Podcasts about jury award

アヌシー国際アニメーション映画祭の長編部門で審査員賞を受賞した「ＣｈａＯ」【パリ時事】フランス南東部アヌシーで１４日、アヌシー国際アニメーション映画祭の授賞式が行われた。 Japanese director Yasuhiro Aoki's "ChaO" won the Jury Award in the feature films category at the Annecy International Animation Film Festival in southeastern France on Saturday.

Japanese director Yasuhiro Aoki's "ChaO" won the Jury Award in the feature films category at the Annecy International Animation Film Festival in southeastern France on Saturday.

In this episode, Tom Malapit and Eric Rochford--two Indiana condemnation lawyers--join Bobby to discuss a significant eminent domain case they tried last year in Indiana, which they believe is the largest jury verdict in an Indiana condemnation proceeding. They detail the challenges of the case, including the initial offer from the school corporation, taking over the case from another firm after a failed mediation, and a critical ruling on the admissibility of a prior family transaction involving the property. They also describe how they used the condemning authority's own witnesses during cross-examination to support their case and fighting for the property's highest and best use as commercial land despite its present designation as farm land. They also share insights into trial logistics, witness order, judge personality, and the valuable feedback received from the jury after the verdict. Links: Tom Malapit & Eric Rochford Webiste and Bios: https://www.eminentattorneys.com/about    

Given the shameful American sacrifice of Ukraine, there will be few timelier movies than Anna Kryvenko's upcoming “This House is Undamaged”,. It will be an Orwellian documentary examining the Russian destruction of Mariupol, the Ukrainian city devastated by Putin's invasion in 2022. Krivenko, a Fellow at the Artist in Residence program, Institute for Advanced Studies at CEU, explains how Russian authorities are rapidly rebuilding and selling properties there while erasing Ukrainian history and creating the big lie of Mariupol as a historically Russian city. Kryvenko, originally from Kyiv, also discusses the parallels between Putin's and Trump's lies about Ukraine, summarizing their fundamental misrepresentation of the truth as a "carnival of hypocrisy."Here are the five KEEN ON takeaways from our conversation with Kryvenko:* The Russians are engaged in a systematic erasure of Mariupol's Ukrainian identity, not just through physical reconstruction but through an aggressive propaganda campaign that claims the city was "always Russian." This reconstruction effort began shortly after the city's destruction in 2022.* Pre-war Mariupol was not characterized by deep Russian-Ukrainian divisions as Russian propaganda claims. According to Kryvenko, language differences weren't a source of conflict before political forces deliberately weaponized them.* The rebuilding of Mariupol has a dark commercial aspect - Russians are selling apartments in reconstructed buildings, sometimes in properties where the original Ukrainian owners were killed, and marketing them as vacation properties while ignoring the city's tragic recent history.* There's a humanitarian crisis unfolding as some Ukrainians are being forced to return to occupied Mariupol because they have nowhere else to live, with Kryvenko citing statistics that around 150,000 people returned to occupied territories by the end of 2024.* The filmmaker is using a unique methodology of gathering evidence through social media content, vlogs, and propaganda materials to document both the physical transformation of the city and the narrative being constructed around it, rather than traditional documentary filming techniques.Transcript of Anna Kryvenko InterviewAndrew Keen: Hello, everybody. As the situation in Ukraine becomes more absurd, it seems as if the lies of Donald Trump and the lies of Vladimir Putin are becoming increasingly similar. Trump has been talking about Zelensky and Ukraine, what is described as a barrage of lies. As CNN reports, Trump falsely called Zelensky a dictator. It's becoming more and more absurd. It's almost as if the whole script was written by some Central European or East Central European absurdist. Meanwhile, the Russians continue to lie as well. There was an interesting piece recently in the Wall Street Journal about Russia wanting to erase Ukraine's future and its past. My guest today, Anna Kryvenko, is a filmmaker. She's the director of an important new movie in the process of being made called "This House Is Undamaged." She's a visual fellow at the Central European University, and she's joining us from Budapest today. Congratulations on "This House is Undamaged." Before we talk specifically about the film, do you agree with my observations that there seems to be an increasingly eerie synergy between the lies coming out of Washington, D.C. and Moscow, between Trump and Putin?Anna Kryvenko: I think the situation is becoming more crazy and absurd. That's a better word to use in this situation. For me, all of this looks like some carnival of hypocrisy. It's unbelievable that someone can use the word "dictator" in comparison with Vladimir Putin or speaking about this 4% of the people who support Zelensky when he says it's only four persons. It looks completely absurd. And this information comes from Moscow, not from actual Ukrainian statistics.Andrew Keen: The phrase you use "carnival of hypocrisy" I think is a good description. I might even use that in the title of this conversation. It's almost as if Trump in particular is parodying himself, but he seems so separated from reality that it seems as if he's actually being serious, at least from my position in California. How does it look from your perspective in Budapest? You're originally from Ukraine, so obviously you have a particular interest in this situation.Anna Kryvenko: I don't even know what to think because it's changing so fast into absurd situations. Every day when I open the news, I'm speaking with people and it looks like some kind of farce. You're expecting that the next day someone will tell you that this is a joke or something, but it's not. It's really hard to believe that this is reality now, but unfortunately it is.Andrew Keen: Kundera wrote his famous novel "The Joke" as a parody of the previous authoritarian regime in Central Europe. Your new movie, "This House is Undamaged" - I know you are an artist in residence at the Institute for Advanced Study at Central European University - is very much in that vein. Tell us about the project.Anna Kryvenko: We're in work in progress. I was doing research in the archives and internet archives. This documentary film will explore the transformation of Mariupol, a Ukrainian city that was destroyed by the Russian invasion in 2022. I will use only archives and found footage materials from people who are in Mariupol now, or who were in Mariupol at the time of invasion, who were actually trying to film what's going on. Sometimes I'll also use propaganda images from Russia, from Russian authorities. In May 2022, Mariupol, after intense fighting, was almost completely destroyed.Andrew Keen: Tell us the story of Mariupol, this town on the old border of Russia and Ukraine. It's in the southeast of Ukraine.Anna Kryvenko: It's on the shore of the Azov Sea. It's part of Donetsk region. It was always an industrial city, most known for the Azovstal factory. In 2022, after incredible brutality of Russian war against Ukraine, this strategically important city was almost completely destroyed in May 2022 and was occupied by Russian government. About 90% of buildings were destroyed or demolished in some way.Andrew Keen: The Russians have essentially leveled the town, perhaps in the same way as the Israelis have essentially destroyed Gaza.Anna Kryvenko: Exactly. For a lot of people, we have this image of destroyed Mariupol until today. But after these terrible events, the Russians started this big campaign to rebuild the city. Of course, we know it was done just to erase all the scars of war, to erase it from the city's history. They started the reconstruction. Some people who stayed in Mariupol thought they would have new housing since they had no place to live. But business is business - Russian authorities started to sell these apartments to Russian citizens.Andrew Keen: I'm surprised Trump hasn't got involved. Given his real estate background and his cozy relationship with Putin, maybe Trump real estate will start selling real estate in Mariupol.Anna Kryvenko: I was thinking the same thing this last week. It was looking like such an absurd situation with Mariupol. But now we are in this business mode again with Ukraine and all the minerals. It's only the economical part of war they look at.Andrew Keen: He probably would come up with some argument why he really owns Mariupol.Anna Kryvenko: Yes.Andrew Keen: Coming back to the Wall Street Journal piece about Russia wanting to erase Ukraine's future and its past - you're originally from Kyiv. Is it the old East Central European business of destroying history and creating a new narrative that somehow conforms to how you want history to have been made?Anna Kryvenko: I was really shocked at how fast this idea of Russian Mariupol is repeating after two years in Russian media, official and semi-professional blogs, YouTube, and so forth. As a person working with this type of material, watching videos every day to find what I need, I'm listening to these people doing propaganda from Mariupol, saying "we are citizens of the city and it's always been Russian." They're repeating this all the time. Even when I'm hearing this - of course it was always a Ukrainian city, it's completely absurd, it's 100% disinformation. But when you're hearing this repeated in different contexts all the time, you start to think about it.Andrew Keen: It's the same tactics as Trump. If you keep saying something, however absurd it sounds or is, if you keep saying it enough times, some people at least start believing it. You're not a historian or political scientist, but Mariupol is in the part of Ukraine which had a significant population of Russian-speaking people. Some of the people that you're filming and featuring in your movie - are they Russians who have moved into Mariupol from some other part of Russia, or are they people originally from Mariupol who are somehow embracing their new Russian overlords?Anna Kryvenko: The people I'm watching on social media, most of them say they're from Mariupol. But you can find journalistic articles showing they're actually paid by the Russian government. It's paid propaganda and they're repeating the same narrative. It's important that they're always repeating "we were born in Mariupol" and "we want the city to be Russian." But of course, you can see it's from the same propaganda book as 2014 with Crimea. They're repeating the same narrative from Soviet times - they just changed "Soviet Union" to "Russia" and "the West" to "European Union."Andrew Keen: You grew up in Kyiv, so you're familiar with all these current and historical controversies. What's your take on Mariupol before 2020, before it was flattened by the Russians? Was it a town where Russian-speaking and Ukrainian people were neighbors and friends? Were there always deep divisions between the Russian and Ukrainian speaking populations there?Anna Kryvenko: It's hard to explain because you need to dig deeper to explain the Russian-speaking and Ukrainian-speaking parts of Ukraine. But it was never a problem before Yanukovych became prime minister and then president. It was his strategy to create this polarization of Ukraine - that the western part wants to be part of the European Union and the eastern part wants to be part of Russia because of language, and they cannot live together. But it's not true. For me as a person from Kyiv, from the center of the country, with friends from different parts of Ukraine, it was never a problem. I'm from a Russian-speaking family and have many friends from Ukrainian-speaking families. It was never a question. We were in a kind of symbiotic connection. All schools were in Ukrainian, universities in Ukrainian. We were bilingual. It was not a problem to communicate.Some of this division came from Yanukovych's connections to Putin and his propaganda. It was important for them to say "we are Russian-speaking people, and because we are Russian-speaking, we want to be part of Russia." But I have friends from Mariupol, and after 2014, when war in eastern Ukraine started and Mariupol was bombed a few times, it became a really good city to live in. There were many cultural activities. I know friends who were originally from Mariupol, studied in Kyiv in theater or visual art, and went back to Mariupol because it was a good place for their art practice. Ukraine is still a bit centralized, with most activity in Kyiv, Kharkiv, Lviv, and the big cities, but Mariupol wasn't a city with internal conflict. It's weird that so fast after 2022, people started saying it was always problematic in wanting to be part of Russia. It was never like that.Andrew Keen: It's as if I lived for a year in Bosnia before the civil war, and it was almost as if ethnicity was invented by the nationalist Serbian regime. It seems as if the Putin regime is doing or has done the same thing in the eastern part of Ukraine.Anna Kryvenko: Yes.Andrew Keen: You talk to lots of friends still and you're from Kyiv originally, and obviously your professional life remains focused on the situation. In late February 2025, what's your sense of how Ukrainians are feeling given what Trump is now saying?Anna Kryvenko: I think a lot of people in Ukraine or Ukrainians abroad are feeling lonely, that they don't have support. Again we are in this situation where you have big deals about Ukraine without Ukraine. You feel like nothing, just an empty space on a map with minerals or sea access. We're just sitting there waiting while they're agreeing on deals. That's the negative layer. But it's important for all Ukrainians to be together and speak about the situation. After Trump's words about the 4% support for Zelensky, there were statistics from last year showing 57-55% support for Zelensky. Today, after these few days, new statistics show 65% support.Andrew Keen: Zelensky started his political career as a satirical comedian, and it's as if he's participating in his own comedy - as if he's almost paid Trump to promote him. What about the broader take on the US? Obviously Trump isn't all America, but he was just elected a couple of months ago. Are your Ukrainian friends and associates, as well as many people at the Central European University in Budapest, taking this as a message from America itself, or are people able to separate Trump and America?Anna Kryvenko: This is a hard question because we always know that you have a president or representative figure, but that's not the whole state. I spoke with someone from our university who was in Pennsylvania before the election, and he said all the people were pro-Trump. The logic was really simple - "he's good" and "he will stop this war" - though people sometimes don't even know which war or which country. They're just repeating the same talking points.Andrew Keen: It's sort of Orwellian in the sense that it's just war and it doesn't really matter who's involved - he's just going to stop it.Anna Kryvenko: It reminded me of how everyone was repeating about Lukashenko from Belarus that "he's a good manager" and can manage things, and that's why he's still president - not that he's a dictator killing his opponents. They use this to explain why he's good and people choose him. Now with Trump, they say "he's a good businessman," but we can see how this business works. Today, someone from Trump's administration said Zelensky needs to stop being arrogant because Trump is in a bad mood. In what world are we living where this is used as an argument?Andrew Keen: Coming back to real estate, he probably sees Mariupol as a nice strip on the Black Sea, like Gaza, which he sees as a valuable strip on the Mediterranean for real estate development. I found an interesting piece online about the Russian invasion, "When Buildings Can Talk: The Real Face of Civilian Infrastructure Ruined by Russian Invaders." In a way, your project "This House is Undamaged" is your way of making buildings talk. Is that fair?Anna Kryvenko: I think it's the best description you can use.Andrew Keen: Perhaps you might explain how and why.Anna Kryvenko: This name "This House is Undamaged" might or might not be the final name. For me, it's important because after the first months when it started to be a Russian city, some people were trying to sell apartments just to have some money. The reconstruction started a bit later. They were using video websites like Craigslist. It immediately became Russian, part of Russian territory. People from different Russian regions who saw this opportunity were trying to buy something because prices were so cheap. People needed money to buy a ticket and go to other cities or to relatives. In every advertisement, there was this phrase "this house has no damages" or "this house is undamaged." You had to put it there even if it wasn't true - you could see pictures where one building had a hole, but they were still saying "this house is undamaged."Andrew Keen: It's just again coming back to the carnival of hypocrisy or the carnival of absurd hypocrisy - you see these completely destroyed homes, and then you have the signs from the Russians saying this house is undamaged.Anna Kryvenko: It was also interesting why some people from Russia want to buy apartments in Mariupol, in these reconstructed buildings with weird pro-Russian murals - it's like Stalinism. They don't even know where Mariupol is - they think it's somewhere near Crimea, but it's not the Black Sea, it's the Azov Sea, an industrial region. It's not the best place to live. But they think it will be some kind of resort. They're living somewhere in Russia and think they can buy a cheap apartment and use it as a resort for a few months. This is absurd because the city was completely destroyed. You still have mass graves. Sometimes they're selling apartments where they can't even find the owner because the whole family is dead.On Google Maps, someone made an alternative version where you can see all the buildings that were destroyed, because officially you can't find this information anywhere. People were putting crosses where they knew someone died in a building - entire families. And after this, people are buying their apartments. For me, this is unbearable. You can do research about what you're doing, but people are lazy and don't want to do this work.Andrew Keen: It comes back to the Journal piece about Russia literally erasing not just Ukraine's past but also its future, creating a culture of amnesia. It's chilling on so many levels. But it's the old game - it's happened before in that part of the world and no doubt will happen again. As a filmmaker, what particular kind of political or aesthetic responsibility do you have? People have been writing - I mentioned Kundera, Russian writers, Gogol - satires of this kind of absurd political power for centuries. But as a filmmaker, what kind of responsibility do you have? How does your form help you make this argument of essentially restoring the past, of telling the truth?Anna Kryvenko: A lot of filmmakers in Ukraine, with the start of invasion, just brought cameras and started making films. The first goal wasn't to make a film but to document the crimes. My case is different - not only because my family's in Ukraine and I have many friends there and lived there until my twenties. For the last ten years, since the Maidan events in 2013-2014, I started working with archive and found footage material. This is my methodology. For me, it's not important to go somewhere and document. It's more interesting to use media deconstruction from propaganda sources, maybe from Ukrainian sources also because it's a question of ideology.One of my favorite materials now is people doing vlogs - just with their camera or mobile phone going from Russia to Crimea or back. You only have two ways to go there because airports aren't working, so you go through the Kerch-Crimea bridge. Now because of Mariupol's strategic location, you can go through there, so you have two different roads. People from different Russian cities sometimes film their road and say "what is this, is it destroyed?" This is the average Russian person, and you can hear the propaganda they're repeating or what they're really thinking. For me, it's important to show these different points of view from people who were there or are there now. I don't have the opportunity as a Ukrainian citizen to go there. Through this method, in the near future when I finish this film, we can have testimonies from the inside. We don't need to wait for the war to end because we don't know how or when it ends. It's important to show it to people who maybe don't know anything about what's going on in Mariupol.Andrew Keen: Given the abundance of video on the internet, on platforms like YouTube, how do you distinguish between propaganda and truth yourself in terms of taking some of these segments to make your film? It could be conceivable that some of the more absurd videos are put out by Ukrainians to promote their own positions and undermine the Russians. Have you found that? Is there a propaganda war on YouTube and other platforms between Ukrainian and Russian nationalists? And as a filmmaker who's trying to archive the struggle in an honest way, how do you deal with that?Anna Kryvenko: Of course, there are many people, and Mariupol is the best example because the Russian government is paying people to repeat pro-Russian ideology. Sometimes you can see just an average person from Mariupol going with a camera and shooting something without speaking - this is just documentation. Sometimes you have Russian people there for some days just saying something. And of course, you get different segments of real propaganda from some ministry in Russia with drone material and big music. I'm always trying to question myself: What am I looking at? Who is speaking? On technical aspects, why is this like this? It helps me to be holistic.Of course, I'm from Ukraine, and sometimes this is the most uncomfortable - you can hear actual people from Mariupol saying something you don't want to hear because it's not your point of view on the war. But these are people really from the city giving some kind of realistic point of view on the situation. It's sad, but there were statistics at the end of 2024 that about 150,000 people were returning to occupied territories, not only to Mariupol but all occupied territories. Maybe 40% were coming back to register their property and then returning to Ukrainian territory, but many people are returning to Mariupol because they don't have anywhere to live in Ukraine. It's not hundreds but thousands of people. As Ukrainians, we're not comfortable with this because we're all in different situations. But if something's not comfortable for my point of view, it doesn't mean it's bad or good.Andrew Keen: It's an important project. I know your artist residency at the Central European University is finishing at the end of February. You're going to focus on finishing the movie. When do you think it will be ready and what are your ambitions for the finished movie? Will you put it online, in theaters? What's your ideal?Anna Kryvenko: If everything goes well, we can finish it in a year and a half because it will be a long process of editing and working with rights. We only started working on it six months ago, and it's starting to go faster. Documentary making is a long process because of funding and everything. Even though I don't need to go somewhere physically, it's still a long process with a lot of waiting. First, we're thinking about festivals, maybe a theater release, maybe we'll have some broadcasters because it's an important topic to show to a wider audience. After a year, we'll see.Andrew Keen: If "Buildings Can Talk" is the subtitle of this upcoming movie "This House is Undamaged," it's a really important project about Mariupol. Thank you for being on the show. I'm going to have to get you back when the movie is done because I can't wait to see it.Anna Kryvenko: Thank you so much. Thank you.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Anna Kryvenko (1986, Ukraine) is a video and fine art photography artist based in Prague and Kyiv. She is a Fellow at the Artist in Residence program, Institute for Advanced Studies at Central European University. She graduated from the Centre for Audio-Visual Studies at the Film and TV School of the Academy of Performing Arts (FAMU, Prague). Her films and performances were screened at Dok Leipzig, ZagrebDox, Visions du Reel Nyon, Fluidum Festival, Jihlava Documentary Film Festival, etc. With her found-footage film Silently Like a Comet, she won the prize for the Best Experimental Act at FAMUFEST, Prague (CZ), and a few others. Her film Listen to the Horizon won the prize for the Best Czech Experimental Documentary, Jihlava IDFF (CZ). Her first feature documentary film My Unknown Soldier won the Last Stop Trieste 2018 Postproduction Award, Special Mention at Zagreb Dox, the Special Prize of the Jury at IDFF CRONOGRAF, and the Andrej Stankovič Prize. Her newest short film Easier Than You Think won the Jury Award of the Other Vision Competition 2022 (PAF, Czech Republic).Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Send us a textEpisode 527"The Pitt"Cinematographer: Johanna CoelhoJoanna is the cinematographer behind one of the best new shows of 2025.He unique vision, approach and work help drive this action packed show.Featured in 2018 in Variety as one of the Up Next generation of filmmakers, Johanna has worked as a cinematographer on a number of diverse projects, including award-winning narrative films, music videos, and TV Shows. She has worked with renowned companies such as Netflix, ABC, Oxygen Network, Hello Sunshine, Scout Productions, MarVista Entertainment, and Hawaiian Tropics. Her last feature film And Then There Was Eve won the Jury Award at the L.A Film Festival. Her recent work includes the TV Shows The Rookie S2 and S4 on ABC, and Killer Siblings on Oxygen Network.Johanna was born and raised in France. Seeking to enrich her European approach with the American perspective, she moved to Los Angeles in 2011 where she studied cinematography at the prestigious American Film Institute. She has been passionate about creating and experimenting with meaningful images since a very young age. Her early determination and drive for cinematography has led her to be one of the youngest cinematographer to ever shoot network television.She loves to say she is a visual psychologist: her role is to understand and interpret the emotions of the characters, to create for them the best visual atmosphere to act in.#thepitt #max #cinematography #cinematographer #shorts #fyp #photography www.mmcpodcast.comReach out to Darek Thomas and Monday Morning Critic!Instagram:   / mondaymorningcritic  Facebook:   / mondaymorningcritic  TikTok:   / mondaymorningcritic  Mondaymorningcritic@gmail.com

One of the most haunting moments in director Mstyslav Chernov's harrowing new documentary “2000 Meters to Andriivka” — a follow up to his Oscar-winning “20 Days in Mariupol” — is a rather prosaic conversation about handmade cigarettes between the filmmaker and a Ukrainian soldier as they huddle in a foxhole while artillery shells explode around them. What makes this scene so chilling is its very ordinariness, and the fact that, by the end of the conversation, we will learn from the director's voice over that this soldier will be killed on another battlefield several months later.   Joining Ken for a live, in-person interview at Sundance 2025 just after the film's world premiere, Mstyslav shares his experience of embedding with soldiers in Ukraine's 3rd Assault Brigade as they set out, on one long day during the Ukrainian counteroffensive in the summer of 2023, to plant the Ukrainian flag in the recently recaptured village of Andriivka, Running alongside this saga is the story, told through footage recorded by the Ukrainian soldiers' helmet-mounted cameras, of how these brave soldiers fought one meter at a time to reclaim Andriivka. By the end of “2000 Meters,” it's clear that there's nothing left to save of the village except its name. How Andriivka — and those who died along the way — will be remembered is but one of the lingering questions that this unforgettable film dares to ask.   Mstyslav Chernov was awarded the Jury Award for Directing, World Cinema Documentary, at the 2025 Sundance Film Festival.   Also, check out our “Top Docs” conversation with Mstyslav about “20 Days in Mariupol.”   Follow: @mstyslav.chernov on Instagram and @mstyslavchernov on X @topdocspod on Instagram and X   The Presenting Sponsor of "Top Docs" is Netflix.

In this episode, CJ "Fiery" Obasi, the visionary filmmaker behind MAMI WATA, discusses his creative journey, the cultural narratives that shape his work and the commercial and creative path of a storyteller. CJ reflects on his early influences, including a passion for Hammer Horror films and Stephen King novels, and how these elements have informed his unique storytelling approach. He discusses the challenges and triumphs of bringing MAMI WATA to life, a film that intertwines African folklore with contemporary themes, and shares insights into the significance of genre filmmaking within the African cinema landscape. The conversation also explores the business of being a storyteller and entrepreneur, the future of African screen storytelling, and the evolving role of technology and AI in filmmaking. About C.J. Obasi C.J. Obasi also known as “Fiery” or “The Fiery One” wrote and directed the feature films OJUJU & O-TOWN, both of which has screened in many festivals, including the Gothenburg Film Festival and Fantasia Film Festival, garnering acclaim from the likes of Screen Anarchy, IndieWire, & The Hollywood Reporter. He has won the African Movie Academy Awards (African Oscars), and the Trailblazer Award at the Africa Magic Viewers Choice Awards AMVCA). OJUJU is listed in IndieWire's Best Zombie Films Of All Time. His short film “Hello, Rain” premiered in the International Competition of Oberhausen, and in over 30 festivals like Fantasia Film Festival, where it won the Special Mention of the Jury prize, and the BFI London Film Festival where it was nominated for the Short Film Award. In 2016, he formed Surreal16 Collective with filmmakers Abba T. Makama and Michael to challenge the status quo of Nollywood filmmaking and Nigerian Film expectations. Their anthology film, Juju Stories won the Boccalino D'Oro Award for Best Film at Locarno Film Festival, and was aquired globally by Amazon Prime Video. Obasi's latest work, MAMI WATA premiered at the Sundance Film Festival 2023, where it won the Jury Award for Cinematography, as well as in FESPACO, where it won the Best Image, Best Décor and the African Critics Prize. MAMI WATA was nominated for an Independent Spirit Award and for an NAACP Image Award. It was Nigeria's Official entry for the Academy Awards. MAMI WATA was acquired by Mubi, and has since been distributed theatrically, SVOD and Blu-Ray, DVDs in more than 25 territories, including the United States, United Kingdom, Germany, Switzerland, France, Brazil and Australia. Obasi was recently invited by the Rockefeller Foundation to participate as a cohort of the Bellagio Residency at Lake Como, Italy with his feature film project, LA PYRAMIDE: A CELEBRATION OF DARK BODIES. He is a voting member of the Academy of Motion Pictures, Arts and Sciences (Oscars).

Claire is an actor who holds a degree in English Literature from the University of Edinburgh and an MA from the recently closed drama school ALRA in London.  Claire has worked extensively across Film, TV and stage at places such as, The Bush Theatre, The Park Theatre and Trafalgar Studios to name a few. As well as in the ever-present classic Agatha Christie's The Mousetrap.  For screen she recently wrapped on an adaptation of one of her favourite books, Grief Is The Thing With Feathers alongside Benedict Cumberbatch. More details on that to follow in the new year.  She also has made appearances in a number of short films, including the very successful picture called The Date starring alongside Miriam O'Brien. A beautiful film about two women finding love in the modern world of dating apps. It received several nominations across short film festivals and circuits, and won a Jury Award in 2019 for Best Director for Emmalie El Fadl.  Check it out on YouTube here: https://www.youtube.com/watch?v=hKdxA8cOYtc Claire is also the owner and founder of her own company Friends With Shakespeare. A company dedicated to helping people get to grips with Shakespeare's plays and language. Whilst also teaming up with West End productions to inspire people to perform Shakespeare's plays alongside some of the best in the business. Recently they've collaborated with Ralph Fiennes and Indira Varma fresh from their international tour of Macbeth and in 2025 they're running workshops with the cast of The Bridge Theatre's production of Richard II starring Jonathan Bailey (Bridgeton).  More information on those workshops and how to get involved can be found on the website here: friendswithshakespeare.com Claire discusses her time on The Date, how she found her love of Shakespeare, furthermore discusses her work with The Theatrical Guild. A charity dedicated to supporting backstage and front of house staff with grants and financial grants. As well as counselling, welfare advice and any other service to those who need it. They run a series of talks, one recently with Claire's friend James Norton, check out their Instagram to know more: @thetheatricalguild  Please Like, Download and Subscribe ✍️ Oliver Gower Spotlight Link: https://www.spotlight.com/9097-9058-5261 Instagram: @goweroliver For enquiries and requests: olliegower10@gmail.com

Don't miss this special episode of The Locher Room featuring the incredibly talented @juanpablodipace.We'll dive into his latest feature film, Duino, which he wrote, directed, and stars in. The film has won over nine awards including the Jury Award for Best Screenplay and the Audience Award for Best Narrative Feature at the Out at the Movie International Film Festival.  Born in Buenos Aires, Juan Pablo has lived around the world and now resides in the U.S. He's known for his roles as Fernando on Netflix's Fuller House, Jesus Christ on NBC's A.D. The Bible Continues, and appearances in Mamma Mia! and TNT's Dallas. He's also a recording artist with a string of hits, including his European chart-topper "We Wanna Rock." This year, he's releasing his first EP, Vascular, after performing sold-out shows at 54Below in NYC—I was lucky enough to catch one of his performances in 2019! Go see Juan live if you ever have the chance.Don't miss this exciting conversation as we explore his journey with Duino!

The bike had been recalled and supposedly repaired. https://www.lehtoslaw.com

Steve and Paul sit down with Cinder Chou (Writer/Director) and Kerry Lacy (actor) about their feature film Artist Unknown.Cinder Chou is a Taiwanese American writer, director, and producer originally from the oft-maligned state of New Jersey and currently resides in Brooklyn. An early love for comic books turned into a passion for visual storytelling. Her work explores themes of otherness through a comedic and surreal style. Cinder's early career as a production coordinator (The Big Sick, Jack Ryan, Red Oaks) gave her the professional know-how to launch her own films. Her work has screened at many festivals in the U.S. Artist Unknown is her debut feature film and has won numerous awards, including the Jury Award at the Art of Brooklyn Film Festival, Best Feature at the Broad Humor Film Festival, and Best Narrative Feature at the Artists Forum Festival of the Moving Image. Kerry Lacy was raised in Malibu, California, by two professional actors and fell in love with acting at a young age. Her childhood was spent in theaters and television studios, and dinner table conversations included lessons on comedic timing and notes on dialects and accents. Kerry studied Tang Soo Do for twelve years, earning her third-degree black belt and working as an instructor before moving to New York City, where she studied acting at NYU's Tisch. She is a graduate of The New School, where she studied film, fine arts, and Spanish. In addition to acting, she is also an artist and DJ based in New York City. Artist Unknown is Kerry's first leading role in a feature and she has been nominated for the Iris Prize Best Female Performance and won Outstanding Performance in a Feature Film at Art of Brooklyn Film Festival.Cinder's Website: https://www.cinderama.com/Cinder's IMDB: https://www.imdb.com/name/nm3364818/Cinder's Instagram: https://www.instagram.com/cinderblockade/Kerry's IMDB: https://www.imdb.com/name/nm7466039/?ref_=tt_rv_t0 Kerry's Website: https://www.kerrylacy.com/ Kerry's Instagram: https://www.instagram.com/kerry_lacy/Kerry's short film Viola: https://vimeo.com/225143857 Artist Unknown IMDB: https://www.imdb.com/title/tt24329424/reference/ Artist Unknown Instagram: https://www.instagram.com/artistunknownfilm/ Artist Unknown Trailer: https://vimeo.com/843981392Do you listen to our show as an audio podcast? Give video a try. Subscribe to our YouTube channel for the video version with awesome behind the scenes pics and video! https://www.youtube.com/@FilmFightsFriendsPod?sub_confirmation=1Dig the show? Consider supporting our Patreon. There are some cool perks! Patreon: http://patreon.com/FilmFightsFriendsPodJoin our...

On today's episode of the Craft Industry Alliance podcast, we're talking about documentary filmmaking with my guest Jenifer McShane. Jenifer McShane is an independent filmmaker committed to using film to bridge understanding in situations where structural or cultural divisions typically keep people apart. Jenifer's current film The Quilters, a documentary short about a quilting group in a men's prison in Missouri recently premiered at the DC/Dox Film Festival in Washington DC and will be traveling to other film festivals this summer. Her previous film, Ernie & Joe: Crisis Cops, won an Emmy for Outstanding Editing and the Jury Award at South By Southwest. It is currently streaming on HBO. Jenifer spent over four years visiting Bedford Hills Correctional Facility in Bedford, N.Y. to make her previous documentary, Mothers of Bedford, which reveals the impact of incarceration on mothers and their children. Her first documentary which she co-directed, A Leap of Faith, was narrated by Liam Neeson and premiered at the Sundance Film Festival. Jenifer was born and raised in New York City and currently lives in Guilford, CT. +++++ If you know a crafty tween, check out Stitch Squad - a brand-new subscription box all about fiber crafts and cuteness! Each monthly box highlights a different fiber craft technique with a focus on learning new skills. With supplies to complete 2-3 projects, plus a bundle of adorable notions, craft tools + crafty surprises, it's a cute, colorful, crafty unboxing experience! All you have to do is open the box and enjoy. Gift subscriptions are available! To subscribe, visit stitchsquadbox.com and use code ALLIANCE for 20% off your first box. +++++ To get the full show notes for this episode visit Craft Industry Alliance where you can learn more about becoming a member of our supportive trade association. Strengthen your creative business, stay up to date on industry news, and build connections with forward-thinking craft professionals. Join today.

Summary In this episode, Tyson Mutrix discusses the famous McDonald's hot coffee case, which sparked widespread outrage and became a catalyst for debates on tort reform. He addresses the misconceptions and half-truths surrounding the case and presents the actual facts. The incident involved Stella Liebeck, who suffered third-degree burns from the excessively hot coffee. McDonald's was aware of the risk but maintained the high temperature due to customer preference. The jury initially awarded Liebeck $2.86 million, which was later reduced to $640,000 by the judge. This case highlights the complexities of personal injury lawsuits and the importance of scrutinizing sensational headlines. Takeaways The McDonald's hot coffee case sparked debates on tort reform and raised awareness about personal injury lawsuits. Misconceptions and half-truths surrounded the case, leading to a distorted public perception. Stella Liebeck suffered severe burns from the excessively hot coffee, requiring extensive medical treatment. McDonald's was aware of the coffee's high temperature but maintained it due to customer preference. Chapters 00:00 Introduction and Background 01:10 Misconceptions and Media Coverage 03:11 The Lawsuit and McDonald's Response 05:03 McDonald's Offer and Lawsuit Filing 05:54 McDonald's Knowledge of Coffee Hazards 07:13 Jury Award and Judge's Reduction 07:47 Complexities of Personal Injury Lawsuits 08:17 Recommendation: Hot Coffee Documentary 08:33 Conclusion and Contact Information --- Send in a voice message: https://podcasters.spotify.com/pod/show/mutrux-firm-injury/message

Today we sit down with Avant Drag director Fil Ieropolos and writer Foivos Dousos. Their film recently screened at Wicked Queer Film Festival in Boston where they won the Jury Award for best documentary along with awards in other cities. Listen in to hear their perspectives on Greece, performance art, censorship, and their vision for this documentary. https://www.instagram.com/avan...

Today on Sense of Soul podcast we have Anthony Meindl, he is an award winning screenwriter/director, best selling author, and founder of the International Anthony Meindl's Actor Workshop/ Acting Classes and Workshops. He now has the largest scene study studio in Los Angeles and locations in 10 other cities around the world. He is the host of “In The Moment: The Acting & Theater Podcast”, Anthony tackling subject matters around social causes and what it means to be a human being in the 21st century.  As a filmmaker, Anthony has received a number of awards and acclaim. His latest feature film, Where We Go From Here sold to HULU. It premiered at Outfest, won the “Best Screenplay” award at Q-Films Long Beach, and the “Jury Award” at NYC's East Village Queer Film Festival. His films tackle social causes ranging from gun violence to climate justice and the climate crisis to LGBTQ rights. Anthony has also written 5 best-selling books on creativity and silencing your inner critic, including his grounding breaking book, At Left Brain Turn Right, and his newest book UNSTUCK: A Life Manual On How To Be More Creative, Overcome Your Obstacles, and Get Shit Done. His book's can be found on Amazon. Visit Antony's website at https://www.anthonymeindl.com Follow his journey on Instagram: @AnthonyMeindl and @amawstudios https://facebook.com/anthonymeindl Check out his YouTube Channel, https://youtube.com@AnthonyMeindl Learn more about Sense of Soul Podcast: https://www.senseofsoulpodcast.com Check out the NEW affiliate deal https://www.mysenseofsoul.com/sense-of-soul-affiliates-page

Frameform is thrilled to collaborate with Cinedans on several episodes to commemorate the 20th edition of the Amsterdam-based festival which took place in late March 2024. Through its adventurous film programming along with its substantial professional development program, Cinedans has established itself as a destination event for anyone interested in dance film and welcomes artists from around the world to its in-person event. This year's edition of the festival featured a “Best of” segment where audience's could view the most popular films from the previous two decades, including three films from Iranian dance artist Tanin TorabiIf you've attended any dance film event in the last few years, you have likely seen the hypnotic film The Dérive which features Tanin moving through a Bazaar in Tehran, the capital city of Iran where dance has been banned since the country's revolution in the late 1970s. Tanin has since created two films set in Tehran, “In Plain Sight” and “Until”, the latter of which was created in the midst of the Woman Life Freedom protests in response to the murder of Mahsa Amini by Iran's morality police.Clare had the opportunity to speak with Tanin in person at Cinedans 2024, and only a few hours after this conversation took place, “Until” was awarded the Jury Award at Cinedans for Best Dance Short.Check out our Frameform Patreon page to access resources we have released and have coming up this summer.https://cinedans.nl/https://tanintorabi.art/

Embark on an immersive exploration into the artistic and storytelling brilliance of Kasey L. Martin in our latest Visual Intonation podcast episode. Through her exceptional talents in both film and photography, Kasey delves into the intricate nuances of identity, culture, and the profound sense of belonging that resonates deeply with audiences worldwide. Join us as we unravel the layers of her creative genius, witnessing firsthand how she skillfully amplifies diverse voices from every corner of the globe, weaving narratives that not only foster connection but also ignite empathy and unity among viewers.  With an unwavering commitment to authenticity, Kasey's work serves as a powerful catalyst for transformation, resonating with themes of healing, self-affirmation, and empowerment. Through her captivating storytelling, she encourages individuals to embrace their true selves unabashedly, inspiring a newfound sense of confidence and self-awareness.  Nestled in the dynamic landscape of Metro Atlanta, Kasey brings a wealth of experience and insight to her craft, having honed her skills through a distinguished Master's of Arts Degree in Filmmaking from Kingston University London. Her artistic journey has been further enriched by invaluable mentorship from acclaimed director Jim Jarmusch, acquired through the esteemed Unlock Her Potential Program.  Recognized for her exceptional talent and unwavering artistic vision, Kasey has garnered prestigious accolades, including the Russell's Reserve Grant on behalf of Jovel Roystan, Russell's Reserve, and The CCNYC, as well as the esteemed POCC x Shutterstock BHM grant. Selected as a participant for GLAAD's Inaugural Black Queer Creative Summit, Kasey continues to push boundaries and make significant contributions to the creative landscape.  Join us as we embark on a cinematic journey through Kasey's recent film "A Synonym For Art," a captivating masterpiece that not only mesmerized audiences but also clinched both the Audience Choice and Jury Award at the Atlanta Film Society's Locals Only event. Prepare to be inspired as we delve into the depths of creativity, exploring the profound impact and transformative power of storytelling with the incomparable Kasey L. Martin. Kasey L. Martin's Website:  https://www.kaseylmartin.com/ Kasey L. Martin's Instagram:  http://instagram.com/kaseylmartin Kasey L. Martin's LinkedIn:  http://linkedin.com/in/kasey-martin-36675b37 Visual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Join our conversation with Sarah Kambe Holland, the writer-director behind coming-of-age comedy Egghead and Twinkie. In this episode, we talk making small budget indie-films, utilizing social media to crowdfund, and the importance of making light-hearted content. Sarah Kambe Holland is a film director based in Austin, TX, best known for her debut feature, Egghead & Twinkie, for which she was also the screenwriter, co-producer, and co-editor. The film has received a number of accolades, including the Jury Award for Best Comedy Feature at the 2023 Austin Film Festival. Holland also directs commercial work for the advertising agency, 21GRAMS. You can learn more about her work at sarahkambeholland.com and eggheadandtwinkie.com

Monday, January 29th, 2024Today,  a jury awards E Jean Carroll 83.3 million dollars in a win for all sexual assault survivors; Alabama executes Kenneth Smith with nitrogen gas; the Department of Justice executed an agreement with the parties finding Governor Cuomo engaged in a pattern of sexual misconduct; top former Israeli national security officials say Netanyahu must be removed from power; Lauren Boebert finishes fifth in a straw poll in her new district; Wayne LaPierre testifies during the NRA corruption trial; Vince McMahon resigns after an ex-employee accuses him of sexual assault and sex trafficking; the Trump Org monitor says the company gave incomplete and erroneous disclosures; a Trump $50M loan to himself looks like tax evasion; the Oklahoma Republican Party condemns Senator Lankford for working with Dems on a border deal; 3 US troops have been killed and another 30 injured in a drone attack in Jordan; a Republican judge in Illinois finds that Trump engaged in insurrection. Plus Allison delivers your good news. Dana is out and about.Promo CodeGo to drinkAG1.com/dailybeans to try AG1 and get a FREE 1-year supply of Vitamin D3 AND K2 AND 5 FREE AG1 Travel Packs with your first purchase.More from our Guest Tristan Snell:Taking Down Trump: 12 Rules for Prosecuting Donald Trump by Someone Who Did It Successfullyhttps://takingdowntrump.comTristan Snell's Socialshttps://twitter.com/TristanSnellhttps://www.instagram.com/tristansnellhttps://www.threads.net/@tristansnellhttps://post.news/@/tristansnellhttps://www.tiktok.com/@tristansnell212Trump's Court-Appointed Monitor Tells Judge Company Gave ‘Incomplete' and ‘Inconsistent' Disclosures With ‘Errors'https://themessenger.com/politics/trump-barbara-jones-incomplete-inconsistent-disclosures-errorsJustice Department Secures Settlement Agreement with State of New York Executive Chamber to Resolve Sexual Harassment and Retaliation Claims Under Title VIIhttps://www.justice.gov/opa/pr/justice-department-secures-settlement-agreement-state-new-york-executive-chamber-resolveTrump's candidacy on the Illinois ballot should be decided by the courts, an elections board hearing officer sayshttps://www.wbez.org/stories/trumps-candidacy-on-the-illinois-ballot-should-be-decided-by-the-courts-hearing-officer-says/e9af3a79-7e96-4429-8bf0-282833888bb2Netanyahu must be removed, top former Israeli national security officials sayhttps://www.cnn.com/2024/01/26/middleeast/netanyahu-letter-israel-national-security-intl/index.htmlWant some sweet Daily Beans Merchhttps://shop.dailybeanspod.com/products/fani-t-willis-teeSubscribe to Lawyers, Guns, And MoneyAd-free premium feed: https://lawyersgunsandmoney.supercast.comSubscribe for free everywhere else:https://lawyersgunsandmoney.simplecast.com/episodes/1-miami-1985Check out other MSW Media podcastshttps://mswmedia.com/shows/Follow AG and Dana on Social MediaDr. Allison Gill Follow Mueller, She Wrote on Posthttps://post.news/@/MuellerSheWrote?utm_source=TwitterAG&utm_medium=creator_organic&utm_campaign=muellershewrote&utm_content=FollowMehttps://twitter.com/MuellerSheWrotehttps://www.threads.net/@muellershewrotehttps://www.tiktok.com/@muellershewrotehttps://instagram.com/muellershewroteDana Goldberghttps://twitter.com/DGComedyhttps://www.instagram.com/dgcomedyhttps://www.facebook.com/dgcomedyhttps://danagoldberg.comHave some good news; a confession; or a correction?Good News & Confessions - The Daily BeansFrom the Good NewsLaura Scott Designshttps://www.laurascottdesigns.com/artwork-gallery/274574-3976087/art-quilts/textiles-and-fiber-arts/gaia.htmlThe VAhttps://www.va.gov Listener Survey:http://survey.podtrac.com/start-survey.aspx?pubid=BffJOlI7qQcF&ver=shortFollow the Podcast on Apple:The Daily Beans on Apple PodcastsWant to support the show and get it ad-free and early?Supercast https://dailybeans.supercast.com/OrPatreon https://patreon.com/thedailybeansOr subscribe on Apple Podcasts with our affiliate linkThe Daily Beans on Apple Podcasts

Support the Preacher Boys Podcast:https://www.patreon.com/preacherboysPurchase a Preacher Boys shirt, mask, sticker, or other merch to rep the show! https://www.teepublic.com/user/preacher-boys-podcast✖️✖️✖️Sharon Liese is an Emmy® winning filmmaker who is known for having her finger on the Zeitgeist. Her documentary projects have aired on premium networks and streamers and screened at many prestigious film festivals.Sharon is the director of Let Us Prey: A Ministry of Scandals, a docuseries exposing the predatory and insidious behavior within Independent Fundamental Baptist Churches, and the struggles of survivors to find justice.Premiering on Disney+ in 2022, Liese's short documentary, The Flagmakers, was Oscar® shortlisted, nominated for a Critics Choice Documentary Award, and nominated for an Emmy. The film also won Best Documentary Short at the SCAD Savannah Film Festival, an Audience Award at the Denver International Film Festival, and has been optioned for a Broadway musical produced by Mark Gordon.In January 2023, her short film, Parker, had its World Premiere at the Sundance Film Festival.Liese's award-winning feature documentary, Transhood, premiered on HBO in 2020 and was featured on The Ellen Show and GMA. The film won several awards, including Audience Award for Best Feature Documentary at AFI Docs. Liese also created and executive produced Pink Collar Crimes, a true crime series for CBS.Liese created and directed the award-winning documentary series High School Confidential, filmed over four years, which broke ratings records on WEtv. She also directed and produced The Gnomist (CNN Films), which had its World Premiere at the 2015 Tribeca Film Festival and went on to win 15 festival awards, including the Jury Award for Best Short Documentary at LA Shorts Fest, qualifying it for Oscar consideration before being acquired by CNN Films.Liese's film, Selfie, created in collaboration with Dove and The Sundance Institute, premiered during the 2014 Sundance Film Festival before being the focus of a special multi-episode series on Good Morning America.In addition to producing and directing documentary programming for Disney+, HBO, CNN, MTV, FOX, Lifetime, WEtv, OWN, DiscoveryID, and PBS, Sharon Liese is the founder and owner of Herizon Productions.✖️✖️✖️CONNECT WITH THE SHOW:- preacherboyspodcast.com- https://www.facebook.com/preacherboysdoc/- https://twitter.com/preacherboysdoc- https://www.instagram.com/preacherboysdoc/To connect with a community that shares the Preacher Boys Podcast's mission to expose abuse in the IFB, join the OFFICIAL Preacher Boys Facebook Group: https://www.facebook.com/groups/1403898676438188/Support this podcast at — https://redcircle.com/preacher-boys-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Ricky and his shy, reserved cousin Angela are spending the summer at Camp Arawak, a bargain basement overnight camp in upstate New York run by Mel, cigar-chomping shyster, and staffed by a bunch of adult and teenage degenerates.  Angela is initially withdrawn, occasionally catatonic – but is soon brought out of her shell by Ricky's friend Paul, who takes a liking to Angela in the hopes he might be able to make it with her before summer's end.  But there are forces are at work – forces determined to put the strangely distant Angela in her place.  Bunkmate and camp harlot Judy sees Angela as a weirdo, then a threat when she attracts Paul's attention.  Counselor Meg, who can't get Angela to eat, play sports, or swim, constantly berates Angela for her failure to thrive.  That's when the murders begin, one at a time, first a staffer, then a camper, and on and on.  Mel tries to hide it due to the bad publicity, but as any good camp director knows, murder's bad for business, and the more we learn about Angela's murky past, the more things at Camp Arawak take a turn… for the deadly. Intro, Math Club, Debate Society, Hot for Teacher (spoiler-free): 00:00-26:29Honor Roll and Detention (spoiler-heavy): 26:30-1:02:16Superlatives (spoiler-heavier): 1:02:17-1:21:08 Director Richard HiltzikScreenplay Richard HiltzikFeaturing Christopher Collet, Paul DeAngelo, Desiree Gould, Karen Fields, Owen Hughes, Robert Earl Jones, Katherine Kamhi, Mike Kellin, Felissa Rose, Jonathan Tiersten Jack Sholder began his career as a film editor, working on the feature documentary King: From Montgomery to Memphis which was nominated for an Academy Award. He won an Emmy for his editing work on 3-2-1 Contact. After writing and directing several award-winning short films, Jack wrote Where Are The Children starring Jill Clayburgh for Ray Stark and Columbia. In 1982, Jack directed Alone In The Dark for New Line Cinema with Martin Landau, Jack Palance, and Donald Pleasence. He then directed A Nightmare On Elm Street II: Freddy's Revenge. His next feature, The Hidden, won many awards including the Grand Prix at the Avoriaz Film Festival, Jury Award at the Sitges Film Festival, and Best Director at Fantasporto. Premiere Magazine called it “one of the ten most underrated films of the 80s.” This was followed by Renegades with Kiefer Sutherland and Lou Diamond Phillips and By Dawn's Early Light for HBO with Martin Landau, James Earl Jones, Rip Torn, Rebecca de Mornay, and Powers Boothe. Jack has directed movies and television for MGM, Paramount, Universal, Warners, Fox, United Artists, Lionsgate, HBO, Showtime, NBC, Discovery, and others. He is the recipient of lifetime achievement awards from FantaFest and the Grossman Festival. In 2004, he founded the Film & Television Production program at Western Carolina University where he was Professor and Director of the FTP program until 2017.  Jack has received Life Achievement Awards from Fantafestival (Rome), Grossmann Film Festival (Slovenia), and Fantastic Fest (Austin). Our theme music is by Sir Cubworth, with embellishments by Edward Elgar.  Music from Sleepaway Camp by Edward Bilous. For more information on this film (including why the Professor chose it, on ⁠⁠⁠Our Blog⁠⁠⁠), the pod, essays from your hosts, and other assorted bric-a-brac, visit our website, ⁠⁠⁠⁠⁠⁠⁠⁠⁠scareupod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please subscribe to this podcast via Apple or Google Podcasts, Stitcher, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠ group. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Kerry David has been working in the Hollywood film industry for over 25 years. In 2014, she raised over $500,000 crowdfunding for various non-profits, productions and artists. She was sidelined after learning about the silent war on endangered species due to commercial poaching and the human/wildlife conflict. It compelled her to get involved and in 2017 she launched her Non-Profit; OverandAboveAfrica.com In 2019 she wrote, directed and produced her passion project; "Breaking Their Silence: Women on the Frontline of the Poaching War". BTS won seventeen film festivals, including Jury Award & Audience Award for Best Documentary at San Diego International Film Festival and the Durango Film Festival.  www.BreakingTheirSilence.com

Colin Alistair Campbell is an actor, writer, producer and newly minted director. His debut short, "Patricia Says Goodbye," is a narrative drama that screened as part of the 2023 Inwood Film Festival. His second, most recent short is "Fundamental Shapes," a gentle romantic comedy. "Fundamental Shapes" is in the middle of its festival run and has garnered the Audience Choice Award for Best Narrative Film at the Indy Shorts Film Festival in Indianapolis (an Oscar-qualifying festival), and the Jury Award for Best Comedy Short at the Vero Beach Film Festival.Colin is a founding member of the Kiley Ensemble, a contemporary theater group in New York City, and he draws on his own experience as an actor to help shape his directorial and writing approach. Born in Iceland, Colin enjoyed a rather nomadic childhood and early adulthood, living in countries on four different continents. He currently calls both Virginia and New York City home.www.patriciashortfilm.com

See JL Cauvin and I co Headlining City Winery In Pittsburgh PA on Oct 11 Spend Money on Kevin's Honey!  Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 740 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more Watch Todd Barry's new stand up special "Domestic Short Hair" New York City-based comedian and actor Todd Barry is widely recognized for his roles as the bongo-playing “Third Conchord” on HBO's Flight of the Conchords and Mickey Rourke's deli boss in 2009 Oscar winner The Wrestler and renowned throughout the entertainment industry for his nuanced measured and thoroughly original approach to stand-up. Drawing audience members in with his deadpan self-deprecation and ability to pile punchline upon punchline his decidedly low-key stage persona belies a deeply intelligent often biting occasionally absurdist worldview one lauded by discerning fans who seek a fresh yet honest update to traditional observation and social commentary. Boasting multiple stand-up appearances on The Late Show with David Letterman Late Night with Conan O'Brien Jimmy Kimmel Live! and two Comedy Central Presents specials and his latest one hour Comedy Central special Super Crazy. Todd's resume also includes such hit TV shows as Louie Delocated Bored to Death Tim and Eric Chappelle's Show Sex and the City and even Sesame Street. Among his additional feature-film highlights are Todd Phillips's Road Trip Louis CK's Pootie Tang and Mitch Hedberg's Los Enchiladas. You can see him soon at Sigourney Weaver's right hand man in Amy Heckerling's Vamps and as Paul Rudd's co-worker in David Wain's Wanderlust. Internationally he has performed at the Edinburgh Festival Fringe the Melbourne International Comedy Festival Montreal's Just For Laughs Festival the Vancouver International Comedy Festival and Kilkenny Ireland's Cat Laughs Festival. Todd has been heard on both The Howard Stern Show and The Bob & Tom Show and his albums Medium Energy Falling Off the Bone and From Heaven are available from Comedy Central Records Amazon and iTunes. He has earned the U.S. Comedy Arts Festival's Jury Award praise from Ricky Gervais as one of the best comedians of 2009 and accolades from The Onion's A.V. Club which declared Medium Energy one of the best comedy albums of the decade. Todd was the subject of a recent New York Times Arts section cover story which referred to him as a “master of standup” and noted “when it comes to live performance few comics are more consistently funny.” In April 2013 the Todd Barry Podcast debuted. It reached #1 on the iT “Comedy savants revere this Conan and Letterman veteran's hushed singsong sarcasm.” – Entertainment Weekly “Piercing blinding slaying violating wit.” – NPR “Infuses his observational comedy with a wonderfully individual disdain.” – The Times of London “He doesn't suffer fools and fortunately for his comedy his definition of ‘fool' doesn't discriminate.” – Pitchfork.com “Acerbic wit deadpan delivery and wickedly smart punchlines.” – Time Out New York “Barry is so beautifully arid he is positively parched.” – London Evening Standard “The success lies with the delivery and in his ability to seamlessly merge ad-libbed material with his prepared schtick.” – The Age Melbourne Pete on YouTube Check out all things Jon Carroll Follow and Support Pete Coe Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

NMiF Senior Producer Lou DiVizio opens the show with headlines from around the state, including perspective from a New Mexico community downwind from the nuclear testing site in the southern New Mexico desert, after the release of the Hollywood blockbuster 'Oppenheimer.' Then, Lou catches up with Daniel Libit, an investigative and enterprise reporter for Sportico, who's been following the criminal case against former UNM athletic director Paul Krebs. This interview was recorded Wednesday (7.19.23). A jury Friday found Paul Krebs not guilty on two felony counts of embezzlement. Lou asks why this case rose to the level of criminal charges when so many other collegiate scandals don't. And the two discuss how this trial could impact the secretive nature within many universities.   Gene Grant discusses the recent $485 million jury award on behalf of an 8-year-old girl. The lawsuit, first filed in 2019, alleges a non-profit company called Familyworks, licensed by the state Children, Youth and Families Department, placed the girl in the care of Clarence Garcia, who allegedly raped her repeatedly. The lawsuit also alleges Familyworks knew about prior accusations of sexual assault against Garcia. Gene asks the panel how something like this was allowed to happen — and if the state should carry any responsibility.   A recent ruling from the New Mexico Supreme Court could set the stage for changes to political redistricting in the state. The justices weighed in on a lawsuit brought by the state Republican Party and others challenging the new congressional districts drawn by the Democrat-controlled state Legislature. But the decision could impact another case too — a lawsuit brought by the Navajo Nation, alleging San Juan County Commissioners packed Native American voters into a single district.  New Mexico in Focus Correspondent Gwyneth Doland caught up with two people familiar with these cases to ask what impact the outcomes could have on future elections.   Host: Lou DiVizio Segment 1: Former UNM Athletic Director on Trial Correspondent: Lou DiVizio Guest:  Daniel Libit, investigative & enterprise reporter, Sportico  Segment 2: $485M Foster Care Abuse Jury Award  Correspondent: Gene Grant  Guests:  Ed Williams, Searchlight New Mexico  Carol Suzuki, professor of law, University of New Mexico  Merritt Allen, Vox Optima Public Relations Segment 3: Redistricting Lawsuits Move Forward After NM Supreme Court Decision  Correspondent: Gwyneth Doland Guests:  Hannah Burling, project leader for Fair Districts NM, Co-Pres. of the League of Women Voters  Leonard Gorman, executive director, Navajo Nation Human Rights Commission  For More Information: Former University of New Mexico athletic director found not guilty of embezzlement charges - Associated Press BOOSTER GOLF TRIP PUTS EX-COLLEGE AD ON TRIAL IN RARE PROSECUTION – Sportico   Foster child sexual assault results in $485 million jury award – Albuquerque Journal  Experts say girl awarded $485M in sex abuse suit likely to face long court fight – Santa Fe New Mexican  Trapped: Foster children are caught in a cycle of abuse – Searchlight New Mexico  Homeless Shelters Aren't Equipped to Deal With New Mexico's Most Troubled Foster Kids. Police See It for Themselves. – Searchlight New Mexico  These Foster Kids Need Mental Health Care. New Mexico Is Putting Them in Homeless Shelters. – Searchlight New Mexico  New Mexico Struggles to Follow Through on Promises to Reform Child Welfare System – Searchlight New Mexico  Ten-year-old foster child allegedly sexually assaulted by foster teen at CYFD office building in Albuquerque – Searchlight New Mexico  New Mexico Supreme Court says lower court can decide gerrymandering issue – KRQE Lawsuit alleges San Juan County's new district map violates Voting Rights Act – Farmington Daily Times  --- Send in a voice message: https://podcasters.spotify.com/pod/show/nmif/message

"The power of acting is really sacred. Acting is a way to reveal back to human beings, the human condition. It's the heart of empathy.This is why I always say I'm going to go to Congress and teach everybody how to act. Can you imagine these congressmen and women?  They would have to look opposite their enemy, and really take in another human being."- Anthony Meindl on The Modern Spirituality Show Join Theosophist Benjamin W. Decker and Acting Coach/Director Anthony Meindl for a riveting dialogue including the following: 

AP correspondent Jackie Quinn reports on Trump Columnist Lawsuit Carroll.

Dubbed the “Godfathers of LGBTQ+ TV”, Real-life married couple, Deondray & Quincy LeNear Gossfield are the creators, writers and directors of the iconic GLAAD award-winning anthology series, The DL Chronicles. Building on their brand and following their passion of telling Black, LGBTQ+ stories, they created and directed the Amazon Prime spinoff series, The Chadwick Journals. The third season, featuring Jamar Michael (Dear White People), won a 2021 Silver Telly Award and garnered a 2020 Daytime Emmy® Nomination for lead actor, Damian Toofeek Raven (“Chadwick”). The Gossfields were also tapped to be part of the producing teams for hit shows like, Kocktails with Khloé (FYI), and Sunday Best (BET). Their short film , Flames Executive Produced by Lena Waithe and Rishi Rajani (ray sure Johnny) starring Deion Smith (Outer Banks) and Dontavius Williams, premiered with critical acclaim at 2021's Tribeca Film Festival and won two Telly Awards for “Best Directing” and "Best Drama”, several SFAAF awards including “Best Directing” and “Best LGBT Short”, 1st Runner Up for “Best Local Short” and the Jury Award for “Excellence in Cinematography” at Out On Film, Atlanta. Their short film, Congo Cabaret, highlighting the LGBTQ+ contribution to the Harlem Renaissance, has won numerous awards, and features Parisa (pareesea)Fitz-Henley (Luke Cage), Kevin Daniels (Modern Family), and Darryl Stephens (B Positive). Their film, Smoke, Lilies and Jade, narrated by Emmy® and Tony Winner, Billy Porter (Pose) premiered at Outfest Film Festival in Los Angeles and went on to win “Best Short Film” at 2021's Black Alphabet Film Festival in Chicago. The pair made their TV directorial debut in 2022 on Lena Waithe's and Showtime Network's drama, The Chi.

When I was in my teens, I got the opportunity to be part of a theatre class. The Director at the time was short one male role so I had the chance to be exposed to the art of the stage for the first time. It was a defining moment for me as I realized I genuinely had a talent for it. But then Life happened. Coming from a traditional background where academics are THE priority above all else including creative endeavours, added to the fact that I my grades were in the dumps, my parents drew a line in the sand and I had to close the curtains on the whole experience. Fast forward a few years and many life experiences later, and I still hold a sincere respect for the art of acting.  Where one can draw from his or her emotions, experiences, trauma, joy, victories, failures and eventually portray a  fleshed-out character or persona, this not only takes quite a bit of creative expertise but most importantly, a tremendous amount of courage. I've learned that in many ways, we as human beings are deathly afraid of discomfort. Anything that steps outside of that familiarity of our comfort zone is a lifeline we tend to hold onto, sometimes against our best interest. As my next guest has allowed me to see through his resounding body of work, the thrill of being a creative, whether through acting, painting or otherwise, is that the unknown is an essential part of the journey and we get the opportunity to shape it however we desire. A message of accountability and audacity that totally resonates with our mission here on the podcast. Anthony Meindl is an award-winning director, writer, actor, and acting coach. Among his numerous achievements and accolades, Anthony wrote and directed "Where We Go From Here", which premiered at Outfest in 2019 at the famous Grauman's Chinese Theatre in Hollywood. It won Best Screenplay at Q-Films Long Beach and the Jury Award at NYC's East Village Queer Film Festival, and was acquired by HULU.  He is the founder and artistic director of the Anthony Meindl's Actor's Workshop which he bravely started some 26 years ago in his apartment with 6 students and the desire to help actors understand a more modern and simpler approach to the work. He has been a passionate advocate in helping actors everywhere understand their worth and advocate for themselves and their own creativity. He has broken myths around the business and what often holds actors back. His mission has always been to help marginalized people and Artists of Color and Trans, Non-Binary, and Queer-identifying actors who often have had little access to training and opportunities in the business. He now has the largest scene study studio in Los Angeles and locations in 10 other cities around the world: New York, London, Vancouver, Toronto, Atlanta, Sydney, Chicago, Copenhagen and Cape Town. He is the author of five books; the best-selling creativity book AT LEFT BRAIN TURN RIGHT, self-improvement ALPHABET SOUP FOR GROWN-UPS, acting guide BOOK THE F#©KING JOB!, his memoir, YOU KNEW WHEN YOU WERE 2, and the latest, UNSTUCK, a creativity manual. His self-published books have sold over 28,000 copies. On this energetic episode, Anthony shares his perspective on the audacity to be yourself, silencing your inner critic, taking that huge leap into the unkwown, finding your voice and how the journey IS the destination. You can connect with Anthony via his official website as well as Instagram.   ----------- Connect with us // Facebook : https://www.facebook.com/awakentheawesome Instagram : https://www.instagram.com/atapodcast Telegram : https://t.me/atapodcast Email : awakentheawesome@gmail.com - - - - - - - - - - - - - - - Our full back catalog of episodes is also available on your favourite platforms : Apple Podcasts : https://apple.co/3bcWAWX Spotify : https://spoti.fi/3rZOA1B Amazon(Alexa) : https://tinyurl.com/enk2dkk4 Google Podcasts : https://tinyurl.com/y57gshn4

In this episode, Paul discusses a recent decision remands a jury verdict on punitive damages against BASF in a dicamba drift damage to a peach grower for a new trial on the punitive damage issue.  Materials discussed: Goeringer, Paul, Court Vacates Jury Award in Dicamba Drift Damage Case (Oct. 25, 2022).

Jill spent nine years building trust, friendship and the story of Cora's escape from an abusive, polygamist marriage through her artwork. Snowland will be Jill's first feature length film. Her journey has gone from shooting stills as a middle-schooler, to being a Mountain Dew girl in a series of commercials that paid her college tuition, to running the film projector in what she called a truly great job, to premiering Sister Wife at Sundance and winning the Jury Award at SXSW, to the adventure that Snowland will soon take.

Today's show  has one guest and its the great Greg Fitzsimmons. We begin at 30 mins in   Thanks so much for listening. Please give the show 5 stars and a review on Apple and Spotify Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 740 awesome, curious, kind, funny, brilliant, generous souls. Mixing an incisive wit with scathing sarcasm, Greg Fitzsimmons is an accomplished stand-up, an Emmy Award winning writer, and a host on TV, radio and his own podcasts. Greg is host of the popular “FitzDog Radio” podcast (https://bit.ly/FitzdogRadio), as well as “Sunday Papers” with co-host Mike Gibbons (http://bit.ly/SundayPapersPod) and “Childish” with co-host Alison Rosen (http://childishpod.com). A regular with Conan O'Brien and Jimmy Kimmel, Greg also frequents “The Joe Rogan Experience,” “Lights Out with David Spade,” and has made more than 50 visits to “The Howard Stern Show.” Howard gave Greg his own show on Sirius/XM which lasted more than 10 years.  Greg's one-hour standup special, “Life On Stage,” was named a Top 10 Comedy Release by LA Weekly. The special premiered on Comedy Central and is now available on Amazon Prime, as a DVD, or a download (https://bit.ly/GregFitzSpecial). Greg's 2011 book, Dear Mrs. Fitzsimmons (https://amzn.to/2Z2bB82), climbed the best-seller charts and garnered outstanding reviews from NPR and Vanity Fair.    Greg appeared in the Netflix series “Santa Clarita Diet,” the Emmy-winning FX series “Louie,” spent five years as a panelist on VH1's “Best Week Ever,” was a reoccurring panelist on “Chelsea Lately,” and starred in two half-hour stand-up specials on Comedy Central.   Greg wrote and appeared on the Judd Apatow HBO series “Crashing.” Writing credits include HBO's “Lucky Louie,” “Cedric the Entertainer Presents,” “Politically Incorrect with Bill Maher,” “The Man Show” and many others. On his mantle beside the four Daytime Emmys he won as a writer and producer on “The Ellen DeGeneres Show” sit “The Jury Award for Best Comedian” from The HBO Comedy Arts Festival and a Cable Ace Award for hosting the MTV game show "Idiot Savants." Check out all things Jon Carroll Follow and Support Pete Coe Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page

Award-winning filmmaker and Emmy-nominated animator Sherene Strausberg combines her experience in film, music and sound engineering with graphic design and illustration to create animated videos for her clients at the company she founded, 87th Street Creative. Having won a national composition competition in high school, she was awarded a scholarship to the prestigious Indiana University School of Music, where she completed two bachelor's degrees in four years. Film scores she wrote in her first career, as a film composer, have been heard on AMC, Spike TV and Netflix. As a graphic designer for Jewish National Fund, she won two awards from Graphic Design USA. Her latest passion project, the short, animated film “Cool For You”, which she animated and scored, has been accepted to over 20 film festivals around the world and recently won the Jury Award for Youth Films at the Cineglobe Film Festival in Geneva, Switzerland. Recent clients of 87th Street Creative have included Walmart, American Express and Healthline.https://www.87thstreetcreative.com/https://www.instagram.com/sherenestrausberghttps://www.linkedin.com/in/sherene-strausberg/sherene@87thstreetcreative.comMentioned in this episode:EventsLearn about upcoming classes, workshops, summits and more from The Guy Who Knows a Guy at https://www.guywhoknowsaguy.com/events

Anthony Meindl is an acting coach and has published several books about acting, such as Book The F*cking Job and his latest, Unstuck. Anthony is also the host of a podcast for actors, “In The Moment”, and there is a reason he calls it that. Throughout our conversation that was a phrase that came up again and again: actors have to be in the moment, they have to live in the moment. And as actors, we know full well that means we have to listen, truly listen. Anthony will tell you, “If you're not listening to your partner then you're never going to act.” But he goes on to explain that the listening isn't the hard part. All of us can do that. He says, “the listening opens up the feelings and the expressing of those feelings is hard.” That, he says, takes courage, takes bravery, and it takes choosing yourself. Anthony Meindl is an award-winning director, writer, actor, acting coach, entrepreneur, author and inspirational speaker.  As an acting teacher, he's known for revolutionizing a more modern understanding of acting training. He founded Anthony Meindl's Actor Workshop in 1997 and has schools in 10 cities around the world: Los Angeles, New York, London, Vancouver, Toronto, Atlanta, Sydney, Chicago, Copenhagen and Cape Town.   He has been the guest acting teacher for directing at David Lynch's Master of Filmmaking Program, and has guest lectured at the prestigious Moscow Arts Theatre, The National Theatre School of Ireland, The Actors Centre London, and many more. He has been an inspirational speaker, sharing the stage with such luminaries as Jim Carrey, Jack Kornfield, and Tom Shadyac.    As a filmmaker, Anthony has received a number of awards and acclaim. His latest feature film, Where We Go From Here is available on HULU. The film premiered at Outfest, won the “Best Screenplay” award at Q-Films Long Beach, and the “Jury Award” at NYC's East Village Queer Film Festival.   He is the author of five books, including best-sellers, At Left Brain Turn Right and Book the F*cking Job and his latest book, Unstuck, was released July 2022.  To follow or connect with Anthony Meindl: IG: @anthonymeindl, @amawstudios in Los Angeles, @amawatl in AtlantaWebsite: https://www.anthonymeindl.comIf you want to chat or ask questions about the episode go to FB: https://www.facebook.com/tarmeydanielle/and visit the group site. Follow me on: IG: @tarmeydanielle Twitter: @TarmeyDanielle

Anthony Meindl is an award-winning director, writer, actor, acting coach, entrepreneur, author and inspirational speaker. As an acting teacher, he's known for revolutionising a more modern understanding of acting training. He founded Anthony Meindl's Actor Workshop in 1997 and now has the largest scene study studio in Los Angeles and locations in 10 other cities around the world: New York, London, Vancouver, Toronto, Atlanta, Sydney, Chicago, Copenhagen and Cape Town. He is the guest acting teacher for directing at David Lynch's Master of Filmmaking Program, and has guest lectured at the prestigious Moscow Arts Theatre, The National Theatre School of Ireland, The Actors Centre London, and many more. He has been an inspirational speaker, sharing the stage with such luminaries as Jim Carrey, Jack Kornfield, and Tom Shadyac. As a filmmaker, Anthony has received a number of awards and acclaim. His latest feature film, Where We Go From Here is available on HULU. The film premiered at Outfest, won the “Best Screenplay” award at Q-Films Long Beach, and the “Jury Award” at NYC's East Village Queer Film Festival. He is the author of five books, including best-sellers, At Left Brain Turn Right, Book the F*cking Job and Book the F*cking Job for Teens. His memoir, You Knew When You Were 2, released September 2020. Unstuck: www.anthonymeindl.com/unstuck/ AMAW: www.anthonymeindl.com/ Anthony's Instagram: @anthonymeindl Don't Be So Dramatic Podcast: Podcast instagram:@dbsdpodcast Rachel's instagram:@rachel.lauren.baker Email: info@asmanagement.com.au Produced by: Alyssa Stevenson, Rachel Baker Network: Diamantina Media (DM Podcasts) Audio Editor: Echidna Audio https://echidnaaudio.com/ Video Content: Nicole TabuenaSee omnystudio.com/listener for privacy information.

Hear Me, See Me Podcast's 100th episode with Actress, Screenwriter and Director, Jordana Spiro.Jordana is a multi-talented, funny, intelligent, beautiful human being. Her credits are...As a Director and Screenwriter: Jordana's first feature Night Comes On premiered at the Sundance Film Festival 2018, winning the Innovator Award and the Jury Award at the Deauville Film Festival in France. Her short film Skin premiered at Sundance and won the Honorable Mention Award at SXSW, showed at Telluride, Palm Springs, and AFI among others. She is a fellow of the Sundance Institute's Directors, Screenwriters, and Composers Labs, the Cinereach Development Program and the Berlinale Talent Campus. MFA in Directing from Columbia University (2016). As an actress, Jordana Spiro, her credits include: Ozark (Netflix, Seasons 1,2,4), R.L. Stine's Fear Street Trilogy (Netflix 2021), Small Engine Repair (SXSW 2020), To the Stars (Sundance 2019), Vegas High (HBO MAX 2020), My Boys (4 seasons, Winner of the Gracie Allen Comedy Award)We have a fantastic chat which I thoroughly enjoyed and I hope you do too.Please enjoy, subscribe and share.Doctors without borders : http://www.msf.org.uk/https://www.haircuts4homeless.com/https://www.instagram.com/svnty6beats/https://www.instagram.com/dvsy_artography/Thank you to our wonderful Sponsors Zenoti and L'Oréal.Support this show http://supporter.acast.com/hear-me-see-me. Hosted on Acast. See acast.com/privacy for more information.

Today's guest has enchanted an audience of millions as a singer, songwriter, actress, designer, producer and style icon. In her music, she has delivered one anthem after another on stage and in the studio, earning multiple gold certifications, and performing to sold out crowds far and wide. On-screen, she has generated mega-fandom throughout television and film. She had her first leading role in the 2019 movie The Short History of the Long Road, which premiered at The Tribeca Film Festival with rave reviews and earned her the Jury Award for “Best Performance” at the 2019 SCAD Savannah Film Festival. Our guest also led the cast and executive produced Netflix's Work It which debuted at #1 on the platform upon its release in 2020. In the same year, she made her Broadway debut starring in Mean Girls. She then starred in Justin Baldoni's Warner Bros feature Clouds (Disney+). Her growing musical catalog encompasses gold singles— “Thumbs”, “Sue Me” and “Why”—and the albums Singular: Act I & Singular: Act II. Of her music, Time Magazine wrote “she's one to watch” and V Magazine added “With two successful pop albums and a hard-hitting social commentary under her belt, Carpenter's career has matured faster than many of her Disney-bred predecessors.” In addition to her growing list of acting and music credits, in 2020 she was selected for Forbes' prestigious “30 Under 30” list. She also co-stars in the recently released comedy thriller film Emergency (Amazon Prime), which premiered at Sundance Film Festival. Our guest recently signed to Island Records, where she released her newest smash hit singles “Skin,” “Skinny Dipping,” “Fast Times” and “Vicious.” She just recently released her studio album, Emails I Can't Send, on July 15, 2022. And The Writer Is… Sabrina Carpenter! See acast.com/privacy for privacy and opt-out information.

Nathan Ruyle is a sound designer for film, who has designed and mixed for over 70 feature-length films. He is the founder of This is Sound Design, a full-service post sound facility in Burbank, California. Nathan has credits working for Universal, HBO, Netflix, and Amazon. His most recent project is the film Joyland, the winner of the 2022 Jury Award at the Cannes Film Festival. Nathan spoke with me from his incredible new sound stage studio. We discussed sound design for film and the work he has done. He goes into detail about his state-of-the-art facility, which is Dobly-Certified for the latest in immersive audio. Listen on iTunes or Stitcher or Google Play or Spotify; watch on YouTube Show Notes: This is Sound Design - https://tisd.tv Nathan on IMDB - https://www.imdb.com/name/nm2021986/bio?ref_=nm_ov_bio_sm Joyland Film - https://www.imdb.com/title/tt19719976/ "The Invisible Art" by Nathan Ruyle - https://www.moviemaker.com/this-is-sound-design-sound-designer-nathan-ruyle/ Making Waves: The Art of Cinematic Sound: https://www.youtube.com/watch?v=xsckp8r1-8c Hiss and Roar: https://hissandaroar.com/v3/ Immersive Audio with Matt Wallace and Will Kennedy on the Music Production Podcast #269: https://brianfunk.com/blog/studio-deluxe-immersive Brian Funk Links: My Website - https://brianfunk.com Intro Music Made with Dream Organ Ableton Live Pack - https://brianfunk.com/blog/dream-organ Ableton Live Pack Archive - https://brianfunk.com/blog/ableton-live-pack-archive Music Production Club - https://brianfunk.com/mpc Music Production Podcast - https://brianfunk.com/podcast Save 25% on Ableton Live Packs at my store with the code: PODCAST - https://brianfunk.com/store Thank you for listening.  Please review the Music Production Podcast on your favorite podcast provider! And don't forget to visit my site https://BrianFunk.com for music production tutorials, videos, and sound packs. Brian Funk

GENE GRAHAM: After earning his B.S in Advertising and Marketing Communications with a 3.6 gpa in 2003, and an Activities and Societies Presidential Scholar, Gene began his editing journey at Alphamedica in Tarrytown, NY, as in-house video editor/producer, with duties such as: patient & HCP interviews/testimonials, sourcing crews, locations, travel, editing/finessing all digital, social and live events, working closely with marketing and writing teams. He created sizzle reels and manifesto videos for business development. Then in 2010 he began freelancing first at Razorfish, then at 360i and a number of large digital, traditional amd pr communication firms with the New York agency universe and worked on productions for Mercedes Benz, Ford, PNC Bank, Morgan Stanley, Oreo Cookie, Capital One, Oscar Meyer, Celebrity Cruises, Oral B, Allergan, Unilever, Pfizer, Warner Bros, HBO, Showtime, Telepictures, In Demand, Ralph Lauren, Macy's and more. He also worked on the Biden/Harris campaign, the 2020 Pulitzer Prize Announcement, the Education Writers Association and more. This is the backstory to his evolving into an award winning filmmaker which began in 2006 as Winner, BlockBuster Audience Award for Best Picture/Feature and Best Performance by Actor, Loretta Devine, Dirty Laundry from the American Black Film Festival which he edited and associate produced and was distributed by LIONSGATE; in 2007- Winner, Jury Award for Best Documentary and Winner, Emerging Filmmaker Award,The Godfather of Disco, from the Fire Island Film & Video Festival; in 2008- Nominated, Best Independent Film, Dirty Laundry, NAACP Image Awards and Nominated, Best Feature Film/Limited Release, Dirty Laundry from GLAAD Awards; 2018- Winner, Special Jury Recognition for Best Cast, This One's For The Ladies, from SXSW Film Festival and was acquired for worldwide distribution by NEON and released theatrically nationwide, and streamed on HULU and available VOD/SVOD platforms, as well as Nominated, Best Documentary, This One For The Ladies from both SXSW & IndieMemphis; 2019- Winner, Best Documentary, This One For The Ladies from NC Black Film Festival and Filmmaker in Residence, from Docs In Progress, Washington DC. In 2021, Gene wrote, directed and edited his short film, Jac On The Come Up, which is presently on 2022's festival circuit, while his new film Born Again Reject is about to be shot this summer. He enthusiastically looks forward to more in the feature realm within the near future. Great director to work with. Follow his journey at: https://determinedpictures.com/ --- Support this podcast: https://anchor.fm/ozzie-stewart/support

Ready for another great episode? Good, we got one for ya! Giovanna Aguilar talks with multi-talented cinematographer Johanna Coelho who has worked on numerous films and television shows including ABC's The Rookie and Oxygen Network's Killer Siblings. Her most recent feature film titled And Then There Was Eve won the Jury Award at the L.A Film Festival. Cassandra Seidenfeld has board member Yvonne Russo in our Meet a Member spotlight, Katie Chambers has an update on upcoming NYWIFT events and programs and we recommend Palpito (The Marked Heart) on Netflix and Severance on AppleTV+ Nominate a member for the WCW Spotlight or Meet the Member segment, and/or share your industry experiences with us at communications@nywift.org. For more great content go to NYWIFT.org. Special thanks to Elspeth Collard, the creator of our podcast theme. Social Media & Links: NYWIFT: IG @NYWIFT / Twitter @NYWIFT / #nywift Johanna: IG @Johanna_coelho / Twitter @johanna_coelho Yvonne: IG @yvonnerusso74 / Twitter @yvonnerusso

Director Gabriel Gaurano discusses his short documentary, Team Meryland, with NFFTY Director of Programming, Amy Williams. Before you listen, you can watch the film now via The New Yorker. Gabriel Gaurano won the NFFTY 2022 Kathy Reichgerdt Inspiration Award and Team Meryland won the Jury Award for Best Documentary - Honorable Mention and screened in the Opening Night screening during NFFTY 2022. Keep up with Gabriel Gaurano: Instagram: https://instagram.com/gabrielgaurano More from Partyfish Media: https://partyfish.media "NFFTY Podcast Theme" composed by Kurtis Skinner

Two JMOLs give us a good lesson on strategy and picking your battles. And Judge Gilstrap gives us great guidance on exceptional-case motions. Transcript: Wayne Stacy 00:00 Welcome, everyone to the Berkeley Center for Law and Technology's Last Week in Texas podcast, it is March 30. And we're here again with Michael Smith. No Baylor basketball jokes this week, Michael. So we think that that would be good. Well, thanks. Thanks for coming back after my unnecessary shots last week. Well, Michael, I'd love to start this week with a case I think that people would look at and kind of kind of laugh a little bit. But there's a lot more to it. And there was a jury award and Marshall, that might be the lowest Jury Award in Texas and a patent case, a whopping $84,000, which is roughly one trial day for a patent team. So what what's, what can we look at this case and learn? Well, Michael Smith 00:52 it was an interesting case, I happened to be in the courtroom while the jury was deliberating and sending out notes. And I looked over at the plaintiffs table, and there were at least 10 lawyers there. So I don't know what was going on there. Other than this, it's a competitor case. And when it's a competitor case, you don't it's not necessarily about the money damages at the trial. It's it's it's about being able to cut the defendant off from continuing to sell a product that you think is infringing your patents. So, again, I am not focusing on the amount that the jury awarded, I'm focusing on what was being sought by the plaintiff. In that case, competitor cases are getting to be the standard. I've had four patent trials in the last year and Marshall would judge Gilstrap, all four were competitor cases, all four were a larger competitor in a field suing a smaller competitor in a field for patent infringement. And you had similar themes in all of the cases. So we're seeing a lot of that. Coincidentally, the plaintiff's lawyer in that case was my co counsel on the defense side in February, so I need to call him back and find out what happened on that case. One fun thing that happened while we were sitting there waiting to start our hearing is that the jury sent out a note saying, please send back the exhibit with the defendant sales in such and such time period so that we can calculate damages. I tried not to look at the defense table, then because I know how I feel when when a note comes like that. And you're on the defense side. Wayne Stacy 02:28 Yeah, there's there's no, no positive message in that note. Oh, no. Well, well, Michael, I think that it's an interesting point. The stereotype of the Eastern District in the Western District of Texas, is that the only thing that's happening there are in PE cases, and if you use a little harsher language, you know, like some folks do, that it's just those are the two trial courts of the United States patent cases. You're suggesting otherwise? Michael Smith 02:57 Well, the cases that go to trial? Yes, we had a similar case to this that went to trial a few months ago in Waco, where again, the amount that the jury awarded was bizarrely low. But when you go back and you find out what they were fighting over, it was a competitor case. I mean, going back to 1994, the first patent trial I

The scale of justice makes a mockery of itself when its this out of balance.  Imposing punishment upon only 1/2 the problem leads to continued imbalance, injustice , and continued criminality. Carole looks at the causes of why and how we find ourselves immersed in such seemingly extreme behaviors and what may be keeping us stuck here.

On this episode Leo talks with Molly Smith, a 20 year old filmmaker from Orlando, FL. Her short film I Don't Know has screened at over 20 film festivals nationwide, winning 7 top awards. Her next film, Dear America has received over 600k views online, won a National Student Emmy in the PSA category and the National Coalition Against Censorship's Youth Free Expression Film contest. Also an accomplished playwright, her dystopian political commentary play, God Bless America went on to win a Scholastic National Gold Medal and premiered on stage at the Be Original Theatre Festival in Orlando, FL, winning Molly the award for top playwright under age 24. Her writing was also recognized with a National Student Production Emmy in the writing craft category and a finalist nomination at NFFTY's Story Starts Here competition. In 2020, she completed her documentary film Feminism: The Fifth Wave that went on to win the Jury Award at Her International Film Festival and will be screening at The American Pavilion at Cannes Film Festival in 2021. Molly's goal is to use the medium of film and her passion as a writer to tell stories which spark conversations and change perspectives. In 2020, she was named a Cameron Impact Scholar for her work in social justice and impact filmmaking. She attends Yale University, studying film and writing. YT ▶: mollywoodfilms Instagram: @mollywood.films Website

#043 Recently, a jury awarded a man 9.4 million dollars in a lawsuit against Cracker Barrel because they served him water tainted with chemicals. There are so many questions and concerns this brings up! But what I noticed was that people actually blamed the man for drinking this chemical water! In this episode I talk about a few details from the case I read about, and wonder why people felt the verdict amount was unwarranted.

Director Catalina Loret discusses her short film, Flores Dentro (Flowers Within), with NFFTY Senior Programmer, Robert Bojorquez. Flores Dentro (Flowers Within) won the Jury Award for Best Experimental and screened in the Art In Motion screening during NFFTY 2020. Keep up with Catalina Loret: Website: https://www.catalinaloret.com Instagram: https://www.instagram.com/cataloret More from Partyfish Media: https://instagram.com/partyfishmedia "NFFTY Podcast Theme" composed by Kurtis Skinner

Director Ewurakua Dawson-Amoah discusses her short film, To The Girl That Looks Like Me, with NFFTY Senior Programmer, Robert Bojorquez. To The Girl That Looks Like Me won the Jury Award for Best Experimental Film (Student) and won the Audience Award for and screened in the Centerpiece screening during NFFTY 2020. Keep up with Ewurakua Dawson-Amoah: Website: https://www.byraekua.com/ Instagram: https://www.instagram.com/raekua The MelaCast: https://www.themelacast.com/ More from Partyfish Media: https://instagram.com/partyfishmedia "NFFTY Podcast Theme" composed by Kurtis Skinner

Director Tone Ottilie discusses her short film, Babydyke, with NFFTY Program Director, Amy Williams. Babydyke won the Jury Award for Best Narrative and screened in the Come As You Are screening during NFFTY 2020. Keep up with Tone Ottilie: Instagram: https://www.instagram.com/toneottilie More from Partyfish Media: https://instagram.com/partyfishmedia "NFFTY Podcast Theme" composed by Kurtis Skinner

Kelly Walker is an Australian multi-hyphenate award winning filmmaker. She's had multiple short films in the festival circuit, most notably The Brownlist, directed and edited by Walker, which received the Jury Award for Best Short Film at Bentonville Film Festival. We chatted with Kelly about her debut feature, My Fiona. She was invited to participate in Australian's In Film's Writers Lab for her script and completed shooting the film in the summer 2019. My Fiona was set to world premiere at BFI Flare in London in March 2020, but due to Covid-19 the premiere was cancelled.