple of years and then I worked for them for a couple of years. There was so much like short film starting online and this is about like 2011 2012 I started really getting curious of pairing images with sound. The nonprofit I was working for, I was making some multimedia stories for them. And I think radio directly set me up to do film. Well, I mean you have to learn new equipment of course, and how to use a camera and lighting and speed and all those technical details. But the act of being an empathetic listener, [00:22:00] learning how to ask good interview questions, learning how to be comfortable in silence, like being able to anticipate your story, all those skills that you learn in audio production that translated pretty easily into film. Speaker 3:And if you mess up your sound, your films ruined. Like you have to have good sound in film also. So I think the radio background helped prepare me. You have a great soundtrack on this film. Can you talk about how you went about getting the music and some of the original pieces? [00:22:30] Yes. Um, so for people that don't make documentary films, uh, getting the licensing rights to music that is owned by other people can be extremely, extremely expensive and prohibitive in the film. When you see or hear that music, it actually falls under what is called fair use law. And so because we did not choose that music, it was music that was happening in the scene. Like Flo rider's Lo is a song that the veteran chose to have at his wedding. So we as filmmakers, [00:23:00] we're not making any aesthetic decisions about it. Speaker 3:It just happens in the life of these people and that falls under fair use ruling. Now, if we had taken that song and we had chosen it and kind of played it over a scene, then we would have to pay for it. The song that is basically the theme song of our film Jubilee, this beautiful, beautiful ballad and sung by three incredible singer, Amelia May 8th who is still Vanessa and Vanessa and you use another [00:23:30] woman who they were both in mountain man. Yes. They were both Alexandria, not man. When I saw, how did you get Alice Gerard to get involved in this? Oh man, this is an incredible, incredible singer. I wish I had something to do with it. I didn't. It was our producer. DL Anderson. Yeah. Speaker 4:[inaudible] Speaker 5:so [inaudible], [inaudible] Speaker 4:[00:24:00] [inaudible] swing again to really to really say, hey, [inaudible], Speaker 3:one of his dear friends is this incredible man, Phil Cook, who is an incredible, incredible, [00:24:30] like a, can't say that word enough musician and composer. He composed all the music in our film. Phil is like this sunshine that is connected to all these amazing musicians. He was an a, still is an abandoned Megafaun. Yeah, Speaker 6:which is incredible man. He also has his own group called Phil Cook, Speaker 7:[inaudible], [inaudible], [00:25:00] [inaudible], [inaudible] [inaudible], Speaker 6:[00:25:30] and he's just the kind of person that brings people in RPD, CTL DL, who is raising his head Speaker 3:with Phil Cook's son like they're best friends, and through that connection, Phil I think had the ideas of who would be the good singers for this. An Amelia of Sylvan is Durham based. When she's not touring her amazing music [00:26:00] and jubilee, the rights. It's so, it's such an old song, this Appalachian valid that it had no copyright on it or we were able to have them sing it. What's coming up for you next? I am working on a new documentary feature film that I began a little while ago. I am very, very privileged to have gotten a California humanities grant for it. So big props to the Neh, want to support them to help it stay exist forever. And I'm a a film House resident through the Program SF [00:26:30] film that supports local filmmakers, both documentary and fiction. So I'm working on a story about 89 year old ex republican congressman Pete mccloskey who was a Republican, um, under Nixon's administration and even ran against Nixon for presidency on an anti war ticket. Speaker 3:And he with his wife who is 30 years younger than him, they live on a farm outside of Davis and they are mounting this very don Quixote in quest to find people to run in [00:27:00] 2018 to challenge politicians that are not being supportive of everything. Pete and Helen belief in Pete was a part of all our modern environmental policy. So he was part of the clean air act, the endangered species act. He Co founded Earth Day like that was his baby. Who would think today. I mean, especially like my generation and younger that it was under Republicans during Nixon that so much of our modern environmental policy and civil rights policy happens. So I'm, I'm using this film to explore [00:27:30] like what it is to be getting older and relevance and, and to watch this thing that you built be taken apart and also the power of love. Speaker 3:Like they've been together almost 40 years. Like how the people we love, who love US influence our identity and our passion, our fights. So I ran pretty early production. I'm right now trying to fundraise. So I am doing it through grants right now. I think one challenge and lesson learned with farmer veteran is that we in hindsight did our Kickstarter way too [00:28:00] early, way too early. We should have waited. We should have waited until we had grown a bigger awareness. We had amazing support and we met our goal. I think we even went beyond our goal, but it was mostly like family and friends that loved us. And I think, which of course is amazing, but I think if we had waited we could have maybe had a bigger splash. And so that's one thing I'm taking with this new film is to maybe hold off a little while there aren't incredible films out there that deserve love and money and attention and it's a huge playing [00:28:30] field and the, the pool of funding is so, so tiny. Speaker 3:So it's, it's um, I mean it's such a privilege to tell other people's stories, but to make a living at it is, is, is pretty tricky. When can local people see this film on PBS? So we are so honored to have this film beyond the show independent Lens, which is an Emmy award winning show on PBS Independent Lens. You should double check your local listings, but I believe it's 7:00 PM on Monday. [00:29:00] Memorial Day KQD. Yes. So kqbd Memorial Day, May 29th, pretty sure it's 7:00 PM Pacific Standard Time. And you will also be able to watch it online on KQ eds channel online for, I believe it's two weeks. It'll be streaming there. If anyone has a question they want to ask, please, please. We have a website. Um, it's the title of the film farmer veteran one word farmer, veteran.com. And if you, you can find out all the information there, but if you click on this screening [00:29:30] button, we actually have set it up so that you can bring, you can host your own screening of farmer veteran in your own community. So we have everything set up and laid out to allow you to do that. So if you want have a party in your backyard Speaker 1:or you are a nonprofit and you want to host it for the veterans in your community, you can do that. Farmer veteran.com. Thank you so much. Thank you so much. You've been listening to method to the madness, to a weekly public affairs show on k a l x burglary celebrating bay area innovators. [00:30:00] You can find all of our podcasts on iTunes university. We'll be back next Friday at noon. Speaker 2:[inaudible] Speaker 7:okay. See acast.com/privacy for privacy and opt-out information.

Vaishali Sinha and Face2Face host David Peck talk about her new film Ask The Sexpert, cultural context, “women as allies”, a Doctor as a 90-year-old pioneer and the latent effects of colonialism. IMDB Synopsis ASK THE SEXPERT is a feature length documentary about a highly popular 93-year-old sex advice columnist for a daily newspaper in Mumbai. Despite sex being a taboo topic in that country, the column’s brand of non-moralistic advice and humor has emboldened many to write in with their questions, the vast majority of whom seek basic information. The columnist gains popularity even while a ban on comprehensive sex education in schools is adopted by approximately one third of India’s states. https://www.youtube.com/watch?v=1yRR1_VU1cQ  Biography Vaishali Sinha Co-Directed/Produced the feature documentary MADE IN INDIA about the personal stories behind the phenomenon of outsourcing surrogate mothers to India. The film premiered at Hot Docs Film Festival and aired on PBS in 2012. The film received several Jury awards at festivals and is currently a case study at Harvard Business School for their class on ethics. ASK THE SEXPERT is Vaishali’s second feature length documentary; a presentation by her company Coast to Coast Films. Vaishali has also produced numerous shorts. She has received support for her films from ITVS, the MacArthur Foundation, Tribeca Film Institute, Catapult Fund, Firelight Media, Playboy Foundation, Chicken & Egg Pictures, The Fledgling Fund, Center for Asian American Media, Mozilla, Ford Foundation, Nextpix and more. Vaishali also freelances at Videoline Productions founded by Peabody award-winning filmmaker Richard Wormser (Rise and Fall of Jim Crow). Vaishali speaks regularly at events and has acted as jury member at film festivals. In the past she has worked with women’s right group Point of View, in Mumbai. She is originally from Mumbai, and now resides in Brooklyn, NY with her husband Fred Lassen, a Music Director and their two-year-old son Luca. See acast.com/privacy for privacy and opt-out information.

Mali Phonpadith interviews Joanelle Romero of Red Nation Television Network. Click here to subscribe to our podcast on iTunes. Joanelle Romero is an award-winning director and producer of film, television, and other media -- being the only American Indian director, producer, and writer to make The Academy of Motion Picture Arts & Science's Documentary Branch determined primary shortlist in 2000 for her award-winning film 'American Holocaust: When Its All Over I'll Still be Indian. To date, this is the only documentary that addresses the American Indian and the Jewish Holocausts. June 2016, The Academy of Motion Picture Arts & Science invited Joanelle to be a lifetime member #Class2016. Romero that same month was invited to Washington D.C. by President Obama, First Lady Michelle Obama, Vice President Joe Biden and Oprah Winfrey to share her vision and initiatives of her Native Women in FILM, inclusion in bringing national attention to the multi- cultural diversity issues we face as a nation. Joanelle has worked in directing and producing original content for online streaming television and commercial advertising through her company Red Nation Television Network - The World is Watching Native is Here, since 2006 and others including ITVS. Joanelle being the first American Indian to receive an Humanitarian Award, and the Armin T. Wegner Humanitarian Award, given to projects that have "the vision to see the truth and the courage to speak it." Her expertise and passion in producing and directing media content centers around her love of storytelling and humanity. Her commitment in the film industry has been consisted in having established a career of 40+ years and still going strong. In 2007, Joanelle was inducted into the National Women’s Hall of Fame. Follow @RNCImedia https://twitter.com/RNCImedia https://www.facebook.com/RedNationFF/ https://www.facebook.com/NativeWomenFilmTV/ https://www.facebook.com/RNCImedia/ https://www.facebook.com/RedNationTV/ https://www.instagram.com/joanelleromero/ *14th Red Nation Film Festival: November 8-18, 2017* Los Angeles. http://www.rednationff.com *Red Nation Film Festival 'On the Road' Tour 2017* http://www.rednationff.com/savethedates/ Join our community: http://soarcommunitynetwork.com

This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! John Lewis: Get in the Way on ITVS this evening. 10:30-11:30 ET (pbs.org) Kathleen Dowdey (Producer/Director). Award-winning filmmaker Dowdey's early work includes A Celtic Trilogy, a documentary exploration of the renaissance of identity in the Celtic nations; Blue Heaven,a narrative feature that exposes the hidden traumas of domestic violence; and Dawn's Early Light, a portrait of newspaper editor Ralph McGill, a segregationist-turned-advocate of tolerance. As a television writer, director and producer, Dowdey's work has been broadcast widely on network and cable television. She is a member of the Directors Guild of America and the Academy of Television Arts and Sciences.  

A filmmaker of color is almost certain to win this year's Oscar for Best Documentary Feature. In fact, for the first time, African-American documentarians made up most of the nominees. We talk with Ava DuVernay, whose movie "13th," made her the first black female director to be nominated in this category. And the Emmy and Peabody award-winning documentarian Noland Walker, now of ITVS, tells us about how the film industry has responded to documentarians of color since he started as a production assistant on the landmark PBS documentary series, "Eyes On the Prize" in the late 1980s.

Michaela Leslie-Rule is a digital media producer, storyteller and social scientist. As the owner of Fact Memory Testimony she has been fortunate to collaborate with ITVS, Memphis Music Initiative, Community Foundation for Monterey County and Nike and Firelight Foundations’ Grassroots Girls Initiative. Embedded in Michaela’s approach to research, advocacy and communication is elevating constituent voices through the use of storytelling. She is particularly interested in participatory methods for measuring and documenting social and organizational change, and has designed and implemented participatory projects on four continents. She uses a story-centric approach to produce multimedia projects and advocacy campaigns. As the producer of IGNITE: Women Fueling Science and Technology, Global Fund for Women’s global advocacy campaign and multimedia project, she curated and oversaw the creation of five online storytelling galleries, designed and implemented an international girls’ hackathon and oversaw a coordinated advocacy effort between the Fund and UN Women demanding equal access to and control of technology for women and girls worldwide. In this episode, Michaela speaks with Chelsea about paying attention to culture in public health and nutrition, the complexity of healthy food choices, the bridging the generational gap in food knowledge. See acast.com/privacy for privacy and opt-out information.

When I watch a documentary that address cultural affairs and social values, I walk away with a different perceptive. How do they effect you???? What inspires filmmakers to produce such valuable movies to help us understand our culture and others better? It's my pleasure to introduce you to our featured guest for this week the Emmy award-winning producer Charles Hobson. Mr. Habson is the founder of Vanguard Documentaries and has been producing films of cultural and social value for over thirty years. Mr. Hobson also co-produced films with PBS, BBC, Arte, ITVS, and many other notable networks. For more information about all the upcoming movies from Vanguard visit: http://vanguarddocumentaries.com Contact us today at: http://YourLifeNow.info  

Jed Rothstein, Director/Producer, Before the Spring, After the Fall. Three years before the Arab Spring, a group of young Egyptian rock musicians struggled for freedom amidst the stifling dictatorship of Hosni Mubarak. Two brothers among them, the sons of a dissident political prisoner, would help lead the uprising in Tahrir Square and the struggle for the future of their country.  Airs tonight on ITVS. Bio: Academy Award-nominated and Emmy-winning filmmaker Jed Rothstein specializes in hard-to-get stories from around the world that help people understand one another better.  Whether seeking out  heavy metal musicians who become Arab-Spring revolutionaries (PBS's Before the Spring After the Fall); pioneering doctors (HBO's Coma and Pandemic); Al Qaeda terrorists (The Oscar-nominated HBO documentary Killing in the Name);  defenders of free speech (The 2009 Sundance film Shouting Fire); journalists on the front lines (Independent Lens' Democracy on Deadline) or fundamentalist Christian college kids training to take over Washington (God's Next Army), Rothstein works with people to help them tell their own stories in their own words. His films have played in film festivals around the world, enjoyed special screenings at the United Nations, and been broadcast on HBO, PBS, the Discovery Channel, IFC, Channel 4, the BBC, and elsewhere. When not loitering in global hotspots, Rothstein has worked as a senior producer on a weekly television show and a consultant and writer for numerous documentaries.  He lives in New York with his wife, the writer Mira Jacob, and their son.  

This week's episode of Graphic Policy Radio comes at a special time as we welcome special guest Kristy Guevara-Flanagan to talk about Wonder Women! The Untold Story of American Superheroines. The documentary traces the fascinating evolution and legacy of Wonder Woman. From the birth of the comic book superheroine in the 1940s to the blockbusters of today, Wonder Women! looks at how popular representations of powerful women often reflect society’s anxieties about women’s liberation. Kristy’s first feature-length film was an acclaimed documentary covering four years in the lives of four adolescent girls. Going on 13 was an official selection of Tribeca, Silverdocs, and many other international film festivals. It received funding from ITVS and was broadcast on public television in 2009. Kristy has also produced and directed several short films, including El Corrido De Cecilia Rios, a chronicle of the violent death of 15-year-old Cecilia Rios. It was an official selection of the Sundance Film Festival. Now an assistant professor at Diablo Valley College, Kristy has a MFA in Film Production from San Francisco State University. The documentary recently had its television broadcast premiere in the United States on PBS's Independet Lens series. Through June 14, 2013, you can see the complete film streaming on the PBS website.

We open with an interview with Mama Charlotte Hill O'Neal about her "Heal the Community Tour 2013"; We then shift into a conversation with Rev. Dr. Leslie White, senior pastor of St. Paul AME Church, 2420 Ashby Ave., Berkeley, CA, about the Second Annual Voices of Healing Concert, Feb. 24, 2013, 4 p.m. Admission is free. We close with a rebroadcast of an interview with Whitney Young's neice, Bonnie Boswell, about her film Power Broker:Whitney Young's Fight for Civl Rights, which airs Feb. 18, 2013 on ITVS. 

Today we interview Ms. Bonnie Boswell, niece of Civil Rights Leader, Whitney Young. Young is the subject of a new film, Power Broker, airing on ITVS this month, Feb. 18. Executive Producer and Producer of Power Broker: Whitney Young's Fight for Civil Rights, Ms. Boswell, is an award-winning reporter, producer, commentator and talk show host. A graduate of Harvard University and the Massachusetts Institute of Technology, Boswell won a Golden Mike Award for a one-hour news program she created for NBC. Mrs. Boswell has been a news reporter for NBC-TV, Los Angeles, the co-host of a national cable television news talk show and and an associate producer for ABC's 20/20.

Though PBS'sIndependent Lens aired Brad Lichtenstein's film As Goes Janesville last week, ITVS is hosting a free screening/discussion at the San Francisco Main Library tomorrow, Tues., Oct. 16, 5:30-6:30 PM. Join us this morning in conversation with director and filmmaker to talk about  "Janesville, Wisconsin: Paul Ryan's hometown." President of 371 Productions, a Milwaukee-based independent production company that makes documentaries, commercial work, technology projects and community engagement campaigns, the director has produced for FRONTLINE and Bill Moyers and the PBS series Local News. With New York based Lumiere Productions, he produced With God on Our Side: The History of the Religious Right; André's Lives, a portrait of the "Jewish Schindler"; The Discovery Channel's Safe, about domestic violence; PBS's Caught in the Crossfire, about three Arab New Yorkers after 9/11and the BBC/Court TV co-production of Ghosts of Attica, for which he was awarded a duPont. He made the ITVS film Almost Home, a PBS Independent Lens documentary about people who live and work in a elder-care community.His current projects include What We Got: DJ Spooky's Journey Through the Commons, a documentary/fiction/transmedia enterprise about the over-privatization of what belongs to all of us.Brad has taught documentary film production at the University of Wisconsin-Milwaukee,where he also founded docUWM, a documentary center that provides students an opportunity to learn by making professional films.he is a father & husband. Before you watch the 2nd Presidential Debate on PBS,share in a riveting Community Cinema experience. Visit http://itvs.org/films/as-goes-janesville Music:Archie Shepp's "Cousin Mary."  

Internationally renowned speaker and story consultant Fernanda Rossi will be talking about how to make a sample that gets your project off the ground both financially and story-wise and how to structure your film once you have shot all that footage. She has doctored more than 300 fiction scripts, fundraising samples and documentaries, including two nominated for the Academy Award® and many that went on to receive funds from ITVS and NEH in the U.S.and NFB in Canada. In addition to lecturing around the world in all major film festivals and markets, she is the author of Trailer Mechanics: How to Make Your Documentary Fundraising Demo. www.documentarydoctor.com

Director, write, scholar, poet, Saul Landau, internationally-known scholar, author, commentator, and filmmaker on foreign and domestic policy issues and  joins us to talk about his latest film: "Will the Real Terrorists Please Stand Up!" at Brava Theatre, Saturday, April 16, 2011, 7 PM. brava.org and http://realterrorist.wordpress.com/ Landau is joined in the studio with Alicia Jrapko, US National Coordinator of the International Committee for the Freedom of the Cuban 5. http://www.freethefive.org/  We then play a prerecorded interview with  Kirvan James Boyd, Boston, Mass., Alvin Ailey American Dance Theater highlighting the debut on the DOC channel film airing April 16, 2011, 8 PM, PT/ET of Phil Bertelsen's "Alvin Ailey, American Dance Theater: Beyond the Steps." If isteners would like a copy of the DVD while supplies last send me a message here on the show page or wanda@wandaspicks.com We play a teaser segment of an interview with Joanna Haigood & Charles Trapolin's performance installation: "The Monkey and the Devil," which opens APR 15, 8 PM  at YBCA Forum, Third and Mission, in San Francisco, and continues through APR 17, 12-2 PM and 3-5 PM (one hour cycles). Visit zaccho.org and ybca.org We close with an interview with Duane Baughman, Producer/Director, of a first film, "Bhutto: Democracy Is the Greatest Revenge," which is having a free ITVS, KQED, Neighborhood Empowerment Network, and HandsOn Bay Area, community screening Tues., APR 19, with a panel discussion folliowing, at San Francisco Main Public Library, Koret Auditorium, 100 Larkin Street. Visit http://www.itvs.org/films/bhutto

Co-Director, Beth Davenport's Pushing the Elephant, the story of Rose Mapendo& how she escapes ethnic violence in the Democratic Republic of Congo to become a vital voice in the mending of her country. Separated from her 5 yr. old daughter, Nangabire, and reunited 13 years later, Rose who has assisted many survivors with her message of forgiveness & peace has more of a challenge with her daughter. ITVS hosts a free screening & panel discussion, Mar. 22 in S.F. & Mar. 24 in Oakland. Visit communitycinema.org/ to learn about free screenings & later broadcasts on Independent Lens. Shereen Caesar, joins us next. She is one of three "Women of Calypso" in concert, March 24-26, at the African American Art & Culture Complex's Hall of Culture. The ensemble features three of the top female calypso singers in Trinidad, W.I. with Ms. Caesar, are Singing Saundra and Kizzie Ruiz. Through their songs they sing about contemporary life in Trinidad. All three have won hosts of awards and regularly place in the finals of Calypso competitions during Carnival and year round. Calypso is a music of the people, and although the more popularly known Calypso singers have been male such as The Mighty Sparrow, Shadow, and Lord Kitchener, "Women of Calypso" showcases the best of female Calypso singers from Trinidad who are now more than ever competing with and rivaling their male counterparts. Produced by Idris Ackamoor & Rhodessa Jones, for tickets visit culturalodyssey.org/tickets & www.youtube.com/watch?v=niIF2rKFSYg Charlotte Hill O'Neal aka Mama C, is an internationally known visual artist, writer, musician, filmmaker and spoken word artist. She was born in Kansas, USA and has lived in Africa with her husband, Pete O'Neal,who is the founder of United African Alliance Community Center UAACC since 1970. She is on a Peace in the Community tour through June 2011 with a stop in Berkeley tonight, 6-9 PM @ East Bay Jazz Wksh. 6604 San Pablo Ave., Oakland. Visit www.uaacc.habari.co.tz/

Kembrew McLeod & Benjamin Franzen, directors of "Copyright Criminals," screening tonight, Oct.21, 6 PM at Oakland Asian Cultural Center, 2nd floor, 388 Ninth Street, Ste. 290, (between Franklin & Webster). It will be screened on ITVS in January 2010. Next week there is another community screening in San Francisco at the Main Library on Larkin Street. Next we have Mulamba is an independent artist and scientist based in the Research Triangle Park in North Carolina. He is joined by Rehema Bah. We close with an interview with Pedro Rosales and Gazania McCoy.

This morning we will have a tribute to William B. Lawsha "Prince Lasha," September 10, 1929 to December 12, 2008. Prince Lasha was born in 1929 in Fort Worth, Texas and went to school with Ornette Coleman. In1947, the two of them started playing saxophone in a school band (which also produced great musicians like Charles Moffett and King Curtis). They worked with Harold Land and Red Connors before going their separate ways. He lived in New York, Oakland, Germany, Italy, and France where he had the honor, he says, of playing with many great musicians such as Sonny Simmons who worked with Prince for six years; Eric Dolphy, John Coltrane, and Sonny Rollins recorded together—in fact he wrote “Music Matador that Eric Dolphy made famous. Wanda's Picks concludes with an excerpt of Matador (from …A True Story). When he made his transition last month, Prince was working on releasing a new CD on his label Birdseye Records, called “Baritone Madness.” I hope we'll see this CD in the near future. It features Woody Shaw, Ron Carter, Odean Pope and Eddie Gale. Prince Lasha Jr. said there's another release coming out in a few weeks and he'll tell us about it this morning. Perhaps I can get the producer, Prince Jr., to come on the air to talk about the project. We will be joined this special 1 1/2 hour tribute by Prince's friends and family, including Odean Pope, Eddie Gale, Sonny Simmons, Chuck Fishman, Oluyemi Thomas, Destiny Muhammad, Leon Williams, Anthony Foster, and sons: Anthony, William and Prince. Wanda's Picks concludes with an interview with Kelly Whalen, co-director of Tulia, TX, a film about a small town's search for justice in the midst of blatant police misconduct in an attempt to rid the town of drug trafficking. The ITVS film is premiering at the San Francisco Main Library, 100 Larkin Street, near Civic Center BART. Lanier Pruitt, our beloved friend and colleague died suddenly. His funeral is today, Friday, Jan. 23, 12 Noon, at Cooper Mortuary, 1580 Fruitvale

Power Struggle, Sentenced Home, and this live deejay! Power Struggle, SF/Brooklyn-based hip hop duo consisting of Nomi, the emcee and Deetalx, the dj recently dropped "Arson at the Petting Factory", a heavy-hitting album in sound and content. Tune in as we speak to Nomi about the crew and perhaps even get a little freestyle session…Peep game at (www.powerstrugglers.com) or (www.myspace.com/powerstruggle). ITVS flips the focus from immigration to emigration with "Sentenced Home", a documentary about three youth facing deportation back to Cambodia for minor crimes as a youth (www.itvs.org/outreach/sentencedhome) And ya don't stop with yet another live DJ set featuring Un/de/Fine bringin it live and direct for the Hot 7 at 7 mixup! (www.myspace.com/undfine). Plus community calendar, and more! Contact: 510-848-6767×464; apex@kpfa.org ; for more stories: www.apexexpress.org. For Apex's hip-hop site: www.myspace.com/apexexpress.org The post APEX Express – April 5, 2007 appeared first on KPFA.

This is a special mid week episode of the Video StudentGuy podcast. Thursday night we had a special topic presentation by Franco Sacchi, a filmmaker and instructor at CDIA. He presented his documentary, American Eunuch, as an example of how to create a documentary.     The class covered every step of the production process beginning with finding the idea, preproduction, the shoot, post and promotion. Check out IFP.org for help marketing your film. Franco briefly referred to the Long Tail marketing concept which I try to explain in a nutshell. This was a term popularized by Chris Anderson of Wired and he went on to write a book about it as well. He also has a blog on it. I believe this business model has significant impact on all content producers and will continue to gain mind-share over the next several years.    Everything about the film should be rolled up into a website for promotional purposes. Include budget, proposal and treatment to demonstrate your organizational skills. You should contrast the earlier American Eunuch site to the more current This is Nollywood website to see how he is using the web to create buzz about his movies. Nollywood is a documentary about the growing film industry in Nigeria. That film is currently in post. Towards the end of the show I present a few of my thoughts about the movie. Keep in mind I only saw a portion of the film. All the same I give it a thumbs up. I close out with some production notes about this podcast.          Chapter Titles          00:08  This Week     01:25  Franco Sacchi     01:50  Costs     03:44  Find the story     06:31  Preproduction     07:41  The Shoot     08:43 Post     10:03  Promotion     11:40  The Long Tail     13:36  Websites     15:23  Film Commentary     18:10  Close - Production Notes    

A Japanese American bazaar and benefit keep communities alive through music. Dynamic drummer Kenny Endo talks about his show at the The Satsuki Arts Festival. He also plays with June Kuramoto of the group Hiroshima in an event that benefits an ailing public school music program. Plus, learn how globalization and genetic engineering plant seeds of violence in the world. Activist Vandana Shiva's talk also addresses the solutions and outlook of rural Indians in response to overwhelming greed from agribusiness and monoplies. Plus, a young Laotian woman talks about her journey documented in "Death of A Shaman". The film charts her visit to Laos and attempts at understanding her father's drug-related death, sister's murder and the struggle to re-build a broken family. "Death of A Shaman" airs in May on public TV presented by ITVS and NAATA. Plus music, calendar and more. Lastly, please Call-in Your Donation During Apex as part of KPFA's fund-drive! Give-ways during the Show for a pledge of support, include: tickets, DVDs and CDs all related to the above. Your donations really do count towards helping Apex and KPFA stay on air….. The post APEX Express – May 13, 2004 appeared first on KPFA.