Podcast appearances and mentions of John Collier

The rhetoric of “hopium” is failing as ecological overshoot deepens. “Hopium”, a colloquial term that is a blend of the words “hope” and “opium” (as though it were a drug), represents a faith in technological and market-based solutions to address our multiple reinforcing crises, despite evidence to the contrary. We're living in the long defeat and we must own and confront it with courage. Award-winning essayist, Pamela Swanigan, joins us. Highlights include: How children's literature is full of reverence for nature but children's literature analysis done in the academy is dominated by the perspective of human exceptionalism; The role that Judeo-Christianity has played in promoting the worldview of human exceptionalism while destroying the millennia-old biophilic and animistic belief systems; Why Pamela was astonished that she won the Berggruen Prize Essay Competition given the magical thinking of human exceptionalism and techno-solutionism embodied by the attendees; Social reformer and US Commissioner for the Bureau of Indian Affairs John Collier's concept of the 'long hope'- that indigenous cultures and their nature-sacralizing beliefs could help humanity survive after the collapse of techno-industrial civilization; Why the delusional and pervasive rhetoric of hope among social change advocates (such as Jane Goodall and David Suzuki) defies evidence, and why we must embrace JRR Tolkien's concept of the 'long defeat' in order to courageously fight against ecological destruction and social injustice. See episode website for show notes, links, and transcript:  https://www.populationbalance.org/podcast/pamela-swanigan   OVERSHOOT | Shrink Toward Abundance OVERSHOOT tackles today's interlocked social and ecological crises driven by humanity's excessive population and consumption. The podcast explores needed narrative, behavioral, and system shifts for recreating human life in balance with all life on Earth. With expert guests from wide-ranging disciplines, we examine the forces underlying overshoot: from patriarchal pronatalism that is fueling overpopulation, to growth-biased economic systems that lead to consumerism and social injustice, to the dominant worldview of human supremacy that subjugates animals and nature. Our vision of shrinking toward abundance inspires us to seek pathways of transformation that go beyond technological fixes toward a new humanity that honors our interconnectedness with all beings.  Hosted by Nandita Bajaj and Alan Ware. Brought to you by Population Balance. Learn more at populationbalance.org Copyright 2025 Population Balance

De Mortuis (De Mortuis) es un relato de terror psicológico del escritor inglés John Collier (1901-1980), publicado originalmente en la edición del 18 de julio de 1942 en el periódico The New Yorker, y luego reeditado en la antología de 1943: Un toque de nuez moscada y más relatos improbables (The Touch of Nutmeg and More Unlikely Stories). De Mortuis narra la historia del doctor Rankin, quien trabaja cubriendo con cemento el suelo del sótano de su casa, cuando es visitado inesperadamente por dos amigos, quienes comienzan a hacer conjeturas. SPOILERS. Tras deducir que el doctor Rankin efectivamente se deshizo de su esposa y la enterró bajo el cemento del sótano, sus amigos le aseguran que permanecerán en silencio. De hecho, parecen justificar el crimen, habida cuenta que Irene era una mujer con muy mala reputación. Es así que comienzan a contarle muchas cosas que el doctor no sabía sobre ella, por ejemplo, que ambos mantuvieron relaciones con ella, así como prácticamente todos los hombres jóvenes del pueblo. Los dos amigos elaboran una coartada para proteger al doctor, hasta ahora, en absoluto silencio acerca de aquellas especulaciones. Dirán que vieron a Irene yéndose del pueblo con un sujeto. A nadie le asombrará, y nadie hará preguntas incómodas ante la ausencia de la mujer. Aquí, De Mortuis de John Collier realiza una maniobra magistral: los amigos se retiran, una vez que el plan ha sido acordado, y pocos minutos después aparece Irene. Naturalmente, el doctor Rankin tendrá una visión bastante diferente de su esposa cuando ella regresa. El título en latín del cuento, De Mortuis, significa «sobre los muertos», y proviene de una frase de Diogenes Laercio (para otros, de Chilon de Esparta): De mortuis nil nisi bonum, que significa: «sobre los muertos sólo dí algo bueno». Esto hace referencia a la imprudente verborragia de aquellos dos amigos, quienes inadvertidamente ponen al doctor en conocimiento de la mala reputación de su esposa. Análisis de: El Espejo Gótico http://elespejogotico.blogspot.com/2020/03/de-mortuis-john-collier-relato-y.html Texto del relato extraído de: http://elespejogotico.blogspot.com/2020/03/de-mortuis-john-collier-relato-y.html Musicas: - 01. Mind Tricks - Experia (Epidemic) - 02. Dark Music - The Sealed Kingdom (Epidemic) Nota: Este audio no se realiza con fines comerciales ni lucrativos. Es de difusión enteramente gratuita e intenta dar a conocer tanto a los escritores de los relatos y cuentos como a los autores de las músicas. ¿Quieres anunciarte en este podcast? Hazlo con advoices.com/podcast/ivoox/352537 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Herbert Marshall is back for Christmas! He stars in John Collier's tale of holly jolly homicide "Holiday Story" (originally aired on CBS on December 23, 1948), and he plays a naval officer whose fast thinking changes the course of history in "The Man Who Won the War" (originally aired on CBS on October 5, 1958). Plus, we'll hear him in an episode of his own radio spy adventure series The Man Called X. It's a holiday tale known as "From a Starlit Hill" (originally aired on NBC on December 23, 1950).

Ask: Where did you see the light of God today? Listen: “Gabriel's message” by Jars of Clay https://open.spotify.com/track/2ZCeU77tB72tEkomsZLfPp?si=87b528092f6c4b00  Reflect: The Annunciation (2000) by John Collier   Devotional based on the work Shadow and Light: A Journey into Advent, by Tsh Oxenreider

Finishing book 2 of TGS! This coming Tuesday, a Wandering Above a Sea of Fog episode, then a break for a week. Episode art: Priestess at Delphi by John Collier

Escuchamos el último adelanto de 'Ejército de salvación', el disco que Love of Lesbian publican este viernes; en este caso se trata de otra de las colaboraciones estelares del álbum: Leiva, cantano junto a la banda 'La Champions y el Mundial' -por cierto, este sábado a las 10.00 h. en Radio 3 Love of Lesbian pasarán por El Típico Programa-. Además, te presentamos un segundo avance del próximo trabajo de The Cure, y las últimas novedades de Kim Deal, Scowl, Radio75 y Naked Family, entre otros.Playlist:BLACK CAT BONE - Loose JuiceSCOWL - SpecialBRKN LOVE - 20/20 VisionRADIO75 - LipstickQUEENS OF THE STONE AGE - Little SisterQUINCALLA - Qué me vas a decirPIXIES - MotorollerPIXIES - GiganticKIM DEAL - A Good Time PushedTHE BREEDERS - SaintsJACK WHITE - It's Rough On Rats (If You're Asking)LAUREN MAYBERRY - Something In The AirTHE CURE - A Fragile ThingLOVE OF LESBIAN - La Champions y el Mundial (feat. Leiva)LEIVA - 92DORIAN - Lo que recuerdo de ti (feat. Rafa Val)LEÓN BENAVENTE - Baile existencialistaLE TIGRE - DeceptaconMISS ESPAÑA - Marte rojoBIZNAGA - La gran renunciaCOMETA - SupersónicoNAKED FAMILY - Tú y yoNAKED FAMILY - LedaNAKED FAMILY - Bebé terrestre (Un cuadro de John Collier)NAKED FAMILY - El encuentroEXTREMODURO - Primer movimiento: el sueñoSARRIA - A tu veraMELIFLUO - Rosario y VarelaREPION - Qué hay de ti?NEUMAN - No voy a llorarEscuchar audio

Business interruption (BI) insurance is crucial for private equity firms, as it provides financial protection in the event of unforeseen disruptions to a portfolio company's operations. Interruption in business operations due to natural disasters, supply chain disruptions or cybersecurity breaches can have a significant financial impact to a fund's bottom line. For private equity firms, business interruption insurance is not only a risk management tool but also a strategic asset that can safeguard their investments, maintain the trust of investors and protect the long-term value of their portfolio companies.In this episode of The Drawdown, we welcome three members of Cherry Bekaert's Forensic and Dispute Advisory Services team: Lori Smith, Partner and Practice Leader, and John Collier and J.C. Tuthill, Managing Directors. Together, they discuss:1:28 - Business interruption insurance triggered upon damage to covered property at the premises2:30 - Coverage and policy terms for funds and portfolio companies4:25 - Calculating payment for types of business losses11:00 - Dependent property coverage12:55 - Next steps for fund managers If you or your private equity firm have any questions about business interruption insurance or how to prepare for a disruptive event, please reach out to our Forensic & Dispute Advisory Services team. 

Business interruption (BI) insurance is crucial for private equity firms, as it provides financial protection in the event of unforeseen disruptions to a portfolio company's operations. Interruption in business operations due to natural disasters, supply chain disruptions or cybersecurity breaches can have a significant financial impact to a fund's bottom line. For private equity firms, business interruption insurance is not only a risk management tool but also a strategic asset that can safeguard their investments, maintain the trust of investors and protect the long-term value of their portfolio companies.In this episode of The Drawdown, we welcome three members of Cherry Bekaert's Forensic and Dispute Advisory Services team: Lori Smith, Partner and Practice Leader, and John Collier and J.C. Tuthill, Managing Directors. Together, they discuss:1:28 - Business interruption insurance triggered upon damage to covered property at the premises2:30 - Coverage and policy terms for funds and portfolio companies4:25 - Calculating payment for types of business losses11:00 - Dependent property coverage12:55 - Next steps for fund managers If you or your private equity firm have any questions about business interruption insurance or how to prepare for a disruptive event, please reach out to our Forensic & Dispute Advisory Services team. 

Luke 14:25-33

Luke 14:25-33

John Collier - Is God Ashamed to be Called My God? by West Coast Baptist College

John Collier - Labor In Prayer by West Coast Baptist College

Support Breaking Walls at https://www.patreon.com/thewallbreakers Willam Spier was born on 10/16/1906 in New York City. He began his career as an editor at Musical America Magazine, eventually becoming its chief critic. His radio career began in 1929, when he produced and directed The Atwater-Kent Hour, a Met Opera presentation. He soon became a valuable member of BBD&O's growing staff of radio writers & directors. In 1931 Spier went to Hollywood to direct one of the first big budget radio programs in southern California. Coming back to New York, he was one of the people responsible for the creation of The March of Time. In 1940 Spier left BBD&O & began working for CBS. He was soon their story editor. Meanwhile, CBS decided to bring Forecast back. Season two premiered on 7/14/1941, with a play from Hollywood called The Arabian Nights. It starred Marlene Dietrich & was directed by Charles Vanda. The following week Kay Thompson starred in 51 East 51 from New York. It was an on-the-scene comedy at a fictitious upscale New York bar. Her director that evening was Bill Spier. The two were soon dating, marrying in 1942. Two weeks later, Spier produced & directed a Forecast episode called Song Without End, starring Burgess Meredith & Margo. It was to be a biopic on musicians and composers. That autumn Vanda & Spier were in New York, pushing for the launch of Suspense as a CBS cost-sustained show. On Sunday 12/71941 Japan attacked Pearl Harbor & Manilla, finally thrusting the US into World War II. The next Sunday, as CBS prepared for the Monday multi-network broadcast of Norman Corwin's We Hold These Truths, Bill Paley finally approved Suspense's launch as a thirteen-week summer series in 1942. Vanda got Harold Medford to come East to write. Although Bill Spier was head of CBS's New York Story Department, it was Harold Medford who polished the first seven shows. Vanda also got CBS musician Bernard Herrmann to compose the show's score. Suspense premiered on Wednesday June 17th, 1942 at 10:30PM eastern time. The first episode, “The Burning Court” was adapted from a story by John Dickson Carr. Seeking a star, Vanda chose Charlie Ruggles. Known for his comedic flair, Ruggles was in New York for the opening of his latest film, Friendly Enemies. Vanda believed that Suspense could cast against type. It came to be a show staple. Charles Vanda wound up only being in charge of the first five shows. He went into the army. The second show was the John Collier mystery “Wet Saturday,” a grim tongue-in-cheek tale of murder. The final three shows by Vanda were a take on the Lizzie Borden case, a murder story aboard a train, & a thrill kill, “Rope” that Alfred Hichcock later shot with James Stewart. With Vanda entering the service Bill Spier took over the production. Spier's first episode as producer was on 7/22/1942. On 9/2 Suspense broadcast Lucille Fletcher's “The Hitchhiker.” At the time Fletcher was married to Bernard Herrmann. “The Hitchhiker” starred Orson Welles. Welles & Spier had known each other since The March of Time. Welles just returned from Brazil where he'd been promoting greater Pan-Americanism on behalf of RKO. It was his first appearance on Suspense. When the thirteen-week summer run ended, CBS was set to cancel the series. The last episode was called, “One Hundred In the Dark.” It aired on September 30th, 1942. In the end Suspense was saved by the amount of fan mail & phone calls to CBS. Spier pushed to link the show with a prestigious mystery author. He approached the agent of John Dickson Carr, who'd written “The Burning Court,” & a deal was soon in place for him to write exclusively for the program. CBS picked up Suspense for the fall season and put it on the air Tuesdays at 9:30PM beginning 10/27. John Dietz returned as director and a foreboding narrator, “The Man In Black,” was played by Ted Osborne.

An orchid collector plants a strange and exotic specimen in his hothouse…with unfortunate consequences. This original recording is an audio presentation by Jasper L'Estrange for EnCrypted Horror. “Green Thoughts” by John Collier (1931). You can hear me discuss this story by becoming a channel member and listening to a future episode of The EnCrypted Postmortem (https://www.youtube.com/playlist?list=PL7JYpOrSDoCfvPbjBn6DZGIXDlK-eOzpR).

The OTRNow Radio Program 2024-004The Shadow Of Fu Manchu. May 08, 1939. Program #1. Radio Attractions syndication. Sponsored by: Music fill for local commercial insert. The evil Dr. Fu swears to get Sir Nayland Smith, and starts with the murder of Sir Crighton Davey. Dr. James Petrie lives on Baker Street (with a notable neighbor, no doubt).  Hanley Stafford (as Sir Nayland Smith), Gale Gordon (as Dr. James Petrie), Ted Osborne (as Dr. Fu Manchu), Paula Winslowe (as Karamaneh), Edmond O'Brien (as Inspector Rymer). The Shadow Of Fu Manchu. May 10, 1939. Program #2. Radio Attractions syndication. Sponsored by: Music fill for local commercial insert. The Zayat Kiss and a warning to Dr. Petrie from a beautiful woman. Hanley Stafford, Gale Gordon. The Alan Young Show. December 12, 1944. Blue Network. Sponsored by: Ipana, Sal Hepatica, Trushay. Alan's going to write his own opera. Motion Picture Daily awards Alan the prize of, "Most Promising Star Of Tomorrow." The program has also been dated December 14, 1944. Alan Young, Kenny Delmar (announcer, performer), Lulu McConnell, Peter Van Steeden and His Orchestra, Dickie Monahan, Diane Courtney, Eddie Pola (director).    The Big Story. July 21, 1948. Program #69. NBC net. Sponsored by: Pall Mall. The "big story" of Keeler McCartney of the Atlanta Constitution, who attempts to clean up a lottery racket and nearly gets killed for his efforts. The story is untitled, the program has also been dated May 21, 1947. Ernest Chappell (announcer), Bernard J. Prockter (producer), Cy Harrice (announcer), Gail Ingram (writer), George Petrie, Robert Sloane (narrator), Wladimir Selinsky (music), James Van Dyk (doubles), Ted de Corsia, James Monks, George Petrie, Mercedes McCambridge (doubles), John Sylvester, Harry Ingram (director).   Behind The Mike. October 27, 1940. Blue Network. Sustaining. A visit from a "female stooge," Minerva Pious. She tells about the many character voices she uses on, "The Fred Allen Show" (including her "Bubbles Rappaport" voice, interviewed by a Fred Allen imitator). Minerva Pious, Jim Harkins, Adrian Savitch (?), Earle Tuckerman, Harvey Hindermeyer, John B. Kennedy, Graham McNamee (host), Mort Lewis (writer), Ernie Watson (composer, conductor), Gilbert Martin (announcer), Ward Wilson (impersonator of Fred Allen and Ted Malone). Night Beat. January 13, 1950. An audition recording. See cat. #61818 for a previous audition recording of the same script starring Edmond O'Brien. The adventures of "Lucky" Stone, reporter for the Chicago Star begin. A friend of Ted Carter, an ex-hoodlum, is found murdered. Lucky is determined to find the killer, and the trial leads to the powerful George Bailey. The script was broadcast on the series on May 8, 1950 (see cat. #50016). Frank Lovejoy, Larry Marcus (writer), Bill Cairn (producer), Frank Worth (composer, conductor).  Escape. August 25, 1949. CBS net. "Evening Primrose". Sustaining. A fascinating adventure with a strange assortment of characters who live inside New York's department stores! Great radio! The script was used on the program previously on November 5, 1947 (see cat. #65835) and on September 12, 1948 (see cat. #65849). Ben Wright; Bob Lemond (announcer); Vivi Janis; Norman Macdonnell (producer, director); Wilms Herbert (doubles); Ted Rogers (assistant director); Ruth Perrott (possibly quadruples); John Dunkel (adaptor); John Collier (author); Harry Bartell; Georgia Ellis; Lois Corbett; Alexander Courage (music conductor, credited as "Sandy Courage"

Arrancamos la sesión celebrando los 25 años que cumple esta semana 'Californication', disco icónico en la trayectoria de Red Hot Chili Peppers; recordamos 5 de sus mejores momentos, entre otros, el colossal tema de apertura, 'Around the World'. Pero la foto del programa es para Naked Family, septeto madrileño responsable de unos de los mejores discos de pop psicodélico de la temporada, 'La vuelta', una delicioso viaje sónico que disfrutamos hoy con cuatro de sus mejores canciones. Además, escuchamos las últimas novedades de Ferran Palau, Shannon & The Clams y The Limboos.Playlist:RED HOT CHILI PEPPERS - Get on TopRED HOT CHILI PEPPERS - EasilyRED HOT CHILI PEPPERS - OthersideRED HOT CHILI PEPPERS - CalifornicationRED HOT CHILI PEPPERS - Around the WorldBOSKAT - HeresyRAGE AGAINST THE MACHINE - Take the Power BackJACK WHITE - LazarettoJACK WHITE - Temporary GroundJACK WHITE - That Black Bat LicoriceROYAL BLOOD - Loose ChangeROYAL BLOOD - Out of the BlackARDE BOGOTÁ - Los perrosJACCO GARDNER - Find YourselfTEMPLES - The Golden ThroneNAKED FAMILY - Cogiendo naranjasNAKED FAMILY - LedaNAKED FAMILY - Bebé terrestre (Un cuadro de John Collier)NAKED FAMILY - El encuentroTHE LIMBOOS - Dark Is The NightTHE LIMBOOS - In The LoopSHANNON & THE CLAMS - The Moon Is In The Wrong PlaceAARON FRAZER - PaybackFERRAN PALAU - SnifGORKA URBIZU - Toki batBERRI TXARRAK - Katedral batBLOWFUSE - I Give You My WordGREEN DAY - DilemmaTY SEGALL - FeelEscuchar audio

Nicht nur «auf den Hund», sogar «auf die Katze» gekommen. Mit: Reinhard Papula (Erzähler), Wolfgang Schön (Richard Weiss), Margarethe Hamm (Katze) Tontechnik: Andy Mettler Regie: Rainer Zur Linde Produktion: SRF 1985 Dauer: 07:33

On this week's episode, I have Writer/Executive Producer, Jonathan Collier (Bones, The Simpsons, King of the Hill, Monk, and many many more) and we dive into the origins of his career. We also talk about his side hustle and how that came about! Tune in as we have so much more.Show NotesJonathan Collier on X: https://twitter.com/collierjonathan Jonathan Collier IMDB: https://www.imdb.com/name/nm0171927/Jonathan Collier on Wikipedia: https://en.wikipedia.org/wiki/Jonathan_CollierA Paper Orchestra on Website: - https://michaeljamin.com/bookA Paper Orchestra on Audible: - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptJonathan Collier:It was after season eight, and I thought they were trying to get me to go to King of the Hill, and I had whatever, I had the chance to stay at Simpson's. And I thought, well, there's no way it goes past season 10.Michael Jamin:Yeah. Or any show goes past season 10.Jonathan Collier:It just doesn't happen. And so I left. I thought, I kind of felt badly leaving, but I thought, what's much better? Do you want to show with some like in itMichael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase. And to support me in this podcast, please visit michael jamin.com/book and now on with the show.All right, everyone, welcome back to What the Hell is Michael Jamin talking about? My next guest is an old colleague of mine, old friend from my days on King of the Hill before I let him talk his name's John Coly or welcome to the show, but let me tell you what he's done. The Sky's credits are pretty incredible. So you sit back and relax. Lemme tell you what he's done. So he wrote on The Simpsons. Okay, we've heard of that show and I'm only giving some of the highlights, some of the highlights, some Scooby dos, which I did not know. King of the Hill Monk, the Good Family Bones, the Good Cop Law and Order. I mean, this guy has done well. He's done a lot. But thank you so much, man, for doing the show.Jonathan Collier:Oh, it's a pleasure, Michael. Thank you for having me.Michael Jamin:Let me tell you about who you are because I remember very clearly walking to my, on my way to my office on King of the Hill. Yours was, I would always walk past you and I would often stop and say hello. Or sometimes I would just sit and you always had a big smile. You're always so happy to greet me and have me there. And I never felt like I was getting in the way you Yeah, come on in. Come on. You're always very kind.Jonathan Collier:I am endlessly in search of distractions.Michael Jamin:Well, I do remember walking past you on days when you're on script and just looking miserable. IJonathan Collier:Am. Thank you. Nope, that's exactly it. Well observed. I am never more miserable than I am alone in writing.Michael Jamin:But why is that? Do you feel?Jonathan Collier:Oh, it's a horrible thing to do. TV writing is one of the most fun, engaging, productive things you can do if you're with other people. And I love that part of it. And the small portion of the job that relies on you being alone entails, I should say, you being alone and actually writing something without people around is misery for me.Michael Jamin:But is it the comedy part? You also do drama now? Which one is harder?Jonathan Collier:Comedy is harder.Michael Jamin:Okay. But yeah, I would agree with that as well. But is it miserable to write drama as well?Jonathan Collier:I find the process of keeping stuff alive and interesting and propulsive is really, really hard.Michael Jamin:And how do know? You know when it's alive?Jonathan Collier:What, sorry?Michael Jamin:How do you know?Jonathan Collier:How do I know when it's right?Michael Jamin:Yeah. How do you know?Jonathan Collier:Part of what makes it so miserable is you can always second guess yourself. And even more so when there's jokes involved.Michael Jamin:Yeah. Well, for jokes for sure. And what was that transition like for you? I'm amazed that anyone can do it.Jonathan Collier:Oh, I got very lucky. What happened was that King of the Hill was, we got canceled. You remember? It was time. The show got canceled. It was canceled two times.Michael Jamin:We left after the first time.Jonathan Collier:Yeah, left. So it got canceled. And I really realized it was for real when they started moving our furniture out of the officeMichael Jamin:Because you were going to squat there.Jonathan Collier:I had every intention of squatting.Michael Jamin:You thought it was all Big bluff until they moved at the furniture.Jonathan Collier:And so that was happening. And I had done comedy for about 17 years at that point. And I didn't love doing for camera comedy. I liked doing animation and there were no real single camera comics, comedies on the air at the time, and I didn't quite know what to do, but I knew I stopped watching comedies. I kind of could feel the sweat on them and the work on them because I worked in so many comedy rooms. And I got really lucky, which is that Andy Breckman, who was running Monk at the time, who created the show, he used to have three guest writers come in every season. And he did that because he felt like he kept him on track. If you came in as a guest to the room in New York, it made him concentrate and work harder and make sure that in five days you would break a story.Michael Jamin:Why? Because people flew in, you mean?Jonathan Collier:Yeah, because the network would fly, the studio would fly you into New York and put you up and they would only keep you there for five days.Michael Jamin:Okay, that's interesting.Jonathan Collier:I got one of those. So I got one of those guest shots. And the other thing I got way I got lucky wasMichael Jamin:Wait, but how did you get that guest shot?Jonathan Collier:I got that guest shot because this is embarrassing. My agent at the time who I didn't think was doing enough for me, got me a meeting with Andy Breckman, and I thought it was just one meeting with Andy Breckman, who's a great guy, and I love the show, but who knows if it's going to turn into anything. I fired my agent, moved on to another agent, and then Andy called me up and said, oh, we want you to do this episode a month.Michael Jamin:Right.Jonathan Collier:But there was no,Michael Jamin:But I've already fired my agent.Jonathan Collier:That was done. What happened was that, anyway, Andy used to only hire comedy writers to do guest episodes.Michael Jamin:Why?Jonathan Collier:Because his theory was that he could teach a comedy writer how to write a procedural. He could not teach a procedural writer how to be fun. So anyway, they flew into New York, I was in the room, we broke a story and I wrote it and it went well. The whole thing went well, and I got very lucky again because no one had ever really left the show or been added to it. This was the fourth season and one writer was leaving and Andy offered me the job. So I came in and went on staff the next season.Michael Jamin:How many seasons did you do there?Jonathan Collier:I did two more seasons and then the writer's strike of 2007 happened. And when that happened, I didn't know how long that would go on. Mike and the Good Family was starting up and they got what was called a strike waiver, and there were certain production companies and one was MRC, media Rights Capital, and they made a deal with the WGA, with the Writers Guild that they could do shows that were during the strike and it would not be strike breaking to work on those shows if they agreed to abide by the Wgas terms, the writer's terms. The WGA was using that as a tactic to try to force the studios to,Michael Jamin:And it's funny, they didn't really do that this last strike.Jonathan Collier:No, I don't think it really helped.Michael Jamin:You don't think it helped?Jonathan Collier:I don't know if it did or actually, no, I can't say if it did or not. I thought all I can say is I think this last strike was better run than the first one. I think a lot was learned from the first one. Anyway, I left Monk because I got a job right away rather than being strike.Michael Jamin:Right. Let me ask you that. When you're on Monk and you are with procedural writers who are not comedy writers, when they would pitch something that you and I would call a clam, or if you would pitch it in the room at the Simpson, the King of the Hill, someone would say, right? Was there a lot of that going on? Were you the guy who said, yeah, that's not really a joke?Jonathan Collier:Well, no. At Mon though, you had, first of all, it was comedy writers. It was a small staff and it was four people whose background was comedy, including Andy Breckman, and then one High Conrad, who was just a terrific mystery writer. And he had written something like 200 mystery books. Oh,Michael Jamin:Wow.Jonathan Collier:And the way he got on was that Andy met with him and took him out for lunch and said, look, I love your mystery books, and you have two choices. One is you come on staff or two was I'm just going to steal all your plots anyway.Michael Jamin:Oh wow.Jonathan Collier:Hi was on whatever came on staff, and he was on UNK for the whole run. And then he was on The Good Cop with Me Too. It was on, that was another Andy Breckman show.Michael Jamin:Right. It's so interesting. And to what did you think of that world? I mean, compared to comedy?Jonathan Collier:Well, it was a really kind of easy, delicate transition because it was a mystery show once again, written by comedy writers.Michael Jamin:Writers. It was light. It was fun.Jonathan Collier:Yeah. A procedural written by non-com writers would've been a tougher adjustment for me.Michael Jamin:But even the procedural explain to me and everyone else, how do you write a procedural?Jonathan Collier:I think there's many different ways to write a procedural. The way I write a procedural is what really happened comes first.Michael Jamin:What really happens comes first. What does that mean?Jonathan Collier:Okay. What you have to think of is what was our crime? What's the procedure about? What are we investigating?Michael Jamin:Okay, so give me an example.Jonathan Collier:It's not a medical procedural. This is a criminal procedural. I'm talkingMichael Jamin:About, okay, so someone's dead,Jonathan Collier:Someone is dead. And then you have all sorts of questions you can ask that can form the basis for an episode. You can say, oh, is it an accident? Is it a suicide? Is it a murder? If it is a murder, or who did it? Why did they do it? Who could have done it? There any number of, is it an open book where the audience knows what happened? Is it a closed book where the audience doesn't know and learns along with our investigators?Michael Jamin:Did you basically do both?Jonathan Collier:Monk did both opened and closed book. And Monk also did a combination of who done, its who was the killer, why done, its, we know who the killer is, but why on earth would they kill someone? And that's how we can prove they did it. And how done its, it's an incredibly, it's a locked room mystery, for instance, where someone was killed inside the locked room, how did the killer get in there and doMichael Jamin:It? Interesting. HadJonathan Collier:To figure out how the crime was done.Michael Jamin:And so these words are so funny. So as you were breaking the story, you'd break 'em in the room with all the writers, I assume, right? And then throw out ideas, and then someone would say, okay, but let's do this, make it a wide, let's make it a wide done at this week. Is that what it is?Jonathan Collier:Well, I think we'd look at the killing and say, what's a really, really ingenious killing? We could do?Michael Jamin:Okay.Jonathan Collier:Say, okay, let's look at the motive. And then we'd say, last, you'd spend probably say you were breaking a story over the course. If it was just us, we probably spent seven to eight days breaking a story. We weren't having a guest writer in. And the first three or four days probably spent just figuring out how the crime was done and why really gettingMichael Jamin:It seems very hard to me. This seems very hard to me.Jonathan Collier:For me, it was somewhat natural way to do it because it was really fun. And for some, I feel like I was using my comedy muscles, even my plotting muscles to figure out why you did it. And then you work backwards once, and this is just us. Other shows do it different ways. There's probably a million different ways to do it.Michael Jamin:Okay. But you start work backwards. So first you decide if it's going to be a who, what or why is that what it's,Jonathan Collier:First of all, first of all, you can't figure out who kills who and why, who killed who, who kills who. How do they do it, why do they do it, where do they do it? All those things. Then you figure out how do we solve it? And for a show like Monk, he'd also say, well, I have someone who has OCD. I have someone who was painfully shy as someone who was any number of traumas in his life. Also a comic character who happens to be the saddest person on television, and he has a tragedy to his life. And what's the world I can put him in to make him the most uncomfortable?Michael Jamin:Right? And that's how you begin. That's where you start. That'sJonathan Collier:Often where, that's often where the fun of it comes from. The comedy is from seeing him in the world where he's uncomfortable, because comedy is all about discomfort. The emotional story would often come from how he will relate to the world and what it would bring up in his own life. And then the procedural story is how you solve the crime.Michael Jamin:YouJonathan Collier:Go ahead. Sorry.Michael Jamin:No, no, go ahead.Jonathan Collier:The way one could look at it is for us on that show, the procedural story was almost with the armature. It's what you would call the plot, I guess. And the real story was the emotional story that was threaded through the plot.Michael Jamin:Right, of course.Jonathan Collier:And the two of them dovetail and one comment on the other, like a musical comedy, for instance, where songs are the twists, they provide the transition points in the story. You could say the emotional twists or the procedural twists would provide a transition point for each other.Michael Jamin:It still sounds very hard to me. Does it get easier?Jonathan Collier:Well, I think it probably sounds hard because I'm probably overcomplicating it.Michael Jamin:Well, not really, because you're solving, because see, and I are thinking of writing a procedural, and so we're watching some, and I'm like, I don't know. I don't think I know how to do this.Jonathan Collier:Oh, I'll help you with it.Michael Jamin:Oh, good. You're hired.Jonathan Collier:It is not that hard because it's actually easier I found than writing an episode of King of a Hill where someone buys a new hat and it changes their life and life. You have to make a whole story out of that.Michael Jamin:Right. But you still have to figure out, it's a mystery. You're solving a crime and you have to make it so it's smart. I mean, I've watched other ones where they throw in a clue just when you need it, oh good, I dug a new clue so I can figure out another scene.Jonathan Collier:And there's shows that do that. And there's shows that I like, if you don't get a show like Merab Town,Michael Jamin:Right? I haven'tJonathan Collier:Seen it. Okay. That's real lies procedural. And what you realize is it is not about solving the crime. I mean, it's all the crime, but it is really about the emotional drama that's happening. And the crime is, once again, is almost the backdropMichael Jamin:For it. But to me, that's what makes it so that's why I want to get rid of the crime. Can we just focus on the relationship between the mother and the daughter that I get?Jonathan Collier:And the one I thought does comment on the other, and they're both of us family, and I felt like that show worked pretty well. It's very much not a show that I would know how to do.Michael Jamin:Well, and that takes me to law and your latest, but Okay, bones, and let's talk about what you're doing now. That's very different. Law and order.Jonathan Collier:Well, I'm not doing Law and Order now. I stopped after last season.Michael Jamin:Oh, you did? Okay. But that must be very procedural. I mean, procedural.Jonathan Collier:Procedural, very procedural, very different beast. I mean, it was a challenge to figure it out, but I think I'm much more comfortable in this space where there's more character involved.Michael Jamin:Yeah, right. I would thinkJonathan Collier:The part I like best is where I've been most comfortable and enjoyed the most is character driven procedurals.Michael Jamin:Right. Which is kind of like what USA does, right?Jonathan Collier:Well, back when they existed,Michael Jamin:Back when they were doing it.Jonathan Collier:So no, in other shows, there's been a lot of character-based procedurals on TV over the years, and that's what Bones was. Keone was a character-based procedural.Michael Jamin:And you were the showrunner that you were the executive producer?Jonathan Collier:I was the showrunner for a while, yes.Michael Jamin:Yeah. And that was the first time. Was that the first time you ran a show or no?Jonathan Collier:No. I've run another show on the CW called As IfMichael Jamin:Before. Oh. But this is the, I still would imagine now that you're the boss of a procedural, I don't know. I need help. So it seems so hard to me. Wellm hung up on that.Jonathan Collier:I took over a show that was already working veryMichael Jamin:Well.Jonathan Collier:Har Hansen, who created, it was a hundred yards away on the Fox lot in his office. I could always go running to him for help if I neededMichael Jamin:It. Right. And you had the same staff,Jonathan Collier:Sorry.Michael Jamin:And you had the staff, the previous same staff.Jonathan Collier:We had much of the same staff. And I had a co-Ho Runner, Michael Peterson, who was terrific. And I had Steven Nathan, who I took over the show from and only left because I was still a very close friend, and I could call him up whenever I needed to.Michael Jamin:Yeah,Jonathan Collier:I think starting from scratch is always much harder, or walking into a situation not immediately comfortable is always much harder too.Michael Jamin:But now that you've, I see this as opening a lot of doors for you. Has it? Because now you have two genres under your belt.Jonathan Collier:Yes and no. It's always hard. I mean, you have to always be out there in whatever writing. And there's a limited number of jobs that a lot of people want to do, and the people who want to do those jobs tend to be, when you think of it, just in terms of being practical, it's a great profession when you're doing it. But it's one of the stupidest professions to try to do because your competition is really smart, really talented, really talented, really inspired, really wants to do it and works really hard. There's a lot of businesses that aren't like thatMichael Jamin:You are listening to. What the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timbral. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity, and Kirks Review says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book. Go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book. And now back to our show.How do you know, were you in a lot of businesses?Jonathan Collier:I have a side business.Michael Jamin:What is your side business? Is it you rent folding shows for parties?Jonathan Collier:Well, no. I actually do multifamily housing.Michael Jamin:Wait. Oh, I knew about this. Right.Jonathan Collier:And believe me, my competition in multifamily housing will be damned if they want to spend 80 bucks to fix the toilet the right way.Michael Jamin:Now, do you build or you refurbish? What does that mean?Jonathan Collier:I do it with a partner who's also a writer, and we refurbish and build and rent.Michael Jamin:And Is it in LA or all over the country?Jonathan Collier:It's in Los Angeles.Michael Jamin:This is amazing. I remember, but I don't know. That's a whole different skillset. Who told you you were qualified to do that?Jonathan Collier:I think we always revert back to who we are,Michael Jamin:Which was, you were always a real estate mogul in the beginning.Jonathan Collier:Oh, I'm not a mogul by any means. We're mom and pop level of multifamily housing, but whatever. My family had small family businesses probably going back to the Middle Ages and they were butchers and bakers and ran a little in, did all those things. And that's where I immediately felt comfortable doing this.Michael Jamin:Really. Was it your idea to get into, how did that idea come up?Jonathan Collier:That came up during the 2007 strike also?Michael Jamin:Yeah, everything comes up during the strike when you're out of work.Jonathan Collier:So you're out of work, you're walking around with a picket sign. Yeah. I was thinking, wait a second. I'm walking around with a picket sign with a lot of angry, middle-aged guys. We're all mad at their fathers and taking it out in the studio.Michael Jamin:Okay,Jonathan Collier:We are at the mercy. We're putting yourself in a position where we're walking around with a sign waiting for a giant multinational corporation to pay us a lot of money to do something that we frankly love to do. And I'm not really in control of my faith here.Michael Jamin:No, we're not.Jonathan Collier:And so that's where my partner and I decided to do it. And then fortunately for us, I know what happened. I talked about it and I started talking about it with one of my daughter's, babysitters.Michael Jamin:How many babysitters does she have?Jonathan Collier:We had a hundred babysitters, a hundred best babysitters in all of LosMichael Jamin:Angeles. She required a lot of babysitters. Okay,Jonathan Collier:Whatever. When we go out, we'd have whatever, five people we call, whatever. And I've all come over at once. This woman was actually getting, I talked to her about it because while she was babysitting for us, she was getting her real estate license.Michael Jamin:Okay. Wow.Jonathan Collier:And so she called me up and said, I have a building for you, and it is a really good deal, and Washington Mutual Bank is trying to unload it really fast. This is now 2008 or so, and the whole real estate market's falling apart.Michael Jamin:And how many units is this building approximately?Jonathan Collier:This building has five units.Michael Jamin:Okay. So it's small. WeJonathan Collier:Did not know what we were doing, but we went and looked at it. We bought it.Michael Jamin:Okay. We had to make a company first. You had to do all the legal stuff.Jonathan Collier:Yeah. We formed what's called an LLC. We talked to a lawyer who was a cousin of someone, and they told us what to do.Michael Jamin:Real estate. As it turned out, a brilliant idea. It was probably the best idea you've ever had in la.Jonathan Collier:It was a very, very lucky time to do it. And so people, I found once again, like I was saying earlier, my competition in real estate was not as talented or hardworking or smart as my competition in television writing, but they were a lot luckier. And just by the strange confluence of events where interest rates went down and the economy started to pick up eventually, we all just by good fortune, by luck, it worked out well. It worked. Yeah.Michael Jamin:This is important because as you mentioned, nothing is guaranteed as a writer, nothing is guaranteed. And so to have something on the side is really helpful. Gives you some breathing. I highlyJonathan Collier:Recommend to people. I always tell whatever, when I talk to actors, I'm always thrilled when I hear that they're writing, even though they tend to be very good writers, and I don't like that. Or when they're doing something, when they're going to law school, when they're doing anything else, it's just nice to have a backup. It helps you sleep better at night.Michael Jamin:It does. Yeah, it really does. What's that?Jonathan Collier:You have your podcast.Michael Jamin:This is my empire, as you see. There youJonathan Collier:Go.Michael Jamin:Yeah. My media empire. Now, you wrote an episode of King of the Hill, because when I talk about King of the Hill, and this is 20 years ago, we were doing it. One episode people often bring up to me is Bobby is the Pygmalion episode, which you wrote.Jonathan Collier:Oh,Michael Jamin:People want to know about that. And we were just joining the show at that time. I'mJonathan Collier:Glad to hear that. I still think about that episode actually, when I said, I hate writing alone. I don't hate all of writing alone. I love the last two or three days of writing alone, punching up. I feel like face with a blank page. And once I've kind of taken a sledgehammer and beaten that script into shape, actually turning it from serviceable to good is actually fun. That part of it. And I remember the last three days or so on that script were really fun.Michael Jamin:But how did it, I mean, that was a departure. I mean, everyone there said, this is the departure. This is the episode, which ended in a really dark place.Jonathan Collier:It was a gothic thriller.Michael Jamin:How did you sell it to Greg? To the staff? I dunno if he was running the show then How did you sell? It was there. It was a departure.Jonathan Collier:Greg was there, so Greg was still there. I don't know if he was officially running the show, but he was there. Greg had to approve everything. He was basically, and Greg, God bless him. Not only did he embrace the gothic nature of it, but he pushed it even more. And some of the really strong gothic elements like killing.Michael Jamin:Yeah. The guy died at the endJonathan Collier:Who loved. I think that may have been Greg's idea.Michael Jamin:Was there a moment though, when you go, wait a minute. Are you sure that this doesn't seem like the tone of the show? I mean, it's mostly Hank watering his lawn.Jonathan Collier:Oh, no. Once we were going to do it, I was off full speed ahead. I wanted to embrace it also. Now, there were other people there at the time. It was a big staff and whatever. Everyone had valid opinions or people who did not embrace it the way that they were entitled to that. But I think we pretty much got the episode we wanted up on the screen forMichael Jamin:Sure, man. I mean, that got some big, I remember watching the Color in the animation. We watched the color in the Room. That's a big, it was like, whoa.Jonathan Collier:Yeah. There were very large twists and turns. Yeah. It is always really fun to push a genre.Michael Jamin:It isJonathan Collier:Carefully, closely observed family comedy and turned it into a large scale gothic drill.Michael Jamin:I had a conversation with Dave Krinsky. He ran the show at one point that, and the funny thing is, because people on social media, they're still watching King of the Hill. I haven't watched it since we were on it, because that's it. You leave it alone, you're onto the next show, and people really remember it. They remember it. They want to talk about it. And I'm like, I'm sorry. I don't really remember this episode. And Krinsky felt the same way, and he ran it. It's like, I don't really remember this. Do you remember everything? Oh, no. No. It's interesting that I think people have this expectation of the writers that we should still be living in it and we can't because we have to move on to whatever else we're writing.Jonathan Collier:Yeah. No, you only have so much room in yourMichael Jamin:Head. Yeah.Jonathan Collier:I mean, part of it is we're too busy hanging on every grudge and slight and moment of shame in our lives to use in our comedy.Michael Jamin:Yeah. Well, okay, so I know you don't have too much time, but what do you writing? What do you want to write next? Do you want to write procedural comedy? What do you want to do? IJonathan Collier:Really like the procedural space. I'm working on a procedural right now with a terrific writer who I was on bones withMichael Jamin:To sell as a pitch.Jonathan Collier:Yeah,Michael Jamin:Yeah. Yeah. Well, that makes sense. I mean, and given your track record, I would assume it'd probably be easier for you to sell a procedural. I don't know. There, no,Jonathan Collier:I have no idea. We are in an odd market, so we'll see.Michael Jamin:What do you know about the market? I hear just from talking to other writers, I don't think anybody really know. What do you know about the market?Jonathan Collier:Oh, nothing. I know what I read in the trades. I know what I read in Deadline Hollywood.Michael Jamin:And by that you mean what's getting picked up?Jonathan Collier:Yeah, I know what everyone else knows. I have no information. I do know anecdotally, my friends at least have had trouble selling things.Michael Jamin:They're having trouble selling right now. That's what I'm telling them, because they don't know how much money they have. Yeah.Jonathan Collier:It is an inflection point in the business, and there's been periodic inflection points, whatever, where it's pointed in one direction or another, but no one really knows what they mean while you're in them.Michael Jamin:Yeah, yeah. It's so, so smart about real estate. I'm still hung up on that, and I know this is not a podcast about that, but in a way it is. It's a podcast about having your fingers in many whatever it is, pots or something. Pies. What is it? I don't know what the expression is.Jonathan Collier:It is generally pies.Michael Jamin:Is it? What about a pot pie, like a chicken pot pie? It's generally pies, you said, man. So, okay. So that's kind of what you're taking out there is you're working on, and how often do you meet and do you work on it?Jonathan Collier:Oh, we meet every day really? More or less every day. I like to work for about three or four hoursMichael Jamin:In person. You meet?Jonathan Collier:No, we work on Zoom. And I don't like Zoom rooms, and I've been in some of those, but I like working with just one writer on Zoom, if you know them Well, it's fun. I mean, I found that in a regular room, and I'm sure people have told you this on your podcast and otherwise that, especially when you're No anything character based, any show, if it is not character based, the fun of it really is. And a lot of the creativity comes from what's not going on in the room. It comes from walking to lunch. It comes from Brow Cup coffee. It comes from killing time doing something else on the lot or your office. And that's when the ideas kind of come out of you. And you don't get that on Zoom.Michael Jamin:No, you don't. I wonder. Yeah. So was never Back. The rooms never got back. The last show I was on, it was still Zoom. Have you gone back in person?Jonathan Collier:No.Michael Jamin:No. Isn't that weird?Jonathan Collier:Really? I mean, I helped out, I did some punch up on a movie, and that was in person and on some punch up on an HBO series. Really? That didn't go, but that was whatever, a mini room. And those were both in person, but they were small and they were limited duration. So like a full functioning show in person. I have not done since theMichael Jamin:Pandemic. I wonder. Yeah, I wonder. They're just trying to save money. I don't think they're about saving lives. I think it's about saving money.Jonathan Collier:I think they're saving money. I think that sometimes one thing they found during Zoom is you get to writers in different cities. And so if you have writers in different cities to even the playing field, whatever, everyone's on Zoom rather than someone being in New York and someone being in Seattle and someone being in Los Angeles. But I certainly enjoy and benefit from the physical presence of other writers. It's hard enough to do it much easier and more fun when you're with other people.Michael Jamin:For me,Jonathan Collier:I have worked with writers who love being alone doing it. They have an entirely different experience and approach to it.Michael Jamin:Well, a lot of it's about the commute to work. You're probably central.Jonathan Collier:I'm fairly central, but I know people who actually, they don't want to be in a room. I've worked with wonderful writers who would much prefer to be alone and knock it out.Michael Jamin:Do you like going, working on set? Do you like being on set?Jonathan Collier:Yeah, I do. I mean, I think it depends. Every set has its own character politics, and it's not particularly fun being on set if you have a difficult lead or whatever, if there's something going on there or if there's tension between the stars or if there's, there's any number of ways you can have tension on the set. By and large, I've been very lucky. They've been good sets, and it's been fun. And also, it's the last step and whatever. One thing you realize on the set is when you spend significant time on the set, you realize how many people are really offering the show that you may have ridden,Michael Jamin:That you may have, I'm sorry, what?Jonathan Collier:Your name is on a script, but everyone on that set, hair and makeup, your whatever, your director, everyone has your camera operators. They're all helping create that show.Michael Jamin:Yeah.Jonathan Collier:Writers in their own way, and they're adding elements to it.Michael Jamin:Yeah. And I know I have to ask this because we have so many fans of The Simpsons, but what was that whole experience like for you? Because you were there in the early days?Jonathan Collier:Fairly early days. It was really, first of all, it was a huge break in my career that was good for me. I didn't have my first child until very late in my stay there. And that changed everything where suddenly, oh wait, sitting here with our comedy writers till 1130 at night might not be as energizing and fun when you have a baby to get homeMichael Jamin:ToJonathan Collier:That you want to see. So the hours were fairly brutal back then, but I still wouldn't trade it for anything.Michael Jamin:I can't imagine, though, that the hours were like that now, right?Jonathan Collier:No, they're fairly from what friends, were still there. And the hours are very sane now. And they're generally home for dinner.Michael Jamin:I mean, that's so interesting is that they've made a career that show's been on 30, what, 35 years or something?Jonathan Collier:Oh, yeah. And they can still turn out some terrific episodes,Michael Jamin:But it's a career. Your career, okay. You might as well be working at Exxon. That's your career. You get a gold watch and then that's you're done.Jonathan Collier:When I left, it was after season eight, and I thought they were trying to get me to go to King of the Hill, and I had whatever, I had the chance to stay at Simpson's. And I thought, well, there's no way it goes past season 10Michael Jamin:Or any show goes past season 10.Jonathan Collier:It just doesn't happen. And so I left. I thought I kind of felt badly leaving, but I thought, what much better do you want to show with some life in it?Michael Jamin:Yeah. But then again, it's also these people that's, they have job security, which is unheard of in Hollywood.Jonathan Collier:It is absolutely unheard of. And no, actually, that's one of the great gigs to have right now.Michael Jamin:Yeah, yeah. For sure. For sure. I know you got to go. We talked about this earlier, but I want to thank you in person as we want to hang up and then briefly thank you, and then I'll let you leave.Jonathan Collier:Oh, thank you for having me. This was really fun.Michael Jamin:This is, honestly, it was so interesting catching up and just hearing your perspective on all this. And yeah, you're going to be our, if the show ever goes, you're our first hire to make a procedural. I don't know how to make, I don't know how to do any of this. Oh, thank you. Yeah.Jonathan Collier:Are we on air now or are we recordingMichael Jamin:Still? Not yet. I'll sign off and I'll stop recording. Okay. Okay, everyone, thank you so much. That was John Collier. Great guy. Okay,Jonathan Collier:Everyone. He promised me a job on air. You heard it.Michael Jamin:I did say that. Yeah, but there's always got to go. That's a bigger, so it's an empty promise. So, all right, everyone, thank you so much. Go. Yeah. A paper orchestra dropped this week, my new collection of True stories@michaeljamin.com. Go check it out. Alright, everyone, thanks so much. Until next week. Keep writing.Wow. I did it again. Another fantastic episode of, what the Hell is Michael Jamin talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support this show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most? Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I loved The Journey, and Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More. Great stuff coming next week.

Welcome to this week's episode of “Friday Night Noir” on Vintage Classic Radio, where we continue our festive journey with a thrilling double bill from the renowned “Suspense” radio series, perfect for the holiday season. Our first feature is the gripping episode "Back for Christmas," starring the incomparable Peter Lorre. Originally broadcast on December 23rd, 1943, this suspenseful tale is a masterpiece of psychological tension. The story revolves around a professor, expertly portrayed by Lorre, who meticulously plans the murder of his domineering wife before leaving for a job in America. His careful plans begin to unravel when he receives a series of unexpected correspondences, leading to a chilling and ironic twist. The episode's screenplay was penned by the talented John Collier, known for his ability to blend wit with macabre themes. Joining Lorre in the cast are Alice Frost as the unsuspecting wife, and William Spier, the noted producer and director of many “Suspense” episodes, who also makes a brief voice appearance. Our second offering, enhanced by the addition of Larry Haines, is the heartwarming "Yuletide Miracle," originally aired on December 17th, 1961. This episode, contrasting our first story, offers an uplifting narrative befitting the season. Written by Michael Frost, it tells the story of a small-town community coming together to perform a Christmas miracle for a struggling family. Larry Haines shines in his role, contributing significantly to the episode's emotional depth. He is joined by Robert Cummings as the compassionate town doctor, Virginia Gregg as the resilient mother, Joseph Kearns, and Lurene Tuttle. Their combined performances weave a tapestry of community spirit and holiday warmth. Both episodes showcase the exceptional talent and range of “Suspense,” a series celebrated for its ability to delve into the darker aspects of the human psyche while also capturing the spirit of hope and kindness. “Back for Christmas” and “Yuletide Miracle” together create a perfect balance of thrill and heart, embodying the complex emotions that often accompany the holiday season. Join us as we travel back in time to experience these captivating stories, brought to life by some of the most talented actors and writers of the golden age of radio. This unique blend of suspense and sentiment is sure to provide a memorable addition to your Christmas celebrations.

December 2023 Book Club:  The 60th Anniversary celebrations continue and Happy Holidays!  This month, we review the first two specials “The Star Beast” and “Wild Blue Yonder,” then we hop back in time to 1982 as we read “The Diary of a Dr Who Addict,” by Paul Magrs.  Originally published in 2009, the book is long out of print but the audiobook version (read by the author) is still available on Audible and other services.  Happy reading!     You can check out Chris's list of top ten Doctor Who podcasts at the British Fantasy Society website here.  Please take a look at the wonderful Memory TARDIS tribute video that Matt mentioned.  In case you missed it, here's the link to the free Blackpool Remembered book, by John Collier.   Please help other Doctor Who fans find our show - by leaving us a rating on Apple Podcasts or your podcatcher of choice. Submit your comments via email… “who knows,” we may end up reading your feedback on the podcast!     Facebook: http://facebook.com/allnewdoctorwhobookclub  Twitter: @ANDWBCPodcast BlueSky: https://bsky.app/profile/andwbcpodcast.bsky.social  YouTube: https://youtube.com/@DoctorWhoBookClub  Email: ANDWBCPodcast@gmail.com 

Type 40 • A Doctor Who Podcast Episode 131: Longing for Longleat The pair of eBooks looking at the original Blackpool Doctor Who Exhibition proved immensely popular with fans young and not so young! Now the team behind them return to Type 40 with the inside story of a third title, due to massive demand… Designer and artist Alex Collier and historian John Collier have compiled Longing for Longleat, and regular hosts Simon Horton & Dan Hadley are all ears, as ever! This time the goal is transporting readers back in time to that 20th anniversary event held in the grounds of the Wiltshire stately home tourist attraction, all those years ago. John, Alex and an army of contributors have once again delivered an exhaustive account of not just a special place to Doctor Who fans, but a time too. Find out more and enjoy the catch-up with two of our favourite guests. To stream and download HERE… Find Type 40 • A Doctor Who Podcast feed here at: • type40.podbean.com Listen to Type 40 on: Apple Podcasts, Spotify, Stitcher, Google Play, iHeart Radio, Tune In and the Podbean App. • Or as part of FPNet Master Feed @Fpnet.podbean.com • Follow Blackpool Remembered on Twitter @Blackpool7485 • Alex Storer on Twitter @thelightdreams * Download the ebook Longing for Longleat here: https://blackpoolremembered7485.wordpress.com/longing-for-longleat/ • Dan on Twitter and Instagram @The_spacebook Subscribe to The Spacebook YouTube channel for extended and extra Type 40: https://www.youtube.com/channel/UCh8T...   If you would like to contact us directly you can: • Email: type40drwho@gmail.com • Twitter: @type40drwho • Instagram: @type40doctorwho • Facebook: Type 40 • A Doctor Who Fan Page • Join the Facebook group Type 40 • A Doctor Who Fan Group: http://bit.ly/type40_fbgroup • Subscribe to The Spacebook YouTube channel for extended and extra Type 40: https://www.youtube.com/channel/UCh8T5-mFYWblZo6lnakCSCw TeePublic Store: Help support the Fandom Podcast Network and wear some of their fantastic original designs and logos on t-shirts, mugs, hats and more from Tee Public Go to: https://www.teepublic.com/user/fandompodcastnetwork or just search Fandom Podcast Network to find our storefront. Please listen to our other formidable podcasts on the Fandom Podcast Network: Master Feed: https://fpnet.podbean.com/

On Sunday January 1st, 1956 NBC's Monitor broadcast New World Today. 1956 was a Presidential election year. At the time of this broadcast, Dwight Eisenhower, who'd had a heart attack in September, was still debating whether he would run for a second term. He'd decide in February, eventually winning re-election. After the censuring of Senator Joseph McCarthy in 1954, the Red Scare had subsided, overtaken by fear of communism in other parts of the world and general war with Russia. Meanwhile, In January of 1956 Orson Welles appeared with The New York City Center Theater Company playing King Lear. He was finally home again. In February he traveled to Las Vegas where he performed a variety act at the Riviera Hotel. Welles was then contracted by Lucille Ball and Desi Arnaz to create a TV pilot for Desilu Productions. The short film was written and directed by Orson Welles, based on the short story "Youth from Vienna" by John Collier. Joi Lansing and Rick Jason star as a narcissistic couple faced with an irresistible temptation concocted by a scientist. Welles was the on-screen narrator. It was called The Fountain of Youth and considered a dark comedy. Desi Arnaz conceived the series, proposing to Welles that he host and narrate. Arnaz later wrote that before signing the deal he clarified the finances with Welles: "I am not RKO. This is my 'Babalu' money." Filming took five days in early May. The total cost was nearly fifty-five thousand dollars. Arnaz reported that CBS gave the series a slot, with General Foods as a sponsor, but the challenges in getting Welles to commit to a series lasting more than thirty weeks were daunting. The series did not go to air. The pilot was later broadcast on September 16th, 1958, during NBC's Colgate Theatre. That Spring, the Rock n' Roll era officially arrived. On April 6th, 1956, Elvis Presely signed a three-film deal with Paramount Pictures. By the end of the month, his single, “Heartbreak Hotel” rose to the top of the charts. It would remain there into June. Meanwhile, Orson Welles appeared as himself on October 15th, 1956 in a very famous episode of I Love Lucy. Two days later, he was on the radio for a special one-off program adapting Philip Wylie's 1954 novel about post-nuclear civilization. It was called Tomorrow and syndicated by ABC and the Federal Civil Defense Administration. The next month, on November 13th, 1956, his daughter's first birthday, Welles appeared on NBC Radio's Biography In Sound for his old mentor Alexander Woollcott, who had passed away in 1943.

Want to learn the secrets to business success from company owners who are not only surviving but thriving in this difficult economy? Then join award-winning entrepreneur Mike Bosma and his guests as they provide you with the insight and expertise you need to start a new business or to take your company to a whole new level. In between jobs? Why work for the boss when you can be the boss? With Bosma On Business you can be in conversation with the area's top corporate executives, community leaders and movers and shakers. The show is the ultimate business networking event and entrepreneurial incubator wrapped up in one and it's brought to you live weekly over the airwaves and through the Internet. You'll tap into a wealth of wisdom from top experts in the fields of accounting, marketing, sales, information technology, business law, human resources, corporate real estate, banking and so much more. If you're doing business in Northern Nevada or have the entrepreneurial itch, then plan on joining us on News Talk 780 KOH every Saturday morning at 10 a.m. With Mike Bosma, the Pied Piper of entrepreneurial excellence leading the way, we're Getting Northern Nevada…Back to Business.See omnystudio.com/listener for privacy information.

Darker Musings is an anthology series of fantastical mystery and terror. Inspired by Rod Serling's Twilight Zone, Darker Musings always includes an air of another world that may be an alternate universe, or a terrifying nightmare, one in which the characters can not wake up. Darker Musings may not always be horror, but it should always leave you thinking! The Chaser is an adaptation of the classic short story by John Collier about love and choices.  Adapted from the original short story by John Collier, this creepy short Darker Musings tale is produced by Scott Mosher and stars Jeff Adams, Joe Stofko, and introduces Carlos Mendoza.

Escape is an American radio drama. It was radio's leading anthology series of high-adventure radio dramas, airing on CBS from July 7, 1947 to September 25, 1954. Since the program did not have a regular sponsor like Suspense, it was subjected to frequent schedule shifts and lower production budgets, although Richfield Oil signed on as a sponsor for five months in 1950. Despite these problems, Escape enthralled many listeners during its seven-year run. The series' well-remembered opening combined Mussorgsky's Night on Bald Mountain with this introduction, as intoned by William Conrad and later Paul Frees: "Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you... Escape!" Following the opening theme, a second announcer (usually Roy Rowan) would add: "Escape! Designed to free you from the four walls of today for a half-hour of high adventure!" Adaptations: Of the more than 230 Escape episodes, most have survived in good condition. Many story premises, both originals and adaptations, involved a protagonist in dire life-or-death straits, and the series featured more science fiction and supernatural tales than Suspense. Some of the memorable adaptations include Daphne du Maurier's "The Birds", Carl Stephenson's "Leiningen Versus the Ants", Algernon Blackwood's "Confession", Ray Bradbury's oft-reprinted "Mars Is Heaven", George R. Stewart's Earth Abides (the program's only two-parter), Richard Connell's "The Most Dangerous Game" and F. Scott Fitzgerald's "The Diamond as Big as the Ritz". John Collier's "Evening Primrose", about people who live inside a department store, was later adapted to TV as a Stephen Sondheim musical starring Anthony Perkins. William Conrad, Harry Bartell and Elliott Reid were heard in the chilling "Three Skeleton Key" (broadcast on 15 November 1949), the tale of three men trapped in an isolated lighthouse by thousands of rats; the half-hour was adapted from an Esquire short story by the French writer George Toudouze and later remade for the March 17, 1950 broadcast starring Vincent Price, Harry Bartell and Jeff Corey and again for the August 9, 1953 broadcast starring Paul Frees, Ben Wright and Jay Novello. Actors on the series included Elvia Allman, Eleanor Audley, Parley Baer, Michael Ann Barrett, Tony Barrett, Harry Bartell, Ted Bliss, Lillian Buyeff, Ken Christy, William Conrad, Ted deCorsia, John Dehner, Don Diamond, Paul Dubov, Sam Edwards, Virginia Gregg, Lou Merrill, Howard McNear, Jess Kirkpatrick, B.J. Thompson, Shep Menken, Frank Gerstle, George Neece, Jeanette Nolan, Dan O'Herlihy, Barney Phillips, Forrest Lewis, Robert Griffin, Alan Reed, Bill Johnstone, Sandra Gould, Junius Matthews, Carleton G. Young, Marvin Miller, Frank Lovejoy, Berry Kroeger, Vic Perrin, Elliott Lewis, Eleanore Tanin, Herb Vigran, Jack Webb, Peggy Webber and Will Wright. Music was supplied by Del Castillo, organist Ivan Ditmars, Cy Feuer, Wilbur Hatch and Leith Stevens. The announcers were Paul Frees and Roy Rowan. A television counterpart aired on CBS TV for a few months during 1950. The program's opening announcement—"Tired of the everyday grind?"—was employed as a slogan for the counterculture magazine, New Escapologist.

Escape is an American radio drama. It was radio's leading anthology series of high-adventure radio dramas, airing on CBS from July 7, 1947 to September 25, 1954. Since the program did not have a regular sponsor like Suspense, it was subjected to frequent schedule shifts and lower production budgets, although Richfield Oil signed on as a sponsor for five months in 1950. Despite these problems, Escape enthralled many listeners during its seven-year run. The series' well-remembered opening combined Mussorgsky's Night on Bald Mountain with this introduction, as intoned by William Conrad and later Paul Frees: "Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you... Escape!" Following the opening theme, a second announcer (usually Roy Rowan) would add: "Escape! Designed to free you from the four walls of today for a half-hour of high adventure!" Adaptations: Of the more than 230 Escape episodes, most have survived in good condition. Many story premises, both originals and adaptations, involved a protagonist in dire life-or-death straits, and the series featured more science fiction and supernatural tales than Suspense. Some of the memorable adaptations include Daphne du Maurier's "The Birds", Carl Stephenson's "Leiningen Versus the Ants", Algernon Blackwood's "Confession", Ray Bradbury's oft-reprinted "Mars Is Heaven", George R. Stewart's Earth Abides (the program's only two-parter), Richard Connell's "The Most Dangerous Game" and F. Scott Fitzgerald's "The Diamond as Big as the Ritz". John Collier's "Evening Primrose", about people who live inside a department store, was later adapted to TV as a Stephen Sondheim musical starring Anthony Perkins. William Conrad, Harry Bartell and Elliott Reid were heard in the chilling "Three Skeleton Key" (broadcast on 15 November 1949), the tale of three men trapped in an isolated lighthouse by thousands of rats; the half-hour was adapted from an Esquire short story by the French writer George Toudouze and later remade for the March 17, 1950 broadcast starring Vincent Price, Harry Bartell and Jeff Corey and again for the August 9, 1953 broadcast starring Paul Frees, Ben Wright and Jay Novello. Actors on the series included Elvia Allman, Eleanor Audley, Parley Baer, Michael Ann Barrett, Tony Barrett, Harry Bartell, Ted Bliss, Lillian Buyeff, Ken Christy, William Conrad, Ted deCorsia, John Dehner, Don Diamond, Paul Dubov, Sam Edwards, Virginia Gregg, Lou Merrill, Howard McNear, Jess Kirkpatrick, B.J. Thompson, Shep Menken, Frank Gerstle, George Neece, Jeanette Nolan, Dan O'Herlihy, Barney Phillips, Forrest Lewis, Robert Griffin, Alan Reed, Bill Johnstone, Sandra Gould, Junius Matthews, Carleton G. Young, Marvin Miller, Frank Lovejoy, Berry Kroeger, Vic Perrin, Elliott Lewis, Eleanore Tanin, Herb Vigran, Jack Webb, Peggy Webber and Will Wright. Music was supplied by Del Castillo, organist Ivan Ditmars, Cy Feuer, Wilbur Hatch and Leith Stevens. The announcers were Paul Frees and Roy Rowan. A television counterpart aired on CBS TV for a few months during 1950. The program's opening announcement—"Tired of the everyday grind?"—was employed as a slogan for the counterculture magazine, New Escapologist.

Escape is an American radio drama. It was radio's leading anthology series of high-adventure radio dramas, airing on CBS from July 7, 1947 to September 25, 1954. Since the program did not have a regular sponsor like Suspense, it was subjected to frequent schedule shifts and lower production budgets, although Richfield Oil signed on as a sponsor for five months in 1950. Despite these problems, Escape enthralled many listeners during its seven-year run. The series' well-remembered opening combined Mussorgsky's Night on Bald Mountain with this introduction, as intoned by William Conrad and later Paul Frees: "Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you... Escape!" Following the opening theme, a second announcer (usually Roy Rowan) would add: "Escape! Designed to free you from the four walls of today for a half-hour of high adventure!" Adaptations: Of the more than 230 Escape episodes, most have survived in good condition. Many story premises, both originals and adaptations, involved a protagonist in dire life-or-death straits, and the series featured more science fiction and supernatural tales than Suspense. Some of the memorable adaptations include Daphne du Maurier's "The Birds", Carl Stephenson's "Leiningen Versus the Ants", Algernon Blackwood's "Confession", Ray Bradbury's oft-reprinted "Mars Is Heaven", George R. Stewart's Earth Abides (the program's only two-parter), Richard Connell's "The Most Dangerous Game" and F. Scott Fitzgerald's "The Diamond as Big as the Ritz". John Collier's "Evening Primrose", about people who live inside a department store, was later adapted to TV as a Stephen Sondheim musical starring Anthony Perkins. William Conrad, Harry Bartell and Elliott Reid were heard in the chilling "Three Skeleton Key" (broadcast on 15 November 1949), the tale of three men trapped in an isolated lighthouse by thousands of rats; the half-hour was adapted from an Esquire short story by the French writer George Toudouze and later remade for the March 17, 1950 broadcast starring Vincent Price, Harry Bartell and Jeff Corey and again for the August 9, 1953 broadcast starring Paul Frees, Ben Wright and Jay Novello. Actors on the series included Elvia Allman, Eleanor Audley, Parley Baer, Michael Ann Barrett, Tony Barrett, Harry Bartell, Ted Bliss, Lillian Buyeff, Ken Christy, William Conrad, Ted deCorsia, John Dehner, Don Diamond, Paul Dubov, Sam Edwards, Virginia Gregg, Lou Merrill, Howard McNear, Jess Kirkpatrick, B.J. Thompson, Shep Menken, Frank Gerstle, George Neece, Jeanette Nolan, Dan O'Herlihy, Barney Phillips, Forrest Lewis, Robert Griffin, Alan Reed, Bill Johnstone, Sandra Gould, Junius Matthews, Carleton G. Young, Marvin Miller, Frank Lovejoy, Berry Kroeger, Vic Perrin, Elliott Lewis, Eleanore Tanin, Herb Vigran, Jack Webb, Peggy Webber and Will Wright. Music was supplied by Del Castillo, organist Ivan Ditmars, Cy Feuer, Wilbur Hatch and Leith Stevens. The announcers were Paul Frees and Roy Rowan. A television counterpart aired on CBS TV for a few months during 1950. The program's opening announcement—"Tired of the everyday grind?"—was employed as a slogan for the counterculture magazine, New Escapologist.

Rejection is a part of life. Many of us spend every waking moment finding a way to avoid rejection, failure, or negative feelings. As a writer, one of the best assets you can develop is the ability to recognize this process is coming up short and starting again until you finally get there. This week, we take a deep dive into the subject of rejection for writers.Show NotesMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptsMichael Jamin:I hear people all the time, like say, oh, it's too hard to break in, as I always say, break in as a pa because if to get the job you want, you wanna get as physically close to the job, to the person who has the job that you want. Whatever that is. Writer, director, producer, whatever. Physically close you're listening to Screenwriters. Need to Hear this with Michael Jamin. Hey everyone, this is MichaelJamin. Welcome back to Screenwriters Need to Hear This, the podcast where we have screenwriters talking about things we need to hear. And I'm back with Philadelphia, Phil Hudson. Phil, welcome back.Phil Hudson:Thank you. It's good to be back. It'sMichael Jamin:Been good to be back.Phil Hudson:Many weeks of not being here.Michael Jamin:Um, yeah, there's been a lot going on. Lot going on.Phil Hudson:I had a baby.Michael Jamin:Brand new baby too.Phil Hudson:I personally, my wife did nothing. I did it all. Now my wonderful wife, um, we brought a baby boy into the world and we're super happy. And so we've been, he sleeps, which is great. And, um, yeah, dealing with a toddler now. The two year old is now immediately a toddler. Mm-hmm.Michael Jamin:. Wow. How and how, how's she taken him to this new kid?Phil Hudson:Um, it was interesting. She was really hesitant it first that we tried to do cute photos of her holding the baby brother and she just shoved him off immediately. Yeah. She, and wanted nothing. And now she like, will go over and give him kisses and try to give him little nozzles and she, she's, she's, uh, accustomed and loves it. So.Michael Jamin:See, that's nice. Yeah. Well, this brings us right to our topic we're gonna talk about today. It's dealing with rejection, which is what your baby son is now dealing with, with his sister rejection. Yep. And this is something all screenwriters have to deal with, not just aspiring writers, Phil, even people, my level and above. If there is above, is there an above? Yes. Which point?Phil Hudson:I think, I think it's, it's something everyone is dealing with, like rejection is that like dealing with rejection is a skillset everyone needs to develop. I think for riders, we're just putting ourselves out there so much. We're bearing our souls and what we do. Mm-hmm. that it feels more raw and vulnerable. And I think vulnerable, very important. We've talked aboutMichael Jamin:That before. Yep. And that's the first point is actually the fact that you are getting rejected means you are putting yourself out there. And so good for you, for good. For anybody who's getting rejected, it means they're trying. And then, which is already light years above people who are not, you know, who are not putting themselves out there. So I'm just gonna share, you know, my experiences of rejection and how I deal with it. And um, and maybe that'll help cuz I, I just want you to know everyone listening, like, I deal with a lot of rejection. This is the business , I don't think of personally anymore. So just on a, on a, on a, on a macro scale, you know, when my partners shop a pilot, maybe one at a four they buy, which means, you know, three quarters or just failures. That's just how it goes.So, you know, I don't, I don't even take a pot. I I I don't take it personally. I was like, oh, okay. They didn't buy it. Well hopefully they'll buy the next one. Um, and, and even backing it up a little bit, you know, I hear people all the time, like say, oh, it's too hard to break in, as I always say, break in as a pa because if, to get the job you want, you wanna get as physically close to the job, to the person who has the job that you want, whatever that is. Writer, director, producer, whatever, physically close. This is just what you're doing, Phil. You are literally physically close to these people and a lot of people in that industry. And, um, but people say, well, it's hard just to become a PA and they start Yeah. You have to know someone.It's so hard. It's like, hold on. If you're complaining about how hard it is to be a production assistant, that's what PA stands for for, you can forget about being a writer. Cuz writer is way more hard, way harder than being a pa. I mean, so get that outta your head. Don't complain about how hard it's about being a pa. You know, that's, it's a hurdle you can achieve. It's just hard. So, um, and also another thing people don't even realize, and things have changed a little bit in the past, I don't know, probably 15 or years or so, but up until then, you could make a a, a professional screenwriter could make a really good living writing and getting paid to write screenplays that never ever get on screen. They never get made. And maybe things are a little different now, but it's also, it's not unusual to write something and not have it made. I mean Right. We sold two movies. It's a 20th century Fox. Neither got made. And when they weren't, they didn't get made. I wasn't like, you know, I was like, yeah, I didn't expect it to get made. That's how, this is how the industry works. As long as I get that, that check, you know? Um, yeah.Phil Hudson:I, I was gonna say that reminds me of like my uncle, um, he's just a small town guy, just super, he's not, he's not simple, but he just, he loves his simple life, if you will. And he was telling me that one time he bought this old truck from a neighbor mm-hmm. and went and bought it. He signed the bill of sale, he got the title, he drove it home and the next day the car wouldn't start. And I was like, oh, did you got sold a lemon where you're just so mad? And he is like, no, I bought it. It is now mine. It is no longer that person's responsibility. It's not my responsibility to figure out what's wrong with it. And it's like, oh, it's just a spark book. $6 car works just fine. Right. That person, you know, it's no longer that person's problem cuz they sold it to me. And this is the inverse of that. Once you sold it to them, you're done. And that's okay. I think you helped me wrap my head around through this podcast and the conversations we have is that, hey, I have exchanged a good or a service. I now have a check. I no longer have any ownership of it. I should worry about what happens to it from there on out, because I got what I got.Michael Jamin:Mm-hmm. some people. Yeah. Some people, they, they have asked me questions, well, if you sell a project and it doesn't get made and they don't get made, most don't get made, uh, can you buy it back? I'm like, why would I buy it back? You know how hard it's to sell that I got that money. I already spent that money. I don't wanna buy, I don't wanna buy it back. I will co I will create something else and work on that. Why would buy it back? That sounds crazy. That sounds,Phil Hudson:I think it's cause people are so tied to their ideas. Yeah. I think it speaks to maybe it's a little bit of scarcity mindset mm-hmm. where you feel like this is the best thing I have and I need, this is my last shot and nothing I do will be better than this or I don't have any, anything else. Um, and, and that's why they're worried about that. It might be one of the best ideas ever. Mm-hmm. But ultimately that's not your decision to make unless you want to be an indie filmmaker and then you should just go make your film.Michael Jamin:Yeah. So that's exactly right. So how then, like, I guess the next question would would be like, how do I define success if, if, if I get so much rejection, what does success look like? And to me, I think anyone listening to it, I think there's a couple. You just change your criteria. To me, success is getting, getting to do what I do on a daily basis for, you know, as long as I get enough money to pay the bills, success is like, okay, so I don't have to go to another job, , I don't have to drive a, a cab or whatever it is. I get to do what I do in the field that I choose. And sure. Wouldn't it be great if I made 5 million? Yes, of course. But, uh, the fact that I don't have to do this other job. Okay. That means I'm successful.Mm-hmm. success could also just be mean. And, and for those people who are even not at that level, what does success mean? Success could mean just writing something that moves people. Like why is that, why, what's wrong with that? Like, okay, so I didn't sell mm-hmm. Did it move someone? Isn't that the goal? Isn't that why you're doing this? Is to write something from your heart that moves people? And if that's not your goal, then what are you doing? Why are you want to be a writer? What is it that you want? Do you want the parking spot that says write or on it? What is, you know, what exactly do you want?Phil Hudson:Yeah. And that's why you want your personal essays and you've, you've talked about that, right? Yeah. Is it's self pure self-expression from you without anyone else having any control over it. Mm-hmm. , it's not, you're not selling it to anybody. You are trying to compile it into your own book. Right. I think we've made that public, but you are ultimately doing it because it's your personal form of self-expression. And it gives you the opportunity to do that to move people, which is what Yeah. The reviews have said that people who've attended your live events, they, they said they, they've been deeply moved byMichael Jamin:It. Yeah. And that's that, honestly, that is an honor. The fact, and like one thing I, so I just did two shows in Boston and I'm trying to convince myself that I broke even, I didn't break even. Right. because I have expenses I had to fly and all that stuff. Um, but, um, but the, the, the gratification that I got, it wasn't even from like, like selling out or counting the tickets or hearing the applause. The, the gratification I got was afterwards, like meeting people in a lobby or outside and then getting the, just like hearing like, oh man, thank you. Like thanking me. They paid me to sit in a theater to listen to me. And yet they're still thanking me because I gave them this experience. Like, that is the gratification part. That's what I take the joy in, you know.Phil Hudson:That's awesome. Kind of backing up a little bit to this, and it's on the, the same subject you said, you need to redefine what success looks like, right? Yeah. Another thing that I think you've done really well, and it might have been a couple weeks ago, you put a post out on social media saying that, you know, if you are a writer and you have written, you are, you know, if you have written you are, or you are writing, you are a writer. Yeah. And that reminded me of this blog post I read back in 2008 or 2009. It might have been on John august.com. Um, but he talked about, someone talked about like, what is the definition of a professional writer? Is it someone who writes every day? Is it someone who gets paid for something they have written? Is it someone who has something done that you can, you can go watch in a theater? Mm-hmm. . Um, and you are saying, and correct me if I'm wrong, if you are writing, you are a writer.Michael Jamin:Yeah. Yeah.Phil Hudson:So that is success in and of itself.Michael Jamin:Yeah. And that is, you know, someone, uh, so I let, there was a post that someone made on social media that I, I saw and, uh, not on my account. And they, they, some guy accused this other guy, uh, you're just a failed actor. You're just a failed artist or whatever. He's failed something. And I was like, man, that's such a dumb thing to say. Like, you're not failed. It's if you're doing, if you're trying, you're, how is that a failure? A failure is not trying, a failure is like just giving up before you even try. Like you're, there's no such shame as a failed artist or an artist. You're, you know, and it's like, and the, and the example that I used is like Van Gogh arguably the greatest artist of all time. You know, he died before, before he was known. He died, you know, in a, I think it was at a Mendel institution.He didn't like, he was known one when he died. So does that mean he's a failed artist? Van Gogh? Is Van Gogh a failed artist because he didn't make any money when he was alive? Like, that's crazy. You know? And so I think if you just have to have realistic, you just have to define not realistic, but you have to, to redefine how you see, uh, success and his success. If this time spent being creative, like, how, to me that's the time best spent. How is that not like what is there better? What? Well, no time spent shopping is, is more valuable. You know, time spent, stand watching tv. No, I think time spent creating, regardless of whether it gets made or shopping, you get paid. That to me is like, if you can afford that, if you have the life that can afford an hour a day or half hour a day just doing that, that's success.Phil Hudson:Yeah. Yeah. And I think, um, again, reframing that principle, this term we talk about in personal zone reframing, which is looking at your perspective through a different lens or mm-hmm. , you know, making a different story in your head about what it means. And I might be jumping the gun in here a little bit, but I, what I think you're getting to is one of the best strategies for dealing with rejection is reframing what success means. Because if I'm successful just for having finished a screenplay or a pilot that I love and I feel is representative of who I am today, not 10 years from now, or not my perfect myself, but who I am today, that's success. Passing it on to other people who ultimately don't like it or don't think it's works that might be rejection from a commercial perspective mm-hmm. , but it's all it is, is a litmus test for where I am today. And it doesn't expect me.Michael Jamin:And it's like what you're saying, like, to complete a screenplay, that's a big deal. That's a lot of work. You know, I I'm assuming you didn't write it in an afternoon. Like it's a lot. It's a big time commitment. A lot of thought went into it. And then when you finally finish it, that's a big deal. Most people only talk about writing a screenplay. Yeah. You know, they talk about it, but did you? And you did it. So that's success, you know?Phil Hudson:Yeah. It's huge.Michael Jamin:Um, what else did I wanna say about this? Uh, oh, there's another, it's funny, I, I had this years ago when I was writing a King of the Hill, uh, uh, another writer on a John Collier who went on to become the showrunner of bones many years later. John's a is a great guy. And I remember complaining about something, uh, and I, and about it was, you know, it was jealousy, professional jealousy about something. And Collier said to me, he goes, you know, uh, there will always be someone younger than you, less talented than you, making more money than you. And I just thought that was perfect. I was like, oh, yeah, that makes sense. You know? So, you know, compare, you know? Yeah. That's just how it is. So you don't, I don't need to compare myself to that person. It's okay. So I'm, it's not, the world isn't always fair. The most talented people don't always win, you know, but that's, that doesn't mean it's not worthless. Doesn't mean you have less worth than somebody, or your work is less, less worth, uh, worthwhile. Um, yeah.Phil Hudson:Yeah. I mean, think about just, uh, what it means to be an Olympian, right? For example, right? Mm-hmm. , the you're the best of the best of the best. And the top point, like 0, 0, 0, 0 1% of them get a gold medal. Yeah. Does that mean being an Olympian and getting a gold, a silver or a bronze makes you a failure?Michael Jamin:Not a, or even, there's so many people, especially like in women's gymnastics who are so good and they don't even make the team because of, you know, there's only so many slots and it's like they could have easily been on the team, you know?Phil Hudson:Yeah. So, and, and there's stories of that happening too, where I think there was a, a skier from from Canada who didn't make the national team there. So he moved to Australia, became a citizen in Australia, and ended up winning the goal that the Winter Olympics for Australia.Michael Jamin:Wow. Right. Yeah. So he was good. Yeah.Phil Hudson:It's, it's a statement of, um, sometimes circumstance and, um, bad luck or bad timing prevent you from being, seeing the success in air quotes that you think you deserve. Uh, but you ultimately have the ability to change that. And I think that's something I appreciate about your message that you put out on social media and on a podcast, is stop giving control to everybody else and just take control of your own.Michael Jamin:Yeah. Yeah. Right. Yeah. Stop asking for permission. And I'm, I am the same way, man. There's things that I want outta my career that I am not getting, and it doesn't, okay. I will figure out how to do it myself. Becau and I practice what I preach. Am I disappointed about? Yeah. But it is what it is. And so move forward and to be honest, so much about success in life is just not stopping. It's not, it's just like, it's just not quitting. It's just keeping, you know, it's, it's, everyone drops out. It's so hard that the fact that people drop out and stop doing it, that's good for you. That, that's cuz as long as you're committed to not stopping, that's good. That means, you know, you're still on the game whenever the people are just dropping out because they drop out because it's frustrating and it's hard. Good more room for me. You know,Phil Hudson:Literally, uh, your, your competition goes away. So I think I've heard people say you'll, anyone can make it in Hollywood if you're willing to, to last long enough. Yeah. Just last, the people around you, and we talked about this too, I think, um, you know, I look at the people that came from film school that I graduated with or I associated there and probably like half a dozen, dozen of those people here in Los Angeles, and two or three of my roommates have moved back to LA or moved back to their hometowns.Michael Jamin:Right.Phil Hudson:Cause they just,Michael Jamin:They they didn't want enough or it is too hard. Yeah. Which is fine. It's a Well,Phil Hudson:They change their priorities. Right.Michael Jamin:Right. And that's fair too. That is totally fair to change your priorities. It doesn't mean you're a loser. It doesn't mean you are a quitter. It just means, okay, now that you've gotten a little older, other things are more important to you. Okay. Yeah. There's nothing wrong with no shame in that. Uh, it, it's just the shame is not, it's really just not trying when you had the chance. Like that's, that's, you know, because I, I say, I've said this and I hope I haven't said this year, I probably have cause I repeat myself. But like, everything comes with a, in my opinion, everything comes with a price. Everything you do in life is either going to, you're going to either pay with sacrifice if, you know, if you want it bad enough, you're gonna sacrifice, you're gonna, or it'll, you'll pay in regret if you don't try it.You know, one or the other, you're gonna pay my opinion regret costs more than sacrifice. But that's, that's a personal decision. So, you know. Yeah. And go, I just say go for it. And there's so many people. But, but you have to really put yourself, you know, you really have to be committed to putting a, a serious effort. Like, you know, take the time and work on your craft if that is, you know, all these things that you can do that other people just don't do, just out of laziness, you know? Mm-hmm. . And so whatever it is, like, even if it's like following my, watching my post, what post, one post that I posted day on Instagram or whatever, that's a three minute commitment. Can you commit to that? And if you can't and the these posts are meant to help you. And if you can't commit to that, what's going on in your life? What's going on with you can't find three minutes, youPhil Hudson:Know, the priority issues there. Right.Michael Jamin:AndPhil Hudson:Yeah. Look, I, I think, I think is there a need to decompress and a need for self-care? Absolutely. Is can you push yourself a lot, lot further than I than you think you can. Yes. Um, each of us have our own pain thresholds and tolerances, but those things can be developed over time. And so that doesn't mean you go to the gym and you blow out and you bust your butt as hard as you can day one and then you can't lift for five days because you're just so sore. You know, it means showing up and doing the minimum effective dose. What's that little bit that you can do today to get ahead Right? And you can transition your life. Yeah. I was, was a really interesting podcast. There's an episode of the Tim Fair Show with a, uh, an investment in Graham Duncan. And he talked about this principle of, of timeline horizons, which is I'm projecting out how far I'm gonna get things done. And often our timeline horizons are days and weeks, not years or decades. Right. And if he pulled up the number, and I'm gonna mess up the, the number here, but you can Google and look it up, but it says, if you look, think about the seconds, right? Like the how seconds work, A million seconds is 11 days. Mm-hmm.Michael Jamin:. Okay.Phil Hudson:A billion seconds is like 31 years end some change.Michael Jamin:Mm-hmm.Phil Hudson:. And so if you think about how rich you are in seconds and how valuable that time is mm-hmm. , the question is where are you spending those seconds? Right? Right. Are you spending those seconds on social media watching random stuff? Where are you engaging with and learning from people like you and other people who are ki trying to teach people and help the next, um, you know, group of screenwriters take, you know, come to Hollywood and succeed.Michael Jamin:Right.Phil Hudson:Are you putting in that time working? Are you developing your story ideas? Are you breaking them? Are you educating yourself through YouTube videos, through um, taking online screenwriting courses? Are you take reading books? Are you, you know, working mm-hmm. and building a network of people. That's all valuable stuff that is part of the job. Screenwriting. Not just sitting down at the computer typing in final draft. You have to do all of those things.Michael Jamin:And I'll, I'll say this as well, like, let's say you don't want to, let's say you decide not to be a screenwriter and do something else. Like, just to be clear, whatever line of work you go into, you will deal with rejection . So it's like, it's not like the Hollywood owns, uh, has the monopoly on rejection. So you might as well get rejected from doing something you want to do . Yeah. You know, that's noPhil Hudson:Point. That was really interesting too. Cause I had an experience recently in Hollywood where, you know, I ran into trouble with somebody who was not necessarily what call a benevolent person they were mm-hmm. just kind of self-interested. And they tried to throw me under the bus for some things and I remember calling you and I was like, man, it made me wanna just give up and walk away. And he's like, that's cuz you've been working for yourself. If you've been working in any other job, you would've dealt with these people. Right. But I've been so employed for so long, I don't have to deal with crappy people. Mm-hmm. being crappy, but they exist everywhere. So yeah, they're everywhere. Okay. Am I gonna deal with in a corporate gig in to, in Toledo or am I gonna just be in Hollywood and do what I want to do anyway and just put up with it here? It's the same, same problem.Michael Jamin:And and this speaks also to actors. Like, you know, you wanna talk about, you think it's hard for me in a writer. I, I mean actors, they deal with rejection every day. But the smart ones, they reframe it. And so like the, I mean, oh, it's brutal to be an actor. And so they, back in the day when we were doing auditions in person, it wasn't uncommon for me to go to my office and then pass literally 10 actors sitting in the hallway outside my office waiting to read for a part. And then you call 'em in and you audition and you know, nine of them are not gonna get it. And one of them, only one will. And all 10 of them worked their butts off the night before preparing. Uh, then the next day they slept across town in traffic running from, you know, leaving their job, whatever it is to try to get this audition. And only one of those 10 actors is gonna get it. And so it's brutal. But the smart ones, they consider that audition as that's what, that's the goal. Uh, I get a chance to perform for three people, that's it. But I'm performing for three people. I'm not getting money, but I'm still performing for three people and just trying to impress them. And okay, so I didn't get this job. Maybe I'll get the next one. You know? Uh, yeah. And, and as long as I impress peoplePhil Hudson:Or Oras your wife Cynthia, who's a very talented actor, you know, she says is making an impact in the room so that the casting director remembers who you are. And that's how she got a lot of her work. I get a lot of auditions and they're from, um, acting or casting directors who know who I am. And they, they call me in for specific parts. Cause I'm a type, I'm, I'm not, you know, the leading man that most people think of. I, I play a type, um, you know, on the subject of reframing, since we both brought it up, I think it might be worth exploring a little bit just for a second and helping people understand what that is. Cause I'm sure some people don't understand that conceptually. So what we're talking about here is, there's several ways of looking at it. And you are gonna come in based off of your experiences, your unique experiences of life, you're gonna come at that with a story.And that story's going to say, man, I busted my butt and I'm sitting in a room with 10 people who literally look just like me. Mm-hmm. , same height, physical build, everything, odds of me making this one in 10. I'm not gonna get this part. And if you let that affect you, you're gonna go in there and perform at a lower level than you could have otherwise. Mm-hmm. . Or you could tell yourself a different story, which is the reframing, which is I get the opportunity to perform for three people. I am an actor. This is incredible. Right. Right. Mm-hmm. or I get to go in and make an impression. You know, I think it's that, I don't know how true, how true it is, but it was that George Cloney story. Go, I go into the room and I think I started seeing success when I started saying I'm the solution to their problem. Mm-hmm. instead of I want them to give me this part.Michael Jamin:Yes, exactly. Exactly. Absolut's a reframe. What, what can you bring to the table? We'll get to that. But I should also say like, some people say like, you know, so I, I've worked with some writers who maybe you make you wonder, how do they, how are they here? Here? Like, they're not that good. How are they in the same room? And you know, but the truth is they're here cuz they didn't give up. Mm-hmm. , you know, good for them. They didn't give up. Uh, so that's why they're there, you know, and, and you know, maybe even if you think you have no talent, well maybe you could be one of those people by not giving up , you know, don't give up. That's all. Just keep at it.Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.So, okay, so one of the things I'm, I'm creatively most just, I'm just really into now is writing and performing, uh, my one man show. I'm just into it. And, and part of me wishes, ah, man, I wish I had started this 30 years ago when I was young and really made a go out of it. Right? Because now I'm kind of old. Uh, but the truth is I couldn't have done it then. I did. I wasn't a good enough writer back then to do it. This what, you know, I just, it took, this is how long it took. It takes a long time to learn how to write. Uh, and so, you know, it is, it is what it is. Mm-hmm. , you know,Phil Hudson:That's a really important note for people is oh yeah, you've had 26, 27 years experience, right? Mm-hmm. in Hollywood mm-hmm. , yeah. Years in Hollywood trying to break in before that college, lots of that time putting in effort knowing this is what you wanted to do and you're literally saying, I can do this job now. I couldn't do this 26 years ago.Michael Jamin:No way.Phil Hudson:10 years agoMichael Jamin:I got rejected from the Creative writing program in college twice. So I wasn't good enough to get into the creative writing program. Then when I moved out here and I took an a, uh, a writing class, uh, my, my teacher thought he was doing me a favor by saying, you know, you're not gonna be a good writer, you know, to do something else that way you'll be happier. And I, I was like, no, I, no one gets it to tell me what I'm gonna be. You know, I'll just have to, I may, I just have to learn more. I just have to study harder and just keep at it. Um, and, and you know, I had a, a moment honest, maybe, uh, maybe half a year ago, um, where I kind of just had this realization. I just finished writing one of my stories, my personal essays, and I had this moment where I kind of realized like, damn, I'm now the writer I always wanted to be when I was in college like that. And it took 26 years to get there, but I'm there now. And it's like, you know, it takes as long as it takes, but I, I went, I moved as fast as I could.Phil Hudson:It takes as long as it takes. Yeah. All. And are you ready? I didn't get outta the storm. Right. Yeah. And if you're not, then go be happy doing something else. And I, and I, I hated that advice. I heard that advice a lot. It's like, if you could be happy doing anything else, go do that.Well, I don't agree with that. Cause I could be happy with a lot of things, but at the same time, I know I would be unhappy 20 years from now sitting at the theater knowing I didn't give him everything I had to do this. Right. That the unhappiness and you talk about rejection or regret earlier. Mm-hmm. Mm-hmm. , this is this, there's something that people do that I think is a really powerful, um, experience, which is going into retirement centers and, um, you know, assisted living members Yeah. And spending time with them and talking to people at that last stage of their life. Mm-hmm. and all of them talk about their regrets. Mm-hmm. , I regret not doing this. Not chasing that dream. Not going after that girl or that guy, not mm-hmm. pursuing that thing, not, not taking that vacation, not spending more time on the family. It's all regret, regret, regret. And so,Michael Jamin:Right. So you, you're not gonna regret trying. You'll say, okay, it didn't work out. I didn't succeed, but you're not gonna regret having tried. Why you wouldn't.Phil Hudson:I just had a really, you know, I had to go in and do, um, ADR for the role I played on Tacoma fd, which was a really cool experience. And afterwards we were talking, it was me and, um, two of the guys who work on our post team. Uh, one of 'em was senior level, one of 'em, you know, uh, uh, coordinator level. And we were talking about Brian, cause the coordinator wanted to be a writer. And he, we were talking about scripts and the other one was like, yeah, I went out, I came out to LA and I gave him what I had for like 10 years. And I was good enough to get meetings. And then I remember I was a reader for, um, a studio and the film phenomenon came around and I read that script and I thought, that is what I want to write. That is so good. And then it clicked, I will never be that good. And that's like, that's what it realized. Okay, I gave it my shot. Now let me have a career in Hollywood that I can still enjoy.Michael Jamin:Okay.Phil Hudson:Okay. And that was for him, his moment. You know, it was like, I try,Michael Jamin:But he could, I, I, I disagree. He might've, he might've, he stuck with it. He might have written,Phil Hudson:There you go. But for him, that was his moment. And he doesn't live with regret about that.Michael Jamin:Right.Phil Hudson:Okay. Which, which, yeah, he could, he continued to push through it probably.Michael Jamin:So I did a post a couple of days ago, or weeks ago, I don't remember. But, um, some people think like, what are the odds of me making it in Hollywood? You know, there's, there's too many people I'll ne I'll never become a screenwriter. I'll never, you know, I'll never make it. But the truth is, the odds aren't as bad as you think they are because yes, everyone and their brother has a script that they're trying to sell and one and dreams of, you know, whatever. I have an idea why one, yes. So many people have that, but the vast majority of those people are not serious about it. They're just not. And so it's like saying, you know, entering the New York City marathon where it's some, I don't know, like 50,000 people enter that race, right? And she would say, oh my God, I gotta beat 50,000 people.If I wanna win the marathon, I gotta beat 50,000 people. No, you don't. Only a couple dozen of them have any chance, have any shot of actually winning the thing. Most of those people are just, they're running for the fun of it. They're running to say, say they did it. They're running to maybe beat their previous time, but only a couple. It doesn't have any shot of winning this thing. And they train every day. They take it seriously. They have habits and they race. And these guys, these men and women want to win the thing. So if you wanna win the marathon, you don't have to be 50,000 people. You have to beat two dozen people. That's it. That's it. And the same thing with being a screenwriter. Most people just don't take it seriously. So you don't have to beat, forget about those people. Are you taking it seriously? Are you studying? Are you working? Are you working every day? Are you right, working under craft? Or you're learning? Are you improving? Are you that person? Because then you might have a shot.Phil Hudson:That's another beautiful reframe right there for anyone who's keeping score, right? Yeah. Oh look, I gotta beat five 50,000 people. No, you need to be beat two dozen.Michael Jamin:Yeah. Or less. You know,Phil Hudson:It's, but it goes back to what you've always said though. You have to treat the job. If you're gonna be a professional screenwriter, you have to be a professional. Yeah. You have to get up, you have to write, you have to do the daily habits that get you there. And if you're not doing that, then again, you don't have three minutes to listen to Michael Jam and give you a tip today about screenwriting. What are you doing with your life? Why are you doing this?Michael Jamin:But also, if you don't enjoy it, if you don't enjoy the sitting down and writing, if you're not getting something out of that. And why do you want to be a writer? And, you know, cuz you're, are you doing it for the money, for the fame? There's other ways to become famous and rich than, than doing that. So, and, and, and by the way, there's a lot of work that I have to do as a professional writer that I have to do for free. So if I'm not enjoying that part, like why am I doing any of this? You know? So like, why, why do you wanna be a screenwriter if you don't enjoy writing? You know?Phil Hudson:Yeah.Michael Jamin:I do a lot of work for freePhil Hudson:Clout fame, prove people wrong. Again, there'sMichael Jamin:No clout. I don't walk into the supermarket and people fuck they, they throw food at me. You know, I, I What's the clout ? No one cares. No one cares. Uh, you know, you gotta do it for yourself.Phil Hudson:Yeah, I know. Uh, reality TV stars who, uh, flip houses on TV and then they can get into clubs because they have recognition. I know a lot of writers who no one knows who they are at all.Michael Jamin:Oh, no one know. I mean, it's so funny that, uh, it's so funny. There's only a handful of famous writers, really. I mean, I guess Quentin Tarantino, who else? I mean, who, I mean, you can name it a handful. Sean Writers Sorkin. Right. He's probably the, he's a great example. Aaron Sorkin. But the rest of us you never heard of.Phil Hudson:Right.Michael Jamin:You know, uh, and but we, we existPhil Hudson:. That's right.Michael Jamin:Um,Phil Hudson:That'sMichael Jamin:Right. SoPhil Hudson:You had some beautiful notes here about, um, rejection, some experiences. Like, there's this Einstein quote that I think is really OhMichael Jamin:Yeah.Phil Hudson:Certain my Einstein, my shameless Einstein behind me. I've had this thing for years. But, um, yeah, I think that that quote's pretty beautiful. And I think that's a, a good point that would help people.Michael Jamin:He said, Einstein has a famous quote. He, he said, and he was smart. We can agree on that. The most important decision you'll ever make is, is the world benevolent? That's it. And this is, I mean, it's almost, it's very spiritual and you're like, Einstein said that. Yeah. And it's because if you think the world is benevolent, if you, if the universe is out to give you and, and help you, then you will see proof of that everywhere you look. If you think the world is malevolent out to get you, then you will see proof of that. You'll see all, everything will back up that, uh, will support. It's funny, I was just watching an episode of, um, uh, Gimel del Toro's, uh, curiosity Curio, whatever it's called. He has a, he has a, uh, a television show about, you know, it's like an anthology series.And in this one episode, there's this one guy, and he's kind of like, he's bidding on a, um, uh, one of those lockers, the storage lockers. I can't remember the actor. He's, he's a good actor. He's great. But the point is, this guy was like on the bottom of society and everything he saw was, I'm getting screwed left and right. Everything. That's how he, that's how he saw the world. Mm-hmm. is just that through that lens. And even when something good happened to him, it was, nah, the world is out to screw me. And, you know, and there are people who think that way. And the other hand, if you make the decision that the world is here to help me, every little thing, even when the, even when things aren't going my way, that's just a sign of the universe giving me this little challenge to help me in a different way. You know? And if that's how you see it, you'll just be a happier person. YouPhil Hudson:Know, again, it's a, it's a frame. You get to choose which frame the lens through which you view the world. Mm-hmm. and I, to back to something you said earlier that reminded me of this anecdote from when I was in sales, you know, I didn't want to be a sales guy. I, I kind of pushed back, but it was, uh, in the middle of the recession and I had to take the job. It paid way more than I was thinking of about other jobs I was doing. And so I was like, okay, we'll do it. And I, I sucked for like six months, honestly, looking back, it's kind of amazing. I wasn't fired, but my boss believed in me. And he gave me this book on sales and I read it, and in it, there's a note, like right at the beginning, he says, A sales champion has to remember that every no gets you closer to a yes.Mm-hmm. . It's just an average. It's a, it's a law of averages. I know that for every 10 people I ask for the sale, one or two of them is gonna say yes. And so instead of being upset or feeling rejected, because everyone shoots you down, you know, eight of 10 are gonna shoot you down, say thank you. Why? Because that person, you just save time, not wasted. It's gonna get you to the person who's gonna give you your Yes. Faster. And so that's what this is. I mean, you're, you're just, thank you so much for that rejection. Now I'm closer.Michael Jamin:But it, it's even deeper than even the see, you write a screenplay and doesn't sell, but the process of writing it gives you some kind of joy or satisfaction or helps you see the world in a different way. Or meditation gives you some kind of, yeah. It brings you some kind of inner peace or whatever. Isn't that like, why isn't that wonderful? You know? Yeah. And so even like, that's a great point. I go back to the show that I, that I'm, that I'm doing. It's like, I wrote this bunch of pieces and people were really moved by that. And like, I was just so, they were grateful to me, but I was grateful to them. I really like the fact, it just brought meaning to me that I was able to bring meaning to them. Like that, that I told them a story that touched them.That, and I say this and every, the, the goal, whenever I'm writing a piece and you can't achieve it on every piece, it's just not possible. But cuz there has to be a different, every, every piece has to be a little different. But like, when I'm writing, I'm always thinking, how can I get the person who read this or who watched this or see my goal is like, they just left the theater, they just saw my show. Can I get them to sit in the car for just a few seconds before they turn the ignition on and just feel like, what the hell did I just see? Or what did I hear? Like, like, can I get them to just stop for a second and feel it? You know, that to me is the victory. It's not, it's really not. It's nothing else. Um, and, and sometimes he, like so many people afterwards said to me, oh, you should, will you trim this into a TV show? Will you sell it as like, I don't, I don't even know. That's not the goal. I swear to God, that's not the goal. Um, if I did sell it as a TV show, I'd make some money. I would have to make some changes and compromises that I don't really, that's not why I'm doing this. I don't wanna compromise anybody. Like after doing this for so many years, I don't wanna compromise it anymore. . I just want to do something that's, uh, you know, authentic to my myself.Phil Hudson:You're, you're taking the advice you give everyone that follows you on social media, hundreds of thousand. I hope so. Follow you, which is put it out there. Just, just put it out there.Michael Jamin:Yeah. Put it out there and see, doPhil Hudson:It yourself.Michael Jamin:Put it out there and see if you can, uh, affect people on an emo you know, on some kind of emotional scale. And don't think about yourself. What's in it for me? No. What's in, what's in for them? What can I give them? How can I give them an experience?Phil Hudson:Serve, it's serving them. Yeah. Um, this, this ties into a principle of neurolinguistic programming, nlp, which is just a, it's a pseudoscience around psychology, but it just kind of looks at how people think about things. And it's, there's one principle that that really stood out to me, which is when I feel love, right? Like mm-hmm. My wife tells me she loves me. What is that actually saying? Or when I tell my wife I love her, it's the inverse. When I tell my wife I love her, what I'm really saying is, I love that I can love myself through you. Right? Mm-hmm., I feel love for myself. When my daughter comes up and says that that, and hugs my leg when I come home, I feel love for myself. I feel I am lovable. Mm-hmm. . And effectively, if you think about it from this emotional passing or transition that we're talking about here, that's what I'm hearing you say is you are transitioning an emotion to these people mm-hmm. , that they are unwilling to or uncapable of filling in that moment themselves. Mm-hmm. . And when they come give you gratitude, it's giving you gratitude for the time, energy, and effort you put into it just as much as they're feeling for whatever it is that you triggered inside of them.Michael Jamin:Yeah. And it's, and it's a gift if you look at it as a gift that you're giving somebody. Cuz not everyone can write or write well or not everyone wants to go there in. They're real. And it's painful to go. Some of the stories I tell, like, I can see why people wanna ignore that kind of stuff. Yeah. Uh, you know, it is painful, but, um, if you can give them that, you're really giving them a gift. And, uh, and that's so gratifying to give someone that experience and move them in such a way, like why does there have to be a dollar sign attached to it? Like, you know what I'm saying? You don't, and for anyone's listening to this, you don't have to, you don't have to sell your script to, uh, in Hollywood for a quarter of a million dollars to be successful.Like, can't you stage something at your community theater and, and get that same emo? I mean honestly, can't you? Why, why and why not? Yeah. You know, why can't you write something small and put it up on this community theater or have them have them stage it for you, whatever. And as long as the writing is good, you can give the same number of people, you know, a small number of people, whatever, 80 people at a time, a wonderful experience. And you don't have to get paid a quarter of a million dollars. You can get paid nothing and still feel on top of the world.Phil Hudson:What's the value of impacting just one person.Michael Jamin:Yeah. Yeah. Right.Phil Hudson:Huge. Tremendous. I mean, think about yourself. How many times have you gone through your life and someone impacted you in a way that changed, changed or transitioned. Mm-hmm. your day or your week or your entire life. Mm-hmm. . And it's probably a small one that that person doesn't even remember that is so valuable to you. Mm-hmm. . And we get the luxury and opportunity to do that as riders. Yeah. And, uh, Michael, I I just want to again, thank you for the perspective that you put out there, because so many people, and I'm a hundred percent guilty of this comment at it from a, from a capitalist money hungry perspective of I want, I want, I want significance from my peers. I want to feel special. I want to feel like I I'm worth something in the small rock in the middle of a space. And all you're saying is you can do that. And you don't have to be, you don't need approval from anybody to doMichael Jamin:That. Yeah. You don't need Exactly. Hollywood. Right? You don't have, Hollywood doesn't have to give you permission. You can do it on your own. You just have to know how to, you just have to know how to do it. You have to write, you have to get good at it. So you, so you can do it that's on you, but you don't need anyone's per, uh, permission to do it evenPhil Hudson:If it 26 years.Michael Jamin:Yeah. There is a story. It's funny, the, one of the stories that I'm telling, uh, next week actually my show, I have another two shows in LA next week. And so one of the stories, it's kind of a funny little thing. So when I was in college, my friend and I went to uh, uh, we were walking through Neiman Marcus and there was a, you know, in the mall and there's a woman spraying cologne. And so, uh, do you want it? So we, we both, I walked through the cloud and, you know, whatever I was wanted 19 or whatever I was. And uh, and I said to her, I don't smell anything. Right. And it was such a dumb thing to say like, , why am I calling her out? Right? And she said to me, oh, that means you're not ready for it. And it was such a condescending thing to say, , and I was fuming and I spent the next 20 years fuming over this.Like, uh, uh, and then, you know, cause it's like, how would you say that? And that became the subject of one of the pieces that I'm performing, uh, next weekend, which is basically I reframed it. I thought, well what if I write a story where this woman who I've voiced, like how dare she, what if she was right? What if I wasn't ready for it? And so that's the subject of the story. And that's just like a little moment. And that a tiny moment from my past that I turned into a 25 minute story, uh, and I get to do that. I get to do that because I'm a writer. ButPhil Hudson:We all have this, what I love about that is like, I connected with that immediately just on the premise. Like I felt that in my, in my soul, and I'm sure other people listening us did too. And it took me to this moment, like when I was a missionary, um, you're out there and you're paying your way and you don't get paid to do it. And so we would be invited into, uh, homes and they would, people would feed us, uh, members of the congregation would feed us. And we went into this pretty wealthy neighborhood and it's like steak and potatoes, which is awesome. I'm on the border of Mexico and in America in Texas. And, uh, we sit down with a woman and she's like, oh, so what do you guys wanna do when you get back? And at the time I was like, oh yeah, I think I'm gonna go get my mba. And she goes, oh, that'll be good for you. You could run a subway . Oh, the indignation I feel is still from that comment. It's just like, who do you think I am? Like , you know, I could run a subwayMichael Jamin:And that's why it's great to write about that.Phil Hudson:What I love about that, immediately I came back from a mission and I got a job as a manager of a sandwich show.Michael Jamin:. There you go.Phil Hudson:I need mba.Michael Jamin:I don't need an, yeah. Uh, there's just so many wonderful things. Like, I don't know, if you're a writer, you get to go back and one of the, honestly, and I know I'm, I guess I'm changing the subject, but, um, one of the things about the show that is so interesting to me that I get to perform to do it. And again, this is not me, Hollywood. This is me performing in a small theater. . Yeah. That could be anywhere. You know? And I, and it is everywhere cause I travel with the show. But, um, one of the things that, uh, that I get to do, I, it, it occurred to me, and someone brought this up during my, one of the questions the q and a after you tried for q and a and uh, is that I get to, it's a time machine. I'm up there on stage and I'm going back through periods of my life and I'm in it and I'm performing it and I'm living it as if it happened to me 20, 30, 40 years ago. And it's so powerful to be in that moment. And that's something only a writer, I guess and a writer performer can do, is I built a fricking time machine.Phil Hudson:Yeah.Michael Jamin:You know, and so that's powerful to be able to do that. And that's, you don't have, you know, Hollywood doesn't have to pay you to do that. You can do that on your own if you know how to write.Phil Hudson:And the flip side of this conversation is if you do that and you do that well that is the kind of thing that draws attention and will probably read to Hollywood paying you to do that.Michael Jamin:It's possible. Yeah. It's po we'll say it's in, it's so interesting. One of the other things is, I, I, what I should mention is like, during this time machine when I'm performing and I'm in it this time, and some of these moments are from childhood, which are painful or funny or whatever. This time I'm reliving it, but I'm not alone. I'm with a room full of people, you know, I'm not alone. And it's, uh, it's a wonderful ex, you could feel it, you could feel, you could hear a needle drop, you could feel Yeah. Uh, people on the edge of their seat, you can get there. And, uh, like, and so what, so what if I didn't make a a ton of money from this? So what isn't that great? You know? Yeah.Phil Hudson:Yeah. It provides value and meaning to your life, you know? Yeah. World where many people struggle with that. I struggle. Yeah. From time to time.Michael Jamin:Uh, yeah. We all do. And I, part of the thing is I get a lot of writers cuz they follow me on, you know, social media. They come to the show and they say, man, you've inspired me. I'm like, good cuz you could do this too. Yeah. You have moments in your life you can do it. What's stopping you, you can do it.Phil Hudson:If there's anything that summarizes my experience with you, Michael, as a mentor and a friend, it's mm-hmm. , you can do this too. I, I think that that is yeah, a very beautiful summary of your perspective and why you put yourself out there is to help people understand you can do this too.Michael Jamin:Yeah. You can do it. It's like I, I, if I can help you just take what's inside of you and express it in a way that's engaging to other people. That's, that's the hard part, right? Yeah. That's what we, that's what we teach. But if you've learned how to do that, then you're giving people a gift.Phil Hudson:Yeah.Michael Jamin:You know? Yeah.Phil Hudson:Beautiful. Michael, any other thoughts on rejection or, orMichael Jamin:That's it. The beauty. That's how we deal with rejection. That's how, uh, that's it. It's how we deal with rejection. Phil, is there anything else we should No,Phil Hudson:No. I, I think, I think again, really, really positive stuff. It's great to be back here having these conversations with you. Yeah. I've truly missed, um, connecting with you this way and, and I, I hope that, I know that you've had some amazing guests on the podcast and I think that that perspective is mm-hmm. so beautiful for writers to hear and learn and see how these people made it happen. So most people are some really big names that we've all looked up to for years as well. Mm-hmm. where their stories have impacted us. And to have that opportunity to interact with him on his human level is, is pretty incredible.Michael Jamin:It's funny cuz when I talk to some many of my guests, I go, you're saying everything that I've just said on my social, and we just laugh cuz it's, we all have very similar experiences about, you know, success, failure, how to make in h what the, what the journey's, like how to increase, increase your odd stuff like that.Phil Hudson:So, but it's beautiful. I mean, that's, it's a, it is, I think it's unifying for people like me and people like me 10 years ago, or anywhere in between there who are just trying to make this happen. It's, it's a, it's a very important lesson for people to know that you can, you can do this too. Mm-hmm. here is the, here are the mental and physical hurdles you're gonna have to overcome to do that. And the emotional hurdles. And if you can break through and you can be vulnerable and you can push, you can reframe what rejection means to you. You can have an impact. Even if it means you never become a name writer like Aaron Sorkin. Yeah. But you can still have an impact, even if it's one person in your own town or one person who watches that you do video you put out. Yeah. And that's enough.Michael Jamin:Yeah. Enjoy the process.Phil Hudson:Awesome.Michael Jamin:All righty, everyone. We're gonna, we're until our next podcast is what should we, uh, mention, Phil, should wePhil Hudson:Mention? Yeah, it's, look, we talk about this stuff all the time. We, you have a, a free first lesson from your screenwriting course@michaeljan.com slash free. And I think it is one of the most valuable lessons people can learn. It's literally the very first personal message you lesson you ever taught me, um mm-hmm. years agoMichael Jamin:You said. Yeah. Go grab that. That'll help for sure.Phil Hudson:Yeah, absolutely. Get that, get on the watch list, Michael jammy.com/watch list. You send out your top three pieces of content every week goes, that'll your Friday. Yeah. Um, do you have your online screenwriting course, which I am your biggest fan of personally? Yeah. The impact has had on my writing, and I know that that goes across the word for hundreds of people at this point.Michael Jamin:The whole thing was your idea. To be honest,Phil Hudson:, I've, I I've been for years and I've told it so many times. Years. I mean, 20, 20 15. I, I was pushing for you to do that, and you're like, no, I don't. It's not what I gotta, that's not what I do. Like I don't have time. I'm so grateful. You did. I know there were plenty of people just like me who did. So michael jamen.com/course. You can go check that out. Um,Michael Jamin:Cannot, you know what else we can, you know, else we can unplug as I start touring with this, it's still whatever city you live in. If you want me to come to your city, go to michael jamen.com/upcoming and then enter your information there. That way when I do come, uh, when I get to your town, I'll, I'll, you know, you'll, you'll be alertedPhil Hudson:U P C O M I N G upcomingMichael Jamin:Up. Upcoming, yeah. Upcoming. Yeah.Phil Hudson:Awesome.Michael Jamin:Um, all right, everyone.Phil Hudson:Yeah. Thanks guys. Appreciate it. Michael, thank you so much for your time.Michael Jamin:Yeah, thank you all. Until next time, be safe.Phil Hudson:Keep writing.This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

Da hat er nun das Geschenk Mit: Friedrich Schoenfelder Tontechnik: Marcel Schneider - Regie: Edith Bussmann - Produktion: SRF 1977 - Dauer: 13:10

Tonight in another early Christmas present Sassquach Radio with Ashley Quach and Paula Deming bring us episode one of season three of their acclaimed “Deck the Halls” And following an Electric Vicuña Productions Darker Musings adaptation from the John Collier short story “The Chaser” written by Jack J. Ward and produced by Scott Mosher. Learn more about your ad choices. Visit megaphone.fm/adchoices

Escape is an American radio drama. It was radio's leading anthology series of high-adventure radio dramas, airing on CBS from July 7, 1947 to September 25, 1954. Since the program did not have a regular sponsor like Suspense, it was subjected to frequent schedule shifts and lower production budgets, although Richfield Oil signed on as a sponsor for five months in 1950. Despite these problems, Escape enthralled many listeners during its seven-year run. The series' well-remembered opening combined Mussorgsky's Night on Bald Mountain with this introduction, as intoned by William Conrad and later Paul Frees: "Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you... Escape!" Following the opening theme, a second announcer (usually Roy Rowan) would add: "Escape! Designed to free you from the four walls of today for a half-hour of high adventure!" Adaptations: Of the more than 230 Escape episodes, most have survived in good condition. Many story premises, both originals and adaptations, involved a protagonist in dire life-or-death straits, and the series featured more science fiction and supernatural tales than Suspense. Some of the memorable adaptations include Daphne du Maurier's "The Birds", Carl Stephenson's "Leiningen Versus the Ants", Algernon Blackwood's "Confession", Ray Bradbury's oft-reprinted "Mars Is Heaven", George R. Stewart's Earth Abides (the program's only two-parter), Richard Connell's "The Most Dangerous Game" and F. Scott Fitzgerald's "The Diamond as Big as the Ritz". John Collier's "Evening Primrose", about people who live inside a department store, was later adapted to TV as a Stephen Sondheim musical starring Anthony Perkins. William Conrad, Harry Bartell and Elliott Reid were heard in the chilling "Three Skeleton Key" (broadcast on 15 November 1949), the tale of three men trapped in an isolated lighthouse by thousands of rats; the half-hour was adapted from an Esquire short story by the French writer George Toudouze and later remade for the March 17, 1950 broadcast starring Vincent Price, Harry Bartell and Jeff Corey and again for the August 9, 1953 broadcast starring Paul Frees, Ben Wright and Jay Novello. Actors on the series included Elvia Allman, Eleanor Audley, Parley Baer, Michael Ann Barrett, Tony Barrett, Harry Bartell, Ted Bliss, Lillian Buyeff, Ken Christy, William Conrad, Ted deCorsia, John Dehner, Don Diamond, Paul Dubov, Sam Edwards, Virginia Gregg, Lou Merrill, Howard McNear, Jess Kirkpatrick, B.J. Thompson, Shep Menken, Frank Gerstle, George Neece, Jeanette Nolan, Dan O'Herlihy, Barney Phillips, Forrest Lewis, Robert Griffin, Alan Reed, Bill Johnstone, Sandra Gould, Junius Matthews, Carleton G. Young, Marvin Miller, Frank Lovejoy, Berry Kroeger, Vic Perrin, Elliott Lewis, Eleanore Tanin, Herb Vigran, Jack Webb, Peggy Webber and Will Wright. Music was supplied by Del Castillo, organist Ivan Ditmars, Cy Feuer, Wilbur Hatch and Leith Stevens. The announcers were Paul Frees and Roy Rowan. A television counterpart aired on CBS TV for a few months during 1950. The program's opening announcement—"Tired of the everyday grind?"—was employed as a slogan for the counterculture magazine, New Escapologist.

Today is the day to listen to WPMT's Halloween special celebration of "Evening Primrose," featuring the 1947 radio play by John Collier from the 1966 Stephen Sondheim's TV musical version which NPR called "a 'Twilight Zone' episode set to music." Happy Halloween!

Alan Austen, as nervous as a kitten, went up certain dark and creaky stairs in the neighborhood of Pell Street, and peered about for a long time on the dim landing before he found the name he wanted written obscurely on one of the doors. He pushed open this door, as he had been told to do, and found himself in a tiny room, which contained no furniture but a plain kitchen table, a rocking-chair, and an ordinary chair. On one of the dirty buff-coloured walls were a couple of shelves, containing in all perhaps a dozen bottles and jars. An old man sat in the rocking-chair, reading a newspaper. Alan, without a word, handed him the card he had been given. “Sit down, Mr. Austen,” said the old man very politely. “I am glad to make your acquaintance.” “Is it true,” asked Alan, “that you have a certain mixture that has-er-quite extraordinary effects?” “My dear sir,” replied the old man, “my stock in trade is not very large-I don't deal in laxatives and teething mixtures-but such as it is, it is varied. I think nothing I sell has effects which could be precisely described as ordinary.” --- Support this podcast: https://anchor.fm/hmphaudiobooks/support

A new MP3 sermon from Northern Kentucky Baptist Church is now available on SermonAudio with the following details: Title: Two Great Motivators: Fear and Love Subtitle: 2022 Fall Revival Speaker: Dr. John Collier Broadcaster: Northern Kentucky Baptist Church Event: Sunday Service Date: 10/5/2022 Bible: John 19:25-27 Length: 52 min.

Escape is an American radio drama. It was radio's leading anthology series of high-adventure radio dramas, airing on CBS from July 7, 1947 to September 25, 1954. Since the program did not have a regular sponsor like Suspense, it was subjected to frequent schedule shifts and lower production budgets, although Richfield Oil signed on as a sponsor for five months in 1950. Despite these problems, Escape enthralled many listeners during its seven-year run. The series' well-remembered opening combined Mussorgsky's Night on Bald Mountain with this introduction, as intoned by William Conrad and later Paul Frees: "Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you... Escape!" Following the opening theme, a second announcer (usually Roy Rowan) would add: "Escape! Designed to free you from the four walls of today for a half-hour of high adventure!" Adaptations: Of the more than 230 Escape episodes, most have survived in good condition. Many story premises, both originals and adaptations, involved a protagonist in dire life-or-death straits, and the series featured more science fiction and supernatural tales than Suspense. Some of the memorable adaptations include Daphne du Maurier's "The Birds", Carl Stephenson's "Leiningen Versus the Ants", Algernon Blackwood's "Confession", Ray Bradbury's oft-reprinted "Mars Is Heaven", George R. Stewart's Earth Abides (the program's only two-parter), Richard Connell's "The Most Dangerous Game" and F. Scott Fitzgerald's "The Diamond as Big as the Ritz". John Collier's "Evening Primrose", about people who live inside a department store, was later adapted to TV as a Stephen Sondheim musical starring Anthony Perkins. William Conrad, Harry Bartell and Elliott Reid were heard in the chilling "Three Skeleton Key" (broadcast on 15 November 1949), the tale of three men trapped in an isolated lighthouse by thousands of rats; the half-hour was adapted from an Esquire short story by the French writer George Toudouze and later remade for the March 17, 1950 broadcast starring Vincent Price, Harry Bartell and Jeff Corey and again for the August 9, 1953 broadcast starring Paul Frees, Ben Wright and Jay Novello. Actors on the series included Elvia Allman, Eleanor Audley, Parley Baer, Michael Ann Barrett, Tony Barrett, Harry Bartell, Ted Bliss, Lillian Buyeff, Ken Christy, William Conrad, Ted deCorsia, John Dehner, Don Diamond, Paul Dubov, Sam Edwards, Virginia Gregg, Lou Merrill, Howard McNear, Jess Kirkpatrick, B.J. Thompson, Shep Menken, Frank Gerstle, George Neece, Jeanette Nolan, Dan O'Herlihy, Barney Phillips, Forrest Lewis, Robert Griffin, Alan Reed, Bill Johnstone, Sandra Gould, Junius Matthews, Carleton G. Young, Marvin Miller, Frank Lovejoy, Berry Kroeger, Vic Perrin, Elliott Lewis, Eleanore Tanin, Herb Vigran, Jack Webb, Peggy Webber and Will Wright. Music was supplied by Del Castillo, organist Ivan Ditmars, Cy Feuer, Wilbur Hatch and Leith Stevens. The announcers were Paul Frees and Roy Rowan. A television counterpart aired on CBS TV for a few months during 1950. The program's opening announcement—"Tired of the everyday grind?"—was employed as a slogan for the counterculture magazine, New Escapologist.

Ernie Lowe is a photographer who documented life in the Central Valley of California in the 1960s, with a focus on labor activism among farmworkers. He was mentored by Dorothea Lange and also studied under John Collier, Jr. Lowe's archive of photos can be found at the UC Merced Library, which has made them available online through Calisphere.  Series: "Critically Human" [Humanities] [Arts and Music] [Show ID: 38289]

Ernie Lowe is a photographer who documented life in the Central Valley of California in the 1960s, with a focus on labor activism among farmworkers. He was mentored by Dorothea Lange and also studied under John Collier, Jr. Lowe's archive of photos can be found at the UC Merced Library, which has made them available online through Calisphere.  Series: "Critically Human" [Humanities] [Arts and Music] [Show ID: 38289]

Ernie Lowe is a photographer who documented life in the Central Valley of California in the 1960s, with a focus on labor activism among farmworkers. He was mentored by Dorothea Lange and also studied under John Collier, Jr. Lowe's archive of photos can be found at the UC Merced Library, which has made them available online through Calisphere.  Series: "Critically Human" [Humanities] [Arts and Music] [Show ID: 38289]

Escape is an American radio drama. It was radio's leading anthology series of high-adventure radio dramas, airing on CBS from July 7, 1947 to September 25, 1954. Since the program did not have a regular sponsor like Suspense, it was subjected to frequent schedule shifts and lower production budgets, although Richfield Oil signed on as a sponsor for five months in 1950. Despite these problems, Escape enthralled many listeners during its seven-year run. The series' well-remembered opening combined Mussorgsky's Night on Bald Mountain with this introduction, as intoned by William Conrad and later Paul Frees: "Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you... Escape!" Following the opening theme, a second announcer (usually Roy Rowan) would add: "Escape! Designed to free you from the four walls of today for a half-hour of high adventure!" Adaptations: Of the more than 230 Escape episodes, most have survived in good condition. Many story premises, both originals and adaptations, involved a protagonist in dire life-or-death straits, and the series featured more science fiction and supernatural tales than Suspense. Some of the memorable adaptations include Daphne du Maurier's "The Birds", Carl Stephenson's "Leiningen Versus the Ants", Algernon Blackwood's "Confession", Ray Bradbury's oft-reprinted "Mars Is Heaven", George R. Stewart's Earth Abides (the program's only two-parter), Richard Connell's "The Most Dangerous Game" and F. Scott Fitzgerald's "The Diamond as Big as the Ritz". John Collier's "Evening Primrose", about people who live inside a department store, was later adapted to TV as a Stephen Sondheim musical starring Anthony Perkins. William Conrad, Harry Bartell and Elliott Reid were heard in the chilling "Three Skeleton Key" (broadcast on 15 November 1949), the tale of three men trapped in an isolated lighthouse by thousands of rats; the half-hour was adapted from an Esquire short story by the French writer George Toudouze and later remade for the March 17, 1950 broadcast starring Vincent Price, Harry Bartell and Jeff Corey and again for the August 9, 1953 broadcast starring Paul Frees, Ben Wright and Jay Novello. Actors on the series included Elvia Allman, Eleanor Audley, Parley Baer, Michael Ann Barrett, Tony Barrett, Harry Bartell, Ted Bliss, Lillian Buyeff, Ken Christy, William Conrad, Ted deCorsia, John Dehner, Don Diamond, Paul Dubov, Sam Edwards, Virginia Gregg, Lou Merrill, Howard McNear, Jess Kirkpatrick, B.J. Thompson, Shep Menken, Frank Gerstle, George Neece, Jeanette Nolan, Dan O'Herlihy, Barney Phillips, Forrest Lewis, Robert Griffin, Alan Reed, Bill Johnstone, Sandra Gould, Junius Matthews, Carleton G. Young, Marvin Miller, Frank Lovejoy, Berry Kroeger, Vic Perrin, Elliott Lewis, Eleanore Tanin, Herb Vigran, Jack Webb, Peggy Webber and Will Wright. Music was supplied by Del Castillo, organist Ivan Ditmars, Cy Feuer, Wilbur Hatch and Leith Stevens. The announcers were Paul Frees and Roy Rowan. A television counterpart aired on CBS TV for a few months during 1950. The program's opening announcement—"Tired of the everyday grind?"—was employed as a slogan for the counterculture magazine, New Escapologist.

Ethicon's John Collier educates about history & technology.

John Collier talks about the latest frontier sutures.

Doc welcomes John Collier of Ethicon who talks about the importance of absorbable and non absorbable stitches when it comes to healing. We're still taking your calls, and of course the Doc has to talk about his weekly food recommendation!

Warriors! The Doc speaks to John Collier of Ethicon on the importance of absorbable stitches when it comes to healing. We're still taking your calls, and of course the Doc has to talk about his weekly food recommendation! Tune in now! Learn more about your ad choices. Visit megaphone.fm/adchoices

"Conqueror's Isle" Author: Nelson Bond, adapted by John Meston Star: Harry Bartell Escape is an American radio drama. It was radio's leading anthology series of high-adventure radio dramas, airing on CBS from July 7, 1947 to September 25, 1954. Since the program did not have a regular sponsor like Suspense, it was subjected to frequent schedule shifts and lower production budgets, although Richfield Oil signed on as a sponsor for five months in 1950. Despite these problems, Escape enthralled many listeners during its seven-year run. The series' well-remembered opening combined Mussorgsky's Night on Bald Mountain with this introduction, as intoned by William Conrad and later Paul Frees: "Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you... Escape!" Following the opening theme, a second announcer (usually Roy Rowan) would add: "Escape! Designed to free you from the four walls of today for a half-hour of high adventure!" Adaptations: Of the more than 230 Escape episodes, most have survived in good condition. Many story premises, both originals and adaptations, involved a protagonist in dire life-or-death straits, and the series featured more science fiction and supernatural tales than Suspense. Some of the memorable adaptations include Daphne du Maurier's "The Birds", Carl Stephenson's "Leiningen Versus the Ants", Algernon Blackwood's "Confession", Ray Bradbury's oft-reprinted "Mars Is Heaven", George R. Stewart's Earth Abides (the program's only two-parter), Richard Connell's "The Most Dangerous Game" and F. Scott Fitzgerald's "The Diamond as Big as the Ritz". John Collier's "Evening Primrose", about people who live inside a department store, was later adapted to TV as a Stephen Sondheim musical starring Anthony Perkins. William Conrad, Harry Bartell and Elliott Reid were heard in the chilling "Three Skeleton Key" (broadcast on 15 November 1949), the tale of three men trapped in an isolated lighthouse by thousands of rats; the half-hour was adapted from an Esquire short story by the French writer George Toudouze and later remade for the March 17, 1950 broadcast starring Vincent Price, Harry Bartell and Jeff Corey and again for the August 9, 1953 broadcast starring Paul Frees, Ben Wright and Jay Novello. Actors on the series included Elvia Allman, Eleanor Audley, Parley Baer, Michael Ann Barrett, Tony Barrett, Harry Bartell, Ted Bliss, Lillian Buyeff, Ken Christy, William Conrad, Ted deCorsia, John Dehner, Don Diamond, Paul Dubov, Sam Edwards, Virginia Gregg, Lou Merrill, Howard McNear, Jess Kirkpatrick, B.J. Thompson, Shep Menken, Frank Gerstle, George Neece, Jeanette Nolan, Dan O'Herlihy, Barney Phillips, Forrest Lewis, Robert Griffin, Alan Reed, Bill Johnstone, Sandra Gould, Junius Matthews, Carleton G. Young, Marvin Miller, Frank Lovejoy, Berry Kroeger, Vic Perrin, Elliott Lewis, Eleanore Tanin, Herb Vigran, Jack Webb, Peggy Webber and Will Wright. Music was supplied by Del Castillo, organist Ivan Ditmars, Cy Feuer, Wilbur Hatch and Leith Stevens. The announcers were Paul Frees and Roy Rowan. A television counterpart aired on CBS TV for a few months during 1950. The program's opening announcement—"Tired of the everyday grind?"—was employed as a slogan for the counterculture magazine, New Escapologist.

To Connect and Follow: https://linktr.ee/mysterytheaterMystery Theater Old Time Radio - Suspense Radio Shows - Episode #76 - Wet SaturdaySuspense Radio Shows was a CBS radio series from 1942 to 1962.Suspense was dubbed "radio's outstanding theater of thrills" and was one of the great radio programs of the Golden Age of Radio. Leading Hollywood actors of the time starred in suspense films.PLOT"Wet Saturday." Auto-Lite is a sponsor. Who assassinated the curate? Almost everyone, it appears! The story was later broadcast on "Suspense" on December 16, 1943, December 19, 1947, and March 20, 1948. + Based on the same-named short story by John Collier. A suspense story that will make you laugh while tingling your spine. It would have been just another day in the Princey household if it hadn't been for the rain. The murder would not have occurred if they had all been out doing what they had planned, and the cover-up would not have been necessary. About the Podcast:Mystery Theater Old Time Radio PodcastWe bring you the best radio plays and programs of mystery, intrigue, and comedy from the Golden Age of Radio. And along the way, we will share some of the history and information about the programs, cast, writers, and more.*Support the channel**Merch:*social media:*Follow me on Instagram:*Follow me on Facebook:https://linktr.ee/mysterytheater*Our Affiliates Partners:Check out Health Ranger Store LINKS: https://linktr.ee/mysterytheaterThis post/video contains affiliate links, which means that I may receive a commission if you make a purchase using these links. #mystery #horror #otr #oldtimeradio #otr #oldtimeradio #podcast #horror #scary #mystery #suspense #sci-fi#mysterytheater #otr #oldtimeradio #mystery #mystertheaterSupport this podcast at — https://redcircle.com/mystery-theater-old-time-radio-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Escape is an American radio drama. It was radio's leading anthology series of high-adventure radio dramas, airing on CBS from July 7, 1947 to September 25, 1954. Since the program did not have a regular sponsor like Suspense, it was subjected to frequent schedule shifts and lower production budgets, although Richfield Oil signed on as a sponsor for five months in 1950. Despite these problems, Escape enthralled many listeners during its seven-year run. The series' well-remembered opening combined Mussorgsky's Night on Bald Mountain with this introduction, as intoned by William Conrad and later Paul Frees: "Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you... Escape!" Following the opening theme, a second announcer (usually Roy Rowan) would add: "Escape! Designed to free you from the four walls of today for a half-hour of high adventure!" Adaptations: Of the more than 230 Escape episodes, most have survived in good condition. Many story premises, both originals and adaptations, involved a protagonist in dire life-or-death straits, and the series featured more science fiction and supernatural tales than Suspense. Some of the memorable adaptations include Daphne du Maurier's "The Birds", Carl Stephenson's "Leiningen Versus the Ants", Algernon Blackwood's "Confession", Ray Bradbury's oft-reprinted "Mars Is Heaven", George R. Stewart's Earth Abides (the program's only two-parter), Richard Connell's "The Most Dangerous Game" and F. Scott Fitzgerald's "The Diamond as Big as the Ritz". John Collier's "Evening Primrose", about people who live inside a department store, was later adapted to TV as a Stephen Sondheim musical starring Anthony Perkins. William Conrad, Harry Bartell and Elliott Reid were heard in the chilling "Three Skeleton Key" (broadcast on 15 November 1949), the tale of three men trapped in an isolated lighthouse by thousands of rats; the half-hour was adapted from an Esquire short story by the French writer George Toudouze and later remade for the March 17, 1950 broadcast starring Vincent Price, Harry Bartell and Jeff Corey and again for the August 9, 1953 broadcast starring Paul Frees, Ben Wright and Jay Novello. Actors on the series included Elvia Allman, Eleanor Audley, Parley Baer, Michael Ann Barrett, Tony Barrett, Harry Bartell, Ted Bliss, Lillian Buyeff, Ken Christy, William Conrad, Ted deCorsia, John Dehner, Don Diamond, Paul Dubov, Sam Edwards, Virginia Gregg, Lou Merrill, Howard McNear, Jess Kirkpatrick, B.J. Thompson, Shep Menken, Frank Gerstle, George Neece, Jeanette Nolan, Dan O'Herlihy, Barney Phillips, Forrest Lewis, Robert Griffin, Alan Reed, Bill Johnstone, Sandra Gould, Junius Matthews, Carleton G. Young, Marvin Miller, Frank Lovejoy, Berry Kroeger, Vic Perrin, Elliott Lewis, Eleanore Tanin, Herb Vigran, Jack Webb, Peggy Webber and Will Wright. Music was supplied by Del Castillo, organist Ivan Ditmars, Cy Feuer, Wilbur Hatch and Leith Stevens. The announcers were Paul Frees and Roy Rowan. A television counterpart aired on CBS TV for a few months during 1950. The program's opening announcement—"Tired of the everyday grind?"—was employed as a slogan for the counterculture magazine, New Escapologist.

In this installment, short story writer John Collier and teleplay writer Francis Cockrell put a different spin on Collier's "Back for Christmas"in which a man digs a hole in his cellar to bury his murdered wife. Here, the Prof fills a cellar hole with concrete, but has he murdered his wife? His friends think he did.

Book: Green Thoughts By John Collier Film: Little Shop Of Horrors (1960) Little Shop of Horrors  (1986)   This short story written by John Collier was the basis of the Roger Corman cult classic Little Shop of Horrors which would later become a Broadway musical and a hit film of the same name.  John Collier is an award winning writer who has written short stories, novels and some of the great screenplays of our time to include The African Queen and  I Am A Camera.  Many of his short stories would be used for episodes of the Twilight Zone, Outer Limits and Alfred Hitchcock Presents and turned into hit Hollywood film.      1960 Original film was directed by Roger Corman who was dared to shoot a film over two days.  Quickly putting a script together with an idea based on John Collier's short story which he read and loved and adding elements from his other two favourite authors Arthur C Clark and HG Wells.  Corman took inspiration from the orchid bulb which grows quite large but when splits and buds has a tongue like pistil which would enable the plant to speak.  Later they gave it a Venus fly trap look but leaves of the orchid and inner colourings of the orchid.   Directed by Frank Oz and based on the hit off Broadway musical of the same name.  Little Shop of Horrors was filmed on the Albert R. Broccoli 007 Stage at the Pinewood Studios in England, where a "downtown" set, complete with overhead train track, was constructed. Produced on a budget of $25 million, in contrast to the original 1960 film, which, according to Corman, only cost $30,000, it was well received by critics and audiences alike, eventually developing a cult following. The film's original 23-minute finale, based on the musical's ending, was rewritten and reshot after test audiences did not react positively to it.] For years only available as black-and-white workprint footage, the original ending was fully restored in 2012 by Warner Home Video. Opening Credits; Introduction (2.44); Forming the Plot (9.35); Introducing a Film:  Little Shop of Horrors (1960) (24.12); Film Trailer (27.11);  Lights, Camera, Action (28.37); Introducing a Film: Little Shop of Horrors (1986) (44.15); Film Trailer (50.04) Lights Camera, Action (52.08); End Credits (1:21.36); Closing Credits (1:27.36) Opening Credits - It's Christmas Eve – taken from the album A Christmas Horror Story by Alex Kashkin– Classical Jingle by Dan Hughes Music Interludes and Closing Credits – Prologue: Little Shop of Horrors, Da Doo, Skid Row (Downtown), Don't Feed the Plants – from Little Shop of Horrors Original Broadway Production. Copyright `1982 – Geffen Company courtesy of Menken and Ashman. Suddenly Seymour – taken from the original Motion Picture Soundtrack. Copyright `1986 Geffen Records – courtesy of Menken and Ashman   Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved. All songs used with permission All songs available to buy from Amazon.

Download the full lesson and Power Point at: https://courses.evidence4faith.org/sciencebible (https://courses.evidence4faith.org/sciencebible) Welcome to session 6 in our 11 part series “Science & The Bible!” This series examines the relationship between different disciplines of Science and the Bible and the arguments surrounding this topic. This lesson covers the field of Astronomy and how the science has changed over the centuries. Our ideas about the universe, even as early as the 20th century, might seem very silly to us today, thanks to new knowledge obtained by satellites, probes, and advancements in telescopes. How does the Bible stack up to our modern understanding of the universe? This lesson also covers the debate among some Christians on whether scripture supports a geocentric or heliocentric model. Music Credits: https://www.pond5.com/royalty-free-music/item/116117045-funky-sax-hipster-happy-upbeat-inspirational (Stock Music) provided by EnhancedVision, from https://www.pond5.com/ (Pond5) Unsplash Photo Credits: https://unsplash.com/ (https://unsplash.com/) Tengyart, Gaëtan Othenin-Girard, Sanni Sahil, Bryan Goff, Casey Horner, Taneli Lahtinen, Ross Sneddon, Neven Krcmarek, Vedrana Filipović Wikimedia Commons Photo Credits: https://commons.wikimedia.org/wiki/Main_Page (https://commons.wikimedia.org/wiki/Main_Page) Thomas Murray, Lumos3, Theodor De Bry, Bartolomeu Velho, ibiblio.org, Mariluna, Eduard Ender, Rursus, After Lysippos, John Collier, Lemuel Francis Abbott, Smithsonian Institution from United States, Harman Smith, Laura Generosa, Beinahegut, Pearson Scott Foresman, Leonardo Da Vinci, Pieter Bruegel the Elder, Mouser, Sanu N, Till Credner Other Photo Credits: NASA, imagesurgery.com, blinklearning.com