Podcast appearances and mentions of Johnny Bravo

Resident screening has always been part of the leasing process — but Johnny Bravo, Product Strategist at Rent Butter, makes a compelling case that it should be much more than that. In this episode of Beyond Rent, Johnny argues that screening belongs in the operational infrastructure of every property management company, sitting alongside insurance and maintenance rather than being treated as a one-time checkbox. With 20 years of experience spanning the operator side, credit bureaus, and fraud and identity work, Johnny brings a rare, full-picture perspective to what modern tenant screening actually requires.The conversation covers the gap between how quickly data and technology have evolved and how slowly many organizations have updated their screening practices to match. Johnny breaks down why credit scores were never built to predict rent payment behavior, why inconsistent policy application creates more risk than a bad applicant ever could, and how operators can use business intelligence to trace downstream problems back to decisions made at the screening stage. He introduces the concept of "invisible risk": the quiet, compounding danger that builds when screening policy lives in someone's head instead of a documented, repeatable system.Explore additional Beyond Rent episodes by connecting with us on Facebook, Instagram, TikTok, LinkedIn, and YouTube.Visit RentManager.com/Podcast to submit an idea for an upcoming episode of Beyond Rent and discover more about the program.Learn more about Rent Manager's industry-leading accounting, reporting, maintenance, and communication features at RentManager.com, or connect with us on LinkedIn, Facebook, Instagram, YouTube, and X.

Join John Livia as he discusses the ongoing saga between Larry Wheels, Adam22 and Johnny Bravo.#larrywheels #adam22 #johnnybravoSupport the show

Tom Keegan is one of the leading performance directors in video games, whose career spans theatre, film, animation, and interactive entertainment. After starting out in the New York theatre scene, he worked in animation on Johnny Bravo, The Powerpuff Girls, and The Woody Woodpecker Show, then moved into video games at a pivotal moment in the industry's evolution. For the past two decades he has shaped performances for Chronicles of Riddick: Escape from Butcher Bay, Battlefield, Resident Evil 2, Star Wars Jedi: Fallen Order and Survivor, and Indiana Jones and the Great Circle. BAFTA-nominated for his work on Wolfenstein II: The New Colossus, he now shares his experience in his new book The Complete Guide to Videogame Performance Directing. Become a My Perfect Console supporter and receive a range of benefits at www.patreon.com/myperfectconsoleTake the Acast listener survey to help shape the show: My Perfect Console with Simon Parkin Survey 2025 Hosted on Acast. See acast.com/privacy for more information.

John Livia and Lee Priest are back for an all-new episode of Muscle Talk chatting all things bodybuilding including the controversy involving Johnny Bravo and Larry Wheels.#bodybuilder #ifbb #larrywheels #johnnybravoSupport the show

Brandon and James discuss the early days of Cartoon Network, Looney Tunes, Powerpuff Girls, Johnny Bravo, and much more!La Bouche - Be My Lover (lyrics)https://www.youtube.com/watch?v=2R3_J3_suWI&list=RD2R3_J3_suWI&start_radio=1

In this episode of The Nest, Leah Linares and Johnny Bravo dive into the chaos of the college application process. From balancing deadlines and tough decisions to weighing the pros and cons of in-state versus out-of-state schools, they share honest reflections, advice, and lessons learned along the way. It's a relatable conversation for anyone navigating the stress, uncertainty, and excitement of applying to college.Support the show

We have special guest Johnny Bravo on the pod today! And he gives us all the ins (and outs) of what it's like to be a male escort in the UK!How he got into it, can all women squirt, does he have celeb clients? We're finding out absolutely everything, so strap in this will be a good one! Hosted on Acast. See acast.com/privacy for more information.

Today we jump back five years to our coverage of AEW Full Gear including three shows:The Nov. 5 episode of the All Elite Aftershow as Mike McMahon and Andrew Soucek begin by talking about Impact Wrestling shooting Johnny Bravo. From there, it's all AEW, including a breakdown of the go-home Dynamite to Full Gear. They also preview the entire Full Gear card and make predictions for the PPV on Saturday night, and they take listener emails.Then the Nov. 7 episode of Wrestling Night in America. PWTorch columnist Greg Parks reviewed the AEW Full Gear PPV right after it concluded with callers and emailers. Among the topics: What's next for Cody Rhodes and Hikaru Shida, Elite Deletion and the effects on the competitors, lack of a Sting appearance, and more.The Nov. 12 episode of the All Elite Aftershow as Mike and Andrew review AEW Full Gear, including the Elite Deletion match and why it stunk. After a full breakdown of Full Gear, they turn their attention to that week's episode of Dynamite and what the plans were for the company moving forward. Then, of course, emails.Become a supporter of this podcast: https://www.spreaker.com/podcast/pwtorch-dailycast--3276210/support.

In this episode of The Nest, hosts Johnny Bravo, Federico Cabral, Sophia Zapaleta, and Leah Linares have a lively bilingual conversation in English and Spanish about Miami's culture. From its diverse communities and iconic food to its music and unique lifestyle. They share personal stories, laughs, and perspectives on what truly makes Miami one of a kind.

David hosts this episode, featuring Equipment Manager Ian Hollenberg, teaming with Walling, competing against Scott and the newest Benchwarmer, Josh Snyder. The teams struggle early with some rhyming scheme issues, until Snyder points out to Scott that they aren't obligated to rhyme when they talk to each other. Snyder and Scott wonder whether it is possible that there was actually a player named Ding Dong. The team also tries to fit a theme with players such as Tommy Discovery, Johnny Bravo, or the under-appreciated FX Robinson.  Please tune in to see if Scott and Snyder can actually get out of the cesspool of loss, or off the Schnyder. And remember: when it comes to some sports, humans don't do the sport, the horse does. #chuckwoolery #heismantrophy #rhymingishard #dingdong #johnnybravo #offtheschnyder https://dobosdelights.com/ Promo Code: CheckYourTaint https://www.patreon.com/benchwarmerstp https://www.facebook.com/benchwarmerstp https://www.twitter.com/benchwarmerstp https://www.instagram.com/benchwarmerstp/ https://www.teepublic.com/stores/benchwarmers-trivia-podcast

On this episode of The Nest, Johnny Bravo and Troy Sanchez sit down with former Firebirds to share their stories, memories, and experiences from their time at Doral Academy.

In this episode of The Nest, hosts Kristina Rivera, Johnny Bravo, Rachelle Villalobos, and Troy Sanchez break down a wild ballpark moment: a dad catches a foul ball, gives it to his kid, and suddenly a Karen swoops in demanding it for herself. What happens next? Chaos, drama, and the ultimate reward for doing the right thing.

Hosted by Kristina Rivera, Johnny Bravo, Rachelle Villalobos, and Troy Sanchez, The Nest dives into a bizarre Bavarian mystery: late-night doorbells ringing, a panicked neighborhood, and police on the case. The shocking culprit? A tiny slug sliming its way into chaos. With jokes, banter, and plenty of puns, the crew unpacks how the slowest prankster alive managed to cause the biggest neighborhood meltdown.

Hosted by Johnny Bravo, Valentina Pruzsa, Troy Sanchez, and Federico Cabral, this episode dives into the latest Powerball craze that has everyone talking. From record-breaking jackpots to the wild stories of past winners, the crew unpacks why lottery fever takes over the nation, what people would actually do with millions, and how the hype reflects our culture's love for big risks and bigger dreams — all with their signature mix of humor, banter, and hot takes.

On this Episode of the Nest, your hosts: Troy Sanchez and Johnny Bravo, discuss the importance of mental health awareness and suicide prevention. Together, they share personal stories, expert insights, and practical tips to help anyone struggling with thoughts of self-harm. In a world where we often feel alone in our battles, Troy and Johnny remind us that there is always hope and help available.If you or someone you know is struggling, remember you're not alone. Reach out to the National Suicide Prevention Lifeline at 988 for free, confidential support 24/7.You matter, and it's okay to ask for help. There's always a light at the end of the tunnel.

In the conclusion of our annual coverage of geekdom's biggest gathering, guests Kurt Ho and Eric V. continue to interview the Ricks about their experience at Comic-Con International 2025. Think: panels, purchases, parties—and at least some weirdness (looking at you, Megan 2.0). IN THIS EPISODE

This week on Toon'd In!, Jim Cummings welcomes the endlessly versatile, outrageously talented, and effortlessly cool Jeff Bennett—the unforgettable voice behind Johnny Bravo, Brooklyn from Gargoyles, Dexter's Dad, the Man With the Yellow Hat, and so many more animated icons!With a voice that can shapeshift into just about anything, Jeff brings a treasure trove of stories, laughter, and behind-the-scenes magic to the mic. He and Jim dig into the golden age of '90s animation, the joy (and madness) of switching between wildly different characters, and what it takes to stay grounded while playing some of the most eccentric voices in the biz.

Monumentos a Venustiano Carranza, Álvaro Obregón, Ricardo Flores Magón, La Adelita y otros. Tamién hablaremos de algunos monumentos raros, como el "Chile relleno" o el "copete de Johnny Bravo".

In this episode, we're riding the rails of real talk. First up, we break down some Subway Takes—the unfiltered truths and chaos of New York's most unpredictable transportation system, hosted by Kareem Rahma. Then we got the Question of the Day: would you rather hit the town for Bar Nights or keep it classy with Dinner and Wine Nights?We also check in with Uncle Rich and Dave Yandi. Plus, a Golf Prank you'll want to see. And in a surprising twist, we ask: Did Johnny Bravo secretly teach us about feminism? You'll want to hear this one.Tap in to Episode 569 of the Productive Conversations Podcast—available now on all podcast platforms and YouTube.--------#trending #podcast #sports #news #entertainment #culture ----Best way to contact our host is by emailing him at productiveconversationspodcast@gmail.com or mbrown3212@gmail.comThis show has been brought to you by Magic Mind!Right now you can get your Magic Mind at WWW.MAGICMIND.COM/ PCLT20 to get 20% off a one-time purchase or up to 48% off a subscription using that code PCJUNE. Apple Podcast: https://podcasts.apple.com/us/podcast/productive-conversations-with-matt-brown/id1535871441 Spotify: https://open.spotify.com/show/7qCsxuzYYoeqALrWu4x4Kb YouTube: @Productive_Conversations  Linktree:https://linktr.ee/productiveconversations

August 14-20, 1999 This week Ken welcomes writer, musician and comedian who has created the video podcast built on music, performance storytelling and Ai visuals, Skulk The Hulk, Steve "Skulk" Pasieka Ken and Skulk discuss Mad Magazine, Steve's Dick DiBartolo mustache, Action shows on TV, Chuck Norris, WWF (WWE), Samo Hung, WCW, Chinese action heroes, Attitude Era of WCW, defining High School by wrestling, backyard wrestling, TV Guide induced vivid dreams, growing up in Chicago, heavy Italian Chicago accents, children with strong regional accents, revolting Pepto Bismol ads, disgusting ice cream photos, Judy Garland, the 90s love of the 70s, no bake Jell-O grossness, too much PB, locking up your Klondike bars, how much smarter Samo Hung is than Kevin Sorbo and Chuck Norris, Halle Berry's comebacks, Brutus the Barber Beefcakes' MBTA "Anthrax" scare, wrestlers lying about their size, Randy "Macho Man' Savage, class action suits, the shock of a Buff Bagwell photo shoot, The Tom Green Show, The Adventures of Buckaroo Banzai, MTV's Real Life, Chyna, HHH, Behind the Music, going into animation, debating Generative AI, what is a tool and what isn't, challenging norms, controversal issues, Ken's theory of innovative amatuerishness, going to Greece, having experiences outside of America, distribution networks, wrestlers with just regular names, UFC replacing WWF/WCW, how you need rules, how having all things available to you stifles creativity, Antiques Roadshow, Celebrity Tug-O-War, Johnny Bravo, Cartoon Network, Spin City, JAWS, Ray Walston, Star Trek, Dee Snider in Strangeland, how massive David Blaine was, Win Ben Stein's Money, Leeza Gibbons hosting Smoking: Truth or Dare, requiring cigarette holders, lost Comedy Central shows of the late 90s, Steve's love of music videos, how some things don't hold up at all, appreciating Men in Black, the Roller Derby resurgence, Ska Punk, Chicago punk bands, Naked Raygun, and The Many Incessent Lives and Subsiquent Deaths Deserved of Skulk the Hulking. 

This is arguably our largest MAL-Bag EVER as we discuss things like what a Beatles Polka would sound like, Al's appearances on Johnny Bravo and V.I.P. and answer questions for you listeners!!! Learn more about your ad choices. Visit megaphone.fm/adchoices

We talk a lot about agility, and today, we're going to talk about how lessons of agility can come from unexpected places - like the set of Seinfeld - where - for those superfans like me - our guest played Alec Berg - which should be said in more of a Jon Houseman manner, and while guest starring there (plus other shows like Curb Your Enthusiasm, Tracey Takes On..., and more) took some lessons from the value of collaboration and how great ideas can come from anyone, anywhere.Joining me today is Mark DeCarlo, an Emmy Award-winning comedian, TV host, and speaker who brings a fresh and entertaining perspective on navigating change, AI, and work-life balance. Mark has developed five simple strategies to help people embrace chaos, overcome fear of AI, and actually be happier while working smarter.ABOUT MARK DECARLOImprov actor/host, screenwriter and best-selling author Mark DeCarlo, lives a dual life: as an Emmy Award-winning TV host…and a cartoon.  As host/ringleader on 1000+ episodes of hit TV; Studs, X Show, Taste of America, and current series; World's Funniest Videos Top 10 and ABC's Windy City LIVE, Mark's improvisational skills - honed as a Founding member of The Second City Hollywood - have earned him three Emmy Awards for On Camera Host.From pissing-off pal Steve Carell, to convincing a random tourist to pose as a fashion designer during a live remote, Mark's interviews of the famous/infamous celebrate the odd and eccentric. His characters on “Curb your Enthusiasm,” “Tracey Takes On…,” “Seinfeld” and 2020's “Ballbuster,” zig where most zag. That's Mark, the human.Mark, the cartoon, came within a Shrek of winning an Oscar starring as Hugh Neutron in Best Animated Picture nominee “Jimmy Neutron, Boy Genius,” and has built a career playing energetic, off-beat and edgy cartoons characters on many series, including; Family Guy, Barnyard, Planet Sheen, Johnny Bravo and Handy Manny. He stars in Steve Oedekirk's series of Thumb comedies from Thumbtanic to BatThumb, and will reprise his iconic role of Black Helmet Man in the upcoming 2022 release of ThumbWars IX.RESOURCESMark DeCarlo: https://www.MarkDeCarlo.com Catch the future of e-commerce at eTail Boston, August 11-14, 2025. Register now: https://bit.ly/etailboston and use code PARTNER20 for 20% off for retailers and brandsDon't Miss MAICON 2025, October 14-16 in Cleveland - the event bringing together the brights minds and leading voices in AI. Use Code AGILE150 for $150 off registration. Go here to register: https://bit.ly/agile150Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstromDon't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.showCheck out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand podcast is brought to you by TEKsystems. Learn more here: https://www.teksystems.com/versionnextnowThe Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company Hosted on Acast. See acast.com/privacy for more information.

We talk a lot about agility, and today, we're going to talk about how lessons of agility can come from unexpected places - like the set of Seinfeld - where - for those superfans like me - our guest played Alec Berg - which should be said in more of a Jon Houseman manner, and while guest starring there (plus other shows like Curb Your Enthusiasm, Tracey Takes On..., and more) took some lessons from the value of collaboration and how great ideas can come from anyone, anywhere. Joining me today is Mark DeCarlo, an Emmy Award-winning comedian, TV host, and speaker who brings a fresh and entertaining perspective on navigating change, AI, and work-life balance. Mark has developed five simple strategies to help people embrace chaos, overcome fear of AI, and actually be happier while working smarter. ABOUT MARK DECARLO Improv actor/host, screenwriter and best-selling author Mark DeCarlo, lives a dual life: as an Emmy Award-winning TV host…and a cartoon.   As host/ringleader on 1000+ episodes of hit TV; Studs, X Show, Taste of America, and current series; World's Funniest Videos Top 10 and ABC's Windy City LIVE, Mark's improvisational skills - honed as a Founding member of The Second City Hollywood - have earned him three Emmy Awards for On Camera Host. From pissing-off pal Steve Carell, to convincing a random tourist to pose as a fashion designer during a live remote, Mark's interviews of the famous/infamous celebrate the odd and eccentric. His characters on “Curb your Enthusiasm,” “Tracey Takes On…,” “Seinfeld” and 2020's “Ballbuster,” zig where most zag. That's Mark, the human. Mark, the cartoon, came within a Shrek of winning an Oscar starring as Hugh Neutron in Best Animated Picture nominee “Jimmy Neutron, Boy Genius,” and has built a career playing energetic, off-beat and edgy cartoons characters on many series, including; Family Guy, Barnyard, Planet Sheen, Johnny Bravo and Handy Manny. He stars in Steve Oedekirk's series of Thumb comedies from Thumbtanic to BatThumb, and will reprise his iconic role of Black Helmet Man in the upcoming 2022 release of ThumbWars IX. RESOURCES Mark DeCarlo: https://www.MarkDeCarlo.com Catch the future of e-commerce at eTail Boston, August 11-14, 2025. Register now: https://bit.ly/etailboston and use code PARTNER20 for 20% off for retailers and brands Don't Miss MAICON 2025, October 14-16 in Cleveland - the event bringing together the brights minds and leading voices in AI. Use Code AGILE150 for $150 off registration. Go here to register: https://bit.ly/agile150 Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstrom Don't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.show Check out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand podcast is brought to you by TEKsystems. Learn more here: https://www.teksystems.com/versionnextnow The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

On this episode of The Nest our hosts Anna Licona and Johnny Bravo interview student intern for ESPN under the University of Florida, Ximena Licona. With march madness all the rave right now lets hear how our host talk to Ximena. Tune into this episode of The Nest. 

A conversation with a longtime multifamily industry veteran, the awesome Nate Thompson, the Director of Screening at Morgan Properties, and a fabulous supplier partner to the multifamily industry, Johnny Bravo, Industry Principal at SentiLink…discussing how fraud is changing the rental housing industry, why people commit fraud, address screening needs of the multifamily industry and building a multilayered approach and solution. See omnystudio.com/listener for privacy information.

On this episode of The Nest our hosts Anna Licona, Johnny Bravo, and Rachelle Villalobos talk about the FOMO some are going to feel not being able to go on grad bash. Anna is a senior asking the juniors, Johnny and Rachelle, how they feel that all the seniors will be out there in Orlando, FL.

Return of the Rob! That's right, folks. Rob. Is. Back! After an all too long hiatus, we welcome back the missing piece of this here pod. I'm sure y'all were wondering when that barrage of guests would finally cease… Now we can get on with the REAL conversations.We talk about everything from Rob's new otamatone to the second Fyre Fest to the Land Before Time. Colin also digs into a cartoon that lives rent free in his head, none other than the ladykiller himself: Johnny Bravo. That's right! It's time for a brand new Limited Recall segment.And if you enjoy what we are doing here at the Pit and would like to support us further, please check us out our Patreon, where we have exclusive EXTENDED episodes! An extra thirty minutes plus for every episode starting with this one here! But if you want your support to equate in something you can touch, check out our etsy. Links in the episode description.EtsyPatreonLinktreeInstagram:@ruining_your.childhood@feral_williams@aralessbmn@strangeloopanimation

By the age of 15, Barry Williams was already a television veteran. He had had small roles in a number of popular TV shows, but he was about to get his big break. In 1969, Williams was cast in the role of Greg Brady, the eldest of the six children in the blended Brady family, a role that he embraced and ran with for the next five seasons. In this 1992 interview Williams recalls what it was like Growing Up Brady. Get your copy of Growing Up Brady by Barry Williams As an Amazon Associate, Now I've Heard Everything earns from qualifying purchases.You may also enjoy my interviews with Maureen McCormick and Bob Denver For more vintage interviews with celebrities, leaders, and influencers, subscribe to Now I've Heard Everything on Spotify, Apple Podcasts. and now on YouTube Photo by Rob DiCaterino #BradyBunch #TVsitcoms #1970s #JohnnyBravo

“Worse than the total agony of being in love?” Liam Neeson cured that wee boy's broken heart, and your second favourite Northern Irishman is here to cure yours.Whether it's a person or your instrument, falling in and out of love is one of the most difficult things we can go through as people. This week I'll show just how similar the 2 are, and give you some tips to get you falling back in love quicker than Johnny Bravo.Inline G Merch

Steve Dangle recaps and analyzes Game 31 of the Toronto Maple Leafs season against the Buffalo Sabres NEW BOOK!: https://www.harpercollins.ca/9781443469968/hockey-rants-and-raves/ BECOME AN SDP VIP! https://www.youtube.com/sdpn/join SDPN: https://www.sdpn.ca/ ADVERTISE WITH US! https://sdpn.ca/sales/ SDPN DISCORD: https://discord.com/invite/MtTmw9rrz7 EASTER SEALS: https://t.co/DVbMNTS1IL AUDIOBOOK: https://bit.ly/2GIgYya EASTER SEALS: https://t.co/DVbMNTS1IL

In this episode of The Nest, our hosts Anna Licona, Johnny Bravo, and Rachelle Villalobos sit down with remarkable guest, Dante Pulls, who defies stereotypes—a talented individual balancing two opposite worlds: dance and football. Tune in for a conversation about finding strength in diversity.

It's about time to acknowledge this year as a mark in history for Nintendo as both Princess Peach & Princess Zelda embark on their own venture to give the main heroes some needed rest. Johnny Bravo joins the Flash Bros. back to back this week as the trio discuss some of their favorite female characters amid all the banter. Exclusive Premium Series ▸ https://patreon.com/flashbrospodcast ★PreGame | Ep31 ▸ https://spoti.fi/4eyOgP4 00:00:00: Prelude 00:33:13: NEWSFLASH 00:57:46: ★ | Gold Tier Sponsors 01:04:35: ▲ | Damsel Without Distress 02:33:03: Epilogue

Johnny Bravo returns to the cast once again as the boys catch up & review the bombardment of news round up from the past week — from leaked Switch 2 renders to Sony's latest PlayStation Direct. Exclusive Premium Series ▸ https://patreon.com/flashbrospodcast ★PreGame | Ep31: Sailor Effect ▸ https://spoti.fi/4dH5k43 00:00:00: Prelude 00:29:59: Off-Topic 00:43:54: NEWSFLASH 01:40:51: ★Gold Tier Sponsors 02:21:50: ▲ | State of Play & Beyond 02:58:20: Epilogue

On this episode, our hosts Anna Licona, Johnny Bravo, and Rachelle Villalobos, share their insights on the impacts of social media when it comes to fashion. Tune in to hear their opinions on new trends that are followed all because of the media. 

Our hosts Ana Lincona and Johnny Bravo interview two of our football players, Brian Arteaga and Aiden Bermudez. In this episode they share their expectations and game day prep for this upcoming season. 

Oliver Stone interprets Quentin Tarantino, the wrongest SNL movie, found horror in the Paris catacombs, the end of Johnny Bravo, and let's not sugarcoat it: THE WORST WEEK OF MOVIES IN THIRTY TWENTY TEN HISTORY. Give here: https://www.patreon.com/lasertime  

It is a family affair as we wrap up Guestapalooza! We have Mallory's brother, Doctor DC, on as we talk cartoons and celebrity supercouples. We've got the end of Johnny Bravo in 2004 and the start of Bojack Horseman in 2014. We also talk about the wedding of Brad Pitt and Angelina Jolie, an event 9 years in the making. Join us for a grand conclusion to our annual Guestapalooza!

In the GFBS Studios today is Captain Brad Durick & Johnny Bravo. Talking about the upcoming Drayton ND catfish capital challenge tournament. Show is recorded at Grand Forks Best Source. For studio information, visit www.gfbestsource.com – Or message us at bit.ly/44meos1 – Help support GFBS at this donation link - https://bit.ly/3vjvzgX - Access past GFBS Interviews - https://gfbsinterviews.podbean.com/  #gfbs #gfbestsource.com #grandforksnd #interview #local #grandforks #grandforksbestsource #visitgreatergrandforks @grandforksnd @THECHAMBERGFEGF

Kucingko Berhad will become Malaysia's first animation company to list on Bursa Malaysia's ACE Market by the end of July. It started life as Inspidea back in 2002 and has chalked up production credits from the Cartoon Network's Johnny Bravo to the BAFTA-nominated BBC series, Pet Squad. Its co-founder and executive director iCJ See talks about how this IPO might be the next step in this company's ambition to become the Dreamworks of Asia.

#felixnorman #Johnnybravo #mrbeast #samsulek #fouadabiad ##Fouad #hosstile #supplements #Chicagopro #Brandoncurry #Oxygengym #Contract #Coach #trainer #Dubai #Bonac #Tabani #Neckzilla #Nathandeasha #Mrbigevolution #2A #secondammendment #Concealcarry #Roadrage #Fistfights #Tampa #Tampapro #Texaspro #Texas #arnold #Hunterlabrada #Practisemakesperfect #Bodybuildingposing #guestposing #Ironman #NYPro #Toronto #Nightofchampions #Sanfran #Olympia #Dorianhaywood #Philclahar #Jasonarntz #lukmon #Lukmonajibulu #Leonbrown

Harvey Brownstone conducts an in-depth Interview with Brenda Vaccaro, Legendary Stage, Screen and TV Star About Harvey's guest: Today's special guest, Brenda Vaccaro, guest is a legendary actress whose many unforgettable performances spanning over 6 decades on the stage, in the movies and on TV have brought her world wide acclaim.    She won a Theater World Award in 1962 for her Broadway debut in "Everybody Loves Opal".  She then received 3 Tony Award nominations for her performances on Broadway in "Cactus Flower," "How Now, Dow Jones," and "The Goodbye People."   She received a Golden Globe Award nomination in 1970 for Most Promising Female Newcomer for her very first movie role in “Where It's At”.  For her performance in “Midnight Cowboy”, she received Best Supporting Actress nominations for a Golden Globe Award AND a Laurel Award.   And a few years later, she received an Academy Award nomination for Best Supporting Actress, and she WON a Golden Globe Award for her brilliant portrayal of “Linda” in “Once is not Enough”.  She earned a Saturn Award nomination for her work in “Capricorn One”.    And she's co-starred in many other great movies including “I Love My Wife”, “Going Home”, “The House By the Lake”, “Airport ‘77”, “The First Deadly Sin”, “Love Affair”, “The Mirror Has Two Faces”, “Once Upon a Time in Hollywood” and one of my all-time favourite romantic comedies, “Boynton Beach Club”.   For her work on television, she won an Emmy Award for Best Supporting Actress in “The Shape of Things”.   And she received 3 more Emmy Award nominations for her work in “Sara”, “The Golden Girls” and the highly acclaimed mini-series, “You Don't Know Jack”, for which she also won a Satellite Award for Best Supporting Actress AND a nomination for an Online Film and Television Association Award.    Her television credits also include “Judgment: The Trial of Julius and Ethel Rosenberg”, “Guyana Tragedy: The Story of Jim Jones”, “A Long Way Home”, “Paper Dolls”, “Gypsy”, and many more shows.   And of course, she's renowned for her voice work in “The Smurfs”, “The Critic” and “Johnny Bravo”.   In 1992, our guest was named the "Queen of Brooklyn" at the Welcome Back to Brooklyn Festival.  And in 2001 she received an Outstanding Achievement Award from the Los Angeles Italian Film Association. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Brenda Vaccaro, go to:https://www.instagram.com/officialbrendavaccaro/  #BrendaVaccaro    #harveybrownstoneinterviews

Julian from What's in My Head Podcast stops by for PART 1 of this two part discussion of the Cartoon Network classic cartoon pilot show, What a Cartoon Show! We get to talk about all the big shows that came from this anthology cartoon showcase like Dexter's Lab, Powerpuff Girls, Johnny Bravo and so much more! PART 2: https://podcasts.apple.com/us/podcast/what-a-cartoon-review-with-animation-destination-part-2/id1604643239?i=1000658002624

ReCap returns where we provide a synopsis of each story and discuss our favorite parts... this time covering Ed Brubaker and Steve McNiven's first story arc to Volume Six (2011)! Plus... Rick & Bob discuss Johnny Bravo, the fantasy draft and Rick shares a story of meeting George Perez and the sketch he was giddy over... YouTube: https://youtu.be/iUkk8-KCCAc Connect with Rick & Bob and fellow Cap fans at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/groups/captainamericacomicbookfans⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/CapComicFans⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Are you enjoying this podcast series? Please help by donating at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/capcomicbookfans/support⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Please subscribe, rate and review! Our home page is ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://captainamericacomicbookfans.com⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/capcomicbookfans/message Support this podcast: https://podcasters.spotify.com/pod/show/capcomicbookfans/support

This week I sit down with Johnny Bravo character designer Julian Chaney to chat the early days of CN and working with Van to create and design some of the most iconic characters in the Johnny Bravo universe!Join our Patreon: patreon.com/nmyheadpodFollow Julian: https://www.facebook.com/julian.chaney.7Follow Us On Social Media:Facebook: https://www.facebook.com/nmyheadpodInstagram: https://www.instagram.com/nmyheadpodTwitter: https://twitter.com/nmyheadpodYoutube: https://www.youtube.com/c/WhatsInMyHeadPodcast/featuredPodcast Sponsor: Animation DestinationInstagram: https://www.instagram.com/animationdestination/Spotify: https://open.spotify.com/show/263EAbcFHuPBECSplwQ6ta?si=3782198b410c44f7Don't forget to subscribe and follow us across all social media platformsIntro Audio By: Lakey Inspired

Greg announces he plans to postpone college, in favor of a music career as Johnny Bravo. He anticipates solo stardom, but when he discovers his recordings have been electronically "sweetened", he confronts his agent, Tami Cutler. Tami and her associate admit they liked Greg only because he "fit the suit", prompting Greg to walk out.    This week's episode: "Adios, Johnny Bravo" The Brady Bunch S5 E01, originally aired September 14, 1973. Advertising Inquiries: https://www.advertisecast.com/  

After the Brady kids perform a song together, a slick-talking talent scout wants to sign Greg to a solo contract, and make him over into a singer named Johnny Bravo.    This week's episode: "Adios, Johnny Bravo" The Brady Bunch S5 E01, originally aired September 14, 1973. Advertising Inquiries: https://www.advertisecast.com/    

The Fresno boys join and talk Fresno ball! --- Send in a voice message: https://podcasters.spotify.com/pod/show/blake-street-banter/message Support this podcast: https://podcasters.spotify.com/pod/show/blake-street-banter/support

It's a Wooden Overcoats battle! David K. Barnes, playing for Action Aid, and Beth Eyre, playing for Rainbow Migration, use their British, Sherlock-style sleuthing to some American Scooby Doo mysteries!  Cases: Gold Paw, E-Scream, A Terrifying Round with a Menacing Clown Clues & Evidence: Columbo, Fort Knox, Johnny Bravo, inverted commas, Gremlins, types of nerds, Todd Howard, zombie teenagers, Parker from Thunderbirds, the purity of gaming, Nice Rapids, John O'Hurley, Cougar Forrest, SpongeBob Squarepants, golf popcorn, arc welding, Vincent Van Ghoul, All the Beth you could ever want   Meddling Adults merch: www.meddlingadults.com/merch    — Thanks for listening to Meddling Adults! If you want to help the prize pool grow, become a member of our Patreon. If you want to learn more about the show or interact with us online, check out the links below: PATREON: patroen.com/meddlingadults ONE-TIME DONATIONS: paypal.me/meddlingadults  WEBSITE: meddlingadults.com TWITTER: twitter.com/meddlingadults INSTAGRAM: instagram.com/meddlingadults FACEBOOK: facebook.com/meddlingadults — CREDITS  Creator/Host/Executive Producer: Mike Schubert Producer/Editor: Sherry Guo Music: Bettina Campomanes, Brandon Grugle Art: Maayan Atias, Kelly Schubert Web Design: Mike & Kelly Schubert

On this week's episode, Writer Adam Pava (Boxtrolls, Lego Movie, Glenn Martin DDS and many many more) talks about his writing career, and why sometimes when he writes features, he doesn't always get credited. Tune in for much more!Show NotesAdam Pava on Twitter: https://twitter.com/adampava?lang=enAdam Pava on IMDB: https://www.imdb.com/name/nm1106082/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptAdam Pava:I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can. I think that's the first thing, but to get those open writing assignments, I think it's just a cool errand to even try because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things and then they'll seen you've done it. You're listening to Screenwriters Need to Hear This with Michael Jenman.Hey everyone, it's Michael Jamin. Welcome back for another episode. I may be retitling the name of my podcast. So I'm, I'm going to be vague for everyone, but I'm here with my next guest, Adam Pava, who's a very talented writer I worked with many years ago on show called Glen Martin, d d s, and he works. We'll talk. I'll let you speak in a second. Pava, you just relax. I'm going to bring you on with a proper introduction because you've worked a lot, lot of features, a lot of animation. So I'm going to run through some of your many credits. Some of them are credited and some of them just are not so credited. We're going to talk about that even though you've done the work. So I think you started early on on shows like Clone High, Johnny Bravo, I'm going to skip around.You worked with us on Glen Martin d d s, but then you've also done Monsters versus Aliens Dragons. I'm going to jump around, but wait, hold on. I'm skipping a lot of your credits, Pavo, a lot of the box trolls you've done, you work a lot with Lord and Miller on all their stuff, all the Lego movies, goblins. You have something in the works with Leica, which is one of the big animation studios which you're attached to direct as well, and then also some other shows. Let's mention My Little Pony dreamland. What else should we talk about? A bunch of the label, it's hard to talk about the credits because so many of 'em are things that are either in production or development that they're not supposed to talk about yet, or they're things that I was uncredited on. And so it's a weird thing.And why are you uncredited? How does that work? It's super different from TV and movies. So back when I worked in tv, I did tv. I mean, back when we worked together it was like what, 10, 15 years ago? Something like that. But I did TV for the first decade of my career and everything you work on, you're credited, even if you're just like the staff writer in the corner who says three words and doesn't make, get a joke into the script. You're one of the credited writers. Movies are a different situation. It's like one of these dirty secrets of Hollywood where they always want to credit one writer or a team of writers. Sometimes it'll be two writers that get the credit if both of 'em did a huge chunk of the work. But the thing that usually happens these days on big studio movies anyway is they will go through three or four writers over the course of the years and years of it being in development and all those writers who worked on it before the final writer or sometimes just the first writer and the last writer will get credit and all the ones in the middle won't get credit.Or it's like the W G A has these arbitration rules where it's like, unless you did a certain percentage of the final shooting script, you're not going to get credit at all. So even though the guy who brings catering gets credit and every person on, so will you arbitrate for credit or do you go into these projects knowing that you're not going to get credit? Usually I go in knowing that I'm not going to get credit or I will. Sometimes there'll be a situation. I did about a year's worth of work on the Lego movie, the first Lego movie, and Phil and Chris, Phil Lauren and Chris Miller who directed that and wrote the first draft of the script and the final draft of the script. They're buddies of mine and so I'm not going to arbitrate against 'em and I want them to hire me in the future and I love them and they really wanted, they're written and directed by title, and so of course I'm not going to arbitrate in that sort of situation.And also to be fair, I don't think I would win that arbitration because they wrote the first draft and it was already the idea and it was brilliant and it came out of their minds and it was awesome. And then they had me do four or five drafts in the middle of there where I was just addressing all the studio notes and all the notes from the Lego Corporation and all the notes from Lucasville and all that kind of stuff while they're off shooting 21 Jump Street and then they come back. So you were just doing it to move it closer and then they knew they were, yeah, exactly. They knew they were coming back onto it and they were going to direct it and they would do another pass. They would do multiple passes once it goes into storyboarding once it's green lit. So I was just trying to get it to the green lit stage, so they had written a draft and then I did a bunch of drafts addressing all these notes and then we got a green lit off of my drafts and then they came back on and they started the storyboard process and directing process.And the story changes so dramatically during that process anyway that the final product is so far removed from the drafts I did anyway, but it was a valuable, my work was needed to get it to that point to where they can jump back onto it. But very little of that final movie is anything that I can take credit for and I wouldn't want to take credit away from them on that. So I do a lot of that kind of work. Did they have other writers that worked on Legos movie as well, or just you? On the first one, it was them and me. There was these two brothers, the Hagerman brothers who had done a very early treatment, but that had set up the original idea for the movie of Allego man sort of becoming alive. So they got a story by credit, and then they definitely always have a stable of writers that they bring in to do punch up work and to just watch the animatic and give notes and stuff like that.So there's a whole bunch of people that are contributing along the way. Funny, they come from tv, so they really run it. They run it as if they're still on TV a hundred percent. They have their writers. And so I've gotten to work on a lot of their projects as one of their staff writer type people basically is the idea. So it's all uncredited work, but it's great work. They're such great guys and you're working on really cool things every time. And so now there's a new, in the last few years, the W G A started this new thing called additional literary Material credit. And so if Lego were to have come out now, I think I would've gotten that credit on it, but at the time, that didn't exist, so I got a special thanks. And how did you, oh, really? Okay. And how did you meet these guys?They gave me my first ever job before I knew you. I mean, I had written a movie script that was an animated movie. This is like 99 or 2000. I was just out of grad. I wrote it while I was in grad school. And Wait, hold on. I didn't even know you went to grad school. Did you study screenwriting in grad school? Yeah, I went to U S C screenwriting. Oh, I did not. I hide it from you. Why do you hide it? For me? I don't know. It's a weird thing where I feel like a, it's like I was in this weird secondary program that wasn't part of the film school. It was the master's of professional writing and screenwriting. And so people would get confused and I didn't want to lead them on, but also I just feel like it got me to a place and then I was like, I didn't want be part of a good old boys club where people are just hiring U S C people or whatever.That's the whole point of going to USC for Yeah, people ask me, should I go to film school, get an M F A, and my standard answer is, no one will ever ask for your degree. No one caress about your degree. The only thing they care about is can you put the words on the page that are good a hundred? But why did you, but what it did offer me, and I'll get back to how I met Phil and Chris in a little bit, but this is a good side conversation. It gave me an opportunity to do some internships on a couple of TV shows. And that was super, super valuable. So when I was at U SS C, it was 99 and 2000, and so I interned my first year on a little show called Friends, which was still on the air. I was on the air at the time.I was just the stage intern. So I was moving the chairs around during the rehearsals and fetching coffees and getting frozen yogurt for cast members or whatever, just shitting my pants, trying to be a normal human being around all these superstars and was not, I wouldn't say it was the best experience of my life. It was definitely one of those things where I was like, everybody was super intimidating and everybody was really busy and the cast were in the middle of a renegotiation, so they're all showing up late. It just felt like everyone was angry the whole time. And I was like, dunno if I want to work in tv. But there was one writer's assistant who was just like, yeah, because on the stage you're a writer, you need to be in a writer's room, you should be an intern in a writer's room.And I was like, oh. And then so I was able to get an internship on Malcolm In the Middle, which had just sold, it was in his first year, so it was a summer show. So I jumped onto that in the summer and was able to do that. And then in that writer's room, I was like, oh, these are my people. These are actual, wait, you were an intern. They let you sit in the writer's room one. It was like for doing all, getting the lunches and making the coffee and all that stuff. Linwood was nice enough to let me just observe in the room for one day a week just to, well, if I didn't have other stuff I needed to get done. So it was super nice as long as I didn't pitch or say anything and I was just, I never would.But it was cool to, that experience showed me that show was so well written and it was so tight and those writers were all geniuses or I thought they were all geniuses. And then I'd go in the room first, I would read the scripts and I would think, oh my God, I'd never be able to do this. And then I got in the room and I'm like, oh no, they're just working really, really hard and banging their head against the wall until they come up with a perfect joke. And then by the time it's done, it seems like it's genius. But it all was just really hard work, really long hours to get to that place. So that taught me like, oh, maybe I can be one of those people. If I'm just one cog in this room, I could do that. And so that gave sort of the confidence to do that.So I had done those. Getting back, I can loop back into the Phil and Chris thing now because this actually connects really well. I had done those internships. I graduated U Ss C and I had this script that I'd written as my final project or whatever, and it was an animated movie, and I thought you could just sell an animated movie, but I didn't know, they didn't teach me this in grad school that at the time they developed 'em all. It was like only Disney and Dreamworks were doing 'em at the time. This is 2000. And they just hire directors and sort of were an artist in-house to sort of create the stories or back then that's how they would do it. And so I sent it to some agents and the response was always like, Hey, you're a really funny writer. This is really good.I can't sell this. I don't know anybody that buys animated movies, but you should write a live action movie if you can write it as good as this. And so I wrote another movie that was Live Action, but it was silly. It seemed like it might as well have been an, I go back and read it now and I'm like, it's basically an animated movie, but it didn't say it was animated, it was live action human beings. And I submitted it to a small boutique agency at the time called Broder. I don't know if you remember them, Broder Crow, we were there. Yeah. And so Matt Rice was an agent there at the time, and he had on his desk, his assistant was Bill Zody. I dunno if you know him, he's a big name agent now, but he was an assistant at the time.He read that script that I wrote and was like, oh, you know who this reminds me of these other clients that Matt has, Phil and Chris. And so he passed it on to those guys and they were looking for a writer's assistant on Clone High because they had just sold their first TV show. They were a young hotshot writers that were just deal. And so I met with Phil and Chris, and they hired me as the writer's assistant on Clone High, which was like, they were the same age as me. They were just like, we don't know what we're doing. But they're like, you've been in a writer's room, you've been knock on the middle and I friends and you, I didn't know anything. I didn't know what I was doing at all, but it said on my resume that I had had these experiences.So they thought I would be a good writer's assistant for that reason. But they were the coolest dudes from the very beginning. They were just like, you're the writer's assistant, but also you should pitch in the room. You should act like you're another writer. We have a really small staff, we have seven writers, and you're going to get episode eight. I mean, it was crazy. They were just like, they gave me a lance and that never happens anymore. How did they get an overall deal when they came? Oh, it's the craziest day. So they went to Dartmouth, they made each other at Dartmouth and then they were doing cartoons while they were there studying animation. And one of Phil's, I think it was Phil, I think it was Phil won the Student Academy Award for a student film that he did. And it was written about in the Dartmouth Alumni magazine.And there was a development exec at Disney whose son went to Dartmouth and read that article and was like, Hey, called them in their dorm room. And we're like, if you guys ever go out to la lemme know. We'll set a meeting. And they literally, the day after they graduate just drove to LA and then called 'em up and we're like, we're ready to get hired. And it worked and they got hired, it worked. They got hired just to do Saturday morning stuff, and they did that for a little bit and everything they were doing was too crazy for Saturday morning, but it was like Disney. But then Disney was like, well, you can start developing stuff for adult Disney or for primetime stuff. And so they came up with the idea for Clone High, and it originally sold to Fox as a pilot to be after the Simpsons or whatever, but then it didn't get picked up and then M T V picked it up and then they had a show.So it's crazy what a trajectory their career has. Yeah, I know. And now they're running Hollywood. Yeah, pretty much. Pretty much. Yeah. They were good guys to meet right away mean honestly, it was like to become friends with them and just to ride their wake and get some of their sloppy seconds and some of the stuff that they don't want to deal with, it's honestly, it was great. Did they call you a lot with stuff like that? Hey, we don't want to do this. It's yours less now than they used to. I mean, there was a point where I was one of their stable guys that they would call. I think they have met a lot of people in the 20 years since then, but early on it was like, I mean, even their first movie was Claudio with a Chance of Meatballs, and they brought me on to help rewrite the third act at one point.And it was just from then on, they would always send me their scripts and just add jokes or to give feedback or whatever, and they've always been like that. And then I've noticed the last maybe six or seven years as they've gotten these huge deals and all their projects are now just these massive things, it's not quite the same relationship where they would just text me or email me and be like, Hey, read this. Now. It's like they have a whole team of people. They have a machine now, but we still are friends. And then things will come up where they'll hire me for things here and there. I wonder, honestly, I don't want to make this differe about them, but it's so interesting. I kind of think, I wonder what it's like to be that busy. It almost feels like, oh my God, I'm too busy.They're so busy. They're the hardest working people I know. It's like people always wonder how this stuff comes out so good. And it's not that, I mean honestly, it's just good because they stay up later than everybody. They never stop tinkering with things. They're never satisfied. They always think the next thing they do is going to ruin their career. And so they run on this fear that propels them that, I mean, they harness it. It's not like it's a secret. They know that this is what makes them great and utilizing all their friends utilizing, they're the kind of people that are the best idea in the room wins. If you could be the PA or the head of the studio and if you have a great idea, they're like, let's try it. And they also try a lot of stuff that doesn't work and they're given the leeway to go down a lot of dead ends and then realize that's not the answer, and then back up and then try it again and try it again and try it again.And that's how a lot of animated movies are done. And so it drives everybody crazy, but also creates amazing product. That's what, because I've interviewed a couple of guys who worked at dreamworks, which John Able who does a lot of the kung movies, and he describes it the same way. I was like, wow, it's so different from writing live. It's so different from writing live action. The whole experience sounds exhausting to me. Do you find it the same? Yeah, I mean when I first started in it, I was like, this is ridiculous. Why don't they just write a script and then shoot the script? And then over the years, I've learned to love the process. I mean, I was frustrated early on when I would realize how much gets thrown out and how much changes and how much. It's just, it's out of the hands of one writer.And I think a lot of it is also just ego thinking that you could do it better than everybody. And then once I embraced, oh no, you have a bunch of really brilliant storyboard artists and you have a bunch of really brilliant character designers and head of story and a director and all these different people who, and layout artists and even the animators themselves, they all add something so vital and valuable to it, and you learn stuff from each of their steps and then you're just given the leeway to be able to keep adjusting and adjusting until you get it right. And that's why animation comes out so much tighter often than live action is just because you've been able to see the movie so many times and keep tweaking and tweaking until you get it right. Now there is a point where sometimes I feel like you can take that too far and then it just becomes like, oh, we had a great version, four drafts to go and now we've lost our way, or we're just spinning our wheels or whatever.See, that's why I get lost sometimes. I've been in shows where you rewrite something to death and then someone says, we should go back to the way it was, and I'm like, what was the way it was? I don't even remember anymore a hundred percent, and I've stopped ever thinking You can do that. I used to think I would hold out hope though they'll realize that the earlier draft was better. They'd never do. It's like everybody forgets it, and then you just have to have the confidence to be like, well, we know we'll come up with something better together that it'll be from the collaborative mind of all of us. And then I think now I've seen actually the last few years, there's a little bit of a tightening of the belt budgetarily, and that leads to faster schedules. And so instead of having seven times that you can throw the story up from beginning to end on the storyboards, like the reels and watch this movie, you can only do it three times or so.That gives you a little bit more of a window of like, okay, we got to get it right in three drafts or whatever, in three storyboard drafts. And who's driving the ship then in animation? Is it not the director in this case, it's Lord Miller, but they're the writers. Well, Lord Miller are often the directors, and so when they're the directors, they're in charge when they're the producers, they're in charge When they're on the Spider Verse movies, for example, they're the writer or Phil writes them and then they hire directors. But Phil and Chris are the producers, but they're sort of like these super directors. They're very unusual. Yeah, it's not, yeah, that's an unusual situation. But other movies somebody do at dreamworks and there's somebody do at Leica Leica, it's like the director and the head of the studio, Travis Knight, who it's his sandbox and it's his money because he's a billionaire that funds the studio.He has the ultimate say, and so the directors are always working with him, but it's always collaborative. It's always like you get in a room. When I'm working at Leica, it's always like me, the director and Travis trying to figure it out, and he's trusted me to be, I feel like he doesn't trust a lot of people. He is kind of closed off in that way, but once you earn his trust, you will be in that room and you'll figure it out together or whatever. But every movie's different, and sometimes I'm on a movie just to help fix it for a little bit, and then I'm just a fix it person that comes in for a little bit. Sometimes I just add jokes. Sometimes I just, there's been movies where it was a mystery animated movie and they're like, can you just rewrite the mystery?I was like, what a weird assignment. But I had three weeks still. But in this case, they're calling you. How are you getting this work? Just reputation, they're calling you out of nowhere? Mostly now it's reputation. I mean, sometimes I'll be submitted to it. I mean, the first time it's always like you have to be submitted. And I mean, I can tell you how I got hired on box rolls. That was a big breakthrough to me. I mean, it was after I'd done, so Lego was obviously just having known and worked with Phil and Chris forever, and then they got hired on Jump Street, and they needed somebody that they trusted to dear the ship for a while while they're gone. And so I was able to do that, and that was a huge big break. It was like, you couldn't ask for that. I just, I'm the luckiest guy in the world.But after that, at Leica, they had a draft of a movie before it was called box Rolls, it was called Here Be Monsters, and it had been in development for years and years and years and gone through a bunch of writers and they hadn't quite figured it out. It was kind of a mess. It was a big sprawling story that had a lot of moving parts to it, and they had heard that on Lego, I was able to harness a lot of the crazy ideas that Phil and Chris had and put it into a structure that made sense. And so they asked me to come in and do the same thing, or before they even did that, I did a punch up. I got hired to do a punch up on that movie, and I knew that it was going to be a huge opportunity to impress them.I really, really wanted to work at Leica because at the time, they had only had Coralline come out and I loved that movie. And then I had seen maybe ParaNorman had come out or it hadn't come out yet, but it was about to, whatever it was, I knew it was a new animation studio doing really unique original stuff, and I got asked to be part of this round table, and it was all these heavy hitter Simpsons writers. It was like J Kogan and Gamo and Pross, all these people that you're like, these are all legends. They've done a million shows and they get hired to do punch up all the time. That's like their bread and butter, right? I'm not so sure anymore, but okay, no, no, but this is in 2011 or whatever.And I was like, I am going to take this script and analyze it and come up with character moments and come up with, I'm not going to be able to compete with those guys with the best joke in the room necessarily. I'll have good jokes to pitch, but I'm going to have like, oh, what if we adjust the character to be more like this? And where those guys were all, not those guys specifically, but the room in general, these were all guys who were maybe reading five pages ahead and then pitching off the top of their head. And I spent a couple of days writing jokes in the margin and ideas in the margin, and I killed in that room. I got a lot of stuff in and to the point where a few months later when they needed a big overhaul, they asked me to come in and do sort of what I had done on Lego, just take this big thing and hone it down into, so it was a rewrite job at the beginning, and then it turned into three years of working with the director in the studio to change that story.We threw everything out and started over basically a couple times over the course of those years end up, but how are you get paid? Are you getting paid on a weekly scale? Because I don't know how that would work. Do you get paid? It starts off with a draft and then it'll be a typical thing like a draft in two rewrites, but you quickly run through those and then they keep needing your work. At least they're not getting free work out of you. They're picking no, then it turns into either a day rate or a weekly rate, and that's where I bought my house.I made so much money on my day rate. They would literally just, Leica would call me and just be like, oh, we're going to record an actor in a few days. Can you just go through all their scenes and write three or four alts for every joke? Just have a bunch of stuff. And I would spend a few days doing that, and then a day rate, you get paid really, really well, that stuff adds up. Or they would be like, we just need one more pass on the third act, or we just need to go through the whole script and remove this character. And so all these little weekly assignments, and then you're just like, that was very lucrative doing it that way.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Adam Pava:You usually, because done so much animation and it sounds like you always set out to do animation, is that I did set out to do it, and then I didn't set out to only do it. I thought I could do both, but you kind of get pigeonholed a little bit. It's hard. I've gotten hired to write a few live action movies, but there were always a live action movie that had an animation element to it. It could be a hybrid movie or be a family movie that they think, oh, because you've done family work, you can do this. But nobody would ever hire me to just do a horror movie or whatever. And I don't know if I'd be the right guy for that either. I think my sensibility tends to be more animation based, but also, I think movies are such a different thing than TV where there's like, they're so expensive.If you're spending $80 million or whatever, you want to hire somebody that's done it before. So it's really, really hard for the studio bosses or even the lower level executives to fight to hire you if you've never done that kind of thing before. And so you get, it's not pigeonholed. I love doing it and I love the work, but it's also, I get why I get hired for certain things and not for other things. But also I feel super lucky because animation is one of the only parts or the only genres of film that has not shrunk over the years. Movies in general, they've stopped making live action comedies almost completely, except for stuff on streamers. They don't make rom-coms anymore. They barely make action comedies. It's like they make superhero movies and Star Wars movies, but then animation movies are evergreen. And so I feel really lucky that I sort of fell into this area that there is still work to be had.So yeah, I mean, you really have put together a really pretty impressive career. And I know not all your credits, not all your work is credited, so what I mean? Yeah, well, it's either uncredited or there's so many projects that died Vine. So it's like you read my, I said you that list of credits and it's like I'm looking at it over earlier today. Oh, it's just a list of debt projects, but that's expected. When you go into it, you go, okay, they're not all going to go. That's expected. It's all right. I was looking at my, I was organizing my, it's a strike, so I have time to do these things, organizing my folders on my computer and putting everything in, and I had over 150 folders of each. One is its own project, and not all of those are work that I've done.Some of them are like, I got sent this thing to pitch on, and then I had one meeting and it went away. And some of 'em I did a few weeks on, or some of 'em I just did day work on, but 150 projects over the years. Some of 'em I'm on for a year or two or three years. So it's insane. And so the hit ratio is super low of, I got really lucky when I transitioned out of TV and went into movies. It was like the first two things. Well, I sold a thing to Dreamworks that didn't get made, but then right after that, it was Lego and box trolls. They both came out in 2014, and I worked on both of 'em, and I was like, oh, this is going to be easy. You work on a movie and then it comes out and then it's cut to 10 years later and it's like nothing else is my name on it has come out.I've worked steadily. I've worked really well. I've been very happy. But it's definitely, it's a different thing than TV where you're just working and getting credited all the time. Well, yeah, but it also sounds like, I don't know, it sounds like to me, maybe I'm wrong. It sounds like you don't need to hustle as much doing what you do. No, I feel like it's the opposite because on TV you can get on a show and you're running for years, but on a movie you always know what's going to add, but they're coming to you. People are coming to you with offers, in other words. Oh yeah, sometimes. I mean, yes, the ones that end up happening, that's true. But there's so many that I'm just on a list at the studio, but I'm in a bake off with six other writers and I don't get it.So you put a lot of work so people don't know what to bake off is. So this is when you have to pitch to get the job and you have to put in several weeks of work. That's the worst. That's just the worst. And that's the majority of my life. Oh, is it? That's like, yeah. Yeah. So there's definitely, I mean, between Phil and Chris and Laika, I have, and a little bit of Dreamworks now. I'm doing my third movie for them right now. So that's pretty good over 10 years, three movies. But other than those places, it's always like you're getting sent stuff, but that doesn't mean they want you. It just means they want to hear a bunch of takes, and so you have to try to fight for the job if you really want it. Or I used to spend months or maybe eight months coming up with the take and having every detail worked out.And then I realized over time, they don't actually want that. They want a big idea and some themes and some ideas of what the set pieces are, and they want to know that you, I mean, honestly, it's, I don't even recommend that young writers go out for them because you're not going to get it anyway, because they're always going to go with somebody that has done it before. Especially, I mean, not always, if you might be the rare exception, but so much. Well, then what do you recommend to young writers to do? Dude, I don't know. I mean, I think you have to write great samples. I mean, I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can.I think that's the first thing. But to get those open writing assignments, I think it's just a fool's errand to even try, because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things, and then they'll see you've done, it's not even try to get these big studio things, get a small indie thing if you can, or make your own thing if you can, or just try to work your way up in a smaller way. I mean, all the big name directors out there all started on small indie movies. And I think that's got to be the same for writers now too. So many fewer movies. Is there anything that you're doing on the side just for the love of it that you're creating for yourself? Or is it, I haven't, in the last few years, I haven't.I've just been busy with work, but during the pandemic, I had plenty of time. Nobody was buying movies, and I am wrapped up on something and I had an idea that I thought was going to be my next big sale, and that it was an idea about a virus that went, it was a comedy thing, but it was this idea where it was sort of based on the idea that Christmas is getting longer and longer every year, where people put up their lights in decorations sooner and sooner, and you start seeing the stuff for sale in October or whatever. And so I was like, oh, it felt like Christmas was a virus that was slowly taking over the world. And I was like, what if it's a zombie movie, but Christmas is the virus? And so it was sort of a Christmas apocalypse thing where Christmas takes over the world and one family didn't get infected and had to fight back.So I was like, this is going to be a big seller. And then I was like, and then Covid hit, and it was like nobody wanted to buy a thing about a virus taking over the world, so I literally spent the pandemic. To answer your question, I wrote it as a novel. Instead, I wrote it as a middle grade novel, a y, a novel. Did you publish it? Not yet. We're trying. So we're out to publishers, and it took a while to figure out literary agents, which are very different world and everything, but the idea is to hopefully sell it as a book and then be able to adapt it as a feature. But yeah, it was so fun to write, and it was so freeing to not be stuck in 110 pages and to, I mean, I already had the whole thing outlined from the pitch when I was going to pitch it, so I knew the structure of it, so I just kept it as the structure of a movie, but I expanded on it and got more into the character's heads and that kind of stuff.But I had such a fun time writing that, and I was just like, man, someday when the work dries up, I am going to look forward to writing novels instead. And oh, yeah. The funny thing is when you describe the literary word going out to publishers, it's not that different from Hollywood. You think It is. It's not. It's the same hell. Oh, absolutely. But you and I haven't had to deal with breaking into Hollywood in a long time. And then in the literary world, they're like, oh, you've written movies. We don't care. We don't care at all. So it's starting over. And U T A tried to help a little bit, but they're like, we don't really know what to do. And then, so it's, I've been, my manager has been introducing me to editors and stuff, literary editors, and they've been really receptive, and it's been good trying to find the right one and the person I jive with. But it's very much like, oh, you're starting from scratch all over again. And for less money, no money. I mean, literally, I don't know how you would make a living off of this. I mean, I think we're spoiled a little bit, but what was the money they were telling you? Can you say, I don't want to say you don't, but it was basically about, it was less than a 10th that I would get paid on a movie.It was about my weekly rate. So I was telling you, I do weekly jobs on movies, and it's like if I do a weekly on a studio movie or I could sell a novel, or you could work five years on a novel, and I'm like, oh, this is not a way to support a family, but it was really fun. Someday when I'm just doing it for fun, I would love to do it. Wow, how interesting. Wow. So your best advice, because you're not an animator, you're not even an artist, are you? No, I don't draw or anything. I just love animation. I just always loved animation. So I don't know. I think when I was in seventh grade when the Simpsons started, and that blew my mind, and I was like, I remember telling my dad, I think I want to write on this. It was the first time I recognized, oh, people are writing these jokes. It was very, I think, more self-aware than most comedy was. And I was in junior high and I was just like, I want to be a writer on a show like this. I never was a writer on that show, but a bunch of other stuff.Now, as far as directing, because I know you're attached to possibly direct this project, where does your confidence come from that to direct? I mean, I don't know if I have confidence in it. I mean, I would want to co-direct it. In animation, you often get paired with another, if you're a writer, you'd get paired with an experienced animation director who comes from the visual side. So either an animator or a store wear artist or visual development artist. And I just feel like some of the projects I've been doing, you sort of act as more than just a writer anyway. You're sort of meeting with the creative heads all the time, making these big decisions that affect the projects. And at a certain point, I'm like, well, if I write something, that project that I, that's at life that I was attached to, it probably won't even happen at this point.It's been a few years, and it's kind of sitting there waiting for Travis to decide if he wants to make it. But it was a personal project to me, and it was like this would be the one that I was like, I would really want to see this all the way through. And I'm sure at that studio at this point, he's, Travis himself who runs the studio, is kind of directing all the latest projects anyway, so I would be co-directing with him. And so he would really be in charge, and I would just be, they're up in Seattle, right? Portland? Yeah, Portland or in Portland, yeah. So do you go up there a lot for Yeah, when I'm on a project, so usually it's like if I'm just writing it before it's green lit, which is most of the time I'll just fly up there for meetings just to get launched or whatever, and then go back up after I turn it in to get notes. But if it's in production on box trolls, and then there's another upcoming one that I did a bunch of production work on, they'll fly me up there to work with the board artists and stuff. And that's a crazy, that place is so nice.It's like a wonderland. I mean, it's like this giant warehouse downstairs that they have all the stages and they're all covered with black velvet rope, I mean black velvet curtains. So to keep all the light out and everything. And that's where they're moving all the puppets and everything, the stop motion. And then upstairs it's like the offices, and it just feels like a corporate office building with cubicles and stuff. It's very weird. But you go downstairs and it's like there's people animating, there's this huge warehouse where they're building all the props and they're like armature section where they're adding all the skeletal armature to the You never went with us to, because Kapa was like that in a cup of coffee in Toronto when we did Glen Martin. Yeah, it was amazing though. Similar. But Kapa is doing it on a budget, and these guys are spending so much money, it's not a viable way to make money to make these animated stop motion animated movies.They don't do it to make money. He does it. He loves it. Oh, really? Oh my gosh. Yeah, because Travis Knight is the son of Phil Knight who've gone to Nike, so he's got sort of a lot of money, and it's his hobby shoe money. He's got shoe money, but he is a brilliant animator. He is a super smart, interesting dude who wants to make things that are different than anybody else. And so it's an amazing place to work because nowhere else do you ever have the conversation of like, oh, we could do this if we wanted to do it, where more people would see it, or we could do it this way, which is cool and we want to do this. It's fun and weird.Not that he doesn't care about an audience, he does care about an audience, but it's not most important to him is making something that's awesome to him for the art. And so it's a very different way of looking at things. But I've been in situations there where it's like we're doing upstairs, doing a rewrite with me and the director changing the whole third act or whatever, and then I go downstairs and just tour the stages and the workshops, and I'll meet a puppeteer who's like building this giant puppet who's telling me this is the biggest puppet that's ever been created in Stop motion, and here's the 17 different places where I can articulate it. And I'm just thinking like, dude, we cut that yesterday upstairs. Oh no. And he's been working on it for a month. Oh, no. But I can't say anything. I'm just sort of like, oh, yeah, that's awesome.It's so great. You're doing great work. Anyway, I'm going to get back upstairs. That's so heartbreaking. But they burn through so much money just doing it all by hand. It's so crazy. But it's so beautiful, so I love it. And so you were literally upstairs, they gave you a small office and you just start typing? Yeah, that's literally, I mean, usually when I'm there, it's like they just put me in some random cubicle that nobody else is using or it's not a cubicle, a little office that is or whatever, somebody office. And you'll stay there for a few days or a few weeks or what? Yeah, exactly. Depending on how much they need me. So it either be a few days or a few weeks. And then on box rolls, I was up there. I would be up there for a week, relining some stuff, and then I'd come back home for two weeks and write those pages up.And I mean, I'd be writing in the evenings after the meetings and stuff too, while I was up there. But when we are rewriting, it's a train that's moving and it's like the track is you're running on a track and you got to keep pressure. What did you think of staying there in Portland? Did you like it? I did it. It's hard because my family's here and life is here, but if that movie had gone that I was attached to Coder Act, we were planning on moving there for that for three or four years. That's how it would take. Interesting. Would you have sold your house here or just rented it out? I'd have rented it out, I think. Interesting. Yeah, you, it was like we were having all these conversations, and then it's the longer it goes, we're like, that's probably not going to happen.We don't have to think about this right now. How interesting. That's so key. It really takes that long, man. Oh yeah. They're so long. And then also, it's like there is this weird thing in animation where it's not uncommon for a movie to go through two or three directors over the course of its many years in production. So it's like, why? I know. Just because they're beasts. And sometimes in the same way that you're changing the story so many times over the years, sometimes you make such a drastic change that it's no longer the vision of that director, and it's just not a right fit anymore. And I've seen that happen on a lot of movies that I've been on. I mean, Boxtrolls didn't end up with the same two directors that it started with. One of the two stayed on it, but the other one didn't.Oh, no, this sounds very frustrating to me. It sounds It does. And then other movies up there have gone through different directors, and so I was like, even if I had gotten hired as the director, I was in the back of my head. I always knew this might not last even if I'll do my best and I'll try to make it work. But you haven't even started and you're finding I'm being fired. Yeah, totally. But I mean, it's a weird thing. It's not TV where you're on a show for a year and then hopefully you get the second year if you get one. It's like in movies, they fire and hire different writers all the time, and so directors less, but writers, it really is pretty common. I've been on both sides of it where it's like, I used to take it really harder, fired off a movie.You're like, oh my God, did they not like the draft? I did. And usually it's like, no, we liked it, but now there's a director on it and they want to take a different direction. Or Oh, the director has a friend that they want to work with that they work with as a writer. Or other times I've been that guy that a director has brought on to rewrite somebody else, and I always try to be super nice about it. Now that I've seen both sides of it, I always try to reach out to the previous writer and be like, Hey, I just want you to know it's in good hands. Or sometimes if I'm the one that's fired, I reach out, be like, Hey, if you want to know where the skeletons are buried, happy to get in lunch with you. Just to be like, here's the pitfalls to look out for.This is where people don't realize that people on the outside just don't realize what it's actually like when you're the writer. You're a successful working writer. And I think they have a very different vision of the reality of a hundred percent. I didn't know the job was, I thought the job was going to be writing the whole time. Most of the job is it's playing politics with the studio and the executives and the director and Well, what do you mean politics, getting navigating the notes? What do you mean? Yeah, yeah. I mean, it's like the notes, but also the personalities. It's like a lot of the job I feel like is to go in and to make everybody feel comfortable with where you're taking it. Because you walk into a room and sometimes you could feel like, oh, the director thinks they're making a very different movie than the head of development thinks.Then that's different than what the producer thinks. And that's different than what the head of the studio thinks. It's like I've been in a room where it's like Jeffrey Katzenberg is just like, guys, guys, guys, you're all thinking about this all wrong. And you just have to be like, okay, how can I find solutions that makes everybody happy, that make everybody happy? And that's a huge part of the job. I mean, honestly, when I did the Lego rewriting with Phil and Chris, that's what the whole job was, was just like, how do I make Warner Brothers who didn't know what they had? They thought it was a toy commercial. They were very skeptical of the whole thing, Phil and Chris, who wanted to make some beautiful art. And it was cool with cool ideas. And Lego Corporation who wanted to make a toy commercial and Lucasfilm who didn't want their characters to be in it, and DC who didn't know whether they should be or not.And you're just like, how do I get in a room? And and usually if you come up with a great gag or great joke that articulates the, that illuminates the tone of the thing. So they all go, oh, okay. That's the thing. So the round of notes, like you're saying, oh, it's incredible, but for everybody and everyone's got conflicting. I don't even know walking into that job, and all I care about is I don't want my friends, Phil and Chris to think I fucked up their movie because they're trusting me just so I keep it moving. But I would think even for them, it's like, how do I get this movie made when I have so many competing notes and to their credit account, great, but still that is a hundred percent to their credit, they have a genius ability to, not only are they great writers and great directors, I think more than that, they have this sense of how to make everybody in a room think that the ideas came from them.It's like, yeah, they're great at, they'll go into a room, I think sometimes having some ideas in their pocket, but it feels like the room came up with the ideas together, and then everybody's like, yes, we did it. Pat ourselves on the back. And everybody, the executives' seem happy. But sometimes it actually does come out that, I mean, those brainstorm sessions really do create a new idea, and sometimes it's them trusting the process that that's going to work out. And sometimes I think they literally are like, well, we can go this way or this way, but I know it'll be easier if they think they had the idea. So let's go this way for now. And then later they know it's going to change a thousand times anyway in the storyboards, and then they could figure it out for real later. Because all these see people like that.They're very well paid, but in my opinion, they're earning every penny of this a hundred percent. They're earning every, it's not that easy. This job, I feel like I've gotten better over the years where I've taken my ego out of it. I used to have a much bigger ego, you might remember, but I feel like I can be, now, I can just go in a room and be like, I'm just going to try to help. I'm just going to be like, how could I make everybody feel comfortable? How can I make everybody feel like we're on the right page together and create this thing? I know that it's like the process is going to take years and years, and the relationship is more important than the individual story note or whatever. It's like that's what's going to matter over the long term of this project.It's that we all trust each other and that we can make something great together. And that's more important than fighting for a joke or fighting for a story moment or a take, or even exactly, either. It's about fighting the relationship, and I've said this before, it's about the relationship is the most important thing, and sometimes you have to sacrifice what you think is the best story, the best moment for the greater good of the relationship. A hundred percent. A hundred percent. Wow. I feel like this has been eyeopening even for me, and I feel like my eyes are fucking opened. You know what I'm saying?We've done some movie work, but obviously we work mostly in tv, but the movie side, the movie side was never really appealing. I remember because we shared the same agent for our futures, and I remember he gave us a conversation. I was like, I dunno if I want to work in movies again. It's weird. It sounds hard. It's different because in TV you're the boss, right? I mean, when you're the showrunner, you're the boss. Yeah. You've been there for a long time. And in movies, you're never the boss. I mean, I gave up on, I mean, before I worked with you, there was one TV show I ran and I co ran with my friend Tim, and we were the bosses, and I hated it. I did not enjoy it. It was like all the meetings and all the decisions and the budgets and the interpersonal relationships and all that stuff.I was like, I was not good at it back then, and I don't know if I'd be better now, and I just was like, you know what? I just want to be part of a team and I want to be a writer. And it's like in movies, that's what you are. You're just part of this big team in a different way. I mean, I guess when you're a staff writer or coming up through the ranks and tv, you're part of a team too, but you can be like, you're also a much more integral part of the team, the one writer on it at the time. Or in movies, you're like, when you're the writer, you're the writer and they all look to you for that one job. Or if you're on a staff when I'm on a show with you or whatever, you might look to me for one type of, it's very different. I'm a cog in this room.It's never, you never have to be a hundred percent on your A game every day for you can showing it in a little bit coast. Wow. Adam Paval, what an interesting conversation. This is enlightening for me. Very enlightening. Yeah, man. Are you having everybody on from the old days, Brian? Well, I had Alex Berger on a while ago. We talked a little bit about that script that you guys wrote together. Well, there's two things on Glen Martin. You were always pestering me to do a musical. Yeah, I think, I don't know how to write a musical. And you're like, this is why I've work in animated features. I've written three musicals since I, so lemme let you do the movie. I was like, dude, I don't know how to do so go ahead and knock yourself out. That was fun. And then you guys came back with that Christmas episode. I thought you guys both hit it out of the park. I was like, let's shoot it, let's shoot it.I think it took, because that was all second year stuff and it took a little bit of time to figure out tonally what we were doing and then just to get a little crazier. And then, I mean, those episodes were like, yeah, I could be a little bit more myself of writing the weird stuff that I wanted. I mean, the other one I remember fondly is that weird Funshine episode. Was that the musical one or was that, I don't remember. Dude, fun cine was, it was like the planned community in Florida that was basically celebration Florida and they all realized that everybody was on being drugged and were lactating out of their breast and all that. Oh, that's right. Now I remember the guy, there was a scene where there's a pregnant man or something. It was fucking nuts. And I was like, oh, now we're writing the show that I could write.The first year, I think it was a little bit more like I was a little square pa in a round hole where it was like I didn't have a family at the time and it was a family show. It was about a dad and a mom trying to navigate their crazy kids and I was like, I don't know what the fuck. Crazy in that show. It's a shame. We didn't do more seasons. We weren't nuts. It was fun. It was a fun time. For sure. I got some of the puppies right over there, so see, yeah, I got the one you gave me of me that one from the college episode. Oh right, the college episode. That's right. We put you in. You ran the gauntlet I think, didn't you? I think that, yeah, that's exactly right. Funny. Yeah, funny. Adam, Papa, where can people, is there anything want, we can plug people, find you.Are you on social media? Is there anything? I'm not super active. I'm on Twitter. You can find me on Twitter. Adam Papa or Adam or whatever it's called now. X X, I'm on X, but don't really, I'm not super active on it. I don't have anything to plug. Everything's going to come out in four years. Yeah, right. Yeah. Look for Adam Papa in four years when something drops to the movies. That's the process. Dude, thank you again so much for doing this. This was a really interesting conversation. I haven't talked yet, spoken to anybody about this kind of stuff. You are a wealth of information. Alright. Yeah, it's fine. Everyone, thank you so much. Until the next episode drops, which will be next week. Keep writing.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

26 years after the "Adios, Johnny Bravo" episode of the Brady Bunch, Barry Williams records his first solo album. This is the story of Barry Williams' The Return of Johnny Bravo, from 1999. Support the show: patreon.com/bizarrealbums Follow the show on Twitter & Instagram: @bizarrealbums Follow Tony on Twitter & Instagram: @tonythaxton