Podcast appearances and mentions of jody foster

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

Jill Heinerth and Robert McClellan discuss the film "Nyad" and how they each relate to the characters portrayed by Annette Benning and Jody Foster. Jill will cave dive again soon! They share some insight into their relationship and how Jill's diving affects Robert's anxiety.

Oggi Lorenzo Vita commenta l'incidente diplomatico degli spari dell'esercito israeliano, quindi andiamo in America con Angelo Paura e la nuova rissa alla Casa Bianca, dall'America sulla scena del delitto di Chiara Poggi con l'inviata Claudia Guasco e con la posizione di un indagato che peggiora, da Garlasco a Cannes dove è il giorno del regista dissidente Panahi e dell'attrice Jody Foster, un giorno commentato dall'inviata esperta di cinema Gloria Satta, oggi con il Messaggero c'è l'inserto gratuito MoltoFuturo da Alessandra Camilletti le anticipazioni.

Gelaber für Deutschland,Präambel: Die beiden Koalitionäre Heiko & Marci vereinbaren für die nächsten 60 Minuten der Labertourperiode eine harmonische Zusammenarbeit basierend auf den folgenden Punkten:1.     „guter Start, Themenvorstellung, Wochenende“Dieses Kapitel enthält Information der zwei Parteien zur letzten Woche und gibt einen Ausblick auf das bevorstehende Thema.2.     „Produktive Diskussion, lautstarke Meinungen,Kommentare“Dieses Kapitel behandelt Auszüge aus dem Koalitionsvertag, welche beide Parteien analysieren und bewerten.3.     „kulturelle Alternativen, ausschweifende Vergleiche“ Dieses Kapitel enthält ausgewählte Film& Musik-Empfehlungen, sowie eingegangene Rückmeldungen von der Basis.Auf vertrauensvolle Zusammenarbeit,2. Wahl Kanzler Marci & Koalitionspartner Heiko Feedback:Wir_labern@gmx.netInsta: wir_labernFilm:Der Gott des Gemetzels (FR, D, P, ES 2011, Roman Polanski,Jody Foster, Christoph Waltz)Musik:Peter Fox – Alles neuQuellen:Koalitionsvertrag2025.deWikipedia.deDatenschutz.orgTagesschau.de

Singapore acting royalty Neo Swee Lin and Lim Kay Siu sing their way into the Saturday Mornings Show studio to talk with host Glenn van Zutphen and co-host Neil Humphreys about their upcoming, Tony Award-nominated playplay "A Doll’s House, Part 2" with the Pangdemonium Theatre Company. They also discuss their storied careers locally and what it has been like to work with some of Hollywood's great actors, like Jody Foster. "A Doll’s House, Part 2 is a bold and brilliant play that is all at once a razor-sharp comedy full of belly laughs, a continuation of playwright Henrik Ibsen’s complex exploration of traditional gender roles, as well as a cunning contemporary take on the struggles inherent in all human relationships across time." From 7 March – 23 March 2025 at Victoria TheatreSee omnystudio.com/listener for privacy information.

Dr. Tiffany Slater, CEO and Senior Human Resources Consultant for HR TailorMade, discusses the critical issue of ineffective onboarding and leadership in nonprofits. Dr. Tiffany emphasizes that many of our frustrations with team members stem from inadequate training and unclear expectations, arguing that these are often our fault as managers.  It's tough to admit this, but that's also the first step in becoming a better manager and leader. Together, we explore practical strategies for improving onboarding processes, including the use of video tutorials and cohort-based training, and discuss how leaders can create a safe space for feedback, set clear expectations, and build trust within their teams. They also address the challenges of inheriting dysfunctional teams and the importance of honest, constructive feedback. This episode is a must-listen for nonprofit executives looking to enhance their leadership skills and create more effective, cohesive teams. This episode answers the following questions: Why do my employees keep failing to meet expectations? How can I improve my team's performance through better training? What are the best practices for onboarding new hires in a small nonprofit? How can I create an environment where employees feel comfortable giving feedback? What should I do if I inherit a dysfunctional team? How can I set clear expectations for my employees to boost productivity? Links mentioned in this episode: HR TailorMade  Book a FREE 30-minute consultation with Dr. Tiffany Looking for more? Check out this amazing episode: ·       Ep 247: Timeless Tips for Working with Difficult People with Jody Foster. (Apple Podcast, Spotify, or our website with show notes)

The guys are back with another week of funny. The hosts give their comedic twists on the day's hot topics.  If you enjoy the show, please support. Like, share, donate. Thank you. #inamansworld #morrismediastudios #blackcomedians #comedy #podcast #marktwainawards #kevinhart #teensrobbank #mayorbrandonscott #baltimorebridgecollapse  :00 - Music: Affirmations by George Benson 2:35 - Disclaimer 2:58 - Show intro 3:55 - The show opens with Lewis Dix, TDP and Speedy 4:55 - Jeff and Dannon enter the building 11:00 - The guys recap their week 14:30 - TDP bumps into Poetess at the grocery store 16:08 - Lewis Dix talks about the Mark Twain Awards  18:02 - Lewis meets Jeremy from the DMV 23:35 - Speedy got a hair cut.  25:53 - What popular celebrity that everyone likes that you don't 29:20 - The crew interviews P. Frank Williams about the documentary Freaknik 52:00 - Responding to viewers comments 55:00 - The Poetess Report 55:30 - Teens rob a bank 1:03:22 - Baltimore Mayor Brandon Scott claps back at racists over Baltimore Bridge Collapse  1:07:52 - Jeremy from the DMV talks about his date with Lewis Dix 1:17:18 - Halle Barry herpes misdiagnosis - has menopause instead 1:21:21 - New Good Times animation 1:23:05 - Diddy's alleged drug dealer arrested 1:33:00 - Pooh Lee calls in 1:35:15 - Teeder's Sports Ticker 1:42:33 - The Spit with Dannon Green 1:45:41 - Jody Foster pitches Sterling K. Brown's butt 1:51:13 - Does love hurt, unc? 1:53:53 - Voted off the island 1:56:54 - Would you hit? 1:58:00 - Tribute to Sidney 1:59:10 - Jet Beauty of the Week 2:02:45 - Response to P. Frank Williams 2:04:30 - Reading comments...show begins to wrap.  

Este serie, la cuarta instalación, esta vez no lleva a Alaska, donde el frío, la eterna noche y la nieve constante son sus propios personajes. Jody Foster encabeza un elenco superior de actores tal como Kali Reis, que también investiga una serie de muertes inexplicables ahora que ellas dos encuentren la verdad. El elenco definieron sus vidas antes de que de comenzara el primer episodio. El suspenso te agarra y recomendamos que no trates de soltarlo.

What's up Pardee people!!  In this new episode we connect with God first, reading “Jesus Calling”, a thread through our week was of how Jesus is so very close to us! The Holy Spirit is within YOU!! He knows us by name before we're born and every hair on our head and every thought in our mind. He wants us to call upon him for his grace and discernment and powerful Help in our lives! We review a few movies, of course, Killers of the Flower Moon, Equalizer, two and three, the old school, movie with Kurt Russell, The Thing (remember that one?) See who didn't like it, Kat or Drew? We review some TV shows, season four of True Detective starring, Jody Foster is now out, it is so good, keeps you wanting more, every episode! We've been on a Harlan Coben kick, an American author that has had his stories made into 14 streaming mystery series, this week we finished, Stranger! It has many twists and turns and keeps you guessing.Drew watched the new series Echo! Kat wants to watch it now because it has a good ending and she loves good endings!! Also it's something you can watch with your kids so it doesn't have to take up your night adult TV watching time. Bonus

Strap in and tune those air guitars, folks – Bobby Jay-Cox is about to take you on a tour of my decidedly amateur guitar escapades with a side of ADHD antics. We're riffing on the dream of shredding alongside Story of the Year, sharing the raw audio evidence of my endearing yet somewhat muddled strumming skills. Laugh along as I recount my highs and lows of music-making, the fervor for live rock, and my tongue-in-cheek ambition to join the ranks of legendary rockers.Wander down memory lane with me to the windy city of Chicago, where childhood adventures intertwine with family revelations over the best darn deep-dish pizza you've ever tasted. Revel in the absurdity as I dish the dirt on my cousin's peculiar eyelid prowess and the heartwarming, poignant moments we've shared. In the spirit of beginnings, I'll even let you in on how a comically failed credit application at Guitar Center inspired the birth of Discombobulated, proving that every setback can be the first chord in an epic symphony.And for those craving a dose of celebrity intrigue, I sit down with none other than Jody Foster to dissect the captivating world of "True Detective." We'll critique her addition to the cast, debate her character's baffling football fascination, and sidestep into the quagmire of fantasy football. Closing out with some classic Bobby wisdom and a sprinkle of Southern sass, I'll leave you with a whimsical word of caution – listen closely, laugh heartily, and who knows, you just might learn a thing or two amongst the chuckles.

Join us in the Labyrinth for another thrilling episode as we dive headfirst into the latest happenings in pop culture. Discover the shock and surprises as we discuss our favorite shows snubbed at the Emmys. Get the inside scoop on the first episode of True Detective Season 4, featuring Jody Foster, and explore the controversies surrounding the show. Delve into the gripping finale of Season 5 of Fargo on FX. But that's not all – Tim has crafted some cutting-edge AI ads for our sponsors, and he's not shy about declaring his love for colored nuts. Find out about Salems Lot coming to Max and join us as we share our scariest vampire movie recommendations. Hungry? We've got you covered with a discussion on healthy snacking options for dealing with the munchies. And don't miss our weekly segments of Views or Snooze and Staff Picks, guiding you on what to watch this week. If you've been enjoying the Radio Labyrinth experience, show your support by giving us a thumbs-up, hitting that subscribe button, and leaving a positive rating on Spotify. Your support is the secret ingredient that keeps the positive vibes flowing. So, grab your headphones, tune in, and always remember to KEEP IT CANON! YouTube Version: https://youtu.be/8xGzckbgQkI #RadioLabyrinth #PopCulture #TrueDetective #Fargo #PodcastVibes ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Hosts: Tim Andrews, Jeff Leiboff, Steph Swain and Dustin Lollar Audio Podcast & YouTube Video Edited by Dustin Lollar Redd Boxx Puppet created by Mark Schrankel @WhoBuddiez.com ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ MERCH STORE LINK: https://my-store-6887063.creator-spring.com/ USE CODE: RLP123 at checkout for 10% OFF TIM'S CAMEO: https://www.cameo.com/tandrewsatl?fbclid=IwAR3G-bUKfLDmT2SHY2zydO1NYb-Ss3fkYr037rhtuBFONYigw-_Vm1ZicYw ALL SOCIAL MEDIA LINKS: https://linktr.ee/RadioLabyrinth ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ SPONSORS: Atlanta Pizza & Gyro http://www.atlantapizzagyro.com/ https://www.facebook.com/atlpizza/ LDI REPROPRINTING OF ATHENS CALL 706-316-9366 OR EMAIL THEM AT ATHENS@LDILINE.COM ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ *Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. NO COPYRIGHT INFRINGEMENT INTENDED. All rights belong to their respective owners. ***AI Content was used in this video and is in no means meant to represent or be a replacement for any existing content, with full permissions of the creators involved*** ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ THANK YOU SO MUCH TO ALL OF OUR RADIO PRODUCERS & PATRONS! Thanks to our Radio Labyrinth Producers: Jeff Peterson, Bryan Smith, Chelsey Smith, Kevin Jackson, Jim Fortner, Brett Perkins, Terri Fuller, Chris Chandler, Tim Slaton, Mike Hall, Mike D, Matt Carter & Robey Neeley  And thank you to all of our awesome Patreon Patrons: Hemp Huntress, Tracy McCoy, Emily Warren, Buck Monterey, Randy Reeves, Robey Neeley, Robert Kerns, Wayne Blair, Sherrie Dougherty, Rusty Weinberg, Michael Einhaus, Mark Weilandt, Leslie Haynie, Kevin Stokes, Jesse Rusinski, Jeremy Truman, Jeff Peterson, Herb Lamb, Gwynne Ketcham, Denise Reynolds, David C Funk, Collin Omen, Christopher Doerr, Chris Weilandt, Chris Cosentino, Erick Malmstrom, Brian Jackson, Brennon Price, Andrew Mulazzi, Andrew Harbin, Amber Gilpatrick, Alan Barker, Aaron Roberts, Walt Murray PI, Sam Wells, Ryan Wilson, Lou Coniglio, Kevin Schwartz, Gus Turner, Jim Fortner, Scott Augustine, Jonathan Wilson, Cynthia Hadaway, Tony Outlaw, Dave Benson,Jack G,Adam Lavezzo and Kyle Gorecki!

Gog is back at its off-the-cuff best. If sport continues to polarise and bifurcate, is it's glory in back to basic? The lads discuss Marvel movies compared to Jody Foster's NYAD.

Nicholas Meyer is an award-winning author, screenwriter and director. His body of creative work in publishing, film and television spans more than five decades. Meyer's most recent Sherlock Holmes novel, The Return of the Pharaoh from the Reminiscences of John H. Watson, M.D. was published by Minotaur Books in November 2021.He's the author of seven previous novels, including The Seven-Per-Cent Solution (1975), a Doyle pastiche in which Sherlock Holmes met Sigmund Freud. The novel sold more than two million copies, stayed on the New York Times bestseller list for forty weeks, and won the British Gold Dagger award from the British Crime Writers' Association. Two years later, Meyer received an Academy Award nomination for his screenplay of the eponymous film, which starred Nicol Williamson, Robert Duvall, Alan Arkin, Vanessa Redgrave and Laurence Olivier. Meyer made his directing debut in 1979 with a film he wrote, Time After Time, starring Malcolm McDowell, Mary Steenburgen and David Warner. He went on to direct Star Trek II: The Wrath of Khan. Other directing credits include Volunteers (Tom Hanks, 1986), The Deceivers (Pierce Brosnan, 1988), Company Business, (Gene Hackman, 1991), Star Trek VI, The Undiscovered Country (Christopher Plummer, 1992) and the HBO film, Vendetta (Christopher Walken, 1999). His screenplays include Sommersby (Richard Gere and Jody Foster, 1993) and contributions to Fatal Attraction (1987) and Dreamworks' Prince of Egypt (1998). His other books include Target Practice, which was nominated for an Edgar Award, and three other Holmes pastiches, The Adventure of the Peculiar Protocols (2019), The West End Horror (a New York Times bestseller) and The Canary Trainer; as well as Confessions of a Homing Pigeon. Meyer's memoir, The View from the Bridge: Memories of Star Trek and a Life in Hollywood, was published in 2009.Meyer directed ABC's The Day After (1983), which remains the single most-watched television film ever made (100 million people in one night) and was nominated for fourteen Emmys. Additional work includes a two-part miniseries, Houdini (Adrien Brody, 2014) based on his father, Bernard C. Meyer's biography. He is the co-creator of the Netflix series Medici—Masters of Florence, starring Dustin Hoffman, and worked on STAR TREK: Discovery for CBS Access.For more information, go to his website here: https://www.nicholas-meyer.com/

Madonna hat über ihre gesamte lange Karriere immer bestimmt, wer sie war und wie sie in der Öffentlichkeit erschien. Damit definierte sie die weibliche Popmusik neu: Nicht als Produkt eines Managers, nicht als austauschbares Objekt für ein Publikum. Sie wurde zum Superstar der Popmusik und zum Vorbild für viele ihr nachfolgende Künstlerinnen. Madonna blieb, bei allen äußerlichen Veränderungen und Kostümwechseln, immer erkennbar als kontrollierende Schöpferin ihrer Pop-Posen. Sie galt als kompromisslose Geschäftsfrau, die ehrgeizig ihren Status halten wollte und deren Ambitionen weit über das Pop-Genre hinaus gingen. In 14 Filmen spielte sie mit, Hauptrollen wie „Evita“ nach dem Musical von Andrew Lloyd Webber, Nebenrollen in „Schatten und Nebel“ von Woody Allen neben Jody Foster oder „Eine Klasse für sich“ an der Seite von Tom Hanks, die allesamt erfolgreich waren. Andere erwiesen sich als Flops. Madonna begeisterte auf der Bühne in ihren durchchoreographierten, aufwändigen Shows weltweit immer wieder ein Millionenpublikum. Ihr Privatleben war immer wieder Stoff für Klatsch und Gerüchte, Affären mit Jean-Michel Basquiat oder Warren Beatty boten Anlass dazu, die Ehen mit dem Schauspieler Sean Penn und dem Regisseur Guy Ritchie hielten nicht lange, die Umstände der Adoption einiger ihrer Kinder brachten ihr ebenfalls Kritik ein. Mit „Music“ und „American Life” konnte sie auch in den 2000er Jahren noch an ihre Welterfolge der 80er und 90er Jahre anknüpfen. Wieder waren opulente Welttourneen große Erfolge. Mal arbeitete sie mit Produzenten aus Europa zusammen, mal mit Hitschreibern aus den USA. Ihr Auftritt 2019 während des ESC-Finales, den Peter Urban vor Ort miterlebte, sorgte für Gesprächsstoff. Auch darum geht es in diesem zweiten Teil des Podcasts über Madonna, aber natürlich kommen Peter und Ocke zu dem Fazit, das Madonna sowohl als weltweit erfolgreiche Popkünstlerin, als auch als Ikone der modernen Weiblichkeit zurecht verehrt wird. Peters Playlist für Madonna: Madonna (1983): Lucky Star, Holiday, Everybody Like A Virgin (1984): Material Girl, Like a virgin, Over and Over, Into the groove True Blue (1986): Papa don't preach, Open your heart, Live to tell, True blue, La isla bonita, Love makes the world go round Like A Prayer (1989): Like a prayer, Express yourself, Cherish, Dear Jessie, Oh Father I'm Breathless: Music from and inspired by the Film Dick Tracey (1990): Sooner or later, Hanky Panky, Im going bananas, Something to remember, Vogue The Immaculate Collection (1990): Crazy for you, Justify my love, Rescue me Erotica (1992): Deeper and deeper, Bad girl Bedtime Stories (1994): Secret, I'd rather be your lover, Forbidden love, Love tried to welcome me, Bedtime story, Take a bow Ray Of Light (1998): Drowned world/ Substitute for love, Ray of light, Candy perfume girl, Nothing really matters, Frozen, The power of good-bye, To have and not to hold, Little star, Mer girl Soundtrack – Austin Powers: The Spy Who Shagged Me (1999): Beautiful stranger, auch auf Best-Of-Compilation „Celebration“ (2009) Music (2000): Music, I deserve it, Nobody's perfect, Don't tell me, What it feels like for a girl American Life (2003): American life, Hollywood, I'm so stupid, X-static process, Mother and Father, Easy ride Confessions On A Dance Floor (2005): Hung up, Sorry, Jump, Isaac Hard Candy (2008): 4 minutes, Give it 2 me, Miles away MDNA (2012): Masterpiece Rebel Heart (2015): Living for love, Devil pray, Ghosttown, Hold tight, HeartBreakCity, Wash all over me Madame X (2019): God control, Batuka, Extreme occident, I don't search I find, I rise

TESTO DELL'ARTICOLO ➜ www.filmgarantiti.it/it/articoli.php?id=478IL TALENTO ARTISTICO DI MEL GIBSON di Roberto MarchesiniGran bel film, La Battaglia di Hacksaw Ridge: splendido dal punto di vista tecnico, commuove, appassiona ed eleva lo spirito.Prima di parlarne, ripercorriamo la carriera dell'autore, il famoso Mel Gibson. Che, forse, dà uno spaccato dell'evoluzione del pensiero di un cattolico negli Stati Uniti... Diventa una star di Hollywood negli anni '70 e '80 grazie alle serie Mad Max e Arma letale. Sembra destinato al genere avventuroso-fracassone quando, nel 1990, Zeffirelli lo chiama per vestire i panni di Amleto. Gibson coglie l'occasione, e sfodera una prova da grande attore. Nel 1993 esce il suo primo film da regista: L'uomo senza volto. Un grande, commovente e drammatico film sulla figura paterna, oggetto di diffidenza e anche odio, ma necessaria.BRAVEHEART (1996), IL PATRIOTA (2000) & WE WERE SOLDIERS (2002)Tre anni dopo ecco l'epico e monumentale Braveheart Cuore impavido. Di questo film ricordiamo il realismo, la violenza ed uno dei più grandi discorsi della storia del cinema («Agonizzanti in un letto, fra molti anni da adesso...»), probabilmente ispirato all'Enrico V di Shakespeare. Emerge anche il tema politico: l'indipendenza della Scozia dalla tirannia inglese. Il film regala a Gibson, oltre ad un importante incasso, 5 premi Oscar. [leggi: UN CUORE IMPAVIDO PER LA LIBERTA', clicca qui, N.d.BB]Nel 2000 Gibson interpreta Il patriota. Apparentemente un film sull'indipendenza degli Stati Uniti che nasconde però ben altro. Innanzitutto, il patriota del titolo non combatte per la patria, anzi: al momento dell'arruolamento, si rifiuta, anteponendo i suoi doveri di padre a quelli nei confronti della «nazione americana» («Perché dovrei scambiare un tiranno a tremila miglia di distanza con tremila tiranni lontani solo un miglio?»). Feroce guerriero, Benjamin Martin si schiera risolutamente dalla parte della pace («Vi sono alternative alla guerra»). Più che un film patriottico, Il patriota è piuttosto un film libertario; la sua bandiera non è quella a stelle e strisce, ma quella che verrà usata anni dopo dal Tea Party. [...]Nel 2002 Mel Gibson è impegnato in un film alla Berretti verdi: We were soldiers - Fino all'ultimo uomo. Interpreta un ufficiale - cattolico ed oltremodo eroico - impegnato nella guerra del Vietnam. Siamo all'esordio alla presidenza di Bush Jr: Gibson sembra concedere un minimo di fiducia alle istituzioni statunitensi dopo due mandati Clinton. [leggi: WE WERE SOLDIERS - FINO ALL'ULTIMO UOMO, clicca qui, N.d.BB]LA PASSIONE DI CRISTO (2004) & APOCALYPTO (2006)Nel 2004 esce La passione di Cristo: un film brutale e realistico su passione, morte e risurrezione di Gesù, con luci caravaggesche e recitato in aramaico, ebraico, latino. Prima dell'uscita nelle sale si diffonde la notizia secondo la quale il padre di Mel Gibson sarebbe un cattolico sedevacantista antisemita. Appena il film esce nelle sale fioccano le stroncature: si schierano Natalia Aspesi («Un'orgia di sangue...») e Vittorio Zucconi («Sangue, torture e integralismo»); persino eminenti prelati criticano il realismo del film, rimpiangendo la passione proletaria di Pasolini. Ma l'accusa più grave (anche se non ben circostanziata) è quella di antisemitismo: Jim Caviezel, interprete di Cristo, dirà di essersi giocato la carriera con questo film. Nonostante questo, il film incassa più di seicento milioni di dollari. Alle accuse di antisemitismo si accompagnano altri giudizi: Mel Gibson è padre di otto figli ed è sempre stato sposato con la stessa donna, un unicum, ad Hollywood. [leggi: UNA PASSIONE DI VIOLENZA E DI AMORE, clicca qui, N.d.BB]Due anni dopo Gibson sforna un altro capolavoro: Apocalypto. Ambientato nella brutale e feroce America precolombiana, narra la vicenda di Zampa di Giaguaro, che sfugge alla morte per salvare la famiglia. Alla fine del film, quando il protagonista sta per essere ucciso, ecco sbarcare dall'oceano una nave: trasporta soldati, religiosi e la croce di Cristo. [...] Oltre al tema della lotta per la famiglia, ne emerge prepotentemente un altro: quello dell'aborto. Cos'altro è il sacrificio umano praticato incessantemente dai capi del popolo Maya, se non l'uccisione di milioni e milioni di bambini? La società americana pre-cristiana è dunque quella statunitense? [...] [leggi: UNA CIVILTA' VIENE DISTRUTTA DALL'ESTERNO SOLO QUANDO SI E' GIA' CORROTTA AL SUO INTERNO, clicca qui, N.d.BB]Dall'uscita di Apocalypto, la carriera di Gibson va a rotoli. La sua immagine di padre di famiglia irreprensibile è deturpata: al suo fianco compare una giovane musicista russa ebrea Oksana Grigorieva (ma Gibson non era antisemita?), divorzia dalla moglie e va a vivere con lei. Viene fermato illegalmente da un poliziotto (alla presenza di telecamere) mentre è alla guida in stato di ebbrezza: si lascia scappare frasi antisemite («Gli ebrei sono responsabili di tutte le guerre del mondo»). Ha altri progetti cinematografici (un film su Giuda Maccabeo - ma Gibson non era antisemita? - ed un altro sugli insorgenti italiani), ma rinuncia: erano film - dirà - che interessavano solo a me. Solo pochi amici gli restano vicino (Robert Downey Junior e l'attivista lesbica Jody Foster - ma Gibson non era intollerante?). Nel 2010, a carriera ormai distrutta, viene lasciato dalla musicista russa, che lo denuncia per averle detto al telefono frasi razziste (registrate su nastro). Da quel momento Gibson recita in alcuni (anche ottimi) film d'azione: Fuori controllo, Viaggio in paradiso, Machete Kills, Blood father; come autore sembra finito. [leggi: DEBOLEZZE UMANE NELLA VITA DI MEL GIBSON, clicca qui, N.d.BB]LA BATTAGLIA DI HACKSAW RIDGE (2017)Ed eccoci arrivati al febbraio 2017 con la sua nuova prova da regista: La Battaglia di Hacksaw Ridge. È la storia vera di Desmond Doss, un obiettore di coscienza che si arruola volontario durante la Seconda Guerra Mondiale. Non vuole toccare le armi per motivi religiosi (è avventista del settimo giorno); ma non si sente da meno rispetto agli altri giovani che decidono di servire il loro paese in guerra. La sua posizione non viene compresa e, considerato un vigliacco, durante l'addestramento è fatto oggetto di insulti, punizioni e violenze. Viene addirittura incriminato per aver disobbedito agli ordini, rischia il carcere, ma non rinuncia ai suoi principi. Alla fine, grazie all'intervento del padre, alcolizzato e violento, traumatizzato dalla Prima Guerra Mondiale, viene riconosciuto il suo status di soldato obiettore di coscienza ed assegnato alla sanità militare. I compagni e gli ufficiali continuano a considerarlo un vigliacco, ma Doss riuscirà a dimostrare il contrario. Viene inviato nel Pacifico e partecipa alla battaglia di Okinawa; viene assegnato a Hawksaw Ridge, una impervia montagna controllata dai giapponesi. Il primo giorno di battaglia è cruento, ma vede la vittoria degli statunitensi; il giorno seguente, però, i giapponesi riconquistano la posizione. É il momento della ritirata, ma non per tutti: Doss resterà in cima, recupererà uno ad uno i suoi compagni calandoli con delle corde, sarà l'ultimo a calarsi dopo aver salvato commilitoni e giapponesi feriti. Una cinquantina, disse Doss; un centinaio, lo corressero i suoi compagni (alla fine gli vennero attribuiti 75 salvataggi, una via di mezzo).Del film notiamo l'eccellente tecnica e l'ottima recitazione, soprattutto del protagonista Andrew Garfield (al quale era stato «sconsigliato» di lavorare con Gibson). Colpiscono anche la castità del fidanzamento di Doss (quando mai, nei film hollywoodiani?) e i dialoghi, che rimandano ai valori più nobili. Il film gronda eroismo e fede religiosa: ogni volta che Doss cala un compagno dalla montagna, si ferma a pregare: «Fammene trovare ancora uno». Gibson chiarisce che la vera forza non è quella dei muscoli (la recluta culturista «Hollywood» - sottile ironia - non si distingue, in battaglia, per il coraggio), ma quella interiore: la virtù della fortezza.E torna, nuovamente, il tema della guerra. Il realismo è terribile e spettacolare: la guerra è morte, dolore e sofferenza. [...] Gibson, pur avendo firmato film di guerra, non è mai stato un guerrafondaio; ma con questo film sembra compiere un passo ulteriore. «Non mi sembra una brutta cosa rimettere insieme qualche pezzo del mondo, mentre sono tutti così intenti a farlo a pezzi», dice Desmond Doss. Lo pensa anche Gibson. [...]Il suo messaggio è chiaro: la guerra non è di per sé eroismo. L'eroismo è quello di chi - anche in guerra - è disposto a donare la vita per i propri fratelli, anche se di un'altra nazione. L'eroismo è quello di Doss, che salva uno ad uno i propri compagni e i propri nemici, e che prega «Fammene trovare ancora uno». Non per ucciderlo: per salvarlo.

POP ART, WHERE WE FIND THE POP CULTURE IN ART AND THE ART IN POP CULTURE. OTHERWORDLY: Join me and writer Caitlin Duffy (Reacher, untitled Arnold Schwarzenegger Netflix series) while we talk two films about contact with another world, Contact and Another Earth. “Boy, this is really going to change the Miss Universe Contest”. Are we alone in the universe? And if not, what does that mean? And what would aliens be like? And what would they want? To destroy us? To bring peace? To gain knowledge?…Sounds like it's time for Episode 81 of Pop Art, where we find the pop culture in art and the art in pop culture. It's the podcast where my guest chooses a movie from popular culture, and I'll select a film from the more art/classic/indie side of cinema with a connection to it. This time I am happy to welcome as my guest, writer Caitlin Duffy, who has chosen as her film the hard sci-fi Jody Foster film Contact, while I have chosen soft sci-fi Brit Marling film Another Earth, both films about first contact with beings from another planet. And in this episode, we answer such questions as: What is SETI? What is hard sci-fi as opposed to soft sci-fi? Who do they want to play the president in Contact? Who is the Saw Lady? Why did they use Bill Clinton? What is special about the opening shot in Contact? Cyanide pill or no cyanide pill? Who is Steven Ford's father? How does Gianni Versace fit in? Check out Caitlin's IMDB page at https://www.imdb.com/name/nm3044034/?ref_=nv_sr_srsg_0and be sure to check out Reacher on Amazon. Check out my blog at https://howardcasner.wordpress.com/ My books, More Rantings and Ravings of a Screenplay Reader, The Starving Artists and Other Stories and The Five Corporations and One True Religion can be found at https://www.amazon.com/s?k=howard+casner&ref=nb_sb_noss --- Support this podcast: https://anchor.fm/howard-casner/support

William McNamara was an A List Actor having done movies with Jody Foster, Mark Harmon, Sigourney Weaver, Harry Connick, Jr., Lori Loughlin, Jim Carrey, Holly Hunter, Corey Haim and Corey Feldman, Ice-T, Rutger Hauer, Charles Dutton, F. Murray Abraham, Gary Busey, all some of the biggest names in Hollywood. With His Hollywood Good Looks, he dated some of the most beautiful women including Brooke Shields, Jennifer Connelly, and was engaged to Erika Elaniak. Yet he is not a Household Name. So What Happened? Hear his Journey from our days at Eaglebrook School for Boys Boarding School in Deerfield, Massachusetts, to becoming an A List Actor to allegedly being abducted by Aliens. His new feature film turned into a TV series, "The Trouble With Billy" is a semi auto-biographical depiction of his life story. #CallerAreYouWithMe #WilliamMcNamara #TheTroubleWithBilly #SixDegreesOfMiles #RighteousMusicMedia

Jody discusses difficult and disruptive personalities you may encounter in your office and tips for effectively working with them.

In Season 1, Episode 11 we spoke about Understanding Bad Behaviors.  In this podcast, we literally talk to the person who wrote the book.  Dr. Jody Foster is a psychiatrist and Assistant Dean for Professionalism at the University of Pennsylvania.  Among other roles, she is also the team psychiatrist for the Philadelphia Eagles.  She encounters “bad behaviors” for a living and, in this episode, discusses the common bad actors we may see in surgery and medicine and, in my opinion, most importantly, how to empathize and understand them to promote a positive workplace and a strong team.  If you want to read more, check out Dr. Foster's book, The Schmuck in My Office (How to Deal Effectively with Difficult People at Work), co-written with Michelle Joy.   (Music Credit: Sunshine, Simon Jomphe Lepine.)

Exploring the most important considerations in your boardroom search.

Een obsessie voor de film Taxi Driver maakte van John Hinckley Jr. een stalker en een terrorist. Hij schoot op president Reagan om het hart van Jody Foster te winnen. Uiteindelijk verloor hij alles... Of toch niet? Enfin, Dennis legt het uit.

Dein Netzwerk ist deine stärkste Währung. Eine gute interkulturelle Kommunikation ist wichtig. Und international darf alles sein. Ja, nur wie schafft man sich ein weltweites Netzwerk? Auch unter vielleicht nicht so guten Bedingungen? Helmut Sorge war Kriegskorrespondent im Nahen Osten, in Nordirland und im kriegszerstörten Vietnam. Der langjährige Spiegel-Journalist lebte in Washington, Los Angeles, London und Paris. Er interviewte Hollywoodstars Elizabeth Taylor, Jody Foster, Jane Fonda, Sandra Bullock, Marlene Dietrich (natürlich schriftlich), Angelina Jolie, Robert Redford, Arnold Schwarzenegger und Jessica Lange. Als erster westlicher Journalist erhielt er ein ausführliches Interview mit Yasser Arafat. Und er schrieb zahlreiche Bücher, u.a. die Bestseller-Biografien der Boxlegende Muhammad Ali und der deutsche Tennis-Ikone Boris Becker. In diesem Podcast-Interview gibt er Einblicke in sein Leben und seine Netzwerk-Strategien.   Thomas Gottschalk über Helmut Sorge: „Eine Mischung aus Ian Fleming und Ernest Hemingway. Ein kluger Weltenbummler mit Stil.“ Sein aktuelles Buch: „Ich hätte König sein können: Short Stories aus einer anderen Welt“   Helmut Sorge bei Instagram: https://www.instagram.com/helmutsorge/       Ich freue mich über dein Feedback. Abonniere den Podcast, hinterlasse ein Like und teile die Folge gern mit denen, die sie gebrauchen können. Folge mir auf Facebook #drmariahoffacker, auf Instagram @drmariahoffacker oder vernetze dich mit mir auf Xing oder Linkedin. Ich gebe in meinem Podcast und meinen Programmen Wissen und Tools aus der modernen Neuroscience und wichtige Informationen und Anstöße weiter, damit Weiterentwicklung in diesen besonderen Zeiten gelingt. Mehr Informationen und meine Angebote findest du auf meiner Website: www.Lady-Brain.com. MAGIC BRAIN KICKS - Happiness and success are no coincidence, but the right use of brain power. The podcast of Dr. Maria Hoffacker - biologist, theologian, educator. In this podcast I will show you how you can really use the infinite potential of your brain, your biological supercomputer. You can expect inspiration and practical applications from modern brain research for your personal success. We talk about how to properly feed your head, heart and stomach so that they become your inner power team with which you can achieve everything. At a time when everything is being digitized and artificial intelligence seems to be taking over everything from us, you will find out how superior your own human brain apartment is when you know how to control it properly. In the weekly podcast episodes you will find specific tools, expert interviews and many experience stories from my own life as a marine biologist, environmental manager, science editor and lecturer More Information: www.Lady-Brain.com  

This week Ken welcomes the amazing writer, performer, podcaster and Sister from Another Mr, Pam Ribon to the show. Ken and Pam discuss Blue Ribon Panels, regional name variations, mayonnaise, Doctor Misses Doctor Mister Doctor Misses, tangents, secretly dating John Travolta, why you never share secrets with your parents, younger sisters, Today's Special, Punky Brewster, St. Elsewere, visiting shooting locations, Valerie Bertinelli in HELL, Billy Graham IN HELL, discovering new artists, Jody Foster, Peter O'Toole, creepy dudes, Wizards and Warriors, Julia Duffy, Soaps, crashing a plane to impress a woman, John "Not C" Riley, Love Boat, avoiding grown ups, forbidden Diff'rent Strokes, humorless parents, hating truth, getting into Stephen King too young, being dared to read Salem's Lot, Ken's embarrassing love of Beautiful Girls, how Natalie Portman was done wrong, Drew Barrymore, SNL, Hank Williams Jr. : The Movie, The Legend of Fred Asparagus, Bikers, Invitation to Hell, the magic of club soda, The Demon Murder Case, Kevin Bacon, the wonder of Small and Fry, Ed Solomon, Laverne and Shirley, Three's Company, Not Necessarily The News, BRAIN GAMES! BRAIN! GAMES!, Family Ties, S.C.U.B.A., game shows, Beat the Geek, Swackhammer, Swayze Crazy, The Renegades, reviewing Family Ties, Miss Chievious, Cheeahs, FAME, Jeers dressed as Cheers, AND somehow not ever Sassy Magazine. Not once.

The gang gets in and out of ultra sticky situations this week as we review the hard-R rated SNL movie, MacGruber (2010) starring Will Forte, Kristin Wiig, and Ryan Phillipe. Arguably one of the better SNL sketch series made into a feature length movie, MacGruber is 80's/90's action movie trope after trope, with ridiculous, dirty, foul mouthed comedy peppered throughout. And with Val Kilmer and  Powers Booth in supporting roles, you have heavy weight acting, all wrapped up in a silly bow. In News this week: Black Dynamite, 2021 Golden Globes, Nomadland, Borat: Subsequent Movie Film, Palm Springs, Groundhogs Day, Andy Samberg, Chloe Zhao, Michael Wolf Snyder, United States vs. Billie Holiday, I Care A Lot, The Martian, Jody Foster, The Mauritanian, Chadwick Boseman, Ma Rainey's Black Bottom, Sacha Baron Cohen, Daniel Kaluuya, Aaron Sorkin, Trial of the Chicago Seven, Atticus Scott, John Batiste, Trent Reznor, Soul, Minari, The Walking Dead, Nicolas Cage, Riko Shibata, Tom and Jerry, Who Framed Roger Rabbit, Cool World, Space Jam, Looney Tunes: Back in Action, Hank Azaria, Chloe Grace Moretz, Michael Pena, Colin Jost, Ken Jeong, Joe Bone, Dollar Store Elon Musk, The Princess Bride, the pit of despair, Amittyville Horror, Salem's Lot, Mad Max, Phantasm, Alien, The Jerk, Life of Brian, The Warriors, Star Trek, Apocalypse Now, Nosferatu the Vampyre, Black Stallion, Klaus Kinski, Space Jame Legacy, Lola Bunny, Warner Brothers, furries,  Ben Shapiro, Foghorn Leghorn, Don Cheadle, Wayne Knight, LeBron James, Mickey Mouse, Pixar, uncanny valley, Adam Murphy, Night at the Red Museum, Streaming the Unstreamables, Tim Curry,  Ghost Sex, Coneheads, Wayne's World, Chris Farley, Night at the Roxbury, Superstar,  Strange Days, James Cameron, Katherine Bigelow, Hackers, Ralph Fiennes, VR porn, 8mm, Tom Sizemore, Juliette Lewis, Voldemort, Zorro, Grand Budapest Hotel, Angela Bassett, German fans, Demolition Man, Raiders of the Lost Ark, The Quest for 500, Warcraft, Duncan Jones, Starcraft, World or Warcraft, Moon, Mark Strong, John Carpenter, Halloween, Lock Stock and two smoking barrels, Snatch, Rock and Rola. The Man from U.N.C.L.E., Charlie Hunnam, Guy Ritchie, Colin Farrell, In Bruges, The Kingsmen, The Color Out of Space,  Email us at MCFCpodcast@gmail.com       Joseph Navarro    Pete Abeyta   and Tyler Noe       Streaming Picks:  Clue - Amazon Prime, Pluto TV, Paramount +Lucky Grandma - Showtime, Fubo, Hoopla, DirecTVThe Muppets - Netflix, Disney +The Boys - Amazon PrimeEyes Without a Face - HBO MaxThe Guilty - HuluReady Player One - HBO Max, DirecTVAssault on Precinct 13 - HBO Max, Max Go, DirecTVThe Gentlemen - Fubo, Showtime, DirecTV

Kommer Biden lyckas att stänga Guantanamo? Kan Golfströmmen stanna helt och vad händer då med vårt klimat? Apropå dagens tvistemål i Uppsala tingsrätt så undrar vi vad man man bör tänka på när man gör privata fastighetsaffärer. Ska man ta andra hänsyn om säljaren är gammal? Med oss för att reda ut detta har vi boendeekonomen Claudia Wörmann.  Skådespelaren Jody Foster fick en Golden Globe natten till igår för sin roll i den nya filmen Mauretaniern, som handlar om en av Guantanamofångarna som satt 14 år på det ökända militärfängelset. President Joe Biden har lovat att stänga Guantanamo men kommer han att lyckas? Forskaren Merrick Tabor kommer till programmet. Och vad händer med Golfströmmen? Kommer den att stanna, när sker det i så fall och kommer vi då att få rekordkyla istället för uppvärmning i vår del av världen? Vi har bjudit in Léon Chafik från mertrologiska institutet vid Stockholms universitet. Programledare: Thomas Nordegren Bisittare: Louis Epstein Producent: Minna Grönfors

Four new movies make their way into our lives this weekend. Ryan Jay is ready to bring you a true review. Up first is Jody Foster's new film The Mauritanian. One word about this true story. Amazing. It's in theaters. If you're planted at home due to Covid or bad weather, the movie makers are still thinking about you. I Care A Lot is on Netflix. Ryan says it plays off a quote: Playing fair is a joke created by rich people. This film isn't a joke. It's a total hit. Hmmm Ryan can't say that about movie number three Silk Road which is in theaters. Another true story starring Jason Clark. Think Amazon for illegal substance. Sounds intriguing right? Not worth the investment says Ryan Jay. And finally here comes Disney+ with a fun loving family new favorite called Flora And Ulysses. You will believe that squirrels can be super heroes.

Four new movies make their way into our lives this weekend. Ryan Jay is ready to bring you a true review. Up first is Jody Foster's new film The Mauritanian. One word about this true story. Amazing. It's in theaters. If you're planted at home due to Covid or bad weather, the movie makers are still thinking about you. I Care A Lot is on Netflix. Ryan says it plays off a quote: Playing fair is a joke created by rich people. This film isn't a joke. It's a total hit. Hmmm Ryan can't say that about movie number three Silk Road which is in theaters. Another true story starring Jason Clark. Think Amazon for illegal substance. Sounds intriguing right? Not worth the investment says Ryan Jay. And finally here comes Disney+ with a fun loving family new favorite called Flora And Ulysses. You will believe that squirrels can be super heroes.

Tina Sloan spent 26 years on The Guiding Light, the famous soap opera on CBS, and was featured on 60 Minutes when the show closed after an historic 75 year run. Tina, then in her 60’s, reinvented herself as an author, playwright and speaker. She is the author of “Changing Shoes” and her new book, a romantic thriller, “Chasing Cleopatra.” Her one-woman play also titled “Changing Shoes” toured the US and at one particular performance, much to Tina’s delight, George and Barbara Bush were in the front row.  Tina has performed in numerous movies including Black Swan, Changing Lanes, as Ben Affleck’s mother, several Woody Allen films as well as others with Al Pacino and Jody Foster, Marisa Tomei.  She has also appeared on several TV shows including Law and Order SVU. Visit https://www.tinasloan.com/. Listen to Vibrations of Love by Sister Jenna on Spotify.  Like America Meditating & on Twitter.  Visit www.americameditating.org. Download our free Pause for Peace App for Apple or Android.  

This week's episode includes guest critic Tim Gordon, president of the Washington Area Film Critic Association. We discuss new shows like the Framing Brittney Spears documentary, Jody Foster's The Mauritanian, Judas and the Black Messiah, Minari and more. Plus we remember Christopher Plummer and Mary Wilson. And, there Jen's Flashback & Favorites feature, too. CHECK OUT HOUND RADIO for "Music, Chat, This & That". www.houndradio.com

This week a Florida man is Anger wanking to get you (royal you) all of the money No more mister nice guy, get at us Is Al Al Roker? Don't be so ginger with your sniffing Thank you first responders (hotel concierges) Crew member with a squirt gun full of fake jizz spraying Jody Foster all day long Big Boy red silhouette challenge? --- Send in a voice message: https://podcasters.spotify.com/pod/show/vividapplejuice/message Support this podcast: https://podcasters.spotify.com/pod/show/vividapplejuice/support

Thomas, Toni, and Kendall celebrate the life and influence of three trailblazers: Jody Foster, Phyllis Frye, and Carly Rae Jepsen.

Thanks For Watching Episode 120, Clubs and Fluffs. Full cast brought us off of our hiatus. Joe’s house is in pieces, DJ and Beth played GISH and the show had some tangents. The ABCs of Movies feature was Candyman. DJ’s first reaction is revealed and why did Crackhead Blue say that on Marco Polo if you saw it? We changed the name to a lot of your favorite streaming sites. From now on these are called Nardflix, Amazon Preemea, and Disney Ploos. The list of films we were talking about this week had Jamie Lee Curtis. What film did DJ say was better than Knives Out? Next week we want to know what films you love with Jody Foster. Let us know with a call or text. Check us out over there at Patreon. Our website is https://www.tfwmovies.com and feel free to call or text us at 512-PODCAST. Stuff We’re Putting In Our Eyes starts at 36:30 Challenge Movie Clip at 1:14:14 Just hashtags you might like from our show and a way to boost our ratings somehow. #tfwmovies #thanksforwatching #apostle_ofc @apostle_ofc #Lists #JodyFoster #JamieLeeCurtis #SocialDistancing #anchorpodcast #podcast #podcasting #podcasts

Join Tim and Julie Harris for their weekly debrief podcast. Expect absolutely unhinged, non scripted honest conversation about just about anything. Remember the movie 'Contact' starring Jody Foster? On today's show Tim and Julie share new information about the fact that leading scientists believe aliens are sending 'radio signals' to our planet. Also, Tim and Julie share many stories about meeting and hanging out with folks like Russell Brand, Jody Foster and Leonardo DiCaprio. They also share with you what they believe to be the single greatest way for real estate professionals to build powerful businesses and have truly passive income. (Hint: Not rental properties). Listen now.   Schedule A Free Coaching CallListen on iTunesListen on SpotifyListen on Stitcher

Tina spent 26 years on The Guiding Light, the famous soap opera on CBS, and was featured on 60 Minutes when the show closed after an historic 75 year run. Tina, then in her 60's, reinvented herself as an author, playwright and speaker.  Her first book Changing Shoes describes how she came to terms with growing older: literally changing shoes from gorgeous high heels to the proverbial black flats.  Her one-woman play also titled Changing Shoes toured the US.  Tina has performed in numerous movies including Black Swan, Changing Lanes, as Ben Affleck's mother, The Post, several Woody Allen films as well as others with Al Pacino and Jody Foster.  She has also appeared on TV shows including Law and Order SVU.  Her new book, a romantic thriller, Chasing Cleopatra, is a true page turner and was just released. Tina lives in Florida with her husband of 45 years and in Maryland very near her son and grandchildren.  She has run 8 marathons and climbed 20,000 foot peaks in Africa and Nepal.  

Welcome back folks. This week we have a treat for you. The 1995 Jody Foster movie (directed and staring) Home For The Holidays. Witness the gathering together, followed by the slow and steady implosion of the Larson family. Claudia has her own issues, Tommy has issues with his family accepting his new relationship status with Jack, Joann and her Husband bring their own turkey and baggage along, and then there's Aunt Gladys. There will be fights, tensions and even some reconciliation along the way. So get your NutraTurkey ready for our Breakdown Check out our Page at Age Of Radio. And be sure to shop our Sponsors at the Bazaar Learn more about your ad choices. Visit megaphone.fm/adchoices

Our first Jody Foster movie and our first airplane kidnapping movie too!

We recorded this a month ago and then the hammer of deadlines fell.  We come to you from Jody Foster's Gorilla Preservation, and talk about how, if you want to make a career, you are not the one story you're in love with.  We talk about Wonder Boys.  

UM student actor Curen Feliciani joined my on the Morning Trail to talk about The Assassins. In the production he plays an (unsuccessful) assassin. The one fixated on Jody Foster. What kind of a role is that for a nice kid from Dillon, MT? According to Curen, a great one. He'll fill us in.

John Maxwell, renowned leadership expert, New York Times Bestseller List author, well-known speaker and septuagenarian says that as he has matured, the things he truly “knows” can be summarized with the five digits on one hand. Those are the things he knows that he knows and he can’t be budged on those points. But he has learned to let go of everything else he thought he knew. I love knowledge, studying, researching, and reading. I'm a learner. But I wonder if we've elevated knowledge to something it's incapable of providing. Do we look to knowledge, as a society and as individuals, as something that will sustain, save, and validate our existence? Two ancient prayer practices brings old-new insight to how we understand knowledge, at least in a spiritual sense. Kataphatic knowing is the use of images, words and thoughts to guide and cue our knowing. Our senses pick up on what is seen and from that we gain a sense of knowledge or discernment. Apophatic knowing is a knowing drawn from silence beyond words. I love how Richard Rohr describes it: Apophatic knowing is the empty space around the words, allowing God to fill in all the gaps in “unspeakable” ways. This type of knowing requires access to another set of senses, the ability to perceive reality in ways that can't be formally taught. I personally enjoy the formal process of learning. But in the silence and the spaces in between the words there is another kind of knowing that can direct and guide me towards knowing what is unknown. Knowing by "participating with" instead of "observing from a position of separation. Knowing, subject to subject, instead of subject to object. What is required to know what is unknown is to come to the end of ourselves; to know that I don’t know. Join me in this episode as I get honest about my need to not look stupid, consider different ways of knowing, and visit outer space with Jody Foster to boldly take the journey to the the place of unknowing. Show notes, video and other links at bradtoews.com

Welcome to Bike Shop Radio: Episode 3. Back to School: Free classes are an integral part of 718's DNA. Listen is as Aaron talks the talk to a class hanging on his every word. Hotsauce/SimpsonsWave: A taste test of our new 718 Hot Adventure Sauce by Aaron, that leads to a discussion of Movie Talk: We talk about movies we've seen two nights in a row at the theater...Hope's impassioned defense of Price and "Purple Rain". "Maverick", starring Mel Gibson and Jody Foster and the 70's horror movie "Frogs" also gets discussed. Music Smack: The shop discusses the Top 131 Van Halen song ranking article written by Chuck Klosterman Ask 718: A listener asks us about the endless construction in front of the shop Theme Music: Check out High Falls on Bandcamp Bike Shop Radio T-Shirts Here:

Jody J. Foster, MD, MBA is a Clinical Professor of Psychiatry in the Perelman School of Medicine at the University of Pennsylvania, Vice Chair of Clinical Operations for the Department of Psychiatry in the University of Pennsylvania Health System and Chair of the Department of Psychiatry at Pennsylvania Hospital. Her clinical practice includes general psychiatry, with a special emphasis on treating acute inpatients, psychopharmacology, and corporate development that provides support and evaluation services to executives. Dr. Foster completed both a residency and a chief residency in psychiatry and a fellowship in clinical psychopharmacology and mood disorders at The Institute of Pennsylvania Hospital. She also attained her masters of business administration, with a concentration in finance, from the Wharton School, University of Pennsylvania. Dr. Foster serves as the Executive Medical Director of Penn Behavioral Health Corporate Services and leads the Professionalism Committees at the member hospitals of the University of Pennsylvania Health System. She manages the Professionalism Program at Penn Medicine, a publicly offered consultation service, as the Executive Clinical Director. Dr. Foster is a noted educator and has received numerous awards for clinical excellence and teaching at the University of Pennsylvania. She was elected to Penn Medicine's inaugural class of the Academy of Master Clinicians and has been named a “Top Doc” by Philadelphia Magazine. She is the author of the best selling book  The Schmuck In My Office

In today’s episode, Susan talks with Dr. Jody Foster about her book, The Schmuck in My Office: How to Deal Effectively with Difficult People at Work. Susan and Dr. Foster discuss childhood wounds and how those impact the workplace, how to tell if you are the schmuck in your office, how someone could stop being a schmuck, and why people wait so long to seek help with a schmuck, being a schmuck, and most problems in general.Share your thoughts in the comments below!Subscribe to 2QuestionsTV for more interviews and behind the scenes footage!Links:The Schmuck In My Office: http://amzn.to/2g65Dishttp://2Questions.TVEquipment used for this video:- Zoom.us- MacBook Pro- Blue Yeti Microphone See acast.com/privacy for privacy and opt-out information.

Jazz One and Steven Presley break down season 4 of Black Mirror in part one of "What we watched on Netflix over the holidays." Also in this episode...Steven Presley has invented a new futuristic dating app...will he become a billionaire off the idea? Jazz One uncovers news of real-life robotic killer dogs being made in Boston just like in that Black Mirror episode Metal-Head. Very creepy people!

Pre Thanksgiving episode hype... Katie gets political, legendary porn star Ron Jeremy accused of sexual harassment in the workplace - the article was too long for Katie to read... If you have ever used my pictures to masturbate, you owe me a Christmas present... Bootleg butt injections actually worked out for one butt model... Send your friend a message on an actual eggplant... Just move me to Montana and put me to sleep... Ass eating for charity or not at this summer festival... Episode of "Squirrel'd Up Katie"... Katie rediscovers Hentai... Man killed by trying to fuck an octopus... Tits Man - Why woman feel there own boobs... Bribe your high school teacher with your dick... Katie actually walks her pussy outside... Masturbation cured one mans stuffy nose and the science behind it... Jody Foster's Knuckles on tour again... To Mutual Masturbation or not to Mutual Masturbation... New dry humping service now available (just as creepy as you would think).

How many times have you heard, “there is a schmuck in my office”? Maybe, you have made that comment yourself. In this episode, Kevin is joined by Dr. Jody Foster. Dr. Foster is the author of The Schmuck in My Office and a clinical psychiatrist whose practice includes corporate development that provides support and evaluation services to executives. She shares her thoughts on recognizing, understanding and managing disruptive behaviors in the workplace. In this episode, Kevin and Dr. Foster discuss:In this episode, Kevin and Dr. Foster discuss:  Examples of difficult personality types.  Coaching teams to deal with disruptive behavior.  What happens when you are the schmuck. Additional Leadership ResourcesAdditional Leadership Resources        Book Recommendations:                             Hatchet by Gary Paulsen               Saving Zasha by Randi Barrow                             Learn more about The Schmuck in My Office.        Get our free report: The Secrets of Becoming a Remarkable Leader  Sign up for our free video training series, 13 Days to Remarkable Leadership.  Get your free copy of my inspiring e-book, 101 Ways to Unleash Your Potential.

Brought to you by HispanicMPR.com

Jody Foster, MD, MBA, Clinical Professor of Psychiatry in the Perelman School of Medicine at the University of Pennsylvania, Vice Chair for Clinical Operations in the Department of Psychiatry at the University of Pennsylvania Health System and Chair of the Department of Psychiatry at Pennsylvania Hospital. She attained her MBA, with a concentration in finance, from the Wharton School. What you’ll learn about in this episode: Finding your niche even when you least expect it How to combine knowledge of psychology with business savvy Creating better teams through understanding everyone you work with Intervening on disruptive behavior in the workplace Why you need to start with yourself when addressing workplace problems Increasing retention and decreasing turnover in your workplace How to process positive and negative feelings at work Identifying problematic behaviors and handling them effectively Accepting that most people are not maliciously causing problems at work Ways to contact Jody: Email: jjfmdmba@gmail.com Website: www.schmuckinmyoffice.com

  Dr. Jody Foster is a Clinical Professor of Psychiatry and Vice Chair of Clinical Operations at the University of Pennsylvania. She is an expert in people who are disruptive and is the author of The Schmuck in My Office…How to Deal Effectively With Difficult People At Work.   In her book, Dr. Foster talks[...]

Difficult people can make work miserable. You can control your own work and collaboration, but when there is someone throwing wrenches into the machinery just for fun, it can seriously derail your work and drive you crazy. On today's episode, Dr. Jody Foster is here to talk about her new book The Schmuck In My Office, and help us deal with a few different types of difficult people. ==== Today's episode is sponsored by Freshbooks. To claim your free month trial – with no credit card needed – visit Freshbooks.com/accidental. Music for the AC podcast is by Joshua Seurkamp. End remix is by DJ Z-Trip.

Segment 1: Adam Greenbergis a former professional baseball player for the Chicago Cubs. He is best known for being hit in the head in his major league debut on the first pitch of his first plate appearance. He is one of only two players in history to have an official at-bat without ever taking the field. He is now the author of the new book “Get Up: The Art of Perseverance”. Segment 2: Jody J. Foster, MD, MBAis a Clinical Professor of Psychiatry in the Perelman School of Medicine at the University of Pennsylvania. She is the author of “The Schmuck in My Office: How to Deal Effectively with Difficult People at Work”. Segment 3: Mary C. Lamia, PhD, is a clinical psychologist and psychoanalyst, as well as professor at the Wright Institute in Berkeley, whose passion is to encourage emotional awareness. She is the author of “Emotions! Making Sense of Your Feelings” and “What Motivates Getting Things Done: Procrastination, Emotions and Success”. Segment 4: Simon Letchford is Managing Director of Scotwork's North American business and is a Partner in Scotwork's Australian business. He brings over 20 years of international negotiating and executive leadership experience within the IT, health, retail, defense and professional services markets. Segment 5: Barry Moltz shares how to get your business unstuck.Sponsored by Nextiva

Dr. Dawn welcomes Wharton MBA Alum Dr. Jody Foster, Psychiatrist and Consultant, to the show to talk about how to assess culture before accepting the job, and how to get along with crazy colleagues once you're hired! Dr. Foster discusses her book "The Schmuck in my Office" and callers inquire about being promoted over friends in the office and how to deal with jealous employees. Take a listen to learn how a vending machine might be a career killer! See acast.com/privacy for privacy and opt-out information.

Drax The Destroyer is back in theaters in "Guardians Of The Galaxy Volume 2," and that means Dave Bautista returns to TIJ!! He's been really freakin' busy shooting all sorts of movies since he was last on the pod, and he's got tales about them all - "Blade Runner" with Harrison Ford and Ryan Gosling, the James Bond film "Spectre" with Daniel Craig and Christoph Waltz, "Escape Plan 2" with Sylvester Stallone, "Heist" with Robert DeNiro and Jeffrey Dean Morgan, and a movie with Jody Foster! Dave's also got plenty of stories from the set of Guardians 2, the real reason Drax never wears a shirt, and why he's not the biggest fan of Baby Groot! Plus, Dave's talking WWE, and whether he may return for one final run, and under what circumstances.

Today’s conversation is with Dr. Jody Foster, author of The Schmuck in My Office and a Clinical Professor of Psychiatry. Our discussion centers around dealing with difficult people at work and learning to look for the reasons behind their annoying behaviors.   Dr. Jody Foster is a Clinical Professor of Psychiatry in the Perelman School of Medicine at the University of Pennsylvania, Vice Chair for Clinical Operations in the Department of Psychiatry at the University of Pennsylvania Health System and Chair of the Department of Psychiatry at Pennsylvania Hospital. She attained her MBA, with a concentration in finance, from the Wharton School. She is also the author of the recently released book, The Schmuck in My Office Dr. Foster was involved in forming a program to deal with disruptive physicians which became publically offered due to interest in resolving the same issues in other settings outside of the medical field. After the program became public, Dr. Foster was approached to write the book to share the program’s main ideas to the general public. We all have traits that make us who we are. None of these are problematic by themselves, however when we allow these traits to interfere with our work or our relationships with coworkers, they can become an issue. In Dr. Foster’s book she lists out 10 types of traits that are often observed and can become disruptive to a workplace if they get out of control: Narcissus – their ego fills the room Venus Flytrap – their initial appeal may draw you in, but anger later surfaces Swindler – the rule breaker Bean counter – the controlling micro manager Distracted – has real difficulty in time management, frequently has unfinished projects Mr. Hyde – someone who struggles with an addiction problem, one that was not apparent when hired but then another ‘person showed up’ The Lost – one who is experiencing cognitive issues, and who is getting sloppy Robotic – one might say they were a ‘person on the spectrum’ – very little social skills Eccentric – the person has odd or magical belief patterns - the beliefs are ‘strange’ Suspicious – thinks that there are conspiracies, looks over their shoulder Dr. Foster states that the most common are those titled, narcissus. They may demonstrate behaviors that seem like they feel entitled, seek attention and exaggerate their accomplishments. One key way to deal with them is to attempt to understand them. It may be that the person has a low and fragile self esteem. They may be afraid to be found smaller than average, in some way. They also may not realize they are dominating the conversation – they are used to controlling the conversation and they may not even have full realization they are doing it. Giving some positive feedback and acknowledging their story may be helpful. Dr. Foster says, “You want to find a culture that is right for you.” It could also be that the disruptive person is working in the wrong setting for their personality type. Sometimes a worker that is labeled as disruptive is actually just in the wrong workplace culture. “What is considered disruptive to one person may be attractive to another”, states Dr. Foster. Dr. Foster gives tips for dealing with difficult people. First of all, she says, you have to accept the fact that people don’t want to be disruptive. It is important for us to work to understand the people around us. We also have to understand that what is disruptive in one culture may not be disruptive in another. You should try to call out disruptive behavior when you see it, waiting just causes hard feelings to build up to the point of anger. You should take a step back and examine why a certain behavior is bothering you, in some instances it could be because you see something in a person that is a trait you don’t like in yourself. Another tip Dr. Foster gives is, if the other person doesn’t see a problem then you have to set limits. And finally, ask the question, ‘Am I the schmuck in the office’? Are you going from place to place and continuing to ‘see the same issues’? If you are, you could be the problem. What You Will Learn In This Episode: Tips for organizations for dealing with ‘schmucks’ Personal life ‘schmucks’ If you aren’t happy in your job why it might be time to do some reflection! Why Dr. Foster wrote her book What are the 10 types of people and how can you identify them How can we get to a point where we can understand the truth behind someone’s actions Real life examples of how to deal with others What roles does the environment play vs. the individual

Psychiatrist Jody Foster offers handy categorizations and pro tips for handling the distinct kinds of difficult people in your workplace.   You'll Learn: How to spot and deal with 10 personality types prone to being difficult Key rules of engagement in the workplace Pro tips on how to confront someone or something in the workplace   About Jody: Jody J. Foster, MD, MBA is a Clinical Professor of Psychiatry in the Perelman School of Medicine at the University of Pennsylvania, Vice Chair of Clinical Operations for the Department of Psychiatry in the University of Pennsylvania Health System and Chair of the Department of Psychiatry at Pennsylvania Hospital. She attain

Psychiatrist Jody Foster offers handy categorizations and pro tips for handling the distinct kinds of difficult people in your workplace.   You'll Learn: How to spot and deal with 10 personality types prone to being difficult Key rules of engagement in the workplace Pro tips on how to confront someone or something in the workplace   About Jody: Jody J. Foster, MD, MBA is a Clinical Professor of Psychiatry in the Perelman School of Medicine at the University of Pennsylvania, Vice Chair of Clinical Operations for the Department of Psychiatry in the University of Pennsylvania Health System and Chair of the Department of Psychiatry at Pennsylvania Hospital. She attained her masters of business administration, with a concentration in finance, from the Wharton School at the University of Pennsylvania.    View transcript, show notes, and links at http://AwesomeAtYourJob.com/ep139

Dr. Jody Foster joins the podcast to discuss how to effectively deal with workplace conflict caused by what her new book refers to as The Schmuck in my Office. Listen in as Dr. Foster nails down the various types of personality traits that play heavily into office politics and how these dysfunctional interactions among coworkers can lead to workplace fiascos. Not only does she identify the problems, but she provides actionable tips for understanding schmucks as people, defines how to work with them, and ultimately solve workplace problems.   

In a vaguely timely episode, Ryan & Emily explore American history and the curses that have plagued the position of Commander in Chief since the 1800's. It's an episode full of murder, intrigue, and Jody Foster?

Pernell Walker hails from the South Bronx. Ms. Walker originated the role of Laura in writer/director Dee Rees' award-winning short film Pariah. Her other films include Kiandra Park's Riot; Karen Odyniec's So Over You; Talibah Newman's Busted on Brigham Lane and Rod Gailes Earl's Post Prison Playdate. Ms.Walker has worked with Lee Daniel's latest film, The Butler (starring Oprah Winfrey, Forest Whittaker). Money Monster ( Release 2016) Pernell Walker  Website: PernellWalker.com IMDb - Pernell Walker Films Films: Pariah, Lee Daniels & Oprah Winfrey film The Butler, Annie, Unbreakable Kimmy Schmidt, and Money Monster ( Release 2016). Facebook - Pernell Walker's Facebook link   Thank You for checking out Hollywood Breakthrough Show! This podcast main purpose is to serve up positive information without shade. There are thousands of great Films & TV shows with, Staff Writers, Editors, Cinematographer, Actors, Set Designers, and Make-up Artist just to name a few. Join us at Hollywood Breakthrough Show, as we interview some of the most talented people in the business, which names you may, or may not know! But you have seen their work! Whether they're well- established veterans of the business, or current up and comers, these are the people who are making a living in Hollywood. Screenwriters, directors, producers and entertainment industry professionals share inside perspective on writing, filmmaking, breaking into Hollywood and navigating SHOW BUSINESS, along with stories of their journey to success!   HELP SPREAD THE WORD PLEASE! SCREENWRITERS, DIRECTORS, AUTHORS, we would love to help spread the word about your Film, Book, Crowd funding, etc., Contact us!  (EMAIL: Info@hollywoodbreakthrough.com ) See Videos of all interviews at Hollywood Breakthrough.com Please subscribe in iTunes and write us a review!  EMAIL: Info@hollywoodbreakthrough.com )   See Videos of all interviews at Hollywood Breakthrough.com Please subscribe in iTunes and write us a review! Follow us on: Social Media Sites |  Twitter @TheBreakThur|  Facebook: facebook.com/HollywoodBreakthroughPodcast   Subscribe! Or, Please contact us for Interviews or Sponsorship of an episode!  Hollywood Breakthrough Show Website (EMAIL: Info@hollywoodbreakthrough.com )      View Apps Sponsor: Press and hold links to visit the page Hollywood Hero Agent Fenix Hill Pro Scottie The Baby Dino Gladiator Coliseum Challenge      

Cris converses with the lead singer of one of the first skate punk bands ever. Brian Brannon of JFA - also know as Jody Foster's Army. Brian tells about touring the country as 14 year old punk rocker, skating adventures, being the one time editor of Thrasher Magazine and what it is like to ride shotgun on a truck transport in Afghanistan as a reserve member in the Naval Reserves.

The Doctors have a fix for you. Inside the hypodermic is a potent mix of: Mockingjay Part 2, Creed, Harry Potter (series), Twilight (series), Mockingjay Part 1, Hunger Games, Donald Sutherland, Klute, MASH, Kelley's Heroes, Jack Bauer, Kiefer Sutherland, Call of Duty, 24, Hurt Locker, Flatliners, Pretty Woman, Julia Roberts,Joel Schumacher, Don't Look Now, Jennifer Lawrence, Joy, Josh Hutcherson, Bridge to Terabithia, Red Dawn (2012), RV, Zathura: A Space Adventure, Jon Favreau, Dax Shepard, Liam Hemsworth, Julianne Moore, Woody Harrelson, Phillip Seymour Hoffman, Jeffrey Wright, Stanley Tucci, Devil Wears Prada, Sylvester Stallone, Expendables, Rocky Balboa,  James Cameron, Alien 2 (aka Aliens),  Alien, Terminator, Ryan Coogler, Tim Burton, Batman (?year?), Fargo (series), Cool Hand Luke, Rocky V, Rocky IV, Grudge Match, Robert Diniro, Over the Top, Kyle Eastwood, Frank Stallone, Norm McDonald, Cop Land, Janeane Garofalo, Brian (it's really James) Mangold, Daylight, Harvey Kietel, Ray Liotta, Sopranos, James Gandolfini, Burgess Meredith, Talia Shire, Robert Logia, Stirling Silliphant, Poseidon Adventure, Sage Stallone, Gravity, Birdman, Phylicia Rashad, Aretha Franklin, Charles S. Dutton, Medea, Chuck Wagon commercials, Judge Dredd, Dirty Dozen, Brooklyn, Saoirse Ronan, Atonement, Hanna, Luc Besson, Transporter (series), Lucy, Grand Budapest, The Lovely Bones, City of Ember, Lucy 2, Taxi, La Femme Nikita, Bridget Fonda, Leon: Professional, Taken (series), Colombiana, Arther 3, Imelda Marcos, Jim Broadbent, Julie Walters, Education Rita, Michael Caine, Barry Williford, Seinfeld (TV series), Legend, Tom Hardy, The Krays, Locke, Goodfellas, Casino, Paul Newman, Marlon Brando, Black Mass, The Departed, Jack Nicholson, Brian Helgeland, L.A. Confidential, Payback, Point Blank, Lee Marvin, Richard Donner, Lethal Weapon (series), Mel Gibson, Emily Browning, Tara Fitzgerald, Christopher Eccelston, The Leftovers (TV series), Danny Boyle, Shallow Grave, 28 Days Later, Ewan McGregor, Trainspotting, Shawn of the Dead, Hot Fuzz, Simon, The Cornetto Trilogy, End of the World, Simon Pegg, David Thewlis, Island of Doctor Moreau (1996), Val Kilmer, Robert Downey Jr, Kiss Kiss Bang Bang, Shane Black, The Revenant, All That Jazz, Deliverance, Bugsy Malone, Scott Baio, Jody Foster, Tom Sawyer, Johnny Whitacre, Alan Parker, Midnight Express, Jim Henson, The Frog Prince, The Muppet Musicians of Bremen, The Muppet Movie and Paper Moon. Questions or comments? Contact Adam & Gregor at: show@hollywoodrx.net. Review us on iTunes...Today! Like us on Facebook. Or both.  

5/11/2015 - In the face... Prom sex... Texas hates sex... Suicide bear... Water jet douche... You blocked me on FaceBook... Loving bitchy-ness... Fecal fling er... Intermission with "Squirrel'd Up Katie"... Mr Pickles backwards... Jacking it covered, smothered, and chuncked... Jody Foster's Knuckles... Forced man milking... Orgy bio-hazard... Enriched milk... Grany loves the coco... American long tongue... After school special.

Spoilers Contained! Game of Thrones “The House of Black and White” Arya arrives in Braavos. Jamie takes on a secret mission. Ellaria Sand seeks revenge for Oberyn’s death. Stannis makes Jon a generous offer as the Night’s Watch elects a new Lord Commander. Daenerys is faced with a difficult decision.-IMDB Starring: Peter Dinklage, Nikolaj Coster-Waldau, Lena Headey, Emilia Clarke, Kit Harington, Aidan Gillen, Charles Dance, Natalie Dormer, Liam Cunningham, Stephen Dillane, Carice van Houten, Alfie Allen, John Bradley, Jack Gleeson, Isaac Hempstead-Wright, Rory McCann, Sophie Turner, Maisie Williams, Gwendoline Christie, Jerome Flynn, Conleth Hill, Iwan Rheon, Pedro Pascal, and Iain Glen Jessica and Dean’s Discussion Notes Braavos and the fearless AryaThe hustle and bustle of a new warless locationArya is denied at firstArya’s shrinking list…Qyburn the creepBringing back characters thought forgotten – 05:22Will Arya become a faceless man?Syrio Forel?Brienne and Podrick meet Littlefinger and Sansa – 12:10 Converging characters and converging storylinesThe characters are why we watchIs Brienne the last chivalrous character in Westeros? - 15:12Jessica takes us through the escalation of this confrontationLittlefinger’s Achilles HeelLittlefinger spots Lannister goldBrienne is too "Excalibur" – 19:30Penises and porridgeWhat’s Brienne’s next move?Cersei yells at Jamie some more - 24:50Cersei’s impossible expectations for JamieNegative cognitive filterSympathy for the Queen MotherCersei is running out of friendsEnter the sycophants – 31:05Uncle Kev ain’t hearing itKing Tommen, Sir Pounce, and pornBronn’s boredomBronn needs a nice womanThe Spider and the Imp – 39:36Tyrion’s boring and pointless life … for nowVarys’ long-con to ally himself with DaenerysOverall a lackluster check-in on Varys and TyrionDorne, Doran, and Ellaria – 44:20The law of trial by combatEllaria should learn from Oberyn’s deathAlexander SiddigTeam BronnCastle Black – 49:42Sam just surfing the medieval internetJon Stark – Lord of WinterfellThe North wants to fight for a Stark not StannisSilly morals and promisesDean considers Stannis’ second great offer this season – 56:23Pet crows and spidersMy kingdom for a cold, dark, wall…Janos Slynt and Meryn TrantSam roasts Janos SlyntA puddle of his own makingNed Stark has a very particular set of skills – 1:03:11Aemon votes Snow!Is Jon Snow untouchable?Jessica would be, “Shocked, shocked if Oberyn dies…”Mereen – 1:08:54Jessica can spell in PortugueseSlewed him…?Jody Foster’s President shooterWest Memphis Three?Bloody killer of HarpiesA fair trial for everyone except you… SIR!Daario the executioner?Targaryen loversA major decision for Daenerys – 1:18:56We hiss in your general direction!Drogon returns to help his distressed mammaListener comments – 01:23:11 Did Cersei set-up the snake incident to prompt Jamie into action?Characters that you care aboutFinal thoughts – 1:27:39 ContactEmailSpeak Pipe Subscribe to LSG’s “A Game of Thrones Podcast”iTunesStitcherRSS: http://gotonlsg.libsyn.com/rss(Cut and paste RSS address into podcasting app search function) Subscribe to LSG’s “The Walking Dead Podcast”iTunesStitcherRSS: http://twdonlsg.libsyn.com/rss(Cut and paste RSS address into podcasting app search function) Subscribe to LSG’s “The Science Fiction Film Podcast”iTunesStitcherRSS: http://sciencefictionfilmpodcast.libsyn.com/rss(Cut and paste RSS address into podcasting app search function) SupportPatreonWebsite

Tedi Sarafian's early training in film came from two legendary iconoclasts in the industry: his father, award winning screenwriter/director Richard C. Sarafian (Vanishing Point) and his uncle, Academy Award winning director, Robert Altman (M*A*S*H). Growing up on sets and trained in his youth as a production assistant, he was given a rare inside education in all aspects of filmmaking and by his late teens was working as an assistant editor. He took a hiatus from the family business to attend North Texas University where he studied film and music. While in college, Tedi wrote his first screenplay. Imaginative, his storylines were fast-paced with smart characters and his affinity for epic action sequences quickly got the attention of major studios. His first produced credit, Tank Girl, starring Lori Petti, became an underground cult film. He then went on to write and co-produce Roadflower (aka Road Killers) for Miramax. Some more of his writing projects include, Man Plus, for Warner Bros., Flying Tigers, for Morgan Creek; William The Magnificent, which he sold in a bidding war to Steven Spielberg; Metal Heads, which he sold in a bidding war to United Artists; The Radda Condition, which he wrote for John Calley and United Artists; Adaptive Ultimate, which he wrote for 20th Century Fox and Jody Foster. Now, garnering seven figures per project, Tedi branched out to deliver rewrites of existing material on such major projects as the television mini- series, Dinotopia and the hit feature film, Rush Hour. He wrote an original screenplay that attracted Arnold Schwarzenegger and director Jonathan Mostow. The resulting feature film, Terminator 3: Rise of the Machines, became the 3rd installment of Sony Pictures' blockbuster franchise grossing $450 mil worldwide firmly establishing Tedi as a major screenwriter. Working for top directors such as Ridley Scott, John Singleton, Gary Ross, Michael Bay and Sam Raimi, Tedi has several screenplays presently in development including, The 8th Voyage Of Sinbad for Sony and “Arabian Nights” based on a treatment by Sam Raimi and 20th Century Fox, Creature From The Black Lagoon. His television projects include the half-hour sci-fi comedy, “Hoax,” for Fox Television; and a dark, twisted family drama titled, “Blood Relatives.” This project is currently set up at NBC. Tedi is also developing his original TV pilot, The Bus, with actress Charlize Theron, who is attached to produce and play a cameo roll. This project is out for funding. Tedi sold his action/comedy pilot titled Indigo to Katie O'Connell, a project with which he is teaming up with his brother, director Deran Sarafian (House, MD). Currently, he is preparing to pitch Volt, a project that he co-created with comic icon Stan Lee (Spider-Man, Iron man). Tedi recently completed his directorial debut, Altergeist. A psychological thriller that he also wrote, starring Kristina Anapau (Black Swan). Altergeist was filmed entirely on location in Sonoma, California at Korbel Champagne Cellars. This film is scheduled to be released in October, 2014. Tedi's most recent endeavor is an original screenplay titled Lilith, which he is attached to direct. Academy Award winning producer Phillip Goldfine is producing.   His latest spec screenplay, Bot, is a tent pole blockbuster science fiction/action trilogy. Mario Kassar (Terminator/Rambo) is attached to produce.

A podcast about popular culture we kinda like, but more often than not, really hate.In this episode Jason quits (again) and Damian flies to California to interview our two new superfans Emilio and Sho-Nuff, who hilariously fly instead to Illinois to join Eric on the show. Tanning beds in the Sahara? SCSI cables on your face? Jody Foster ruins a movie? Find out more as we discuss the new Matt Damon classic: Elysium.

People all across the nation are going to restaurants, ordering fajitas and then when the sizzling, fajita plate arrives at their table, they are being warned that it is too hot! In the long, storied history of this show, we've never seen a fad so widespread or so delicious! To get to the bottom of this trend, we talk to a waiter at Ruby Tuesday's, Flip Wilson. Flip was recently named employee of the month and has become quite the celebrity because of his unique ability to warn people that their fajita plate is still hot. And then later in the show, we chat with the founder of FajitaFreedom.ca, Jody Foster. Jody opposes cautioning people for anything and is not the famous movie star. Also on this week's show, Jason overtips, Pat endangers his children (but in a fun way), and, our good friend, The Befuddler stops by carrying a giant sack of puzzles and riddles for us and you, the listeners at home. All that and more, plus music from the Foo Fighters: this week, on America Won't Shut Up! This week's episode stars Ryan Williams (@capnryan) and Karin Hammerberg (@karilouhamm). Be sure to check out their sketch comedy videos on Youtube by typing "The Jackets" into the search bar right there at the top of the page. Follow us on twitter: @thejasonflowers, @pratobrien, @taylordotbiz or you can follow the show @hashtagawsu Like us on facebook: facebook.com/americawontshutup And please email the show at americawontshutup@gmail.com

Cliff Osmond (born Clifford Osman Ebrahim) was born February 26, 1937 and lived through December 22, 2012. He was an American character actor and television screenwriter best known for appearing in films directed by Billy Wilder. Cliff Osmond comes to the acting business from a variety of venues. A member of: Kappa Alpha Sigma Honorary Business Fraternity, the Academy of Motion Picture Arts and Sciences, and the Academy of Television Arts and Sciences. Mr. Osmond received his Bachelors Degree in Business Administration from Dartmouth College, holds a Master’s degree in Business Administration from UCLA where he also advanced to candidacy for his Ph.D. in Theatre History. Osmond made more than 100 appearances in television and movies, working with such notables as Jack Lemmon, Peter Sellers, Shirley MacLaine, Carrol O’connor, Kim Novak, Lucille Ball, Dean Martin, Walter Matthau, and Jody Foster. In 2010, he wrote a book about his career and acting titled: Acting is Living: Exploring the Ten Essential Elements in any Successful Performance. Concurrent with his film career, Mr. Osmond conducted weekly scene-study classes in Los Angeles, San Francisco and around the country. He has taught an estimated 20,000+ students over the length his career. Thank you for subscribing! Please rate the podcast and leave comments. I look forward to building with you. More information and tons of free tips on marketing and management at: ArtOfHustle.com.

Justice and Atomyc (the world’s first gay robot) are in studio along with returning guest, jinx Mirage and newbie Michael (really cute!) Giving out Christmas gifts a month later and Justice gives an information lecture on why you can’t say ‘Fucking Shithead’ on the radio along with other obscene and indecent language. Justice lusted after the drum & bugle corps when he was younger and we do a dramatic reenactment of one of the greatest moments in television—Jessie Spano gets addicted to caffeine pills. Little lessons when being part of a couple and checking out new places to break a routine or monotony and proper etiquette when having sex while someone else is in the room (Do you thank them or give them a tip or what?) The Pope see boobs, Miss Tranny California, Milk Airport, Jody Foster is gay (surprise!) and much more on this sideshow edition of the radio!!!

Mariya and Matty make it to the studio despite a near-death experience. A NYC restaurant owner likes to fart on his employees. The Queen of England calls in. Jody Foster's "coming out" speech. Randomness!

Our porn star guest is a no-show. We give her the benefit of a doubt. Jody Foster's speech on the Golden Globes left a deep impact. Lindsay Lohan continues with her court encounters. We analyze why she gets into trouble. Washing hands. Why some people enjoy taking a shit. Lance Armstrong reveals his lies to Oprah.