Podcast appearances and mentions of jim brooks

This week on the blog, a podcast interview with writer (and director and playwright and author and podcaster) Ken Levine about the business of writing and directing situation comedies.LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Ken Levine's Website: http://kenlevine.blogspot.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTWas being a writer always a goal?Ken Levine: I don't know if it was always a goal. It was something that I always did. Honestly, I did not get a lot of encouragement in high school. I was a cartoonist. I still am. And I was a cartoonist on the school newspaper. And I said, “Well, I also want to write. You know, can I cover sports or do a humor column or something?”And they said, “You're the cartoonist, just stick to cartoons.” And I said, “Well, I really want to write. And if you won't let me write, then I'm going to quit the paper.” And they said, “Then fine, quit the paper.” So, that's how much my cartoons were even valued. They called your bluff on that one, I guess. Ken Levine: They called my bluff, yeah.Just as a little tangent—just because I'm a big fan of your cartoons—did you have a couple of cartoonist heroes when you were growing up? Guys that you looked at and went, that's the kind of writing I want to do?Ken Levine: Well, my cartoonist heroes were more due to their cartooning than anything. Al Hirschfeld, who did the caricatures of the New York Times, was my god. And Mort Drucker would be another. Jack Davis. A lot of those Mad magazine guys. Originally, I wanted to be in radio. I mean, I really loved radio. And a lot of my comic influences early on were disc jockeys, you know. Bob and Ray and Dan Ingram and Dick Whittington. So, radio was a goal. I got out of college and became a Top 40-disc jockey.Let me back up. When I was in college, I got a job as an intern at KMPC in L.A. We're the big, full-service radio station. They had the Angels and the Rams and the Bruins and, you know, they were big music personalities. And their afternoon drive time jock was Gary Owens, who was on Laugh In at the time. You know, “From beautiful downtown Burbank.”And I would write comedy material for Gary, for him to use on the air. I never charged him for it. I mean, I was just so thrilled that someone of the caliber of Gary Owens would use my material on the radio. And one day I get a call to appear in George Schlatter's office. George Schlatter was the producer of Laugh In. And this is when Laugh In was getting 50 shares. And I'm like, what does George Schlatter want with me? So, I go to the meeting obviously. And apparently, unbeknownst to me, Gary submitted my comedy material to him. And George Schlatter offered me a job as a writer on Laugh In. And it's funny, we laughed about it because George is still around and he was a guest on my podcast, and I talked about this.And I said, “Can I do this part time or from home?” And he goes, “What? No, this is a job. You come to the office every day. We're paying you a lot of money to write the number one show in America.” And I said, “I would lose my 2S deferment and I would wind up drafted in Vietnam.” So I couldn't take it. I had to turn down Laugh In. So, I was almost a writer six years before I actually broke in.Okay. So how did you end up then meeting up with David Isaacs?Ken Levine: Like I said, I became a disc jockey out of college. My draft number was four. And like I said, I was at KMPC and one of our disc jockeys, Roger Carroll, was one of the main AFRTS disc jockeys. I shopped around looking, is there a decent reserve unit I could join that would keep me out of the army? And I saw that there was an armed forces radio reserve unit in LA. And through Roger, he helped pull some strings and got me in the unit. You know, it's like one of those things where you get a call saying, “Okay, there's an opening in the unit, but you got to go down to Torrance and sign up for it tomorrow.” And so, you don't have time to think, “Boy, do I want to risk this? Is there a way I can get a medical thing?” And it's six years. It's a six-year commitment. Go.So that's what I did. I got into that unit. And we were at summer camp three years later and somebody new to the unit was David Isaacs. And we met and started talking and we both kind of had desires to be writers. And when summer camp ended, I was at the time working as a disc jockey in San Bernardino. I got fired, which was a frequent occurrence. And I came back home to live with my parents in LA. I called David and I said, “Hey, remember me from the army? I want to try writing a script. You want to try writing it with me?” And he said, “Okay.” And so, we got together and decided to partner up and we wrote a pilot. But we didn't know anything. We had no clue what we were doing. And I had to literally go to a bookstore in Hollywood and on a remainder table were TV scripts. And so, for two dollars I bought a copy of an episode of The Odd Couple and looked at that.Oh, Interior Madison Apartment Day. That's what that is. This is the format, and this is how long they are. So, David and I wrote a pilot about two kids in college, which was the sum total of our life experience back then. We were both 23. And it didn't go anywhere, obviously, but we had a good time doing it. And we then learned the way to break in is to write spec scripts from existing shows.So that's what we did. And eventually we broke in. So, had you written anything with him before that or seen any of his writing? What was it that made you think this is the guy?Ken Levine: No, no. He just seemed like a funny guy. Neither of us had written anything. Neither of us had any writing samples for the other. No, we just sat down together and just tried doing it. It probably was a help that we were both starting from the same place, which was nowhere. You know, it's just kind of one of those happy accidents where you go on a blind date, and it turns out to be your wife.How many years did you guys write together?Ken Levine: Well, we're still writing together, if somebody would hire us. Fifty years.Congratulations. Ken Levine: October of 73 is when we started. And I'm trying to remember, was it The Tony Randall Show or The Jeffersons where you sold your first script? Ken Levine: The Jeffersons. And how did that happen? Ken Levine: Well, we had written a spec Mary Tyler Moore and a spec Rhoda, and another spec pilot. Which was better but didn't go anywhere.And one day my mom is playing golf with a guy who says he's the story editor of The Jeffersons, a new show that just came on. My mom says, “Oh, well, my son is a great young writer.” And he's like, “Oh Christ.” And he says, “All right, well just have him call me.” So, I called him, and the guy says, “You have a script?” And I said, “Yeah.” And he goes, “All right, send the script. If I like the script, we'll talk.” And I sent off our Mary Tyler Moore Show, and I got a letter back saying, “Oh, this is a really good script. Make an appointment, come on in and pitch stories.” And we pitched stories, and they bought one. And so that's how we got our assignment. Thinking back, is there one moment that you felt like was really pivotal that officially launched you guys? Ken Levine: Yeah, doing that first MASH episode. We had done The Jeffersons, we had done episodes of Joe and Sons, which was a terrible show on CBS. We had done some stories for Barney Miller, but Danny Arnold always cut us off before we got to script. We did a backup script for a pilot that didn't go. And then we got MASH And our first episode of MASH, which is the one where the gas heater blows up and Hawkeye is temporarily blind. And that script was like our golden ticket. It's a very memorable episode. Ken Levine: Oh, thank you. I remember it.I spoke with—I don't know if you know her—April Smith, and she said she learned everything she learned about writing in a room from Gene Reynolds. Where did you learn about writing in a room? Ken Levine: Well, I don't know about writing in a room from Gene, because we never worked in a room, really, with Gene. But, I learned more about storytelling, and more about story construction, from Gene Reynolds, than everybody else combined. I've been very lucky to have a lot of great mentors along the way, or to work with, you know, really talented writers and smart enough to just shut up and listen and learn from them. But if I had to pick one true mentor, it would be Gene Reynolds. I cannot say enough about Gene Reynolds. I owe my career to Gene Reynolds. What was his special gift? Ken Levine: First of all, he was very much a gentleman. So, when he would give you notes, if he didn't like a joke, he wouldn't go, “Jesus, guys, what the fuck?” He would go, “And, um, you might take another look at this. You might take another look at that joke.” Okay. Gene had a great story sense that was combined with a real humanity. It had to be more than just funny. It had to be grounded. There had to be, like I said, some humanity to it and the humanity and nice moments and things had to be earned. And he was very clever in constructing stories where things were set up and then got paid off in a somewhat surprising way. You know, look for inventive, different ways of finding a solution. It's why to me, storytelling is always so hard, because each time you tell a story, you want it to be different. You don't want to just keep retelling the same story over and over again. And Gene would look at a thing and go, “Is there a better way of conveying this? Is there something more interesting that Hawkeye could do once he learns this information?” You could give Gene an outline, and everyone can go, “Okay, well, this doesn't work.” Gene could go, “This doesn't work, and here's why. And here's how you can fix it. If Radar knows this, and then HotLips does this, then you could do a fun thing where it's a thing and…. And you're going like, man, he just, you know, just solved it. Just, just solved it. I thank him for that. He was very tough on story, which I took from him. And again, there's the humanity aspect of it, which normally you think, well, okay, that's just part of it. But when I see shows today—and I know I'm going to sound like an old guy, “get off my lawn”—but when I see shows today, like White Lotusand a lot of these other shows that are just mean spirited, where the laughs are coming from watching horrible people do horrible things to each other. And, look, comedy changes and, you know, society changes, et cetera. But to me, there has to be some heart to it. There has to be some, some humanity. And that was so drummed into me by Gene. Gene also talked about the value of research, which I have learned a lot.You know, you go off to write a project about whatever. You're going to do a pilot about the Department of Motor Vehicles. You sort of know a lot about the Department of Motor Vehicles. You've stood in the lines and everything. Gene would say, “Go there. Talk to those people. What is that job really like?What do they really do? And immerse yourself in that world.” And that's what I've always done since. Jim Brooks, who worked with Gene on Room 222, would say the same thing, that he learned the value of research from Gene. And when Jim Brooks did Broadcast News, he spent a tremendous amount of time in newsrooms, talking to those people, getting a sense of authenticity. It requires work, it requires a lot of extra legwork, but it makes the scripts richer and more authentic. And it's worth putting in the time and effort. I just had Michael Conley on as a guest on my podcast. And one of the things I asked him—he does the Bosch books and The Lincoln Lawyer and he's my favorite mystery writer—and I said, “So with all the detectives out there, what's so special about yours and your books?”And he said, “The authenticity.” He spent years on the crime beat at The Los Angeles Times and really got to know the inside working of the LAPD. There is an authenticity to his books that you don't get with a lot. It makes a difference. Research pays off. Okay, one more TV question. What inspired your move into directing? Ken Levine: I'd been a writer for many, many years. A lot of those years I was on staff of a show, and years when I wasn't on staff on a show—since I'm a good joke guy—I would get a job as a consultant on a show. Meaning, I would work one night a week, which was always rewrite night.What a great gig.Ken Levine: It was a great gig. You worked long hours, but it was a great gig. And at the time the pay was ridiculous. There was one season I was on four shows. So, I was working basically four nights till two, three o'clock in the morning. And it got to the point where I would go down to the stage and I would kind of dread going down to the stage, because all I was worried about was, “Okay, let this not be a train wreck. Okay, let this be in good shape, so that I can go home at 10 or 11 or 12.”And I thought to myself, “There's something wrong here. You get into the business, you should want to be on the stage.” So, I thought, be a director and be on the stage and play all day with the actors. And then when it comes time for rewriting, “Good luck guys. You go to the room and rewrite, and I'll go to a Laker game.” So that was my motivation. It should be fun. If you're in television and you're in multi-camera shows, you should look forward to going down to the stage. And if you don't, then it's time to change things around. So, that was my motivation. Did you feel like you had any advantages as a director because of your background in writing and your understanding of scene construction?Ken Levine: Yes. Number one: The writing served me very well. I was talking to Jim Burrows once, who is the Mozart of TV comedy directors.And I was asking him about shots and this and that. And he said, “Look, if the story works, you can have one camera and just shoot the master of the whole show and it'll work. And if the story doesn't work, you can have all the camera angles and cutting you want. It's not gonna save it.” So yes, it was a big help to me, having that experience, being able to say to the actors, “Okay, I see what's wrong here. You need help with the script. You need a few more lines before you can get this angry. Okay. The reason why you're having trouble here is you have to go from zero to 70 in two lines. And you need help here.”And I was also able—this is something Jimmy did and no other director I know of other than me would do the same thing—and that is, we would go back to the writer's room after the run through and I would sit with the guys while we discussed what was wrong and what needed to be fixed. And I would kind of help them along that line as much as I could, which proved to be very helpful.And also, it was very helpful because you go down to the stage the next morning and you have your table reading. And you're able to say to the cast, “Okay, this is what they did last night. These were the problems. This is how they addressed it.” And there were certain things where actors would go, “Where's my joke?” And you're able to say, “The script was long. It was not you. You did a good job with the joke. The script was really long. It's a joke that was easily liftable as opposed to something that was more integral to moving the story forward. That's why you lost the joke.” So, it helped in communication. Also, by that time I had been a showrunner. So, I was used to coming down to the stage, and if I saw something I didn't like—with blocking or something—I'd go, “Wait a minute, why is she here and she over there? This is a private conversation. Put them together. Why are they standing back there in the corner? Why did you put them at this table? The audience can't see them over here. You put them over here at this front table, and then we can have background and you can have some depth and geography.” And stuff like that.So, I have that aspect. I also spent a lot of time editing these shows. So, I would work with the editor, and I'd say, “Okay, go to the wide shot where we see the full costume.” And he goes, “We don't have it.” “Wait, what? It's a costume joke. He comes in dressed like Mr. Pickwick and you only have it up to here?” So, as a director, I go, “Okay, this is what I need to make this joke.” And also reaction shots are so important. You know, when the director is directing a multi camera show—which is like directing Rubik's cube—you have a camera coordinator who works with you, making sure that all the shots are rights. And so, he'll go down the script and it's like, “Okay, Kelsey's line. All right, we have Kelsey on camera A, and then his line we have on camera C, and then Roz we have here.” And he's making sure that everything is covered. But I also want reaction shots. They aren't in the script, but I know when Sam says this, you're going to want to cut to Diane's reaction to it. So, I had that going in my head.And also knowing like, “Okay, this show is running a little long. I suspect that they may cut this section of a scene.” So, when I block it and when I set my cameras, do it in such a way where you can make that lift. Don't have somebody cross the stage during that section, because then if you lift it, the guy pops onto the other side of the room. Don't just have a master, so that there's nothing to cut away to. So, there's like all kinds of things that are going through your head, besides just directing the actors, that my experience was able to help me with.Well, you said Rubik's Cube, and that's what it sounds like: a Rubik's Cube on stage. Ken Levine: You've got five, six people on stage, and you have four cameras. You want to get a master and singles and reaction shots, and two shots. And it's all happening fluidly while the scene is going on. And then when somebody moves around the couch, then the cameras have to move, and are you covered? And those guys are amazing, the camera people in LA, if you're nice to them. I remember there was an episode of Becker that I was directing, and it was in the diner. And somebody had to go way upstage in the corner to the coat rack. And so, as I'm camera blocking that scene. I'm saying, “All right, I'm going to have to do a pickup. Fred, I'm going to have to send you way up the line to give me Ted in the corner there.”And he said, “I can get there.” And I go, “Fred, you have like a line and a half, because I've got you on Reggie. And then they cut away to Bob saying, ‘I looked at my lunch pail and I didn't have anything.' That's all the time you got. You got three seconds to get up there and frame it and do it.”And he says, “I get it. I can get it for you.” And for them, that was kind of part of the fun, was sort of the challenge. If they like you. If they don't like you, good luck.

What happens when a "Flanders has a girlfriend" plot meets Notting Hill and the Bush-era culture war? You end up with one of season 14's more complex episodes as we discuss A Star Is Born Again. As Ned meets a new woman who loves how down-to-earth he is, how will Ned deal with Hollywood values? And what does that have to do with references to Cher, J-Lo's famous dress, LA's NFL teams, dead jellyfish, Jim Brooks, and other mysteries? Hold on to your nachos as we describe it all on this week's podcast! Support this podcast and get over 150 bonus episodes by visiting Patreon.com/TalkingSimpsons and becoming a patron! And please follow the official Twitter, @TalkSimpsonsPod!

It is common to hear people talk about the housing crisis facing our cities. What is less common is to hear people talking about one of the main reasons we are facing this crisis - exclusionary zoning, which creates a level of restriction resulting in low supply despite soaring demand. One crucial way to not only meet the volume of the demand but to address affordable access also is by promoting more multi-family housing (and the zoning changes that would allow for it). This is not without significant controversy, though. There are many fears supported by myths about the impacts of multi-family housing. Joining Shawn to talk about why multi-family rental is actually good for everyone is FCS Senior Director of Community Development, Marvin Nesbitt, and special guest, Jim Brooks, Purpose Built Communities' VP of Housing and Community Development.

Joined again by Full Cast and Crew spirit-animal Richard Brown for a deep discussion about James L. Brooks' 1987 picture 'Broadcast News', a stealthily subversive rejection of Hollywood Rom-Com tropes and one of the greatest films about television ever made.   Topics include: The great, troubled life and career of Polly Platt. Jim Brooks and 'Terms of Endearment' The research/interview based origination and approach to writing 'Broadcast News' Wrestling with the legacy of William Hurt, his transgressions and sobriety in the era of cancel culture. Holly Hunter and Albert Brooks LINKS: Great and useful articles about 'Broadcast News': A great piece by Haley Mlotek about the making of 'Broadcast News'.   A great profile of Polly Platt by Rachel Abromowitz from Premiere Magazine.   A funny period piece about news industry insiders seeing themselves in the characters of 'Broadcast News'.   A Collider piece on how 'Broadcast News' blows up Hollywood Rom-Com conventions.   CLIPS:   The 'Broadcast News' alternative ending, inspired by the French film 'A Man and a Woman'.    'Broadcast News' playlist of clips.

Jay is an Emmy-winning writer and producer known for shows like The Simpsons, Frasier, George Lopez, Malcolm In The Middle, and School of Rock.Show NotesJay Kogen's IMDB: https://www.imdb.com/name/nm0463124/Jay Kogen on Twitter: https://twitter.com/jaykogenJay Kogen on Instagram: https://www.instagram.com/jaykogen//Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptsJay Kogen:Improv helps this to be able to risk. You don't know what's coming. You don't know what you're gonna do. And you commit to a character and you commit to an idea and you take it and see where it goes. It's no different than when you sit down to write a scene and you're about to commit to writing a scene. You might know where it's supposed to go, kind of. But this is what really, when it's time to commit to writing it,Michael Jamin:You're listening to screenwriters Need to Hear this with Michael Jam.Hey everyone, it's Michael Jam. Welcome back to Screenwriters. Need to hear this today. I got a very special guest that none of you deserve to hear. You're just not good enough. But if you , But if you do wanna listen, pull over. If you're listening to your car, pull over. You gotta, because this is a big shot in the TV world. So with my guest, I have Jay Cogan and I have to, You gotta know who this guy, this guy's been around the block. Okay. He started at, I believe he started on the Tracy Allman show. He wrote on The Simpsons, the single guy, The Wrong Guy. This was back when he told his agent he would only do guy shows and everyone's like, This guy's out of his mind. But then he did Frazier. George Lopez. You did the first. I was in the other George Lopez.You're the one people think I run a Lopez. Nah, not that Lopez or Malcolm in the Middle. And I'm leaving off half your credits. I'm just skimming through this. That class Happi divorced to Troop Wendell and Vinny Kirsty, which is where we worked together for 10 minutes. Cuz I was for the freelance episode that we did. But that was only 10, honestly. That was a real fast interaction. Then Ned and Stacy School of Rock. And then now you're doing, I guess oversharing and Renaissance. I wanna talk more about that and the new Punky Brewster. I don't know how that happened, I wanna know more about that. But, okay, so my guest is Jay Hogan and I gotta say, I never told you this, Chad, but my first job was on Just Shoe Me. And so I was a young baby writer and everyone that, on that staff, it was like Laan and Andy Gordon Con and Stephen Engel and you were one of these names that always came up. It was j Hogan said the funniest thing on Frazier. J Hogan did this. He came into the room, he did that and you were on, Honestly, in my mind, you were like this mythical character. And even at the time I was like, I don't know if it's j Hogan or Jake Hogan. And I don't want to ask because I don't.Jay Kogen:No one does. No one knows. It's true. No one knows. It's tooMichael Jamin:Bad. Just ask. TrueJay Kogen:. I'm still mythical. By the way, just so you know, you're still, I may or may not be realMichael Jamin:Mythical. Right? Mythical, Okay.Jay Kogen:Yeah. Now you said I'm mythical. I don't know. So you don't know whether I'm real or not. SoMichael Jamin:I don't know. I don't wanna find out.Jay Kogen:I dunno.Michael Jamin:But we'll get to the bottom of this. PeopleJay Kogen:Who are driving, who pulled over, thank you for pulling over , I appreciate it. I hope you're safe. Put your hazards on.Michael Jamin:I So Jay, I got a million questions for you, but I guess let's start with the beginning. Everyone wants to know, how did you break in to Hollywood?Jay Kogen:Oh, it was a really rough ride, man. My dad was a writer producer, and I asked him to introduce me to some of his friends,Michael Jamin:. And let's talk about your dad. AndJay Kogen:I took it from there.Michael Jamin:But he wrote, and he wrote on a bunch of shows like Mary Tyler Moore show. What else did youJay Kogen:Write on? He did, he read, he wrote a Mary Tyler Moore, I believe. He wrote a Mash, he wrote A New Heart and The New Heart Show, Bob Newhart Show and Newhart, he wrote on The Covert Show and the Dean Martin Show and the Jim Davis show and the Donny Marie Show. And he worked on Empty Nest and he worked on a million shows and wrote one shitty movie,Michael Jamin:DidJay Kogen:Do it. It's called a soupy sales movie called Birds Do It. And my father was telling me that he can't bear to watch it . He hasn't seen it since 19 causeMichael Jamin:Rewritten. Cause Soki re rewroteJay Kogen:It. No, he wrote it completely. No, it's his fault. He's saying he's, it's horrible and it's his fault.Michael Jamin:But you grew up around it. So I thought you were from Brooklyn, but you grew,Jay Kogen:I was born in Brooklyn and my dad moved from Brooklyn. He was working on the Tonight Show with Johnny Carson. And he moved out from Brooklyn to come work on the Dean Martin Show in 1968. Jesus. And that was my first experience on a sound stage, was on the Dean Martin Show on a Christmas episode. And it said, Ah, this looks like a fun job. Little did I know that writing is not a fun job. Writing is a really unfun job.Michael Jamin:People don't realize that. But what was it? So what was it growing around it? Did you talk shop with you? I don't know. TalkJay Kogen:About I, my talking shop was gonna be limited . But even whenMichael Jamin:You got older, did he tell you how to write a script?Jay Kogen:No. I mean, here's the thing. You grew up in a family that I'm sure was a funny family. No question if you're funny. You grew up in a funny family. My father,Michael Jamin:My dad invented comedy , he told me he made it up.Jay Kogen:So my father and mother are funny and if I try to make a joke at the table and get them to laugh, it was a great victory. So you'd hone your skills to make people laugh at the dinner table or on the living room couch. And that's kind of your writer's room training. And that's how you sort become the jokey guy in high school or junior high and become the jokey guy. So jokes, jokes were stock and trade in my house and my way to win my father's affection. So I tried to get good at it,Michael Jamin:But you still had to learn story structure, you had to write a script.Jay Kogen:Well that sucked. It took me years to do that because I was done. I had money. Most writers, we had jokes, but we didn't really understand story structure at all. We thought we knew it was funny and we thought, oh, just put funny stuff down and that'll be enough and that is way wrong. But that's what I thought. And I wrote some spec scripts and handed them to my dad and he said, This is terrible. Become a lawyer. He would say, Do not try to become a writer. This is awful. I wrote with some successful writers today who I work with in school. The Billy Ray who was at Academy Award and nominated writer and Robbie Fox and mm-hmm , Wally Wolodarsky became my partner at The Simpsons and Tracy Ownership. And we wrote all the time. And my father would read these scripts and go, These are terrible.Do not get into the business. And so eventually I started working on PAing, on TV shows, getting people delivering scripts at three in the morning and getting people lunches, . And if I got it wrong, they'd scream at me and mm-hmm , all that kind of stuff. But I would learn, sit in the writer's room and watch them work out stories and figure out how they did stories. So that process was really enlightening. And so my partner and I, I tried to write a script and we wrote a script with a, it's for it's Gary Channeling show. Mm-hmm worked out one of their stories, which were always strange. And we did that. They kinda liked the script but they didn't buy it. And then we wrote another one and they didn't buy that. But then that became a sample that we got a job at the Tracy Allman Show from. And that's how it worked. And at the Tracy Allman show, under Heidi Pearlman and Jim Brooks and Sam Simon and Jerry Bellson, I started to learn that drama had a big part in comedy. And so there wasn't just jokes, it was jokes and story and characters that you cared about and situations that had impact and stakes and all those kind of things that you know about when you're a kid. But you ignore it and go like that. What's funny?Michael Jamin:Yeah. Right. It's so funny cuz I talk about this all the time. I wanna say you're gonna confirm, I guess hopefully. Or maybe I'm just an old blowhard and I just sound like an old frank. But I have a feeling you're gonna confirm a lot of stuff that I say. Cause I'm always like, no, the story's the most important thing. Jokes cut. You can always interchange the jokes. And people don't quite understand that whenJay Kogen:You can be a blow heart and also be right. So , those two things are not incongruous. But yes I will. When I talk to writers, I say that the story is first, character is second and jokes are third that you need the story is the hardest thing. Breaking a story is in writing is the hardest thing. Breaking a story, breaking it, making it sure that it pops, making sure that we're not going down stupid roads. That's the hardest thing. Everything else, the jokes are the easiest thing honestly. And the most replaceable thing, you don't like a joke, we'll cut it out and put a new joke in a character as they're very important. But sometimes you write something you realize, oh I have two characters that are the exact same person, and I, I'm gonna condense them into one person. Or I have characters doing the same, serving the same purpose in the story. And that's not a good idea. And so the story has to come first and that's always the most difficult thing. I always recommend to all writers, , outline your shit. Outline what you're gonna do before you're write. Show the outline to somebody, , get feedback on it before you waste your time writing a script on a story that's not gonna work.Michael Jamin:So that that's exactly right. I have to wanna bring this up cause I don't wanna forget this, but cuz my partner and I came in, we wrote, we did a freelance on the Kew Show, which we were on . And I have to say it was one of the most enjoyable experiences cuz it was like the last time, I mean I want to hear your thoughts on this. It was the last time I really was in a writer's room full of writers who had more experience than me because now it seems like I'm the old guy in the room now I'm the veteran guy and I really enjoyed working. YouJay Kogen:Made that in your brand, you were now that's your brand, you the experience guy . Yeah.Michael Jamin:But it was so much fun cuz you get to hear other people's stories, you get to hear their wisdom. There was so many heavy hitters in that room.Jay Kogen:Yeah, that was a fun room. I mean I've had a lot of fun rooms. The rooms are still fun when I go and do them. So like and am the oldest guy in the room now maybe, but I'm not sure sometimes. Depends on the show. But I've certainly been around a long, long time. So I'm going on, it'll be 40 years soon. That's a long time.Michael Jamin:Yeah, it is a long time. Yeah. So what do you accredit your longevity to? Is it you're getting your last three jobs basically?Jay Kogen:Well, the same way I got my first three jobs. It's sort of praying, meeting the right people, saying the right thing, wandering into a stupid situation that you didn't know about. And suddenly they have job so not organized. And so this, they're these jobs and you should, you're going to audition for these jobs and this is how it's a much more hazardous, haphazard. There's a show here and they may need somebody and you should be developing something here and you have a million irons in the fire and we'll see what happens.Michael Jamin:So you're constantly hustling. So it's not like your agents just setting this up, Oh hey, they wanna hire someone that you fit the bill. Right? I mean it's not as easyJay Kogen:As that. No, rarely that rarely happens. And sometimes it does. But I mean honestly demographically, I'm not the key kind of person that they're looking for right now. . And there's a million reasons for that. I mean we should talk about that. There's a need, There has been a desperate need to make the playing field equal to all people from all different backgrounds and for many, many years, sort of Jewish white guys, Had a preference. So we're now the guy like me, Brooklyn Jewish, Brooklyn Encino Jewish guy is, there's a dime a dozen, there's a lot of us . And then there's a brand new writers coming from different areas of experience and worlds and different backgrounds and more women and more people of, of uh, LGBTQ and more bipo people. And they all need a chance. They're sort starting to get a chance. And that means there's less room for people like you and me. And there's shorter pickups and there's smaller rooms. And so it, it's become a lot harder.Michael Jamin:It's a lot more hustle. And so you're also developing, how are you going about developing? Is it your own ideas or what are you doing?Jay Kogen:Some are my own ideas, some are ideas that I have with other people that I meet and I think, oh that's a good idea. Let's see if I can fix that. There's a pilot we're working on called Oversharing that's based on a play that I saw at UCB about a year and a half ago. And so we took the characters and the lifestyle of the characters in the play. The actors were also the writers. So I went, worked with these two women in their late twenties about what it means you toMichael Jamin:Be. So you approach them, you approach them, you say, Hey, I wanna develop your show.Jay Kogen:Yeah. Yes. With the help of Naomi Odenkirk, who is a manager, not my manager, but had called me in to, had seen this and I wanted to work with her and she said this is a good thing. So she matched me with these people and we've been working on this together for a while. And now we wrote a pilot and we're sort of seeing where it goes.Michael Jamin:So, Okay. That's interesting cuz sometimes people, you write the pilot first you go out with a pitch but you decided to write it first.Jay Kogen:Well here's the thing, we had a couple different things going on. The writers who were the actresses who did this didn't have writing samples, but they wanted to be part of the show. So to prove that they are able to write, they wrote, so this is their first episode and they'd like to be in it too, but maybe we'll sell it without them in it. But this is to prove proof of concept. Here's this thing, we may not use it to sell the show, we may,Michael Jamin:And you kind of just oversaw it. You didn't help with the writing, you just directed them a little bit or noJay Kogen:. Well we pitched out the story together. I taught them kind of how the story structure's gonna work and and bring their play into a series. That whole transfer from interesting series, I guess I would get it developed by credit, something like that. But I didn't write the script. I helped rewrite the script, but I was involved heavily in the creation of it. So mean, my goal in this kind of thing is not to put my stamp on it. My goal is to take their world, their idea and bring it to life. And so the second I'm of putting my 50 year old guy brand on her, their 20 something life, it's gonna get ruined. So I just have to sit back and appreciate the world they're creating and then give my input here or there about maybe steering in certain directions and maybe this is what makes it fun of your story and reminding them what their goal was and who their characters were. Sometimes you'd lose that track of that.Michael Jamin:So how do you feel young writers have changed now? How are they different now than in attitude and preparedness andJay Kogen:Everything? So much dumber.Michael Jamin:So much dumber. ,Jay Kogen:They're the same. I honestly feel like they're exactly the same. Different, The writer's rooms are different. What we're allowed to say and how we're allowed to behave is different. Yeah, I'm not going to say it's better or worse. It's just different. In the old days, we could make fun of each other. . And I was famous for doing room jokes. I did jokes, a lot of jokes in a writer's room. Sometimes people would say things and I would die. Sometimes people would say things and I would run out of the room so that you could see me in the window and just keep on running. And if my car was in the visual aspect of when I would get in my car and drive away, I would do a lot of jokes. I would get physically ill at something that if I heard two people were kissing or something, like I would do jokes, , all of which was based on the idea that they know I'm joking.So I could make a joke about somebody who knew I was joking. I could make a joke about them or what they were wearing that day and they knew that I love them and I'm joking, right? That's not okay anymore. You cannot depend on people to understand your intention or even give a shit about your intention. If there's a joke at their expense, you're in trouble. So you don't joke about stuff anymore at anyone else's expense. We don't joke about their background, we don't joke about where they're from or who they anything about their lives. We keep it nice and businesslike and then we just try to do the work. So writer's rooms have become, ultimately for me, a lot less fun and a lot more, I wanna make a joke and I'm like, I can't do it cause I don't want to offend people, but I also don't want to get in trouble.And I think younger people can be offended. I'm, I'm working with some college kids now. I was teaching a class at USC and as a college professor, you have to really be on your, you're, this is not a writer's room, this is a school. But those writing students I'm working with all seem like they're making jokes all the time about all things. So they're more like I was when I was a young person, but I'm not making those jokes because I'm a professor. So I, I'm kind stay out of the realm of anything close to offensive or dirty or strange or anything.Michael Jamin:That's interesting. I didn't, didn't know, butJay Kogen:There's insane, I just wanna make jokes.Michael Jamin:I didn't know you were teaching at usc. How long have you been doing that?Jay Kogen:Half a minute. Oh, I had John Bowman, the writer, John Bowman was a friend of mine and he was teaching a sketch writing class and he unexpectedly died, which is good cuz when you expect to die, allMichael Jamin:Doesn't worse worth.Jay Kogen:So then they asked me to step in to fill, fulfill, fill it, the class that he was teaching. So I started doing that.Michael Jamin:Right. Wow. And I also know you, I didn't, But you're also doing, you do improv.Jay Kogen:Oh yeah, no, I've been doing it for my whole life. I started at the ground when I started in show business, my goal was to not be a writer. My goal was cause writing seemed, I watched my dad writing is lonely, it's quiet, it's intensive. , it seemed hard. I like working with people, I like having jokes, having good times. So I started being an actor and a standup comedian. And then when I was 16 I was, when I was a kid, I was an actor. When I was 16, I was still trying to be an actor and doing standup. And then I transitioned over to the Groundlings, which was a much better atmosphere to be part of than the improv or the comedy store. And I sort of figured out what character and story was based on that. That helped a lot. By the way, I do recommend that if you, you're a writer to take acting courses and take improv courses because you'll learn a shit ton of what you need to know. about being a writer. The other thing you need to do is take editing courses. If you can take a course in editing movies or editing TV shows, you'll learn what's important to keep in your script and what's not important to keep in your script. I didn't know a thing until I started editing.Michael Jamin:Do you have, But anyway, is there any goal, Is there a goal for you for, Are you just getting up there and performing is,Jay Kogen:What do you mean?Michael Jamin:Is there an end to it?Jay Kogen:You want, I'm hoping people throw roses at me. That'sMichael Jamin:My goal. But I don't know. Do you want to turn it into something or do you just enjoy the process of getting up there and performing?Jay Kogen:It's improv is cult a cultish comedy religion. So you do it because you learn the skill. It's like if I was a Glassblower and suddenly I learned how to make little glass animals when I was 16 and I still know how to do it and I like it. So I'm doing improv then the goal is to stay loose, keep your mind fresh. It helps improv helps this to be able to risk. You don't know what's coming. You don't know what you're gonna do. And you commit to a character and you commit to an idea and you take it and see where it goes. It's no different than when you sit down to write a scene and you're about to commit to writing a scene. You might know where it's supposed to go, kind of. But this is what really, when it's time to commit to writing it and there's a blank piece of paper and you have to be the character who says this other thing, then turn your mind to the other character that says this thing and what are they thinking and how are they acting and how are you being, and what does the scene look like and how do you fill the space with physicality and all the things.These are the things that you learn from improv and these are the things I still love doing it because it keeps me fresh and reminds me of that. It's fun to create.Michael Jamin:And how often do you go up?Jay Kogen:The group that I'm working with now go the Transformers. We go up about once a month and then I'm also an improv whore. And I will appear with any other improv group that asks me. Usually the Groundlings has a show called Crazy Uncle Joe and I do that sometimes. Or cooking with gas or sometimes I guess with another group. So it's just fun to work with different people inMichael Jamin:When you do that though, I mean, I know it's improv, but is there any kind of rehearsal with these people? Or are you up there for the first time with these people you don't even know.Jay Kogen:Again, it's something you've learned. You started by taking courses and saying, okay, this is how you do it. You agree , You know, pretend that you're stand up there and pretend that you're a bumblebee. Right. Okay. What would a bumblebee do? Bumblebee might go from flower to flower. A bumblebee might pollinate a, you just put your mind into the thing. So you slowly work up from the beginnings of improv, which is just agreeing. Then you're in a scene with another bumblebee and now you have to figure out what does one bumblebee want and what does the other bumblebee want in the scene. And you're a skill you develop to listen to what other people are saying, agree with it, add information, have an attitude, have a goal, and don't talk over each other and be physicalize the scene. These are things that you learn how to do over time and if you get good at it, you can do it forever.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you andMichael Jamin:It's absolutely free. Just go to michael jamin.com/watchlist. All right. So yeah, you were working, you knew , Tom Maxwell, and you're gonna tell that story.Jay Kogen:All right. So yeah, Tom was the runner of director of the Groundlings when I was there, and he had a very distinctive laugh and very distinctive kind of from one of the Carolinas, I forget which one.Michael Jamin:Yeah, I think it was North. Yeah,Jay Kogen:North, I think so Carolina. And he was great audience, a great audience. He loved the laugh, was wonderful to have. And he's the guy I interviewed with to get into the Groundlings to start working at the school. And then I worked starting at 16, I started doing the school and didn't get into the Groundlings until I was 18.Michael Jamin:Oh, interesting. Wow. So you really did the whole training there and that, Wow. Yeah,Jay Kogen:And there was the training we,Michael Jamin:I'm sure it was, I actually took a, So Tom was a writer, I think season three of just shooting me. And then he went up co-running it in the later years. And I remember he came in the first day, This is how important improv is. It's like the first day we're breaking a story and I guess he was just showing off and he just starts acting out the scene and doing all the characters. And I was like, look at this guy. Go. And we were all just staring and the writers says, We're all just staring. And I shoot the writers, I was like, Dude, what are you doing? Type start typing because everything he's saying is going into the script.Jay Kogen:Well, I've seen a lot of writers do that. James Brooks, James L. Brooks is able to do that. Just pitch out a scene from top to bottom. I mean, it's amazing. It's not, it's downgrading it. It's amazing when people can do that. But yeah, when we were at The Simpsons, we would pitch in character, People would pitch as Homer, pitch as Marge. We were , we used the voice and we were that. So it trains you to sort of pitch a joke and risk having everyone hate itMichael Jamin:,Jay Kogen:And by being improv,Michael Jamin:But it's also when you pitch a joke and it bombs, at least then you improv a funny back, a backup to it.Jay Kogen:I guess you can save yourself by acknowledging the bomb or not acknowledging it. It depends on how late its sometimes. Yeah, sometimes there's just silence. . Right, Let's move on, let's go pastMichael Jamin:It. Tom used to get very cranky around 8:00 PM I think is my bed. , you gotta work till midnight or whatever.Jay Kogen:Some people can't do the late nights.Michael Jamin:Yeah. Well so how do you go about, even other than working with these other actors, how do you go about developing shows? Do you have a process? What do you think?Jay Kogen:Well, anything that inspires you, and then you check it out with your people and say, Is there a show like this already in development? Or do we think that we can attach good people to this thing? So have to figure out how to position it. You have an idea then how do you position it? Who's it for? Can you create auspices to join forces with you to make it a more powerful sale? When's the right time to sell it? All those kind of things go into the mix of that kind of stuff.Michael Jamin:Yeah. And so what do you usually try to team up with a producer? Is that what you, I mean?Jay Kogen:Right. This Oversharing project is now with Sharon Hogan's company called Merman Mer. So, so they, especially women's stories. And this is a women's story and it's like it's a good company when you're dealing with the story of women in their late twenties in the sort of dismal landscape of what life is like for them.Michael Jamin:. Right. That's so interesting. Yeah. And so, what was I gonna say about that?Jay Kogen:I have a show that I'm writing with that I'm helping some newer African American writers with, and we're trying to get Kenya Barris to sign on to be part of this thing. So he's a good auspices for that. And then I have a show about Jewish boys from Encino and Mel Brooks would No jokingMichael Jamin:About it. Nope, that'd be great. Yeah, I worked with them. I worked with them on Glen Martin. You brought 'em in. I damn, I'm directing Mel Brooks. It was very intimidating.Jay Kogen:Now Mel Mels not intimidating, he just won't shut up. But ,Michael Jamin:It was still like, I'm telling him directions. Who might be telling Mel Brooks how to play the line? Well,Jay Kogen:If he didn't like, like your directions, he'd tell youMichael Jamin:,Jay Kogen:Yeah, I don't wanna do it. I'm gonna walk over here. Gonna,Michael Jamin:Yeah, there was definitely the case. I remember I like telling him, ask him to get him again. And he goes, No, no, you got it the first time. I'm like, Sounds good to me. .Jay Kogen:We worked with him on the Tracy Oman show and he had a million ideas about what he wanted his character to do and we was just like, Okay, go for it.Michael Jamin: Mel Brooks. Wow. Well, so wait, I had a thought, butJay Kogen:To go back to your original question, how do you develop something? Call Reiner the great Carl Reiner speaking. Bob Brooks gave me advice and he said, Figure out the hill. You're standing on that only the vantage point that only you have and make a show about that. So interesting. Make it about your world or your point of view or your, something that's really on your mind that only you can see. And that was his advice. And I thought that was good advice.Michael Jamin:And we hear that a lot. It's like, why are you the only people to write this show? And then you gotta think of a reason.Jay Kogen:You have to lie and say, Well , this happened to me or this is my thing. But obviously when you're a writer, you're bringing something that's personal to you. It doesn't have to experienced the thing to have experienced the emotion that the thing is connected to. Sometimes the show is about love or sometimes the show is about abandonment or sometimes the show is about lack of credibility or the show is about ego and the specifics of the show are not necessarily the specifics of your life, but that's something that you're very aware of and something that's meaningful to you. And if it's meaningful to you, then it's gonna have a resonance that's gonna count. And that's what I try to do when I write something. It's because I relate to it and I feel it and I feel like there's a truth in it. Right.Michael Jamin:These are all good words. And how did you, let's say a show, the remake for Punky Brewster, how did you get involved in that? I'm always wondering how thatJay Kogen:Happens. My friends, Steve and Jim Armita had created it and produced it and I'd worked with them on a show called School of Rock and they hired me to help them. I mean that was it a friend a I not, I didn't know anything about punk. Brewster hadn't watched it. Oh, I didn't, no know much about it, but I got to know about it. And so then we tried to make, it had been the development for many, many years. Universal was trying to use their own properties and make something of it. And so that's what happened. It sort of came together over the course of five years.Michael Jamin:Wow. See it takes how long it takes.Jay Kogen:Yeah.Michael Jamin:And now people, I get this question a lot. I don't know if you have a good answer for it, but do you have a preference to do single camera, multi camera animation?Jay Kogen:Well, I think it's harder to sell a single camera show. Everybody wants to buy. Every network says they wanna buy a single camera show, but then they don't always buy mean, excuse me, Every network wants to buy, say they wanna buy a multi camera show because it's cheaper, but they always wind up buying single camera shows because they're cooler. And so I'd rather sell the show that gets made. And so right now I'm interested in selling single camera shows. However, I love Multicam. I do like the process, I know it. But I watch many Multicam shows going like, Oh that's great. Tv I think the single camera shows are better cuz they're more like movies. You don't have to lean on jokes quite so much. It's more about the story. If you tell the filmically there's no laugh track. So it's just funny is, and it's different experience. I don't know you when the Multicam, if it will ever pop back as a main force. But it's, seeMichael Jamin:It'd be nice. Now you, I didn't look, Have you done any direction directing?Jay Kogen:Oh yeah, I love directing.Michael Jamin:Oh you do?Jay Kogen:Okay. It, I would give it up to just directMichael Jamin:Really What You like it that much. A lot of guys, guys haven't given up to. Why do you like that more than writing?Jay Kogen:It's collaborative. I'm not alone in a room, I'm given, I have material sometimes I've written the material so I know the intention. But I like working with cameras. I like working with the actors. I'm an actor, I'm an old actor. So I like acting and I like actors and I like working with them and figuring out the big picture and figuring out, making sure that all the pieces in the editing room are there. Having edited many shows now, knowing, okay, we need this reaction and that reaction and we get, this is the joke, this joke needs to be close or this joke needs to be wide or let's have a choice. Those kind of things are great. And when I've directed film, single camera, film action things, they've been great. I love using the camera, I love using stunts, I love using and anything that I can envision. I love storyboarding stuff and making them happen.Michael Jamin:Who do you feel you've learned the most from? What directors have taught you the most?Jay Kogen:Hitchcock, I mean,Michael Jamin:. Sit. Come guys. I hate say,Jay Kogen:I mean they're all great. I've learned from every single director we've worked from, I've been lucky enough to work with Jim Burrows and I've been lucky enough to work with,I mean there's Victor Gonzalez and I've been working just all these directors who know what they're doing. A guy named Jonathan Judge who I work with , who'd really just knows what he's doing. He knows the feeling, he knows how to keep the set alive and people happy. And there's a lot to do when you're director and what and when you're TV director, you're really trying to fulfill the vision of the producers , which is great. And when I direct even on shows that I've executive producing, I'm asking my other writers, Do I have it? Are you good? Are we satisfied? I'm not just saying I got it and I want everybody's opinion. I want to change things if people don't have it. Cause we are only here on the set this moment. I wanna get everything we need to get. And I like being collaborative and I like hearing notes. Unlike when I'm a writer, when I don't want to hear notes. As a director, I love hearing notes. Interesting. I love adjusting. Can we get that? Yes, absolutely. Let's go for it.Michael Jamin:That's so funny you say that. Yeah. Writers writers don't like hearing that. Don't the same way. I don't want to hear your notes hard.Jay Kogen:I thought about it maybe the thing that I liked and now you don't know whether it's gonna work and neither do why, but let's go with my way. Yeah, that's the general feeling.Michael Jamin:And how do you mostly handle Jesus studio notes or network note. And when you turn in a draft from a pilot or whatever, what's your first instinct?Jay Kogen:My first instinct is to tell them to fuck off. I hope that instinct . And instead I say, Well that's a good note. Or I put them into three piles, Notes that are good notes and sometimes I get really good notes. Notes that are neutral notes that are just like, you want to go that way versus this way. And they're kind of the same but alright. And notes that are show ruining. So the only notes I will fight about are the show ruining notes,Michael Jamin:,Jay Kogen:Everything else. I will say thank you and what a great idea and I really appreciate it and I will, cause I wanna be collaborative and I wanna take it, if they think a green couch is better than a blue couch, then if we can get a green couch, let's get a green couch. Yeah, that's fine. WeMichael Jamin:Call those lateral notes. This note will move the script three feet to the right. It's gonna take, I'm be up all night doing it and alright, I'll do it.Jay Kogen:Just do it because they need it and they want it. And it doesn't hurt the show. The ones that hurt the show. You gotta say, now I don't tell me about that. Because I think that thread that you're pulling ruins the show. And so let's talk about the thing about it. If it's a story about somebody adopting a dog and then the dog ruins their life and they say something along the lines of, But maybe the dog is nice. And you go like, Well if the dog is nice, then there's no show because then we don't have the conflict that's at the core of this particular thing. So we're just throwing out the whole show based than that and this, Well, why do you want the dog nicer? Well it's too mean in this thing. So we can then distill moments where they think, okay, it's not having fun watching the dog X, Y, and Z. Let's change those things to be things that are more fun for the executives or other people to watch. Then we can save the show but not do the show ruining note.Michael Jamin:Right? Because often you'll get notes from people who don't have much experience in the business and they just have this job, they're giving you notes and you don't want to hurt their feelings, but they don't know how to do it yet. So it's a delicate dance.Jay Kogen:And also they're not idiots people, the network executives, every writer likes to think a network executive, they're all idiots have decided to do this other thing. But they could have been writers and they might have been writers in another life and have, the reason they went into it is because they like TV and they like stories and they have an opinion. So embrace them as your partnersMichael Jamin:That'sJay Kogen:Try to make them your partner so that you have a happier existence with everyone.Michael Jamin:We both work with Steve Bald Ows and I was surprised to learn that he was an executive for many years. I was like, What? I felt like you've been a SP these years.Jay Kogen:I didn't know that, but I'm not shocked he has. You didn't know that leader of an executive? No, didn't he? I would a hundred percent believe him in a nice sweater coming in work as an executive. Great.Michael Jamin:Yeah, I get that. I was shocked. But he told me he thought it was his opinion that all executives really just wanted to be writers.Jay Kogen:I think he's right that all they do. And when they give notes, they're saying, What if this is a great idea? They're hoping that you receive their note. It's like, oh that's what a great idea. Thank you for helping me write the show. And so I actually try to receive those notes that way as much as I can.Michael Jamin:It's kind of like you also building an ally. It's like the more people you can have think it's their show, then they're gonna help put it on the air and stuffJay Kogen:But not think it's their show. It is their show. They're the people who are shepherding it through the network. They're the people every, it is their show. It's not like it's not us and them, we are them, they're the same people. We have to be a team in order to survive how it's such a weird ass landscape of getting a show on the air and having anybody know it exists and having people see it. So you have to get them their publicity people involved and the network has to like it and put it in a good time slot and care about it. And it's so easy to get lost. You have to take care of your show. You have to really do a good job of bringing it through and get as many allies as you can.Michael Jamin:And how do you recommend young writers basically break in now? I mean, cuz the landscape is so different now. What do you tell people?Jay Kogen:It's the same. Write something great, keep writing something until it's great, then show that thing to everybody you can. It hasn't changed. Nobody wants to be a salesman when they become a writer, but unfortunately part of being a writer is being a salesman. And so you have to then suck it up and make call people and in a friendly way and get them to read your script. Obviously you call and say, I love your work and will you do me this favor of reading my script? And I would love your notes. Nobody wants your notes. They only want you to say it's the greatest thing in the world and I love you and I wanna hire you. But show your script. Sometimes you'll get notes and sometimes you'll get compliments and sometimes you'll say, this is terrible. And then start again and you know, have to really work hard to get through it. Plus meeting people and expanding your social circle is really important. So fighting a way to join groups and be part of schools or be part, not schools exactly, but be part of communities, professional groups and communities and find your way to expand that way.Michael Jamin:So you told people basically to come out to Hollywood too?Jay Kogen:Yeah, I mean I don't know how you're gonna do that from Des Moines. I meanMichael Jamin:H is not coming to you.Jay Kogen:Although if you live in Atlanta, if you live in places where they're making TV shows, it's possible.Michael Jamin:But they're still mostly doing the writing out here, aren't they? AndJay Kogen:Yeah, but there are lots of production, lots of people. And you can meet people and I don't know, it depends on where you're at. It's, there's a few places where production, you know, can live in New York City. You can live in Atlanta, you might be able to, Toronto and Vancouver. There are places where a lot of shows are being made, so maybe there, but LA is still the place to come, even though it's not, it's hard place to move to. It's expensive and weird and isolating and there's a lot of big parts about it.Michael Jamin:Yeah, so interesting. So great to get your take cuz I don't know, you're kind of saying so many things that I've said, but it's good to hear different.Jay Kogen:Isn't it great to hear somebody confirm all your ideas?Michael Jamin:I'm not crazy.Jay Kogen:Everything you've ever believed.Michael Jamin:Well, I have such strong opinions on when I talking to people and I'm like, wow, I could just be stubborn, but this is how I see it. But yeah, it's interesting to hearJay Kogen:You. But I mean it is new and you know, gotta write something new. And if you can get attention to something, if you can put up a show or make a , find a way to get attention to your project, to YouTube, short films, Make something on the TikTok and find out a way to be available and get your stuff out there, then you have a shot. But it's hard. It's hard. I mean it's hard once you have a show on the air, you're your old boss. Levitan has a show called Reboot that's on Hulu, I think. Yeah, I don't know who watches it because who knows It exists. It's probably, you have great cast and an esteemed writing team making it and it will come and it, unless people hear about it, nobody will know.Michael Jamin:Yeah. And one thing I also wanna stress for new writers is like, we're struggling too. We're hustling too. None of it's easy. None of it's guaranteed. It's working it to, I always say you gotta work to break in. Well, but it's too hard. Yeah, don't tell me it's too hard. I know I do it everything.Jay Kogen:It is a struggle. And you sort of want gigs coming, possible gigs come and then they go and then they don't happen. And it's hard to get in the rooms and it's all that kinda stuff. And when you're running a show, which I recently, I had a show that I was getting a writing staff for. I had a million phone calls from a million people saying, Hey, you got room. And I had to tell a million of them no. Right. Great people, really great people that I had to say no to because, And so when they say no to me, I understand why it's not the makeup of the room that that's going to make the studio happy. They have to make up a room that's going to make the studio happy. And there's only a limited amount of spaces for people like me. And that's a lot of us who need jobs. So it's an interesting time for that.Michael Jamin:So is there anything else? Is there, we can plug you. How can people follow you? I'm so grateful that you did this talk. I'm so interesting.Jay Kogen:My plug Jake Hogan at Twitter and Jake Hogan at Facebook and Jake Hogan at Instagram. And I have a TikTok account, but I don't post anything there.Michael Jamin:You don't know how to use it.Jay Kogen:I don't know how to use it and I'm not interested in making Little, Little,Michael Jamin:I think you should doJay Kogen:It. I did a dance.Michael Jamin:I think you should do it. Yeah. Get on a trending soundingJay Kogen:Right. But I do, every Friday we do something on my Twitter feed called Philosophy Friday. So on Fridays around four 30, I have a bunch of people we use. IMichael Jamin:Gotta follow you on that. I didn't know that. What's about,Jay Kogen:Well, we just talk about the life and love and fear and how to overcome the difficulties of the world. Usually I post a question for the week and we can talk about that, but people can also come and just talk about their problems. Now Twitter is famously the most vicious and horrible of all the social media. So my idea was why can't we have a little window of people who are actually nice to each other and care about each other and try to help each other on this platform of shit. And so that's what I've done and I've almost three years into this and know that it's been fun.Michael Jamin:Wow. Alright, so some people can get in touch with you. That's that's really cool. I got, now I'm gonna be following you on that.Jay Kogen:Interesting. And then if you follow me on my social medias, you can see my improv shows when I do them. And yep. You can also follow all your followers. Should listen to Charlie Cogan, who's my son, who's a musician and he just released a new record and I want everybody to hear it on for sure. Or Apple Music or Amazon or wherever it is. Charlie Cogan, K O G E N.Michael Jamin:Excellent.Jay Kogen:Jake, Not Jake Ogan. It's Jake Cogan and it's Charlie Cogan. SoMichael Jamin:Yeah. I'm glad you cleared that up by cause I was too embarrassed to ask. And what kind of music does he do?Jay Kogen:It's mostly Zither music. And what is that? It's just pop, Pop Zither is a terrible, strange instrument. No, it's just pop music. It's really great pop music. I don't know if you like, Do you like Ed Sherin? Interesting. Something like that, butMichael Jamin:Not, And so he doesn't wanna go into comedy Ready?Jay Kogen:He might, He's really fun. He might and worked on stuff together. But he's really talented musician and he's sort of honed his skills as a music songwriter, singer, music producer. And those are, he's ready to go on that level. He's not good for him ready to go as a comedy writer yet, but he could. Right. Wow. He's college right now. He's studying, so we don't really his sing, his singles come out intermittently, but he's while he is at college.Michael Jamin:Oh good. Well let's make him happen. Go listen to him on Spotify.Jay Kogen:Charlie Cogan. Yeah.Michael Jamin:Yeah. Jay, thank you again so much. This is good for me to hear. I dunno if anybody else heard it, butJay Kogen:It was great to hang with you. I'd heard a lot about you and I've seen your videos on the Thes and the weird Instagrams, and that's been amazing. How do you, did you decide to do that stuffMichael Jamin:After we get off the air, but basically I was telling my manager, I had a call him the other day and I was telling him what I was doing. He goes on TikTok, he goes, Oh, I know people forward me your videos, . They go, Have you heard of this guy? I was like, Yeah, my client . But yeah,Jay Kogen:It's interesting and I think it provides a valuable service, but it seems like it would be a little bit of a time suck, but also just there's value on the other side of it.Michael Jamin:Yeah, yeah, yeah. I'll talk more about it. But thank you so much. Everyone. Go follow Jake Hogan and his sonJay Kogen:And ask me questions. You can reach me at any of these places and I'll answer your questions for free, just like Michael does. How do you like that? What Michael does that I'm gonna start and I'll agree with him on everything he says.Michael Jamin:, please. I need it. All right. Done Next time. Thank you so much. And oh yeah, Thank you so much.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

Today we were lucky to be joined by Simpsons co-showrunner and just all-round legend, Matt Selman, to discuss a number of things including the upcoming Not IT and Treehouse of Horror 33 specials, Jim Brooks' guidance, the importance of canon, the reason behind the Disney+ shorts and more. Four Finger Discount is a crowd-funded passion project created by Simpsons fans, for Simpsons fans. If you enjoyed this interview and would like to help support the show, you can gain access to over 100+ hours of bonus content at patreon.com/fourfingerdiscount

Jim Brooks the "Voice of the Pack" came in on KPHT 95.5 for Friends Friday on 10/14/22...Lots of fun catching up

David Lee Garrison reads Jim Brooks' poem "What Might Have Happened to the Poems I Sent Out a Year Ago"

Conrad Balliet reads Jim Brooks' poem "Stopping By Wood...Golf Ball"

First up, Lon Harris joins to break down the finales of WeCrashed (1:52) and Severance (34:50), then The Verge's Corin Faife joins to discuss his research on the sharp changes in Twitter follower counts for right-leaning and left-leaning accounts. (1:07:39) 0:00 Jason & Molly intro today's show with some Don Julio 1942 1:52 Jason and Molly catch up with Lon Harris 5:10 Toasting to the WeCrashed finale 10:03 OpenPhone - Get an extra 20% off any plan for your first 6 months at https://openphone.com/twist 11:23 Jason's Jim Brooks wine story 16:50 “If you're successful be generous” 20:00 LinkedIn Marketing - Get a $100 LinkedIn ad credit at https://linkedin.com/thisweekinstartups 21:26 Was the WeCrashed ending satisfying? 32:46 iTrust - Visit https://itrust.capital/twist to create your Crypto IRA today 33:48 Final thoughts on WeCrashed's pacing 34:50 Breaking down Severance 42:54 Similarities between Severance and WeCrashed, general thoughts on their social commentary 1:05:42 Wrapping up with Lon 1:07:39 Twitter confirmed organic fluctuations in follower counts after the Elon Musk deal was announced, and Corin Faife joins to break down the numbers 1:32:22 Jason and Molly's thoughts on Twitter follower fluctuations FOLLOW Lon: https://twitter.com/lons FOLLOW Corin: https://twitter.com/corintxt FOLLOW Jason: https://linktr.ee/calacanis FOLLOW Molly: https://twitter.com/mollywood

Dr. Leslie Gaskill Leslie S. Gaskill, M.D., isn’t simply just a family doctor, practicing family and internal medicine in Johns Creek and Peachtree Corners, GA. She treats the whole person and seeks to find the root cause to problems. As a board-certified physician, Dr. Gaskill is grounded in traditional Western medicine and especially focused on […]

Dr. Leslie Gaskill Leslie S. Gaskill, M.D., isn’t simply just a family doctor, practicing family and internal medicine in Johns Creek and Peachtree Corners, GA. She treats the whole person and seeks to find the root cause to problems. As a board-certified physician, Dr. Gaskill is grounded in traditional Western medicine and especially focused on […] The post Dr. Leslie Gaskill and Jim Brooks with Evermore CID appeared first on Business RadioX ®.

Jim Brooks owns Approved Autos Bakersfield, California. It's a used car business, a constantly changing segment of the automotive landscape. Brooks worked as a new salesman at a dealership for two years. But he didn't like the sales practices and decided his own business was a better option. Fifteen years later, Brooks has witnessed lots of industry changes, particularly during the Covid-19 pandemic. Jim Brooks owns Approved Autos, a used cars business in Bakersfield, California. Brooks is this week's guest on The Weekly Driver Podcast. The used cars sales market has changed Co-hosts Bruce Aldrich and James Raia talk with Brooks about all aspects of buying and selling used cars, live and online auctions to financing, price negotiations to paperwork. Brooks also discusses some of the unusual vehicles he's bought and sold. We also talk about thr influx of national companies selling new and used vehicles online and without a customer "kicking the tires" of a vehicle before it's purchased. The Weekly Driver Podcast encourages and appreciates feedback from our listeners. Please forward episode links to family, friends and colleagues. And you are welcome to repost links from the podcast to your social media accounts. The idea of more eyeballs on more content works for us. Support our podcast by shopping on Amazon.com. A graphic display at the bottom of the post links to automotive selections of the online retailer. But there's also a search function for anything available directly from the site. If you shop via this site, we receive a small commission. It helps us continue to produce independent content. The site began in 2004 and includes more than 700 reviews. The podcast is in its third year, and we've had a diverse collection of guests — famous athletes, vintage car collectors, manufacturer CEOs, automotive book authors, industry analysts, a movie stuntman and episodes from auto shows and car auctions. Please send comments and suggestions for new episodes to James Raia via email: james@jamesraia.com. All podcast episodes are archived on theweeklydriver.com/podcast Every episode is also available on your preferred podcast platform. Several of the more prominent platforms are listed below. Amazon.com Google Play iheartradio iTunes Spotify Stitcher  

Episode #012: Why FO no Win? That Guy breaks down the ups and downs of the FO faction with guest host, Rhett the "Baron of the Burgh". They look at the history FO and why doesn't take home the final win. You can follow us on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Guest: Rhett L Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

SCS: Salt Cast 3 - Real Talk Post GSP Championship Another fun and deep talk on the game of Xwing after the GSP championship results. The newly dubbed "Saltcast" team of SCS came together to talk about our thoughts on the results of the tournament and breaking down the meta. You can follow us on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis", Drew "That Guy", Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Guest: Rinehart and Interceptor Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

Episode 011: Ugly Truth and Meta Analysis Paul and Ryan are back for exciting episode discussing some of the underlying issues with the game. Additionally, a reality check on Nanteks, EPTS, and the game's point structure. You can follow us on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Guest: Ryan "Rinehart" Fleming and Paul "Interceptor" Adler Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

Dan "PG-13" and Jack Farfri analyze when you need to put upgrades and when not to. You can follow us on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Guest: Jack Farfri Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

www.GoodMorningGwinnett.com Developers seem up to the challenge of transforming the Rockbridge area, despite the ongoing pandemic that’s altered the economic landscape.More than 100 homes and a new hotel have been approved for construction, and developers have expressed interest in redeveloping nearby shopping centers, said Jim Brooks, the CID’s executive director. The county and state have completed improvements on surrounding roads and sewers. But the Amazon facility paired with another project walking distance away could keep the momentum going.SOURCE: www.AJC.com

This episode of the Amazing Cities and Towns Podcast, Jim Hunt interviews Jim Brooks, the Director of Housing and Community Development at the National League of Cities (NLC)  The conflict of zoning, developer profitability, citizens desires and housing needs The current picture of COVID and evictions The balance between assisting renters and landlords during COVID Why rental assistance may be the most appropriate polity action And, much more   7 Steps to an Amazing City:   Attitude Motivation Attention to Detail Zing Inclusiveness Neighborhood Empowerment Green Awareness   Thanks for listening and look forward to having you join us for the next episode.   Links Mentions During Show:   AmazingCities.org LocalGovPodcasts.com   About Jim Brooks: Mr. James A. Brooks is the Director for Housing and Community Development at the National League of Cities (NLC). Mr. Brooks joined the staff at NLC in November 1988 and has held previous positions in membership services, public affairs, international programs, and policy development. The portfolio managed by Mr. Brooks includes the policy and practice fields of housing, homelessness, neighborhoods, community development, aging, public health, and veterans services. Mr. Brooks also continues to maintain NLC's relationships with a network of global allies and partners toward the goal of helping city leaders respond to global change. A frequent speaker on U.S. municipal government and federalism issues before both domestic and international audiences, Mr. Brooks regularly provides commentary and opinion for national and local media outlets. He is author and editor of books, research reports, issue papers, blogs and feature news articles. Mr. Brooks has lived and worked in Washington, D.C. since 1982, first coming to the city to serve as a staff member to a U.S. Senator.  Before joining the National League of Cities, Mr. Brooks was employed by the International Franchise Association, a membership organization for businesses that franchise their operations. About Your Host, Jim Hunt: Welcome to the “Building Amazing Cities and Towns Podcast” … The podcast for Mayors, Council Members, Managers, Staff and anyone who is interested in building an Amazing City.   Your host is Jim Hunt, the author of “Bottom Line Green, How American Cities are Saving the Planet and Money Too” and his latest book, “The Amazing City - 7 Steps to Creating an Amazing City”   Jim is also the former President of the National League of Cities, 27 year Mayor, Council Member and 2006 Municipal Leader of the Year by American City and County Magazine.   Today, Jim speaks to 1000's of local government officials each year in the US and abroad.   Jim also consults with businesses that are bringing technology and innovation to local government.   Amazing City Resources:   Buy Jim's Popular Books: The Amazing City: 7 Steps to Creating an Amazing City: https://www.amazingcities.org/product-page/the-amazing-city-7-steps-to-creating-an-amazing-city   Bottom Line Green: How America's Cities and Saving the Planet (And Money Too) https://www.amazingcities.org/product-page/bottom-line-green-how-america-s-cities-are-saving-the-planet-and-money-too   FREE White Paper: “10 Steps to Revitalize Your Downtown” AmazingCities.org/10-Steps   Hire Jim to Speak at Your Next Event: Tell us about your event and see if dates are available at AmazingCities.org/Speaking   Hire Jim to Consult with Your City or Town: Discover more details at https://www.amazingcities.org/consulting   Discuss Your Business Opportunity/Product to Help Amazing Cities: Complete the form at https://www.amazingcities.org/business-development   Develop a Podcast for Your Amazing City: Discover more at LocalGovPodcasts.com Request a Podcast Launch Kit at www.LocalGovPodcasts.com/launchkit

Episode 009: They are called MINERALS Today I am joined by Interceptor, recently top 4 Dathomir player, and Rinehart, 2x Vassal League Champ and Hoth winner, breaking down and analyzing obstacle placement and selection. Thank you both again for joining! We will be doing a SCS host breakdown of this episode in the future. You can follow us on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Guest: Paul "Interceptor" Adler, Ryan "Rinehart" Fleming Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

Episode 8: The Shorts is Strong To use or not use the Force Ability? That is the question, that SCS Podcast team will be answering in this episode. The team will review and evaluate each pilot, upgrade, ship ability that requires force and whether to use the force for the ability or just save it for a simple modification. You can follow us on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Guest: Jack Farfri Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

Episode 7: Revenge of the Rise of the Return of the Force Our blood samples just got back from Obi-Labs One. Our count is in, so come see how many points a force point is. it maybe off the charts! You can follow us on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Guest: Jack Farfri Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

Episode 6: Totally Epic! Welcome to Epic Play! SCS goes over why you should play and an introduction to the Epic Only ships. Please let us know what you think of the episode and which is your favorite epic ship on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Guest: Jack Farfri Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

The Countdown to our Virtual Conference begins with some super fun announcements! First, Melina Baxter and Dr. Jim Brooks introduce you to Shaklee Turmeric Boost!  Then, get a tease of everything that will be announced at Virtual Conference - and learn how YOU can qualify this month for early access to a ground-breaking product and technology innovation!  

Episode 3: Going to Time Finally the missing episode 3 is out! We hope you enjoy this cause we have looked into 2 months of a really heated topic: Going to Time! Please let us know what you think of the episode and who you think is an ace on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Big thank you to Rinehart for amazing bonus episode for the podcast. Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

Bonus Episode #1 The first bonus episode is an interview with the World Famous Ryan Fleming on the history of XwingTMG and Competitive play. Please let us know what you think of the episode and who you think is an ace on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Thank you again Ryan for the awesome interview! Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

Episode 5: Game of Red Dice: A Song of Swarms.... The deepest dive into a faction the group has done yet. SCS podcast looks at the dominating CIS swarm. What is making them so powerful. Why do they keep winning? We break it down upgrade by upgrade, and each ship chassis at a time. Please let us know what you think of the episode and who you think is an ace on twitter: @SteelCityPod Thank you! Creators and Host: Dan "Dorkwis" Drew "That Guy" Charlie "Bromack" Producer/Editor: Nick "the Duke of Hobbies" Title Credit: Jack Farfri - big Thanks! Song Info: Ending/Ad: Welcome to the Show by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4614-welcome-to-the-showLicense: http://creativecommons.org/licenses/by/4.0/ Intro/Outro: Intro Song by Chuck mix with Trap Music: https://youtu.be/QU8pe3dhz8s Logo by Jim Brooks https://www.behance.net/jimbrooksdesign https://www.instagram.com/jimbrooksdesign Duke of Hobbies Custom Creations: https://www.etsy.com/shop/DHCustomCreations

As we reach the end of our first season re-evaluation, we've got Giant Bomb's Alex Navarro to help us with the Simpsons' platinum album, The Simpsons Sings The Blues! At the height of Bartmania, Matt Groening, Jim Brooks, and David Geffen brought together a huge list of famous musicians to make an album about our favorite Springfieldians. Learn how the 1990 album happened, the famous folks who secretly worked on it, AND the stories behind the music video for Do The Bartman and Deep Deep Trouble, all in this week's podcast! Support this podcast and get dozens of bonus episodes by visiting Patreon.com/TalkingSimpsons and becoming a patron! And please follow the new official Twitter, @TalkSimpsonsPod!

This episode of the Amazing Cities and Towns Podcast, Jim Hunt recaps his 2020 National League of Cities Congressional Cities Conference in Washington DC.   The value of attending the National League of Cities Congressional Cities Conference and being active in the NLC How to COVID-19 Virus (Coronavirus) impacted the NLC event Why the National League of Cities University (NLCU) is a big part of the event for city officials A review of the Difficult Conversations and Conflict Resolutions in Local Government workshop sessions with Jim Hunt and Mike Conduff The impact of first time attendee sessions that welcome new NLC members, sponsored by Home Serve and hosted by Jim Hunt How some cities are using the Building Amazing Cities book to drive their strategy on a monthly basis Some interesting solutions to the biggest issues cities and towns are dealing with like homelessness and infrastructure improvements What cities and towns are thinking about the future Why the excitement about the Amazing Cities and Towns Podcast was flowing thru the conference attendees     Special Mentions:   Conrad Lee, Council Member from Bellevue, WA David Baker, Council Member from Kenmore, WA Liz Vogeli, Council Member from Everett, WA Mike Conduff, city manager and council relationships expert Home Serve's Service Line Warranty Program Joe More a long serving Alderman in Chicago Kathie Novak, TedX speaker and political campaign strategies Jim Brooks, Director of Housing at the NLC Audwin Samuel of Beaumont, Texas Melanie Colbert-Kean or Joplin, Missouri The National League of Cities (NLC) Congressional Cities Conference   7 Steps to an Amazing City:   Attitude Motivation Attention to Detail Zing Inclusiveness Neighborhood Empowerment Green Awareness   Thanks for listening and look forward to having you join us for the next episode.   Links Mentions During Show:   AmazingCities.org LocalGovPodcasts.com     About Your Host, Jim Hunt: Welcome to the “Building Amazing Cities and Towns Podcast” … The podcast for Mayors, Council Members, Managers, Staff and anyone who is interested in building an Amazing City.   Your host is Jim Hunt, the author of “Bottom Line Green, How American Cities are Saving the Planet and Money Too” and his latest book, “The Amazing City - 7 Steps to Creating an Amazing City”   Jim is also the former President of the National League of Cities, 27 year Mayor, Council Member and 2006 Municipal Leader of the Year by American City and County Magazine.   Today, Jim speaks to 1000's of local government officials each year in the US and abroad.   Jim also consults with businesses that are bringing technology and innovation to local government.   Amazing City Resources:   Buy Jim's Popular Books: The Amazing City: 7 Steps to Creating an Amazing City: https://www.amazingcities.org/product-page/the-amazing-city-7-steps-to-creating-an-amazing-city   Bottom Line Green: How America's Cities and Saving the Planet (And Money Too) https://www.amazingcities.org/product-page/bottom-line-green-how-america-s-cities-are-saving-the-planet-and-money-too   FREE White Paper: “10 Steps to Revitalize Your Downtown” AmazingCities.org/10-Steps   Hire Jim to Speak at Your Next Event: Tell us about your event and see if dates are available at AmazingCities.org/Speaking   Hire Jim to Consult with Your City or Town: Discover more details at https://www.amazingcities.org/consulting   Discuss Your Business Opportunity/Product to Help Amazing Cities: Complete the form at https://www.amazingcities.org/business-development   Develop a Podcast for Your Amazing City: Discover more at LocalGovPodcasts.com Request a Podcast Needs Analysis at LocalGovPodcasts.com/Podcasts

Happy Halloween! On this episode of Sing It, Sister! (the last of Season 2!), Clare and Ellen discuss Tim Burton's The Nightmare Before Christmas with very special guest, their Dad (aka Jim Brooks)! In addition to learning how the movie was made and discussing the amazing soundtrack, they chat about favorite scary stories and movies and dive into the spooky season! Listen at your own risk!  (j/k it's zero percent scary) Show notes: 20 Crazy Facts About The Making Of "The Nightmare Before Christmas" by Arielle Calderon, Oct. 28, 2013, buzzfeed.com

Damian and Anne are joined by Emmy-winner Mary Kay Place and we are just gagged. You Might Know Her From Diane, The Big Chill, Mary Hartman, Mary Hartman, Big Love, Lady Dynamite, The Rainmaker, It’s Complicated, and New York, New York. Mary Kay gave us all that sweet Hollywood talk from her start as a writer on Mary Tyler Moore and M*A*S*H, to her decades-long career which spans acting, writing, singing, voiceover (she dubbed a lesser actress in Terms of Endearment) to her first lead role in Diane. We are ready for the Oscar nom, folks. Get on the train. Follow us on social media: @damianbellino || @rodemanne  Discussed this week: Mary Kay Place’s IMDB Diane (dir: Kent Jones, 2019) Co-stars Estelle Parsons, Phyllis Somerville, Andrea Martin, Joyce Van Patten, Deirdre O’Connell  The Rainmaker (dir: Francis Ford Coppola, 1997) Got her start on the Tim Conway Comedy Hour Worked with Norman Lear, wrote for M*A*S*H, The Mary Tyler Moore Show Met writing partner, Linda Bloodworth Thomason (Evening Shade, Designing Women) working at CBS.  Wrote song for All in the Family “If Communism Comes a Knockin….” Louise Lasser and Greg Mulavey Mary Hartman, Mary Hartman (dir: Joan Darling) Sang w/  Emmylou Harris Duet w/  Willy Nelson @ 54:28 Christian anti-American songs in Citizen Ruth The Big Chill (dir: Larry Kasdan, 1983) Fleabag Season 2 Credit in You and Me and Everyone We Know  Miranda July and Mary Kay Place  Mary Kay Place on SNL as host and musical guest Betty Buckley + Mary Kay Place at Second Stage E Katherine Kerr’s Juno’s Swan MKP voiceover credits: Julie and Julia (dir: Nora Ephron), Terms of Endearment (dir: Jim Brooks), The Intern (dir: Nancy Meyers). Glenn Close dubs all of Andie MacDowell’s lines in Greystroke: The Legend of Tarzan. Would most like to go to a funeral with: Kevin Kline, Jeff Goldblum, Glenn Close Good friend, Jeanne Tripplehorne is an Okie  Betty Buckley is so good in Getting On Why does Nancy Meyers love beige, white, and cream? She just loves it. Mary Kay on Ellen Barkin’s Captain Kangaroo problem Mary Kay Place needs an Oscar!  

Episode 35 Jim Brooks is a retired Marine and Soldier, currently living in the Caribbean thanks to real estate investing! - Jim spent ten years as an infantry and reconnaissance Marine. He then joined the Army reserves as a special forces soldier. He was medically retired after 23 years of service due to a parachuting accident in pre-deployment training. Jim owned 50 properties, lost them due to a rough spell in his life, and now owns over 20 properties again! Jim likes to buy subject to the existing mortgage, and doesn't have to pay a penny out of pocket this way! He recently sold his home, and has been on “vacation” in the Caribbean for three months…and is not sure if he will ever come back! - His advice to an E-1/E-2 (18/20-year-old) is: invest in real estate for the long term! Then study finance, and always keep learning! - the resource he recommends is: Jim recommends funneling all of your marketing through one place, your website. He also recommends websites like BiggerPockets.com and Realestateinvesting.com - If you want to reach out to Jim you can Email him at jim@freshstartinvestmentsllc.com - SUBSCRIBE: https://bit.ly/2Q3EvfE - Blog: https://www.frommilitarytomillionaire.com/start-here/ Instagram: https://www.instagram.com/frommilitarytomillionaire/ Facebook: https://www.facebook.com/frommilitarytomillionaire/ Audible: https://amzn.to/2K0wzxL - Join me in the BiggerPockets Pro community! https://www.frommilitarytomillionaire.com/we-recommend-BP-Pro/ - Books I recommend First read: https://amzn.to/2KcTEww Real Estate Investing: https://amzn.to/2ltPRNm Real Estate Investing: https://amzn.to/2yxFBNf Real Estate Investing: https://amzn.to/2IhQ1QI Building Wealth: https://amzn.to/2ttiwpf Efficiency: https://amzn.to/2K1eRdy Efficiency: https://amzn.to/2yvuu7K Negotiating: https://amzn.to/2tmCyT7

In this episode we interview Melanie Mulcaster, who is a Teacher Librarian at Hillside Public School with the amazingly supportive principal Jim Brooks. She shares how she engages student voice & choice in their learning to help them be successful. She also shares her passion for Making and the positive effects it has on learners of all ages.

Tune into the 87th Next 100 Project podcast where we gab about the fil-lm with humour & romance (not to mention job obsession) in the field of television journalism. William Hurt & Albert Brooks love-triangle it up with Holly Hunter and the 3 of them have plenty of chemistry, but Jim Brooks’ 3rd act is far from perfect. Funny stuff though! Also, go to Sparkplug Coffee where you’ll save 10% on your first order by using the discount code “Top100Project”.

Brad Roberts interviews Jim Brooks with the City of Worcester to discuss the NEW LEAD Regulations effective December 1, 2017.

Today is an American holiday, so we're going to talk about an All-American hero! Show Notes: Run Time: 83:50 Look forward to all manner of voices from Adam in today's episode! About 10 minutes in, we introduce the robot named CON. And yes, we will explain CON in this episode. It's about time! At the 20-minute mark, Adam refers to human flesh as, "Delicious, delicious flesh." We just want to mention right now: we do not support or advocate cannibalism. Adam does not consume human flesh and he does not think of it is actually delicious. That line about delicious flesh was from Plague Rat's point of view. Right after that, we explain how time travel works. So, that's cool. Around the 47-minute mark, we say that Chrono-Ranger mostly acts in the main canon timeline just after saying that he act in a bunch of different timelines. Turns out, both are true. In the bulk of Sentinel Comics, he's doing stuff in the primary timeline, but in his occasional solo limited series, he shows up in and alters many different timelines. In the future section, we actually reveal a decent amount of story, both from the Tactics timeline and the RPG timeline. A lot happens to Jim Brooks in both futures, including two different name changes. Thanks for listening! Get your Plague Rat questions in now!

Our 52nd Next 100 Project podcast marks the end of Oscar Month. This movie is expert at making people’s eyes rain. Death by cancer’ll do that. Shirley MacLaine, Debra Winger and ol’ Saint Nick all won acclaim, but the relationship between the leading ladies is the real story here. Pretty nice film debut for writer/director Jim Brooks too, huh? Enjoy some Sparkplug Coffee as you rocket through our chat about the Terms.

Last week's election results hit a lot of Hollywood hard, including the producers, cast and crew of Fox's megahit "Empire." Showrunner Ilene Chaiken talked IndieWire's TURN IT ON two days after the results came in and Donald Trump was named president-elect. Also on this edition of IndieWire's "Turn It On": Excerpts from a recent panel we moderate a panel with "The Simpsons" creator Matt Groening, executive producers Jim Brooks and Al Jean, plus director David Silverman and writer Matt Selman, to discuss the show's recent 600th episode milestone and beyond. And IndieWire senior editor Hanh Nguyen and TV critic Ben Travers stop by to discuss the week's premieres – including the return of Showtime's "The Affair" and launch of Amazon's "The Grand Tour."

On April 23rd and 24th I had the opportunity to go to Springeck, an event in Wanaque, NJ, hosted by the NJ Historical Fencing Association. I had a blast free-sparring, learning and even got the chance to interview several people over the weekend. In this episode, I interviewed Eric White from the New Jersey Historical Fencing Association, Ben Lehman and Chris Taylor both from the Wisconsin Historical Fencing association, and Jim Brooks from Broken Plow in Pittsburgh. Eric White is the Principle instructor at the New Jersey Historical Fencing Association. He organized Springeck and we have him to thank for putting it all together. He also received the distinction of being a Journeyman in the Historical Fencing Affiliates at Springeck this year. Ben Lehman is now a Senior Free Scholar at the Wisconsin Historical Fencing Association having played his prize at Springeck.  Chris Taylor is also from the Wisconsin Historical Fencing Association, and is the 2016 Springeck King, having won Balloon Wars. Jim Brooks is with Broken Plow Western Martial Arts. He helped to found Broken Plow a couple of years ago with Josh Parise. You can visit the NJ HFA website here, and the WHFA website here. The Historical Fencing Affiliate's Charter can be found here. Like us on facebook at HEMA-Cast or on twitter @HEMAcast E-mail us at HEMApodcast@gmail.com Listen to us on the web at http://hemacast.libsyn.com/ Or on iTunes at The HEMA-Cast or Stitcher, also at The HEMA-Cast

“Die To Self” Jim Brooks 12/13/15   The post Die To Self appeared first on Open Bible Christian Church.

News: Thanks to listener Linda Hopkins, we learn from Amazon that Kindle samples are NOT designed to timeout.Tech Tip: How to put [20,000] 2,000 classics on your Kindle using MobileReference (thanks to Nick for suggesting this one) - 1.    Connect your Kindle to your computer with USB cable.2.    In your computer's web browser, go to MobileReference3.    In the main area of the web site, not the column on the left, scroll down to the section titled “Fiction Books.” 4.    In the last subcategory of that section, titled “Collection:”, click on “Classic Books Collection. Over 2,000 complete works. Only $19.99.”5.    For use on the Kindle, it doesn't seem to matter which platform you choose; I've just tested the “Desktop/Notebook/Tablet PC” platform, and that worked fine.  So in the row for “Desktop/Notebook/Tablet PC” platform, go over one column to the “Trial Version” column and click “Download Now.”6.    You will be asked to enter your email address, so do that and then click on the green “Download Application” button.7.    On the next screen, click on the live link which says “Click here to download: Best-Selling Classic Books Collection. Over 2000 complete works. FREE biographies and works in trial”8.    From here, what you see will depend on whether you are using a PC or Mac, but the essentials are the same as with any other download from the Internet that you do on your computer.  For the Mac, I see a dialog box saying, “You have chosen to open classicstrial103.zip” which is a zipped file containing numerous separate items.  I click on “OK” to open it with Stuffit Expander.  However your computer works, your goal is to be able to find a folder on your hard drive titled “ClassicsTrial”.  Mine shows up in a Downloads folder.9.    Open a window that shows you the “ClassicsTrial” folder you just downloaded, and then open that folder so you can see all the items in it, beginning with “AlexandreDumasDEMO.prc” and ending with “WilliamShakespeareDEMO.prc.”10.    Open another window that shows the Kindle icon, which you should see because your Kindle is attached to the computer by the USB cable.11.    Doubleclick the Kindle icon, so you can see five folders, including the one labeled “Documents.” 12.    Drag the “ClassicsTrial” folder into the “Documents” folder of your Kindle.   I just tried this on my MacBook Air, and it worked fine – I assume the same process will work on a PC, but if you run into trouble you might try selecting all the individual books in the “ClassicsTrial” folder and dragging them in one big bunch into the “Documents” folder. 13.    Once you have the “ClassicsTrial” contents in the Documents folder of your Kindle, safely eject the Kindle icon and then unplug the USB cable.14.    Checking on your Home screen, you'll now see about three added pages of demo versions of classic books.  15.    I'm pretty sure that once you sample some of the demo books, you'll want to spend the $19.99 to purchase the actual collection.  I'm going to do that now but make sure they go to my SD card, to keep my main Kindle.16.    The purchase process via Handango is routine, and you don't have to wait for a registration code.  The folder is called “ClassicsFull” . It's about 115 megabytes in size, so even with my speedy Comcast connection (31 megabits per second when I was doing the download last weekend) – it took a while for it all to load to my computer, and then another few minutes for it to load from the computer to the Kindle.17.    I've got a 1 GigaByte SD card in my Kindle. After adding 2,000 classics I've got  838 MB left, or room for another 16,000 classics on a storage device that cost me less than $20.18.    One thing I don't like is that all these new titles appear in my Home pages on the Kindle, even though I put them on the SD card.  At least they are gathered by author, so you click on an author to see all the titles he or she wrote. 19.    All in all this is a great resource, and I want to thank Nick for suggesting that I follow the process for this week's Tech Tip.Interview: Jason Pontin, editor-in-chief and publisher of MIT's Technology Review, a rising star in the Kindle Store.Quote: "The Lady with the Dog" by Anton Chekhov.Comments: Bob Boyken, Jim Brooks, Gail Scott, Julie Booth and Will D.