Podcasts about kimel

Join us for an exclusive conversation with Indie Memphis leadership, Executive Director Kimel Fryer and Director of Programming Kayla Myers, as they dive into the highlights of this year's Indie Memphis Film Festival. In this episode, Kimel and Kayla discuss the festival's exciting lineup, including featured films, hidden gems, and showcases from talented Memphis filmmakers. They'll also reveal the behind-the-scenes logistics of organizing a multi-day festival that brings together the film community and elevates Memphis as a cultural hub. Perfect for film enthusiasts and festivalgoers alike, this episode offers a unique look into the passion and planning behind Indie Memphis.

Join us for an exclusive conversation with Indie Memphis leadership, Executive Director Kimel Fryer and Director of Programming Kayla Myers, as they dive into the highlights of this year's Indie Memphis Film Festival. In this episode, Kimel and Kayla discuss the festival's exciting lineup, including featured films, hidden gems, and showcases from talented Memphis filmmakers. They'll also reveal the behind-the-scenes logistics of organizing a multi-day festival that brings together the film community and elevates Memphis as a cultural hub. Perfect for film enthusiasts and festivalgoers alike, this episode offers a unique look into the passion and planning behind Indie Memphis.

Vereinbare jetzt dein kostenloses Erstgespräch: www.andreasbaulig.de/termin In der heutigen Episode von die Coaching-Revolution spricht unser Strategieberater & Vertriebsleiter Arben Veseli im Rahmen einer Q&A-Session auf beim Founder Summit 2024 zusammen mit Sergej Kimel über das Thema Arroganz & Branding im Business. Vereinbare jetzt dein kostenloses Erstgespräch: www.andreasbaulig.de/termin Sichere dir jetzt das Buch "WISSEN MACHT UMSATZ" auf www.wissenmachtumsatz.de Andreas Baulig & Markus Baulig zeigen dir, wie du dich als einer DER Nr.1 Experten in deiner Branche positionieren kannst und hohe Preise ab 2.000 Euro (und mehr) für deine Angebote & Dienstleistungen abrufen kannst. Als Coaches, Berater und Experten automatisiert Kunden im Internet gewinnen. Wie du Online Marketing nutzen kannst, um deine Produkte und Dienstleistungen erfolgreich zu verkaufen.

Mike Kimel is the Founder and CEO of Pricimetrics.   In this episode of Specified Growth Podcast, Mike talks about his background and how he got into the pricing industry. He also discusses how to find the optimal price point for your products, the importance of analyzing data and understanding your competition, some of the variables that come into play when looking at pricing, and more. Don't miss this episode of Specified Growth Podcast!   Please reach out if you have any feedback or questions. Enjoy!    Twitter: @TatsuyaNakagawa Instagram: @tats_talks LinkedIn: Tatsuya Nakagawa  YouTube: Tats Talks www.tatstalk.com www.castagra.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Kris Kimel is the Founder of Humanity in Deep Space, an initiative exploring the challenges and hard problems facing humans as we transition to deep spacefaring species. He is the Co-founder of the commercial space company Space Tango.  His major focus is how humans can do deep space exploration physically, safely, and ethically. Legal, ethical and physiological concerns are some of the most challenging.   Today, the United Nations' 1967 Outer Space Treaty, which was the foundation of the discussions, was a far-reaching concept by UN member states to provide the framework as how we can explore and develop outer space, but to do so peacefully, safely and sustainably. Key questions: Who can own parts of outer space? How can outer space be utilized without militarizing it with nuclear weapons? How can we keep our humanity?  The United Nations and UNESCO have some of the best research information on outer space.

Janna Kimel shares her remarkable story of meeting Stephen Hawking, how she's growing grassroots accessibility, and how to better navigate today's job market. Highlights include: How did you come to meet Stephen Hawking? What approaches to increasing inclusive design have worked for you? Do people without accessibility needs care about accessibility? Why should people bring some of their personal life into job interviews? How can people paint a flattering self-portrait of their work in a job interview? ====== Who is Janna Kimel? Janna is the founder and principal of Third Brain Studio, the consulting practice through which she mentors current and aspiring UX researchers, and helps organisations to plan and execute UX research and inclusive design. Alongside her consulting, Janna is also the founder and principal researcher at the Chronic Pain Project; a personal initiative that she hopes will bring visibility to the experience of people living with chronic pain, like her. Until recently, Janna was a senior manager of UX research at Hinge Health, where she built the UX research practice from the ground up. She has also led design research at Dexcom, overseeing the company's software, hardware, and overall experience projects. Winding the clock back a little further, Janna worked in digital health design and research at Intel, conducting a range of research studies that helped seniors stay in their homes for as long as possible, and it's during this time that she crossed paths with Stephen Hawking. ====== Find Janna here: LinkedIn: https://www.linkedin.com/in/jannakimel/ Website: https://www.jannackimel.com/ Chronic Pain Project: http://www.chronicpainproject.com/ Resource Bank for Job Seekers: http://tinyurl.com/4m89trcx ====== ====== Liked what you heard and want to hear more? Subscribe and support the show by leaving a review on Apple Podcasts (or wherever you listen). Follow us on our other social channels for more great Brave UX content! YouTube: https://www.youtube.com/TheSpaceInBetween/ LinkedIn: https://www.linkedin.com/company/the-space-in-between/ Instagram: https://www.instagram.com/thespaceinbetw__n/ ====== Hosted by Brendan Jarvis: LinkedIn: https://www.linkedin.com/in/brendanjarvis/ Website: https://thespaceinbetween.co.nz/ Twitter: https://twitter.com/brendanjarvis/

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This week Tim is joined by Father Kimel to discuss his book "Destined for Joy" as they dig deeper into the concept of universal salvation. Order the book: https://www.amazon.com/Destined-Joy-Gospel-Universal-Salvation/dp/B0BC23BMCCMore from Father Kimel: https://afkimel.wordpress.com

Episode 275 is filled with Black Girl Magic as I sit down with Kimel Fryer and Kayla Myers of Indie Memphis. The 24th annual Indie Memphis Film Festival is happening October 24th-29th at Crosstown Theater, Circuit Playhouse, Hattiloo Theatre, Playhouse on the Square, Malco Studio on the Square, and online filled with a diverse lineup of films, shorts, documentaries and entertainment. Kimel Fryer is a Memphis native who graduated with a B.B.A. in Finance from the University of Memphis and a J.D. & M.B.A. degree from the University of Tennessee. She is currently the Executive Director of Indie Memphis, which supports the community through its annual film festival, year-round programming, youth program, artist development program, and its Black Creators Forum. Prior to Indie Memphis, Kimel worked in corporate finance for nine years at notable companies such as FedEx Supply Chain, Pfizer, and FCA US, LLC (formerly known as Chrysler, LLC). She is also a multi-hyphenate producer-writer-director and has been involved with creative spaces since childhood. With Kimel's background in finance and law combined with her passion for film, she is finally able to pursue opportunities that allow her to support underserved communities through the art of film. Kayla Myers is a film programmer, writer, and filmmaker from and based in Memphis. Currently, she works as a programmer and Black Creators Forum Manager at Indie Memphis. She's previously been the Features programmer for the San Francisco Documentary Festival, and the Series Producer for The DocYard in Cambridge, MA. She is passionate about intersectional feminist practices within the arts, making films more accessible to those not living in large filmmaking centers, and developing audiences with a thoughtful, community-centered approach.

Episode 275 is filled with Black Girl Magic as I sit down with Kimel Fryer and Kayla Myers of Indie Memphis. The 24th annual Indie Memphis Film Festival is happening October 24th-29th at Crosstown Theater, Circuit Playhouse, Hattiloo Theatre, Playhouse on the Square, Malco Studio on the Square, and online filled with a diverse lineup of films, shorts, documentaries and entertainment.Kimel Fryer is a Memphis native who graduated with a B.B.A. in Finance from the University of Memphis and a J.D. & M.B.A. degree from the University of Tennessee. She is currently the Executive Director of Indie Memphis, which supports the community through its annual film festival, year-round programming, youth program, artist development program, and its Black Creators Forum. Prior to Indie Memphis, Kimel worked in corporate finance for nine years at notable companies such as FedEx Supply Chain, Pfizer, and FCA US, LLC (formerly known as Chrysler, LLC). She is also a multi-hyphenate producer-writer-director and has been involved with creative spaces since childhood. With Kimel's background in finance and law combined with her passion for film, she is finally able to pursue opportunities that allow her to support underserved communities through the art of film.Kayla Myers is a film programmer, writer, and filmmaker from and based in Memphis. Currently, she works as a programmer and Black Creators Forum Manager at Indie Memphis. She's previously been the Features programmer for the San Francisco Documentary Festival, and the Series Producer for The DocYard in Cambridge, MA. She is passionate about intersectional feminist practices within the arts, making films more accessible to those not living in large filmmaking centers, and developing audiences with a thoughtful, community-centered approach.

Show Notes: Hey everybody, welcome back to the Honesty Pill Podcast!

Jesse McLaren is a Jimmy Kimmel writer.Show NotesJesse McLaren on Twitter - https://twitter.com/McJesseJesse McLaren on Instagram - https://www.instagram.com/larenmcjesse/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptJesse McLaren:If something just pops into your head on a Saturday of a story that, you know, you'll be talking about Monday, right? Like, I I did it. I got, I got something I know is like, gonna be really funny to pitch on Monday, right? So it's actually a little bit of a relief. It's not like, oh, I can't stop thinking about work. It's like, oh, and now I don't have to stress Sunday night or whatever. It's like, I know that, well, I'm gonna go into Monday with something I think is, is strong.Michael Jamin:Hey everyone, it's Michael Jamin. Welcome back to another episode of Screenwriters. Need to Hear This. I got a very interesting guest today because he's gonna tell us all about something I know very little about, but I always aspired to do when I was younger. This, this, my next guest, Jesse McLaren, is a writer on Jimmy Kimmel. And again, I like, yeah man, I, I just wanna know all about that. Cause as a child, I was like, man, I, that, that would've been the, the pinnacle. But I went another way. I went into sitcom writing. But, but, but, but with how we met, we were, I was walking the strike line outside of Disney and then Jesse goes, Hey man, I know you. And he pulls me over cuz he follows, I guess he follows me on TikTok or Instagram. And I was like, Hey, what do you doing? And he's like, I'm on Kimmel. So, welcome to this show. Thank you Jesse, for being here.Jesse McLaren:Thank you for having me.Michael Jamin:Yeah. I wanna know all about, and I asked you, I asked him you know, you, I guess I'll talk to you like how you broke in and you're like, Twitter. So tell me what that, how that all came about?Jesse McLaren:Yeah. I'm you know, like I, I've always wanted to work in late night. That's always been my end goal. And, you know, as aMichael Jamin:Kid, sawJesse McLaren:ConanMichael Jamin:AsJesse McLaren:A child. Yeah. Yeah. I remember like cutting school to see Conan. I, I grew up in Long Island andMichael Jamin:So you go into the city to see a show.Jesse McLaren:Yeah. I just remember like watching in between, you know, the the segments, just watching the people behind the scenes going like, how do I end up working here when I was like, you know, 16 maybe.Michael Jamin:Wow.Jesse McLaren:And then I always watch work late night. Yeah.Michael Jamin:And then what did you think about, like, usually you, you write a packet and you submit, right? Is that, but you didn't do that,Jesse McLaren:That's usually what you do. Yeah. I mean, I for Kimel they found me on Twitter. So, you know, after I, I started tweeting jokes and making videos on Twitter as much as I could for a period of time. I used to work at you know, for a while I worked at different TV shows. So I, I'm one of the, I think many people late night who worked production jobs first. Right. I used to work at the field, field departments and that kind of thing.Michael Jamin:Yeah. I noticed it. So you worked like, on, on Colbert, you did a bunch of different showsJesse McLaren:Right. Yeah. I worked on a lot of daytime TV shows, Uhhuh , kind of, it's actually kind of a similar structure, you know as far as how the show runs, but it's obviously very different content. Right. Michael Jamin:But why didn't you ever start writing packets and submitting, or, I don't even know how that works. Why, why didn't you do that?Jesse McLaren:Well, I did. So when I was, you know, I, I, my first, I, you know, landed a job that was my dream, which I worked at the Colbert Poor. Right. doing production, doing you know, the field department when he would travel to DC and that kind of thing. And interview congressman. Right. A series called Better Know A District. Mm-Hmm. . And whenever a writer job opened up there, anyone who was in the, you know, a PA or an ap, which I was, or anything like that, they would submit a packet. And you know, then starting, like, you get to know the writers and you start hearing rumors like, oh, you know, they're starting a new show called Larry Wilmore. Right. And, you know, our whatever. And you start submitting packets to whatever you can as someone who's not represented, but someone who kind of has,Michael Jamin:So how do you submit even if you don't have an agent?Jesse McLaren:Well back at that point, it was like, if you, you know, like you have a friend of a friend who's like submitting and they'll say, this is the email we're told to send it to. By this time it kind of becomes this like, network of just like, you know, so like, if you find out about a packet, you might tell some of your other friends, there'sMichael Jamin:A packet going on. So. Okay. Good. So how did you make, how did you have friends that knew all this?Jesse McLaren:I think that was from working at Colbert, you know, I was, I interned there, I applied as in when I was in college, I applied to be an intern at Everywhere, but I ended up at MTV Networks. Right. And you know, it was like my second to last semester I was interning at Nickelodeon mm-hmm. and like in a tape room, just like, just filing tapes. And I, and in the orientation I heard someone in the elevator go, oh, you know, I'm gonna be at the Daily Show. And that's went wait, that, that was a possibility, you know? Yeah. and in New York at that time, yeah,Michael Jamin:Go ahead. No, tell, keep going. This's just fascinating to me. Go ahead.Jesse McLaren:This the, the Daily Show and the Colbert Report were like the two shows under MTV that were actually a show that shot and you would actually be part of a production, you know? Yeah. so I applied to be at the Colbert Report. I think it helped that I already had an internship with NT Networks and I interned there eventually, you know, made connections there, which sometimes throughout the next few years, like if they needed a PA for the week, I would come by and that kind of thing.Michael Jamin:See, this is what I'm always telling people. I say, get as close as you can physically to the job you want. And that's what you did is as an intern or pa whatever it is, you're just getting close. Just so you could learn, be around it, hear from other people, and just make those contacts that way. Right. And then, yeah.Jesse McLaren:Yeah.Michael Jamin:And then when you're putting together packets, I mean, each show they kind of do, they kind of want different stuff? I mean, they might, they must say they do, they must say no, Conan's voice is this and, you know, were you studying the Yeah,Jesse McLaren:I mean, every packet's way different. I mean, the, at the time the Colbert packet I remember was like pretty intense. It was like, you had, you had that segment, the word Uhhuh , I dunno if you're familiar with the show, but that one. But it was pretty, it was, you know, a to camera on one subject and it would have all these editorial like voices through text, just kind of like shining in Okay. As jokes. But also, and it was kind of complicated, especially if you've never written for, you know, like it's one thing to write a page of monologue jokes, but it's another like, write an entire one of these segments that has to like, you know, be about a topic that needs attention and then it's written in a clever way and, you know, so, butMichael Jamin:So you're basically coming up, were you coming with any original stuff or just like, okay, here's my version of, you know, of that the word or you, or you coming with any new bits for him to do, you know what I'm saying? Any like, you know,Jesse McLaren:Yeah. Any packet I've ever seen has always been different. Some, so that show specifically, I think they really were like, like focused on what they want. Right. For the packets. Like one of these segments we do one of these segments, we do, maybe it, you know, I don't remember exactly what it was, but it was pretty much like especially cuz that that was show wasn't like monologue jokes. It was a character who had a very specific point of, you know didn't realize he was saying funny things like that kinda thing.Michael Jamin:Right. And so you turn you hand in these packets. It's not like they have a hiring season, they justJesse McLaren:No. IfMichael Jamin:You get lucky, if they, if they were hiring today, great. If not, maybe they keep you on file. Is that how it works?Jesse McLaren:I guess. I mean, I've never gotten hired from a packet, so it's like, I don't, you dunno. I think every show is completely different and I think every you know, I'm not entirely sure how we do it at Kimmel, but I, and I know they found me through, through Twitter. I know other people have written packets for them, but I, and so onMichael Jamin:Twitter, this is amazing. So you're just going out. What were you doing at the time? You've been on Twitter for how, for how long? How many years?Jesse McLaren:Like a while , I mean, I worked at like, so let's see, probably like eight years. I've been like actively really using it aMichael Jamin:Lot. And so every morning you, how would, like, before you get hired by Kimmel, what's your, what's your process for writing? You just come up, you sit down on the table, you read the newspaper and you try to bang out 10 jokes or what do you do?Jesse McLaren:No, I think it's more quality over quantity for that kind of thing too. Cuz you just wanna, I think the thing with Twitter is it's like, you know, but when the news story happens, this wave and you kind of want to get the funniest joke in there as early as possible.Michael Jamin:But are you ta Okay, so, but are you just putting it on your feed or are you writing it under el someone else's comment? Like a news, someone like newscaster's comment and then you, you know, to try to get their trafficked?Jesse McLaren:I think it, no, just writing a joke about, everyone's talking about one thing, you know, if you just have the perfect thing I'm trying to think of a good example. It's really hard off the top of my head. ButMichael Jamin:So you just post it in your, your feed, you give it a hashtag hope someone would search for it, hopes hope one of your whatever friends will follow you. Retweets it and it goes viral. Yeah. That's your plan, that's your, that's your plan basically. Yeah.Jesse McLaren:I think every social media's a little different, but like, especially Twitter, the whole thing is trying to get retweets. That's how something, and so how very quickly could have, you know,Michael Jamin:But then how, okay, so something would occur to you and then you'd write a couple jokes or just one or what, or as it as it comes, you just tweet it. And now did you have a schedule? Did you have any kind of discipline to this or were you just like, whatever came to you?Jesse McLaren:I don't think I had any discipline. No. I think with Twitter it's like, you know, it's in a, an addiction almost. It's just uhhuh. You'll be out today with your friends, you'll look down at your phone, just see like, oh my God, I can't believe, you know, just something happened. AndMichael Jamin:Okay. So you, you're on there a lot then basically you're,Jesse McLaren:I used to be on there very often. Yeah.Michael Jamin:Really. And so on an average day before you were found, like how many tweets would you send out in a day?Jesse McLaren:I don't know, maybe like five to 10 kind of. Okay. It's hard to tell. Yeah.Michael Jamin:And then some would get, but a lot ofJesse McLaren:It would also, yeah. And a lot of it would also just be like at work. I also worked at Buzzfeed for a while. Okay. So I kind of, one I in real life had knew people who you know, we followed each other on social media, but they had big social media followings. So they saw something, I tweeted a joke that they liked, they might retweet it and that would get me more followers. And then it also just working there really taught me a lot about how social media works and yeah.Michael Jamin:What, what, what did you learn that you could share? Like what's your take big takeaway?Jesse McLaren:Well, I think, I mean specifically with jokes and Twitter, I, you know, one, they all change over time a little bit. But I, I think Twitter consistently, like the, if you want a lot of people to see something you made, it almost doesn't even matter how many followers you have. But if you can get something retweeted a lot, it can kind of just work away brush fire where, you know, you might have, you know, 30 followers, but if someone sees it and retweets it and more people do it, it could, butMichael Jamin:Are youJesse McLaren:Creating a brand 30,000?Michael Jamin:Yeah. Are you staying on brand when you do this? Or are you like, cause it's one thing like, okay, this guy tweets out funny topical jokes every day and he is not tweeting out what he ate for lunch. Like, you know what I'm saying? Do, are you staying on brand? I'm a joke writer and that's it.Jesse McLaren:I don't know. Maybe, I mean, yeah, I don't know.Michael Jamin:You don't know. You're just going with it. Whatever was wor I mean, it worked. I'm just curious how it, how it worked.Jesse McLaren:Yeah, I mean, to me it was just always jokes and you know, I would also, you know, make videos or Photoshops just, you know, pieces of actual media, that kinda thing, Uhhuh. But it was always the goal of, you know, tweeting something and seeing as many people trying to get a lot of engagement with itMichael Jamin:And thenJesse McLaren:Hopefully something funny. Yeah.Michael Jamin:And then someone found it and then had, tell me how Kimmel came about.Jesse McLaren:I think, well over time, like, you know, I, the more I started realizing that this could lead to a writing job more than I, you know, I used to work at the Colbert Report, I submitted packets places, but that never really did anything for me. Right. Always, you know, never WereMichael Jamin:You frustrated? Were you frustrated by that? Were you upset or what, you know, when you weren't getting hired, what, how, what was your take on that?Jesse McLaren:Yeah, it's frustrating. It's also, if I go back and read one of those packets now I like can't do it. You know? So it's like, at the time I thought this is like the best interesting thing I've ever written. How could they not hire me? And thenMichael Jamin:Interesting. And really, cuz you've really grown and that just comes from practice, you think? Or what?Jesse McLaren:Yeah, I think, you know, it's any, anything that gives you actual feedback is really important. And to me, Twitter gave me feedback. I'm really like, you know, not comfortable on stage. I don't have that drive. I don't like doing Right. Performance.Michael Jamin:I asked you that if you're a standup and you're like, no, I don't want to, I don'tJesse McLaren:Wanna do standup. Yeah. It's like, I never no interest. I like the one, the few writers who doesn't wanna be on camera Uhhuh. But Twitter for, that's why for me specifically, it was a really good way to learn how to be a better writer just because you'd see what people actually find funny and especially once, you know.Michael Jamin:Okay. So then how, so someone, somehow, one of your tweets, do you know which one landed on the, on the desk of Jimmy Kimmel somehow?Jesse McLaren:I'm not sure which one. I think it might have been about Mike Ee.Michael Jamin:Oh,Jesse McLaren:Okay. I feel like it was like some kind of like, I tweeted something, I just remember I think like Julie Louis Dreyfus maybe retweeted it or something. It's like sometimes you would see like, oh, this person retweeted or tweet, you know?Michael Jamin:Right. Jesse McLaren:And then I just remember like within quick succession, like Jimmy and a couple of his writers our producers followed me like within like 15 minutes. So I don't know if it was from that tweet or if it was from, you know.Michael Jamin:And how would you, how would you know? I mean, you're not following your followers by the second, I mean, no,Jesse McLaren:I, I if it says like, when, like, I think when someone verified, followed you. Okay. At that point it would be like, before people were verified, they were like, you know,Michael Jamin:And so you noticed they followed you and you're like, damn, this is good. And then what happened?Jesse McLaren:And then yeah, I eventually they reached out and just said, Hey, when, you know, we would respond to know more about you. And eventually that kind of turned into an interview process, you know, once I expressed.Michael Jamin:But they didn't ask ask you to submit a packet though?Jesse McLaren:I didn't end up submitting a packet for them. No.Michael Jamin:They just looked at your body of work on Twitter and go, okay, this guy's funny, consistently funny. Right.Jesse McLaren:Yeah. I think, I think I kind of treated that week as my, or whatever it was as my packet where I would just consistently tweet things that I thought were in the show's voice or that they would maybe see and go, God, I wish, you know, we should have, we should have thought of that. You know, anything that I can think that they might think that is like what I really tried to do. AndMichael Jamin:Okay, so then they hire you. Tell me what your day is like. Well, first of all, are you working in person or are you on zoom or remote or now, you knowJesse McLaren:Yeah, we're in person.Michael Jamin:Yeah, you're in person. So you go to work, you show up, what, 10 o'clock?Jesse McLaren:Yeah, we start early at home and we write a lot of our jokes at at home first, which is great.Michael Jamin:. So you come in prepared. How many, how many jokes will you have when you come into work?Jesse McLaren:We will, you know, we'll write anything from, they'll always say it's quality over quality. Right. You know, they don't wanna have to sift through too many jokes just cause you wanna, you know so like, I would say that anywhere from 10 to 20 is normal.Michael Jamin:You feel good about it, you feel good there. Okay. These are, and then,Jesse McLaren:But it's, it matters. Which of your jokes get kicked. So in the morning then, you know, they'll kind of, I think Jimmy will go through all the material and at that point, you know, that's, that's all you care about. You know, you don't care about how many jokes you sent, you care about how many eventuallyMichael Jamin:Get. And so on a good day, what, how many of your jokes will get in on, on into the mono? You're talking about the monologue now?Jesse McLaren:Yeah. Yeah. I could someone told me when I started I've heard this from other shows too, people say like, one is a good day or is an amazing day. Right. That's something I've heard like at Colbert. And I think that kind of holds up. Like if you get, but it's more about, you know, it's not just jokes, it's kind of over time. Like, if you have one joke a few days in a row, maybe that's not great. If you have one day that was just incredible, you had a segment you wrote that did really well, you'd feel good. Right? And the next day you don't get any jokes, you know, you just be like, okay, well I had a great day yesterday and today I didn't get as many on.Michael Jamin:What, what do you do with the jokes that don't get selected? Do you tweet them or are they just go in the garbage?Jesse McLaren:I used to, sometimes I would tweet them, but it's, it just felt like, you know, you never know if a story's gonna come up again in some way you don't expect. Okay. And maybe that joke is worth revisiting. It's rare. You, you don't wanna read pitch a joke ever, you know, I'm sure. No,Michael Jamin:You don't wanna re No, you don't wanna pitch it again to, to, right. But yeah, I think you can retool it and change it enough to make it fresh.Jesse McLaren:Yeah. But also at a certain point you're like, well, this already failed some kind of test to this joke. You know? Right. Cause you never completely confident in a joke. You're like, well, if the show didn't want this, maybe it's not the best joke. So I've, in the past, a joke didn't get on, I tweeted it and it just fell flat and no one cared. And I'm like, oh, well,Michael Jamin:MustJesse McLaren:ThatMichael Jamin:Must not be funny. But, so if, when you come into work, let's say, all right, let's say you you put together 10 jokes. How long would that take you to, before you feel, okay, is it an hour work? How long does it take you to do that?Jesse McLaren:It's like they send out, you know, they'll send out topics in the morning. A writer's assistant who gets a very early will send out topics and then you send your jokes. And that's usually a period of about an hour and 50 minutes.Michael Jamin:But we'reJesse McLaren:The start out later. You can start out earlier youMichael Jamin:Know, are, when you, they say topics, are they giving you the setups of setups or they just say, we, you know, we wanna do jokes about inflation or whatever.Jesse McLaren:Yeah. Like here are like five, eight to whatever story, like five, eight stories that are good, whatever. Okay. If you have another story story, you think, okay, we should cover that. Go ahead. But it's like a good, just kind of keeps everyone grounded. At least we're all talking about similar things. TheMichael Jamin:Same thing. You see. That's interesting because like, I, I've tweeted a couple of jokes just as you know, when I had downtime, well, more than a couple, but whatever there I, I, I found if I went onto a website, I'm just curious what your take is like going on c n n or whatever, or, or ha Washington. Any website, New York Times, Washington Post go on their site and reading their headline or reading the article to me was not helpful. Cuz they already had an angle. Whereas I just wanted to get this, gimme the straight line. And so I would go into other, they would just like the news to, you know, you know, aggregators I the straight just gimme the straight line so I don't get any spin on it. And then I'll come up with a spin. Is that how you do it or no,Jesse McLaren:No, I think we just see the, the headline and to write jokes for something, you have to kind of think of every angle you can to see if there's something funny. So yeah, I think that usually works itself out because whatever the story is, you know, you're, it's more the headline and the facts of it that you're just trying to find any do youMichael Jamin:Feel you've gotten better at this over the years? Is it coming? Does it gotten easier for you?Jesse McLaren:I think it has gotten easier, but it's not like, oh, I get this many jokes on now as I think now, just the process is more I can recognize a good joke. Yes, I can, I can edit myself better now. Right. I can say, you know what, instead of saying sending these 15 jokes, I'm gonna send these eight and this is probably the best. You know, I think that's what I've gotten better at.Michael Jamin:And this is something that you do, even when you're in a b obviously when you're in a bad mood, when you're not in the mood to be funny, you gotta be funny.Jesse McLaren:Yeah. And it's, it's, but yeah, I, I just, I love it. I love sitting down and writing. I morning is my favorite part of the day and right know, I kind of like the way that it's, our day is structured where the most high pressure part is over with as quick as possible. Cuz once that's done, you kind of did as writers, at least for everyone else, the day is structured a little different, but for us it's like you have to really be on point in the morning.Michael Jamin:And how many monologue writers are there on Kimmel?Jesse McLaren:I think altogether we have, I should know, it's probably around 15 to 20 writers in general. Wow. But we're not split like other shows. NotMichael Jamin:Some other shows. Yeah. How do the, how do other shows do it? I cut you off. Some have monologue writers then what else?Jesse McLaren:I think like Fallon, I know had a friend there who was like, he was like, I'm a monologue writer. Like I write monologue. I think every show, you know, all these shows, I think every show kind of like figured it out for themselves. Yeah. So every show is a little bit of a different, like, universe kind of built around the same thing. But some of them are just, you know but some of them are separated where it's like, these are the monologue writers. These people write segment pitches or bits. But you kind of all do everything. AndMichael Jamin:So, okay, Seth, tell me what it's like. Okay, so you come to work now, you're given, you know, I don't know, whatever, 10 jokes. Now you're in the office and, and then what's next?Jesse McLaren:It depends, you know, with the jokes, you, if you, you also pitch any bits you could think of, like something that would just have more substance and be, you know producible. It's very important. You know?Michael Jamin:And that seems to be the hard part for me. How, how do you come up with that?Jesse McLaren:You know, I think that's what I was good at on Twitter is I think that's kind of what they liked about my Twitter. I would, you know, like one example I could think of that I think that they saw was Sarah Huckabee Sanders was giving it was like, you know, when Sarah Huckabee Sanders first started, there was a lot of attention on her. And everyone's like, who is this person? And mm-hmm. , she, I think she was talking about sinkhole under the White House. Do you remember? That was a story. It was like, I, I don't remember that White House. Yeah. It was like one of these things, like at the time it was just like, what the fuck? It's like there are sinkhole opening up under the White House and there's, you see like pictures of caution tape and there's jokes about like, you know, they're sinking into hell or whatever it is. But she said in you know, she was, I remember what it was exactly, but she was maybe saying there aren't sinkhole under the White House, but whatever she was saying, she was denying that this was a thing. So I, you know, am able to, I even used After Effects to have her slowly sinking as she said that. And then, you know, she like plummets through.Michael Jamin:But that, that's a funny bit. But that would've been, that would've gone in the monologue, right?Jesse McLaren:Yeah, I think so. So that, and, and, and that's something that but that's something I did before Kimmel. But that I think maybe got their attention maybe when they said that's the kind of thing we want, you know? Right. But that's what our show would consider. Like, a bit something that has some production to it that you could get that done by the end of the day. Mm-Hmm. . And the fact that I kind of knew I could do this myself, it wouldn't look nearly as good as our team cuz they're professionals. Professionals. Right. But I know that if I pitched that at the show, I know like, okay, we can get this done by four o'clock, whatever taping is today. ButMichael Jamin:You wouldn't on the show, you wouldn't have done the app. You wouldn't have done the, the graphic. Someone else would've doneJesse McLaren:It. No. Yeah. Yeah. So just helps tap the knowledge. Yeah. It just helps to know like, cuz he never,Michael Jamin:It's producible. Yes. Right.Jesse McLaren:Drives people crazy. Yeah.Michael Jamin:But do and do bigger bits, like any kind of, you know, do you also do like something that are more stagey with him or out in the field or whatever? Do you pitch that as well?Jesse McLaren:Yeah, I mean, those are you know, always a very specific thing. You know, it'll be like, those will be like an assignment. It'll be, Hey, by five o'clock, send some ideas for, you know, this actor wants to do something with us and they're promoting this movie where they're a fighter pilot or something. And you'll go, okay. Like, and we'll have them for two. Maybe you'll get, maybe you'll get something like that. We'll have them for a couple hours. Right. And so, and they can't change it to cost or whatever because they're becoming right from thing. You know, there's always like you, it's all restriction. Yeah. It's all you take, you take, especially in late night, it's like, what can we make the most out of, out of this? And yeah. And then there are some times that we do, we are able to do something that is time and production and people, you know, is a bigger thing.But, you know, for our main day to day Uhhuh , it's always thinking about making this producible. Making sure this is something that we can get done in time. Right. That's exactly right. You never wanna get them wet. Nothing where they have wardrobe change, , you know, like their hair wet. But now what is the, what is like the, the contract cycle look like for a late night writer is like how long? Yeah. How long is your contracts usually? Three years, I think. Which I think is typical of Yeah. Like you have an option. I would assume a new writer would've an option for like 10 weeks or something. No, and then, well, I think, I think it's the op It's that thing where you're, well, I'm on cycles. I think about like 13 weeks, something like that, right. From their side. Like, they can get rid of me every 13.That's the way I always, always understood it when I worked in daytime. That's how it was. Like, you know, not even as a, just as like a field producer or whatever. They had me on, I think the same exact situation where every 13 weeks when I was at like you know, Rachel Ray or whatever the daytime TV show was, it was like every 13 weeks they might get rid of you or you could yeah. You're outta your contract after one year, two year, three years, depending on what they give you. That kind basically pay, pay raise. Right. That's what that, that's what that means. Yeah. I mean, I think it's, you renegotiate, you know? Right. You, yeah.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Jesse McLaren:You've been, well, you've been on staff now for what, five years on Kimmel? Lemme see. Yeah. Yeah. So you're not sweating it out every 13 weeks. The way someone who just started would be sweating it out. You know, I don't, yeah. I, I, yeah. I always am just like, so feel so lucky that I get to work in late night at all. And, but I can never, and and I'll always, if I have a bad week, I'm like, I'm gonna get fired. That's just always the way my brain just works. That's part of the way I motivate myself for good or bad. But it won't compare to that first 13 weeks where legitimately you're like, I might not be good at this job. I don't know. Cause I have no point of reference in how much collaboration is there with other writers? Do you have a writing room?We don't have as much of a writing room on our show in terms of like every day. Like, it's like we have a morning meeting of writers every day kind of thing. Uhhuh we just have our room just for like, oh, today we're just, it's more casual. Mm-Hmm. , it's more people have, if you're having a problem with something, you're just like, I can't figure out the ending to this thing. Whatever. Right. That's when you'll, we'll be like, oh, let's, you know, just bring it up today. And then there's a lot of just kind of casual. You just pull someone else in to something. You know, sometimes it's like, I have a really funny idea, I think for this guest coming up. I don't watch the show though. Like, do you watch this show? Does this make sense? Do you wanna team up with me on it and we'll both play together? Or that kinda thing. Yeah. Now,Michael Jamin:So who is it, I'm sure that, I'm guessing there's a head writer on Kimmel who reads all the submissions and decides what to give to Jimmy for his ultimate approval. Is that how it works?Jesse McLaren:Yeah. We have head writers who split, you know, responsibility. Yeah. Okay. And yeah, you know, because our show is so quick, you know, everything would be filtered through head writers or if it's like the show's starting in five minutes, it's like, just show him whatever, you know, if you need something approved for that night and he's in the makeup chair, maybe you would.Michael Jamin:Right. are you on the floor during taping or no?Jesse McLaren:Yeah. not often, no. I mean, our studio you know, I have just for like, I, I haven't too often now our our, our studio is a little cramped, so we don't really go in there tooMichael Jamin:Often, so, but you watch it. I, I guess in your office you have a live feed, you know, line. Yeah.Jesse McLaren:We, we, we'll watch it from, I mean it's, I'm saying this now because we just went through a pandemic, so we're still like, everything is still like very restricted and everything. Yeah. we're still like, you know, obviously you know, but we, we would normally watch it from like a green room in, in the building that would be like, you know, where everyone would just kind of meet up and watch the show.Michael Jamin:Right. See what works and what doesn't work.Jesse McLaren:Is there a posts the pandemic? It'sMichael Jamin:You know, do you talk about it afterwards? Or like, are you done once the show's done? Do you all go home? What what's next?Jesse McLaren:I think so. I mean, for the, for me, for the writers, like the staff writers, that's pretty much then you're just getting ready for the next day. Uhhuh you know I'm sure for the producers and other people on the show, it's a different story that, you know, but for us who have the easiest job, because we're our, you know, like I said before, the pressure for us is done in the morning. That's when we really have to get, you know, our ideas out and everything. Are there not as much sweating at that point?Michael Jamin:Are there many In my mind it's mostly a young, young person's game that there aren't, and I could be totally wrong about this, but there aren't, are there, are there many like people maybe my age who are still writing for, for late night? Or do they move on theJesse McLaren:Things? No, I think for sure.Michael Jamin:Oh yeah. Yeah. I mean, obviously Robert smis like the famous guy, but I, I didn't know like what kind of, you know, did these guys, did they bounce around from show to show? Is that how it works?Jesse McLaren:No, I don't know. Cause I think a lot of these shows are pretty like, you know the writer, there's not a lot of writing turnover. Some of them I think there are, but you know, where I've worked at Colbert and came, there's not as much turnover. And I think, yeah. The age ranges, you know, are pretty significant. You know, I think that at Colbert there's writers who have been there for since I interned there in 2008 who are still writing for him and Right. Michael Jamin:Interesting. Jesse McLaren:Yeah,Michael Jamin:So I mean, cuz you, I don't wanna,Jesse McLaren:I don't wanna name anyone as the old guy or something.Michael Jamin:Yeah, I know.Jesse McLaren:That's cool. Definitely different. Yeah.Michael Jamin:But they've been around the block. You must get their stories. Hey, what was it like writing for Jack Benny? I mean, you must, you must want to get their, their stories out of them, right? You know?Jesse McLaren:Yeah, absolutely. Like, yeah, there's writers who I, you know, didn't realize, you know, there'd be a sketch that I watched when I was 15, I thought was the funniest thing in the world. And you can find out that they, you know, my buddy wrote it and you're like, oh, that's so fucking cool. OrMichael Jamin:That's great. Yeah. Yeah. So your goal is basically that you want this to be your career forever until you're done?Jesse McLaren:Is that, yeah. I don't think it's sustainable, but it is. Like, I would just, you know, I'm just really love late night. It's like whyMichael Jamin:Do you think it's not sustainable though?Jesse McLaren:I, well, I just think it's tough. You know? I think it's so much of getting a job in late night is luck. No. So, and I'm a pessimist in general, so the fact that I've got this job, I was like, you know,Michael Jamin:But at this point you're proven. I mean, you've proven yourself. I mean, I don't know. I mean, I mean, I don't know. Right. You've, I imagine you've made contacts, you've proven yourself. If you were to start on another show tomorrow for a different post, you know I don't know. Like I I'm sure you'd be like, okay, I know how to do this job. Right?Jesse McLaren:Yeah. I'm sure. Like, it's interesting, you know, we'll have a guest host on over the summer and it'll be like a really wide range of Right. Personalities. Like RuPaul David Spade, an actor who isn't an entertainer in that way, who, you know, just were kind of like a movie star. And it's like, you'll see some people, like, your jokes just do not,Michael Jamin:They don't how to deliver like Yeah,Jesse McLaren:Yeah. Not that now how to deliver it. They just don't pick your jokes. They just, your humor doesn't match up with them. And some of them are like people. You are your comedic heroes and you're just like, ah.Michael Jamin:Yeah.Jesse McLaren:So it's, it's, and I think it's, it is a little bit of a diced role too. Like if you you know, matching your writer with your hosts sensibilities and stuff, it's kind of like there's a tricky thing there. So I think there's a lot of, there's a lot of like just luck that goes into ending up at one of these jobs and having it really, really click.Michael Jamin:Well, what would you, what do you imagine is going on with the James Cordon writers? Like when, you know, cuz obviously they're all, they're outta work. What, what do you think is going through their minds? You know,Jesse McLaren:I don't know. I mean, I think everyone has a different, like writers are all so weird people. They all come from like, not everyone is like me, say like, I wanna do this forever. Like, some people are like, well, I'm gonna go back into this business. Some people are standups and they'll go do standups. Some peopleMichael Jamin:Do you think some people wanna go back into like, like a corporate or something? Like some regular business?Jesse McLaren:Yeah, I think I, I feel like I've seen writers, like, especially from when I was at Colbert so long ago, just like, you know, end up leaving and doing things like in other genres, right. Children's stuff. Like, or just, you know, just kind of like, not necessarily stay in comedy day, late nights, stay in writing even. Right. So, I don't know, I, I couldn't speak for the court and writers and I think there was a lot of people who yeah, like had to stand up and do other forms of of comedy that, you know,Michael Jamin:Do you have, like, do you have a process or do you have a way of looking at the world or opening your mind to think of funny things? You know, is there, what's, how do you pro do you approach any, I mean, I have my own thoughts, but I wanna know what your thoughts are.Jesse McLaren:Yeah, I, I think I do things an analytically uhhuh or I, I, I, I write in the least funny way, you know? What does that mean? You know, when I, like when I first started at this job, I to have to, I've never had to like write 20 jokes in the morning, that kind of thing. And that, that was the main thing. I was like, I I'm not gonna be able to do it. I'm not gonna be able to do it.Michael Jamin:Mm.Jesse McLaren:And I would like literally write a post-it of like, ways to view possible, ways to get a joke out of a news story. Okay, I lost that post now. Like now I don't need that. But at that time I was like, cuz if I'm gonna need to write like three to four jokes out of just, and some news stories are just inherently not funny at all. Not only, you know, serious, but some of 'em are like, sometimes our topics for jokes will be the Dodgers are up in game two of the World Series and that's, you have to write jokes about that. And then the next night it's the Do Dodgers are up three in game three of the World Series and you have to write jokes about that. And it's like, howMichael Jamin:Do you go about doing that? What's, okay? So can you walk me through that? That sounds horrible. . Like, I don't know what's funny aboutJesse McLaren:That. Yeah, yeah. It's the thing. So it's just like, you have to think what cities are, what city are they playing? Also sports is my weakest area, right? It's like, what city are they playing? Okay la And you know, and you're just like, St. Louis, what can we make, you know, just whatever it is, whatever. If it's the NBA or wherever, like what are any associations between these two cities that someone, that there's some connection that you can make like, you know one celebrity who maybe lived in famously lived in just something, you know, and like, but something I maybe missed yesterday. You know, like it's tough. Yeah. Those are,Michael Jamin:I would think that's really tough. Like yeah, I, I might strike out on doing that. I really do. I really might. Like shit, I, I don't know. You're on your own, like, because I don't, you don't have a strong enough attitude or is it enough? Yeah, there's no, there's no attitude behind it. It's almost fact, you know? Yeah.Jesse McLaren:And if I have like two hours all my jo, most of my jokes will be in the last 10 minutes every time no matter what.Michael Jamin:Really?Jesse McLaren:That's, yeah.Michael Jamin:Do do. Where do you do? SoJesse McLaren:I think a lot ofMichael Jamin:Couch on the desk. Do you have a place you go?Jesse McLaren:Yeah, I'll do it on the couch or yeah. When I first started I was doing coffee shops just to force myself to like be somewhere Uhhuh . I have like, you know, I have a d d too. It's like any, you know, I have to really focus and I have to really force myself to focus sometimes. Cause it's so easy to just say, I'm just gonna like look at my phone. Or do you know?Michael Jamin:Are you able to turn it off though? I imagine like on, on a Saturday or Sunday big news story, you go, oh shit, this, we know we're gonna be talking about this on Monday.Jesse McLaren:Yeah,Michael Jamin:Definitely. And do you start making notes or you're like, ah, I'm off the clockJesse McLaren:, I'll make notes for sure. But that's actually really helpful because you know, if something just pops into your head on a Saturday of a story that, you know, you'll be talking about Monday, right? Like, I I did it. I got, I got something I know is like gonna be really funny to pitch on Monday. Right? So it's actually a little bit of a relief. It's not like, oh, I can't stop thinking about work. It's like, oh, now I don't have to stress Sunday night or whatever. It's like I know that well I'm gonna go into Monday with something I think is, is strong.Michael Jamin:So for you it's almost like solving a puzzle Sounds like joke writing.Jesse McLaren:Yeah. A little bit. Yeah.Michael Jamin:Do you have, do you do any other kinds of writing though?Jesse McLaren:Not much. You know, I do a little bit of like, just do, I've written like specs and stuff like that for fun to grow that muscle. Right. But really, it's mostly like joke writing and that is the, the main writing I do. And especially cuz you know, it is these, the job is a lot. It's demanding, you know, when the show is on, it's like, you know,Michael Jamin:And I noticed cuz you still post a on, on Twitter and TikTok a little. But has that fallen by the wayside for you? I mean, you're busy.Jesse McLaren:Yeah, I think a little bit for sure. Like one when the show is on on and you don't wanna tweet something that would've been Right. Funny on the show, you know? Right. that doesn't do anything for you. And, and to an extent, like, you know, Twitter was always my end goal was always working in, in comedy and working and getting paid to write jokes and Right. I've done that and, you know, so it's like, I doesn't really, you know, the more Twitter now is just more for fun or whatever, Uhhuh . But yeah. That's why, you know, when you ask how often you tweet, like back when I was really hungry for trying to get a late night job, I would be really, anytime I saw a news story, I would just try to get the funniest joke as early as I could.Michael Jamin:Right. You want Right. You wanna be first. Exactly. How do you, how do the, do you think the other writers mostly break in packets or unconventional ways?Jesse McLaren:I think all, all sorts of ways. I mean, everybody you know, it's like a, it's, I don't know who said this, but I, I I've heard, you know, someone describe a writer's room, especially in late night as like a superhero team where everyone has their own like superpower. You have some people who are just really good political writers and can be sat tired, really, if some people who are just really strong standups and can write like, you know, barbs and that kind of thing that are like, you know Right. Getting strong, like gross kind of jokes. And that's just, do youMichael Jamin:Feel your, what do you feel your specialty is?Jesse McLaren:I don't, I think, I think bits is what I always feel the most comfortable in. And, you know, that kind of thing of uhhuh doing something with video. And anything with's. Like, you know, if I see video, especially just having worked in TV for as long and that and that kind of thing, I just can know like, that footage of Biden doing this, we can add this toMichael Jamin:It. Right. So you think very greatJesse McLaren:Screen.Michael Jamin:You think very visually then what's the, what am I looking at? Not what am not, what am I listening to? What am I watching?Jesse McLaren:Right. Yeah. I think so. Yeah. And over the years I've, you know, gotten more into the joke writing itself and you know, I really love writing jokes, but I think the strongest area for me is definitely this kind of visual things. ForMichael Jamin:Sure. Now what's your takeaway when you write something and it bombs, they pick it and it bombs .Jesse McLaren:Yeah. That's always, and that happens. It's, yeah, I don't know. I think that with our show, the good thing about it being fast paced is by the next day you don't remember.Michael Jamin:Right, right.Jesse McLaren:Just the way, like there's, I've never had something over the next day. I'm like, oh my God. You know? And I'm just like, okay, well that didn't go great. And then you, you just avoid doing whatever that did wrong. If you could figureMichael Jamin:Out, are you hugely embarrassed? To me, it's when I pitch something and it bombs to me, it's funny. I'm like, I just like, wow, guess I'm diluted. But I guess, but do you feel that way too? Or you just, oh my God, I'm I'm gonna be fired ?Jesse McLaren:No, I never think I'm gonna be fired. Cause in the end it's like, you know, like none of us knew if anything like the joke was picked, like we thought maybe it would work. So it's more, it feels like it's not just on you. Right. And nothing's ever like bombs to like, it's like people are like booing, you know?Michael Jamin:.Jesse McLaren:That's funny. You like when people boo. Cause that's at least, that's fun. But it's never just like dead silence. Especially in that kind of environment. But you do have things sometimes that just don't work great. For sure. Like, you just, and it's always just like, we just didn't have, you know, it's like, let's make a movie trailer for the new Guardians, the Galaxy, but we'll make it like, and it's just like, all right, that's not gonna look that great if we're gonna have it done in three hours. Yeah.Michael Jamin:Right, right.Jesse McLaren:I think we could do it and just doesn't quite work. It is like, should have worked, but, you know, maybe it just, if it needed another hour love or, but who'sMichael Jamin:Doing, I mean, are you, do you have a producer that you generally work with? Because that would be the producer's job is to put something like that together, right?Jesse McLaren:Yeah. I mean, as a writer you oversee that kind of stuff with directors and producers. Oh, okay. And it's always like, you know, you know, if something wasn't ready for error, you wouldn't air it. Like, if there's no Right, you know, you do make those determinations, sometimes you will say, Hey, you know what, we have an hour left on this. It's not gonna make it like, it's not worth, let's make, let's say this for tomorrow. Or just didn't work.Michael Jamin:Do you have advice for, for people trying to, who would either wanna break in or try to become good joke writers or what, you know, what are your, what advice, wisdom can you share?Jesse McLaren:I, you know, for me it's like, you know, this, the advice I got you know, when I was at Colbert, someone, they read my packet and that was a really nice thing that they did for their staff members. Mm-Hmm. If you're like a PA and you submit a packet, they at least read it and give you some feedback. One thing they said is they, they told me is find a way to get feedback. Do stand up, find a way where you're actually reading these jokes yourself, Uhhuh yourself. And, you know, for me, I think that, you know and I'm sure like any standup comedian would roll their eyes at this, but for me, that was Twitter because that is the place where I figured out I got reception. If a joke was really bad, if it was really funny, I would at least get some kind of like, okay, this is, this kind of joke is funnier.You know? And I think just forcing yourself to get some feedback finding yourself, whether that's performing live or some way on the internet like I did. Finding a way that you have to actually be accountable for your jokes. And it's not just throwing them out into a void. Mm-Hmm. . Because, you know, I think that's why when I wrote packets when I was a lot younger, I thought there was the funniest thing in the world. How could they not hire me? And I read it now and I'm like, yeah, of course they didn't hire me. Yeah.Michael Jamin:Right.Jesse McLaren:This is really good,Michael Jamin:You know? Cause since you, you mentioned it, I I dunno if you heard of my, my first job, I worked with a guy named Marsh McCall, who was the head writer on Conan. I think that's season one. Have you heard of him?Jesse McLaren:Marsh? Michael Jamin:Well, he died a few years ago, but Oh,Jesse McLaren:Okay. Yeah.Michael Jamin:But he was the head writer. He was the head writer in Conan. He gave me some great advice for joke writing when I was on Just shoot me the first season. And he said, if everyone's going this way to get to the joke, go that way. You know what I'm saying? Like, don't try to, whatever path it looks like is the natural way to get the laugh, find somewhere else, because you're never gonna, everyone else is going that way. They'll be, they're gonna beat you. You gotta find your own path. Do you think that, do you think the same way?Jesse McLaren:No, I don't think that, I mean, I, I think that's good advice, but I think for someone as for someone like me, I wouldn't see that until after the fact. I would write jokes first and then when I edit it, you know, like, like I said, I think I've gotten better at editing. That's when I would maybe see that of like, I just know that this is a good joke.Michael Jamin:But, you know, well, let me see this though, because sometimes I, sometimes on social media, someone will say something and I'm like, oh, I got the perfect response. And then I'll scroll down the comments and I'll see, has anyone said this yet? Yeah. And if someone's already said it, I feel embarrassed for myself. At first I feel relieved that I didn't write it down and embarrassed that I, that I didn't do better than that. You know?Jesse McLaren:Yeah. Yeah. And I think that's why Well, that's why I'd always be after. Yeah. And after a while you start to like, just know that that's gonna be that thing. Like something happens, you know, you already know before you look in the replies, everyone's already made this joke for sure.Michael Jamin:Yes. Right. And so you gotta Yeah. If, if it's that easy, don't do it. Find , but Yeah.Jesse McLaren:And, but sometimes it's like, it's just clearly it's that, it's that because it's the funniest joke and it's like, you know it's unavoidable almost sometimes. Right. You know, when, you know, I think about things like, things like, you know, the Rudy Giuliani landscape, four Seasons, landscaping things. Like, there was just some things that were like, you know everyone was making the same jokes, but you just kind of had to because it just kind of called for it.Michael Jamin:Right.Jesse McLaren:But yeah, for the most part, I think that I just try to, you know, I'll write eight jokes for something, six of which aren't even like, like, would be embarrassing if everyone even read it. It's just like trying to just get some kind of thought out. Right. And you have two and maybe one out of the two you're like, I think that's the strong point of view. That's something that no one else would've thought of orMichael Jamin:Right. So sometimes just you, you actually have to just write it down. Yeah. And move on to the next one and then edit yourself later just so that you can get to the joke. Right. Just so you can find it.Jesse McLaren:Yeah. I'll do a lot of just vomit of like, like just write eight, just thoughts about this story. Right. Even if they're not, especially if they're not playing, just write anything you want. And then, you know, sometimes just that statement is the, is the joke or, you know, but yeah.Michael Jamin:It's so interesting. Yeah. Jesse tell people, I wanna thank you so much for, for giving me all your time. I think I, this to me is so interesting. I, I'm fascinated by what you guys do. It's a world I know nothing about. So, but, but tell people how they can follow you or find you on, you know, social media if they wanna be. I think you're gonna get a bunch of new fans now.Jesse McLaren:Oh, well, yeah. I'm Nick, Jesse on Twitter. As long as we're still all on Twitter and yeah. And that's, you know, that's pretty much where I post most things. Do,Michael Jamin:Do you worry about that going? Yeah, as long as we're still on Twitter. I mean, do you worry about starting from scratch if we all decide to go to some other platform?Jesse McLaren:I did it first, but now at this point I'm just like, let's just do it. YouMichael Jamin:Think, why do you feel that way?Jesse McLaren:I don't know. Cause I think when we go to a new thing like Blue Sky, you start toing. Oh, the people I like find me and I find them, you know?Michael Jamin:But Are you on Blue Sky? Not yet. You I am,Jesse McLaren:I am on Blue Sky. You gotMichael Jamin:Preapproved because it's hard to get approved.Jesse McLaren:Yeah, I shamelessly tweeted I does anyone have a Blue Sky code? See exactly what it, I don't know what my name is on it, but I think it's just Mick, Jesse on that too, by . Does anyone have a Blue Sky Code? And one person messaged me and was like, I do. And then I, I got on that way.Michael Jamin:And they gave you their code?Jesse McLaren:Yeah. I, I just don't know how the invite codes work on Blue Sky. And like, I had, like, it says under your name, like in by code, then it says zero. And then like, after like a couple weeks now it says I have one. And I'm like, oh, I have one now. Wow. Like, I'm giving that to my wife or like, you know, whoever wanted one,Michael Jamin:Whoever wants one. But you're not, you're not really on it yet, or are you?Jesse McLaren:I, yeah, some, yeah, a little bit. Yeah. But it's, it's pretty good. It's like the most closest. It's the closest to Twitter. I think I've, we've found.Michael Jamin:But you're not worried, I mean, you don't have nearly as many followers on Blue Sky as you do on Twitter,Jesse McLaren:Right? Yeah. But at the same time, it's like the Twitter followers. Like I have over a million followers and I feel like if you tweet something that's not funny, it still gets like 11 likes and that's it. You know, like it's kind ofMichael Jamin:Of what On, on, on Twitter you mean?Jesse McLaren:Yeah. I think that like really theMichael Jamin:People have disappeared.Jesse McLaren:Yeah. Or just that, that's just always the way it is. Like, it's like, I think it, the algorithm, the way it works just to like, it shows the tweet to like X amount of people, 10 people. If none of them engage with Right. People look at it or care, then it just doesn't show it to more people. Right. So I think, you know, I don't know. I think that, so it's just as long as you have a network of funny people and if that's what you wanna do comedy you have funny people that follow you and you follow them back. And then I think if you move to a new platform, you could still find a good audience to like, share funny things.Michael Jamin:Interesting. Right. Okay. Yeah. So again, you're making a case for getting out there, you know, making friends with people and, and getting close to the job you want. Yeah. Yeah.Jesse McLaren:Right. Yeah. And yeah, and, and working in TV really helped too. For sure. Yeah. Right. Yeah.Michael Jamin:Yeah. Exactly. You started at the bottom. Good for you. I'm impressed, Jesse, you, you did it . Yeah,Jesse McLaren:You did it well. Yeah, it was nice meeting you on the picket line and it was a pleasure. I recognize you from TikTok cause I think you come up in my algorithm all the time. Cause I'm always looking at any kind of screenwriting or comedy things. So you'll pop up and I say, oh, I know that.Michael Jamin:That's great man. I want to thank you again so much for taking your time. It was a great talk. I really appreciate this. All rightJesse McLaren:Everyone. Yeah. Thank you for having me on.Michael Jamin:Thank you. Big round of applause for Jesse. Go follow him on TikTok or Twitter to anywhere. We'll see wherever, wherever he goes next. . Wherever it is. All right, buddy. Thank you so much. Great talk everyone. Until next week, keep following me. I post check out my newsletter, Michael jamon.com/watch list from, have my best my content sent to you. All right. Until next week keep writing. Thanks.Phil Hudson:This has been an episode of Screenwriters Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar michaeljamin.com/webinar.If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes.For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminWriter.You can follow Phil Hudson on social media @PhilAHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane. Music by Ken Joseph. Until next time, keep writing.

Kimel Fryer is a seasoned professional who transitioned from a successful nine-year career in corporate finance to becoming the Executive Director of Indie Memphis. Having previously served as a Senior Financial Analyst for the Healthcare Business Unit at FedEx Supply Chain, she played a crucial role in their downtown Memphis expansion. Alongside her financial expertise, Kimel is a versatile talent as a producer-writer-director, with a deep-rooted passion for creative endeavors since childhood.   Kimel's notable accomplishments include producing the feature film "Life Ain't Like the Movies," currently available on Amazon and the Tubi networks. She is also attached as a producer for the upcoming film "The Pact," scheduled to commence production in 2023.   Beyond her prowess as a producer, Kimel is an accomplished writer who has penned several scripts. Additionally, she made her directorial debut with the short film "Something's Off," which gained acceptance into nine esteemed film festivals. Committed to empowering communities, Kimel served as a mentor through the Indie Memphis Crew Up program in 2022, guiding aspiring students as they created their first short film, "Amorphous."   Kimel is an active member of various organizations. She takes pride in her involvement with Alpha Kappa Alpha Sorority, Inc., Women of Color Unite, Women of Color Filmmakers, and her role on the UTK Law Alumni Council. She holds a B.B.A. in Finance from the University of Memphis and a J.D. & M.B.A. degree from the University of Tennessee.   While juggling her professional commitments, Kimel embraces the joys and challenges of motherhood, raising her two energetic boys, Michael and Kameron, who bring love and cuddles to her life outside of work. As a native of Memphis, Kimel's deep connection to her community fuels her drive to make a lasting impact in the film industry and beyond.   Connect with Kimel: Website www.indiememphis.org Instagram @frysmalls or @indiememphis   For more information, visit the website or send an email.   email: wegotproblemspodcast@gmail.com Web: https://www.wegotproblemspodcast.com Networking Group Join We Got Problems After Dark   Our Websites https://wegotproblemspodcast.com https://curtisgmartin.com https://rhondawritesofficial.com https://thetrashvegan.com   Follow us on Social Media:  @curtismartin247  Curtis G Martin @therhondalbrown Rhonda L Brown @the_trash_vegan_ Caliph Johnson Sr @thego2chic LaCheka Phillips    #curtisgmartin  #rhondalbrown  #caliphjohnsonsr #lachekaphillips #wegotproblemsafterdark #wegotproblemspodcast #therhondalbrown #the_trash_vegan_ #curtismartin247 #wegotproblems #wegotsolutions #CurtisGmartin #RhondaLBrown #CaliphJohnsonSr #author #entrepreneur #iindiememphis #kimelfryer #Movies #film  

Episode brought to you by Trend & Finaloop.On this episode of DTC POD, Celia Lewis and Stephanie Kimmel discuss how they identified a market gap in the cannabis industry and built a brand around their innovative product that preserves and locks cannabis in a home decor piece. They reveal how they launched their product with a grassroots approach due to limited funds for marketing and discuss their successful product launch strategy. They touch on the challenges they faced due to federal regulations around cannabis and how they continue to adapt and grow.3:00 - Stephanie and Celia Background7:45 - The story behind Tulip's founding12:50 - Branding and identity for Tulip16:30 - Launch strategy and early traction23:15 - Unique color strategy for Tulip28:45 - Fulfillment and inventory management32:30 - Adapting to sudden increase in demand37:40 - Partnership with manufacturer43:00 - Navigating federal regulations around cannabis48:20 - Social media strategy for TikTok and Instagram54:00 - Two-way dialog with customers59:30 - Upcoming content series from TulipHere's some questions we answer on the show1. How did the founders of Tulip identify a market gap in the cannabis industry, and what inspired them to create a product that preserves cannabis and also doubles as home decor?2. What was the process behind developing the Tulip product, and what were some of the challenges faced along the way?3. How did the founders build the Tulip brand around the authentic nature of how they got started with the product for personal use?4. What were some of the early traction and product-market fit indicators that helped drive growth for Tulip in its early days?5. What was the launch strategy for Tulip, and how did the company leverage personal networks to drive initial sales?6. How has the company adapted to sudden increases in demand, such as those caused by viral social media videos?7. How does Tulip approach manufacturing and production, and what role do personal relationships play in these processes?8. What challenges has Tulip faced with marketing and social media due to federal regulations around cannabis, and how has the company adapted its content strategy?9. What are the content pillars and upcoming content series for Tulip, and how does the company value customer feedback and participation?10. How does Tulip's mission involve social change and awareness around the injustices that still exist today, and how does the company seek to destigmatize cannabis use?Shownotes powered by CastmagicEpisode brought to you by Finaloop, the real-time accounting service trusted by hundreds of DTC Brands. Try Finaloop free - no credit card required. Visit finaloop.com/dtcpod and get 14 days free and a 2-month P&L within 24 hours. Past guests & brands on DTC Pod include Gilt, PopSugar, Glossier, MadeIN, Prose, Bala, P.volve, Ritual, Bite, Oura, Levels, General Mills, Mid Day Squares, Prose, Arrae, Olipop, Ghia, Rosaluna, Form, Uncle Studios & many more.Additional episodes you might like:• #175 Ariel Vaisbort - How OLIPOP Runs Influencer, Community, & Affiliate Growth• #184 Jake Karls, Midday Squares - Turning Your Brand Into The Influencer With Content• #205 Kasey Stewart: Suckerz- - Powering Your Launch With 300 Million Organic Views• #219 JT Barnett: The TikTok Masterclass For Brands• #223 Lauren Kleinman: The PR & Affiliate Marketing Playbook• ​​​​#243 Kian Golzari - Source & Develop Products Like The World's Best Brands-----Have any questions about the show or topics you'd like us to explore further?Shoot us a DM; we'd love to hear from you.Want the weekly TL;DR of tips delivered to your mailbox?Check out our newsletter hereFollow us for content, clips, giveaways, & updates!DTCPod InstagramDTCPod TwitterDTCPod TikTokCelia Lewis - Cofounder of TulipStephanie Kimmel - Cofounder of TulipRamon Berrios - CEO of Trend.ioBlaine Bolus - Co-Founder of Seated

I think it's unfair that cannabis accessories aren't something of the norm to buy. I find it fascinating that in a world where we have the container store and just every Instagram ad ever…. There's nothing for cannabis storage like this. There's no reason that cannabis should feel… taboo. It's so funny how my make up and my clothing and what not is all perfectly placed, taken care of but when it comes to my cannabis it's literally in like shoe boxes when that is like medicine…. Something that needs too shelf.. should be treated as such. I'm Excited to have Steph Kimel on the vibe talking all things Tulip- an organization for your cannabis needs…. A beautiful, well rounded accessory box to compartmentalize your items without it being a mess and also crediting the fact that it deserves the same asthetic as so many other things in our lives… plain and simple people get glass holders for their tooth brushes??? Why wouldn't we get beautiful nicely crafted items for things we are ingesting… to keep as clean as possible. As organized and safe as possible. Use Code :ARIBARRA10 feel free to follow along at @picktulip https://shoptulip.com/

In this episode… Hosts Karson Harris and David Vick speak with Duke Head Coach Kerstin Kimel about her 2023 Blue Devils. 2:40 – Looking Back at 2022 Beating BC and learning from end of season struggles 11:34 – Duke's 2023 Team Maddie Jenner's impact, an experienced roster and transfers 27:17 – Thoughts on Specific Players Freshmen class, Katie DeSimone, Anna Callahan and goalies 39:44 – Expectations for 2023 Episode 13.

Citizens Advisory Boards provide DOE Environmental Management with vital public input regarding cleanup priorities at DOE sites. In this week's episode, Kelly Snyder, DOE Designated Federal Officer for the EM Site-Specific Advisory Boards, joins Shelley Kimel, Public Affairs Advisor for the Oak Ridge Site-Specific Advisory Board, and Dr. Gregg Murray, Chairman of the Savannah River Site Citizens Advisory Board, to discuss the purpose and contributions of citizen advisors.  Plus get the latest news from the DOE Environmental Management program.

On this episode, Duke women's head coach Kerstin Kimel talks about the state of the women's game since she first took over at Duke in 1996, utilizing pre shot clock era Xs and Os, recruiting to Duke and recaps the season to date following a win over Virginia this past weekend. In our second interview, we speak with Jack Cribbin, head women's lacrosse coach at Lindenwood. Coach Cribbin started his playing career at Lindenwood has ushered the women's program from club to NCAA D2, winning the national last season, and is now tasked with transitioning the program to NCAA D1. The Lacrosse Playground Coach's Companion podcast is presented by Epoch Lacrosse and Top 66. Website: https://lacrosseplayground.com/ Twitter: https://twitter.com/LaxPlayground Instagram: https://www.instagram.com/lacrosseplayground/ Facebook: https://www.facebook.com/LacrossePlayground/ Discount code: PLAYGROUND15 to save 15% on your first order from Rhoback

Our Year of the Creator theme for season four continues with writer/producer/director, Kimel Fryer! In this interview, we talk about our favorite horror movies, producing outside of Los Angeles, and the future of horror. IG: https://www.instagram.com/afrohorror/?hl=en (@afrohorror) Twitter: https://twitter.com/afrohorrorpod?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor (@afrohorrorpod) Website: http://www.afrohorror.com (www.afrohorror.com) Email: info@afrohorror.com

Michael and Phil talk about different ways to break into Hollywood and most of it isn't what you'd think. Learn how Michael broke in, how Phil broke in, and the right way to think about accessing Hollywood.Show NotesOnline Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeWarner Brother's Writer's Workshop - https://televisionworkshop.warnerbros.com/writers-workshop/Marc Maron - http://www.wtfpod.com/Rhett & Link - https://mythical.com/Joe Rogan - https://www.joerogan.com/Sarah Cooper's Netflix Show - https://www.netflix.com/title/81314070Sarah Cooper's CBS Pilot - https://deadline.com/2021/04/amy-york-rubin-to-direct-sarah-cooper-cindy-chupack-cbs-comedy-pilot-1234726403/Blaire Erskine - https://www.instagram.com/blaire.erskine/?hl=enTwirlyGirl - https://www.twirlygirlshop.com/Michael (00:00):Even though that experience wasn't great for me, I would still recommend the Warner Brothers Writing Program to people because it's, it's an in so great. You know, for us, it worked out well. We, we didn't have to make a third of our salary and we got to be on a great show, but for, for somebody else, it's still a better opportunity than none at all.Michael (00:25):All right. Welcome everyone today. We're talking about different paths to break into Hollywood, cuz you all wanna break into Hollywood, right? Yeah. That's the goal. That's the goal. So there's just so many different ways. Like people say, well, how do I get in? And there's, there's really no, obviously there's no one way. It's not like becoming a doctor where you go to Med School and that's what you, you know, eventually you become a, I guess you become a Resident, then you an Intern. And then, you know, you, you, you work your way as, as a, become a, a Physician or a Surgeon or whatever. There's no one way. And, uh, which is good, but it's a little it's must be a little frustrating too for people.Phil (01:00):Yeah. And I would say that this is, you know, if I go back to like 2000, I've known I wanted to be a writer since I was like 12 years old. Um, but when I go back and think about when I first started seriously studying screenwriting, that was, uh, I was trying to learn how to write a screenplay. I was learning formatting. I was using my software and using like, figuring out to do all that stuff. But the majority of my time was how do I get an agent? How do I break into Hollywood? What do I need to do to work in television or film?Michael (01:28):Yeah. And, and even like, thinking about like, let's see, like, let's see. When I, when I, I wanted to be a TV writer when I watched Cheers and I thought back then, this is how little I knew I was in high school. Well maybe if I start out as a grip, I can work my way up to writer. Like it doesn't even work thatPhil (01:42):Way. You knew what a grip was. At leastMichael (01:44):I didn't, I, I just saw that name. I didn't know what a grip did, but obviously, and it's not even, that's not even working your way up. Like people that's their job and they're happy. They don't wanna be writers that they wanna be grips. That's what they, that's what they want. So it's not like working your way up. It's not like grips below writer. It's like, that's, that's crazy. Um, but, and so, and then some people think, well, I just have to get an agent and an agent will get me work. It's like, no, the agent doesn't wanna have to work for you. The agent wants, basically wants you to do the work yourself and take 10%. That's every agent they want to, you know, they don't wanna have to hustle. They want someone who already is hustling and they can just make money from and like, well, that doesn't sound right. Well, but if you were an agent you'd want the same thing, you don't like, we all, no one wants to work hard. They want, they want something to come easy. So the agent's the same thing. The agent wants to have someone who's just on the cusp of breaking in. So there's a number of ways that people talk about. And I think one way we can talk about, uh, I think a lot of people put a lot of time and energy into our, our screenplay contests.Phil (02:42):Yeah. Screenplay contests, film fell, festival screenplay, contests, and, um, pitch fests are kind of the big three things that I see a lot of people in your group, as well as, you know, other writers I know, and things that were recommended ways to break in. Mm-hmm, we're doing these types of things and you know, I'm sure we're probably gonna get a lot of flack for this, from the people in these industries. If we haven't already at this point with some of the podcast content we've put out. Um, but it does not seem from a professional perspective that these are venues and avenues to get into the industry.Michael (03:13):Yeah. I don't want, I, I talked about, we talked about this a couple days, a couple episodes ago, so I don't want to hit on it too much, but yeah. I mean, it seems, I'll just real fast. Say like if you were, there are these festivals or pitch fest where like they'll take unknowns and let you pitch to Hollywood insiders. So just think about it from the other way around. If you were Hollywood insider and you wanted to make a, have a project put up, you had money to make a movie or a TV show, like why would you go out to a, an unknown, you just put a call out to a Hollywood agent. Hey, I want to get a show off the ground. Uh, send me some writers. Like you wouldn't go, you know, you wouldn't go to a pitch fest, you'd take, you want a professional. Why would you want an in an amateur, someone hasn't done it before.Phil (03:53):Now this is something I'm thinking about that I've not thought about in a while. But one of the best classes I had in film school was actually taught by my buddy rich. He was, he became my friend after. Um, but he had a class that was like the business of film and television. And he would bring in industry professionals who were working in New Mexico at the time or visiting because they were shooting a show in New Mexico. He would bring them in and we'd spend an hour and he would interview them for us. And I thought it was probably one of the most valuable things because you're hearing these people talk about what they look for. And at the end, he would give us an opportunity to pitch. If that person was a producer, if that person was a director and there were a couple times I'd pitch something and afterwards, those people would come up to me and give me their cards and say, I would love to read your script. Right, right. Now, nothing came of them. And five, six years down the road, I understand why I just wasn't ready. The script wasn't good enough to produce. Although the idea was good and enough, good enough to get them interested. The execution wasn't there.Michael (04:54):Yeah. It's all about the execution.Phil (04:55):Yeah. Yeah. So, so I definitely have seen that happen at some lower film as well, where you sit down and you sit with these industry professionals. And I think there's a lot of value in meeting those people, but it's typically those people are independent producers and independent directors and they're out trying to get their stuff made just as much as you are.Michael (05:17):They're hustling as much as you are. Yeah, yeah. Yeah. So they're not gonna, they're not in a position to set you up. Right. Right, right. Then there are other programs that like, let's say like Warner Brothers has like, or Warner Brothers Writing Program, like that's different. Uh, and Disney has like, like fellowships and stuff like that. And those are definitely worth pursuing. And those could be a great entry wayPhil (05:37):To, and you won you and, uh, your writing partner won the Warner Brothers.Michael (05:39):No, we didn't win. We, we got into, we were accepted to the Warner Brothers Writing Program.Phil (05:44):I call that a win person.Michael (05:47):But this is how it was. And this was many, many years ago and things have changed. But basically what you did back then was, uh, you get accepted, which is, which is hard. It's hard to get accepted. And then you have to pay Warner brothers. I think we paid maybe $400 each or something. I'm sure it's a lot more now. And we paid Warner brothers for the right to be accepted to this class to sign. And, and if you were to the top graduate of this class, uh, you would, they would try to place you on one of their shows. And back then Warner Brothers had a ton of sitcoms. Like they had a, they had, they just had like the Friday night block, they had so many shows that it was like, the odds were not terrible. Like they would try to place you on one of their shows. But if you, if they did, because you were graduate of the class, you would be earning the contracts that you'd earn like a third of Writer's Guild minimum. It was something like something really terrible like that. And so here only in Hollywood, do you pay to have a contract to sign a contract that gives you a third of what everyone else is getting paid and, and you're paying for this terrible contract. Like, that's crazy.Phil (06:48):That's fascinating. But I think that speaks to the competitiveness of this industry. Yeah. Because everyone thinks they have a good story idea. Everyone thinks they're a writer and it's so competitive you're literally paying people for opportunities to work for less money. It's insane.Michael (07:03):Yeah. And then we, didn't what happened was that class, you know, there, I remain friends with several people from that, from that, that, that core group of people that were maybe with 30 or 40 of us and only a handful of went on to actually be, become professional writers, everyone else kind of flamed out at one point or the other, uh, cause it is hard to break in. But, um, you know, we were, I, I do remain friends, but they, they chose a golden child. There was a golden child who's chosen pretty early the executives of the program. They, I think they decided that's the golden one. That's the one who will get work. And everyone else is like, well, but, but that, and, and so pretty early on, it was my partner and I could tell that, um, that we were not gonna be the golden people.Michael (07:45):And so we were not chosen when we graduated the class, they didn't try staffing us. It just so happened that our script, uh, man, our, that we had a script that was read, um, by the, by Steve Levitan who was at that time created brand new show called Just Shoot Me. And he read our script because our, his assistant read it and liked it and passed it on to him. And so he hired us. He goes, Hey, yeah, we wanna hire, I wanna hire you, uh, to be on, Just Shoot Me. And then we had to go back to, so we tell the people at Warner Brothers. Yeah. So, you know, our contracts is up and they're like, wait, well, not so fast. Now that, that Steve, Leviton's interested in you let's see if, let's see if we can get you on one of our you know, crappy TV shows and pay you a third. And then, so we basically had to bribe our way out that contract because, uh, you know, suddenly, suddenly they were interested in us, but only because someone else was interested in us, but before, before that they were not interested.Phil (08:37):Yeah, this is like the, the guy girl situation where the girls overlooked until someone else is interested. All of a sudden my eyes are open and I realized I never realized what was right before me this entire time. Except in this case, it's motivated by dollars.Michael (08:49):Yeah. Right. And so we got out of that, that, that was that made, that was history for us, like, okay, great. Now we're gonna Just Shoot Me now. We're basically set us off on our career path. But so that, but even still, like, you know, even though that experience wasn't great for me, I would still recommend the Warner Brothers Writing Program to people because it's, it's an in so great. You know, for us, it worked out well. We, we didn't have to make a third of our salary and we've got to be on a great show, but for it, for somebody else, it's still a better opportunity than nonePhil (09:17):At all. I don't see that any different than, you know, I talked about the writers Guild foundation and the golden ticket that they have. Where you get invited to every single event, guaranteed seats. You just RSVP to say, you're gonna be there. They have your name on a seat. You show up front row and you have extra opportunity to interact and network with these people. And I met some amazing people. There was a guy from Canada who was down here, they were shooting the pilot of his show. I sat next to him at an event, talked to him. He asked for my script, he read my script. He sent me notes that were very helpful. That's that's nice. So, so I don't see any difference it's again, it's an investment in yourself. You're just is taking that opportunity. And, and I want to point out here too, because you know, there are a lot of people in your social media and I see the kind of mindset.Phil (10:05):"Well, I don't have any money." "I work as a PA barely get by, etc. etc," look ultimately it's about making sacrifices and sacrifice. You know, the way we define sacrifice from a theological perspective is "to make holy", like you're taking something to make what and you're to make holy holy I'm giving up something because I find this other thing more valuable. It is more sacred that's interest to me. Okay. So if you take the approach. Yeah. So if you're taking the approach of my writing career is sacred to me because it is really why I am here on this planet is to be a writer, then stop drinking Starbucks for a month. Yeah. Seven bucks a day, times 30 days. It's a lot of money, right. Even if it's only once a day, once a week, you're going, yeah. That stuff adds up. There are ways to win in the margins, as we say, in the, in the accounting world. Yeah. Like you can win in the margins and, and save up and you can get a license to Final Draft and learn how to do that. So you can be a Writer's Assistant. You can afford these Golden Ticket opportunities. The, that I think is just you approach. It is you have war chest there's funds there. And it is to be invested to help me pursue my reason for being on the planet. Right.Michael (11:16):Yeah. Yeah. And that, and, and so I've worked with so many inspiring people who couldn't get a break, so they made their own break and that's how they got into Hollywood. And I, I'm gonna list them because they're all incredibly successful people. The first one was Marc Maron, who he had a show IFC and my partner, Sivert and I, we, we ran that show for four years. And Marc is an interesting guy, cuz he was a, he was a comedian and he worked for a while in, in radio. And then I think he got, I dunno if he got fired or he left radio or whatever. But, um, he was basically cold. He couldn't book rooms, he was cold. And so, but he's a creative type and he had a create. And so this is back then, he, there was a thing called podcasting.Michael (12:01):No one knew what podcasts were and it was just a forum for him to talk into a microphone. And God knows if anyone was gonna listen, but he was gonna put on his little show and, and uh, interview people. And he's really, you know, he's good at interviewing. And uh, and that was it. But no one knew how he was gonna monetize, but he just did it because he, you know, he was putting, putting himself out there and eventually that podcast and his is one of the, one of the most successful podcasts out there. It's always in like the top five on apple. Yeah.Phil (12:29):He interviewed Barack Obama.Michael (12:30):Yeah. In his garage, in his garage President, The PresidentPhil (12:34):Garage, The President of the United States came here and went to someone's garage to be on a podcast.Michael (12:39):Yeah. And because that podcast blew up, uh, Marc his, that reignited his comedy career and it got him a chance to get a, a TV show on IFC. That was the one we ran called Maron. And because that show kind of did really well, it got him on Glow. And then because of Glow, he gots all these other opportunities. Yeah. But it's not because he was begging Hollywood, let me in, he's like, screw it. I'm doing, I'm making something worthwhile and I will build an audience that way.Phil (13:06):Well, it summed up as he provided so much value people couldn't ignore it.Michael (13:10):Yeah. Right. And he did right. He just created on his owning, but he made it is creation good. The same, another example, um, were Rhett & Link. So re link where these two guys, we ran their show, which you worked on, uh, uh, they had a show on YouTube Red and it was a sitcom, but they're not com they're not TV writers. So they needed to have, uh, they created this show, but they needed to showrunners to actually write the episodes and kind of do all that work. And so they hired me, my partner to run their show, but who I who's written link. These are just two guys out in, I think from North Carolina, they just like, they were just two, no ones who started a YouTube channel. Um, and that was it. They did. And it, this is before YouTube was really a big thing.Michael (13:51):They just started putting up these shows and they, and they, these their, so they have good chemistry and they just kind of do wacky things. They would sit in a giant vat of oatmeal and do kind of like kind of all little mini contests with each other. And they had good chemistry and that show kind of blew up and became so big on YouTube that YouTube said to them, Hey, you guys are amazing. Uh, we'll give you your own TV show. And, but it wasn't like they weren't be, they didn't be YouTube. They just did their own thing. And Hollywood came to them and there's so many instances of Hollywood instead of people begging, you know, please Hollywood, let me in. They create something so amazing that Hollywood comes to them.Phil (14:30):Yeah. I think you could look at Joe Rogan. I think you could look at most of these people. I mean, you can split it off and it goes back to what we talked about in another podcast about "nicheing down: and finding your niche and owning that. Like, that's really how you break through these things. Those guys were, are advertisers, marketers. Yeah. And they, they leveraged that medium to make fake commercials. They do free commercials for businesses and they're so wild that's how they broke through on YouTube early on.Michael (14:55):Yeah. Because they were doing, no one was paying 'em to do this. No. Right. They just did it on their own. There's a woman over who I discovered at the beginning of the pandemic named Sarah Cooper. And I, I found her on, I think Twitter, but she was probably on all the platforms. And she would just, basically, she was a struggling actor, comedic actor who could not get arrested. She couldn't get anything, any kind of work. And so she'd says, screw it. And so she would basically take these speeches that Trump would make and kind of lip sync it. But wasn't, she was doing more than lip sync and she was adding, uh, her own personal touches and making it funny and doing things in the background and her funny facial expressions really plus it. So it wasn't just like standard, uh, lip syncing. She really, she put a lot of craft into it and because these things were so good, it was like, she was... You know, everyone had a noticer you, you could not watch this and think, wow. Like it was amazing her skill and her talent that she brought to it. And because of that, she, she became so big that Hollywood came her and gave her a Netflix special. And then they gave her, I think it was a show on CBS, a pilot that I didn't think I got to air, but she got all these opportunities, uh, because she just was like, screw it. I'm gonna be the master of my own domain here. I'm gonna, I'm gonna do it myself. Yeah.Phil (16:06):Yeah. It's seizing the opportunity. The old saying, "fortune favors the bold."Michael (16:10):Yeah. Creating an opportunity. And there's so many people like that. Another woman, Blaire Erskine, I think, I think that's how I pronounce her name. And I discovered her on, uh, on, uh, she would make these kind of funny, uh, videos on Twitter and they, but they were so good that that got discovered. Eventually. I think she's now a, uh, a writer on Kimel like, that's how she broke in. And she was not anyone she's like, screw it. I'm gonna do it myself. But it was good. Content was good.Michael (16:37):Hi guys, Michael Jamen here. I wanted to take a break from talking and talk just a little bit more. I think a lot of you guys are getting bad advice on the internet. I know this because I'm getting tagged. One guy tagged me with this. He said, "I heard from a script reader in the industry." And I was like, wait, what?Michael (16:56):Hold on, stop. My head blew up. I blacked out. And when I finally came to, I was like, listen, dude, there are no script readers in the industry by definition. These are people on the outside of the industry. They work part-time. They give their right arm to be in the industry. And instead they're giving you advice on what to do and you're for this. I mean, that just made me nuts, man. These people are unqualified to give my dog advice. And by the way, her script is, is coming along quite nicely. And oh, and I'm not done. Another thing when I work with TV writers who are new on, on writing staffs, a lot of these guys flame out after 13 episodes. So they get this big break. They finally get in and then they flame out because they don't know what is expected of them on the job. And that's sad because you know, it's not gonna happen again. So to fight all this, to flush all this bad stuff outta your head, I post daily tips on social media. You can find me on Instagram and TikTok and Facebook @MichaelJaminWriter. If you don't have time, two minutes a day to devote towards improving your craft guys, it's not gonna happen. Let's just be honest. So go find me, make it happen. All right. Now, back to my previous rant.Phil (18:02):So let's say that you're a writer and you're not like an on camera talent. You don't necessarily care to put yourself out there. That way. There might be some trepidation, you know, for me, I have, um, uh, an agent and I get auditions all the time and I have to self tape and I get just tremendous anxiety every time I have to be in front of the camera. Yeah. You know, it's just something I'm working through. And I, and I do it and I force myself to do those things because it's something I want to do. Um, but let's say I'm not, let's say that. I'm just, you know, someone who wants to rise up through a traditional route and let's say I'm a PA, right. What kinds of things do you think make a PA stand out to forge that path or create their own path?Michael (18:41):You know, we... we've talked... you're I think an excellent example of this, because you always say yes. When someone has a question or a problem. Yes, I will fix it. I will take care of it. No, relax, it's done already. It's already done relax. And so there are a number of instances I can think of you where, especially when it comes to tech, when it comes to something computer-related, because you would know so much about that. If a writer is having a problem with their comp, like you will show up, I I'll fix that for you. I will take care of, and you'll, I maybe you'll, you'll expand on, on that a little bit more, but, um, it's offering, what else do you offer? So even if it's not writing stuff, you offer these other skills that you have and you offer them freely. And because of that, you endear, you endear yourself to people and people wanna help you in exchange for that.Phil (19:23):Yeah. And I, and I think that it's an important note here, too, that when I do that, it is sincere that I just want to help. I am not doing it. It with any expectation that something is gonna come from it, right. It is that I understand that the best way for me to stick around is to be so valuable that I am invaluable. I, I, right. I, they want me around because I solve so many headaches for them.Michael (19:46):And you weren't charge you weren't you weren't saying, Hey, this is outside of my pay grade. I should get paid extra for this. You're like, no, I will gladly do it.Phil (19:53):Yeah. Yeah. Because, you know, I view it this way. Like, I'm not a member of a union. There are no union rules dictating what I can and can't do. And so I have opportunity now to over serve people.Michael (20:05):Let me, let me jump in here, Phil, cuz a lot of people don't know how you and I met. So we we've known each other probably since maybe 2010 or so.Phil (20:14):10, 10. Yeah, probably 10 or 11 somewhere there.Michael (20:15):So you were a stranger to me and my wife has a business, an online, uh, she sells, she, she manufactures girls dresses called TwirlyGirl. And so she at the time needed to build a website. She found a company that was gonna build a website. It was kind of a custom made site. It was, we found this place that over pro almost and underdelivered and uh, and Phil was working there. And uh, maybe I don't wanna tell a story wrong, but this is how I remember it is Cynthia, my wife was really kind of distraught was like, well, we paid all this money and you're not giving us what we want. And, and you got at some point, I don't know how you got on the phone.Phil (20:49):You were, I can tell you how so I was in sales at that company at the time. And I kind of saw the writing on the wall that they were gonna downsize my department and I didn't want to be there. What I wanted to do was work with the guy who was teaching all the things I was selling and he ran the other department or the account management department. So I went in and applied for a position there. I got hired and they transitioned me to account management. And your account, your wife's account was the first account I was handed. And they were like, we're giving you this account, do whatever you need to, to make this person happy because the sales rep oversold them to like, to a, a far extent promised way too much. Right. And so that's how I got on the phone with Cynthia.Michael (21:32):And then from what I remember, we were pretty and you're like, listen, I can't, uh, and this, you were overpromised and underdelivered. I'm gonna fix this as best as I can on my own, on my own dime. That's how I remember it. I will do whatever it takes. And because I just feel bad. I wanna make this right for you.Phil (21:51):Yeah. It, it ultimately ended up being some nights and weekends. And you know, I remember one experience where I got a call from your wife and she was in tears because she had accidentally deleted like a fat chunk of your website. Right. And I was actually up at Sundance where I was volunteering, cuz that's how I was in the industry at the time. Right. I just needed to be involved somehow. And I come down off the mountain and I've got this voicemail from Cynthia and I call her back and she's literally in tears cuz she thinks she has just deleted half of her website. Yeah, I remember that. And I was, and I was like, I was like, I promise you, like, we're gonna figure this out. I don't know what we can do, but let me see what we can do. And so, because I took the same approach, at work too where I would go in to the engineering department and I would say, what do you need from me as a sales rep to make your job easier? And then as an account manager, what do you, what do you need me to get you so that you can be as efficient as possible? I called one of the engineers on a weekend and I said, "Hey look, this client has made this mistake. Do we have any old versions?" And he was so ingratiated to me that he got in on his time on a Saturday night at like 10 o'clock at night, found the old version of the site and restored over the weekend.Michael (23:01):For her. Right. And so, and that, and you were a hero and you fixed it right away because of, and so because of that, now my wife felt indebted to you because you had done this great thing, you know, and you made her stop crying in this.Phil (23:13):At the same point, that to be clear to everybody listening, I have no idea who Cynthia is. Right. I have never talked to Michael at this point. Right. I just know here's someone who was sold a bill of goods that they, we couldn't honor. And I needed to do anything I could to feel ethically okay about this.Michael (23:29):Right. And so Cynthia says over the next couple weeks or whatever, she's talking with you and you somehow the conversation turns to what you want. You wanna become a TV or a screenwriter.Phil (23:39):It was actually, she's like, Hey my, my husband, Michael's gonna get on while he waits, um, for his next show to start. And I was like, oh, show. She's like, oh yeah, he's gonna be running Marc Maron's new show. Right. And I was like, okay. And that's when things kind of clicked. And so we ended the call and I Googled her name and an IMDB page shows up and I was like, oh, she was tree flower on angry beavers, which I watched. And she was on Admiral monsters and you was on friends. And then I Googled you. And I was like, oh my gosh, he is a writer. And then that's, that's how I approached it was on the next call. Right?Michael (24:13):Because you, we owed you so much. Cynthia's like, no, oh my husband, he's happy to help you be more than happy to talk to you about TV and screenwriting and all that stuff. And because of that, because of what you had done, you're attitude, which was, let me give, give, give, now we feel indebted to you and we wanna help you back. And that's how you and I, Mel met. And that's how you ultimately broke into the business. Cause I, I wound up getting you, uh, jobs on two of the shows that I was on. Yep. Right? Yep. Yep. And that's how you got it. And it wasn't because you asked for you didn't beg me, you didn't ask me for anything you gave first and I returned. Yeah.Phil (24:47):And, and you know, I'm, I, I am grateful for that. Again, none of that comes from a place of you owe me because I did. Right. Right. Look what I've done for you. It's simply what can I do? And to that same point on that first show where I was a, a PA I was day playing as I've talked about on other episodes. And they ultimately brought me in to be the office PA and I did the same thing. I said, what skill sets do I have to serve the people above me? Like how can I go in this extra time? And I approach it from this perspective, again, like I'm not in a union, there's no one dictating what I can and can't do. And so ultimately I look at it as I have sold 12 hours of my day to these people. Like, I have sold my time. They own me for 12 hours. So what can I do in the next 12 hours to be so productive that they want to keep me around? And I still get my bosses from that first job from Rhett & Link. They call me five years later and they offer me things. Right. Hey, and it's like, Hey, my buddy asked me if I know someone who wants to have this job, no experience to, they're willing to train. I thought of you immediately. Right, right. That kind of stuff. Yeah.Michael (25:52):Doors open that way. Right.Phil (25:53):Yeah. And so, you know, as I thought a lot about this, and we talked about this in your, in your private group, in your course, um, recently, but there's some questions that I think of, and I would encourage anyone in this situation to go through. So what can I do to serve this person? Like whoever it is, like, whether it's, you know, Carrie Clifford, who's a writer on her on Tacoma, FD. Like she loves tuna. She absolutely loves tuna, but she's also very picky about her tuna. And so I literally kept a whiteboard list of her favorite tuna places. So whenever I'd go around to get lunch, if it was her day to decide, I would remind her which place she liked her tuna from. Right, right. Right.Michael (26:28):Little things. Right.Phil (26:29):Yeah. Like one of the writers, like these very specific smoked, um, pistachios from Whole Foods. So I would go outta my way to pick those up for him so that he had something he liked in the room. Yeah. And it's not, it's not kissing butt, but it's not sucking up it's again, how can I serve this person? Right. Yeah. Because.Michael (26:47):Yeah. Yeah. And that comes, that comes and, and that exactly that comes, it helps it's it's in your own best interest to, to do stuff like that. Right. But people don't think of it like that. They just don't.Phil (26:57):They think of it as it seems like a lot of people think of it as how I being taken advantage of,Michael (27:02):Or they think advantage of me, or it's also like, what can you do for me? I, I, I need you to help me, help me break into Hollywood, help me, help me, help me instead of the other way around, which is, let me help you.Phil (27:13):Yeah. And so, to, to answer that question, the next thing I would ask myself is what are my unique skill sets, right? What, what are my hobbies, passions, and, and what do I have? That's valuable to my chain of command, like thinking up the chain of command, whether it's, you know, I'm the writer's PA and I report to the script coordinator, how can I make the script coordinator's job easier? Mm-hmm how can I do this? And, and I think this mindset a really good way to think about this. I had the opportunity to speak at, uh, a business college a couple years ago. And I sat in, in the class, they just said, I did a presentation for some friends of mine, about a business that I was managing at the time. And the professor said, the best thing you can ask in an interview is how can I relieve a burden, this, a burden off of your shoulder?Phil (27:59):What burdens can I relieve from your shoulders? Right. And it seemed a very formal way to think about it. But if you approach everyone above you with that mindset, like, what burdens do you have? Like, how can I help carry some of the weight here? They will gladly give that to you. Yeah. Because it's, and it catches people off guard too, because it's not likely. And so here's just an example of that. So for a wrap gift for season three of Tacoma, um, we got the idea of doing a yearbook. Well, I happened to be on the yearbook staff for two years in my high school. Like, and that I graduated in 2004. Right, so this was 2002, three and four that I was on the staff. I don't remember technically how to use InDesign. I played a little bit with it since, but it came up and I was volunt-told I had to do this.Phil (28:44):And someone was like phone it in, just get a template offline. And there was a very low expectation of this, but what I said is if I'm gonna do this, just let me do it. Right. So I literally, we set up a photo booth. I brought my camera, I took photos of everyone on the staff. We had COVID there monitoring to make sure we were safe. I went through, I photo edited every single one of those. I built the design and the layout inside of InDesign. And I worked with, um, Cindy, our, our 2nd AD, who was taking photos of everyone, all season. And we built an actual hardbound yearbook that we gave to every member of the staff. Right. And it was something that, you know, the people who were in charge of building these gifts, like the production supervisor, the, you, the, the UPM the, uh, Production Office Coordinator, they were grateful that I went the extra mile because it took something and leveled it up. Yeah. Right. But furthermore, and I think this is another key aspect. I went and did extra work to find a place where I could go and save them money, which enabled them to give these really cool heated jackets to everybody. Right. If figure out one of those. Right. I did get one of those. We had the ability to upgrade that, to like a jacket with a heater in it, because I was able to save like three grand on the printing cost by doing this extra stuff.Michael (29:58):Right. Right. I didn't know that.Phil (29:59):Just little, little, little things that, you know, that you've, you know, acquired throughout life. They go a long way. Like I was listening to another podcast and there was another writer who said, she went in into an interview and she had done her research on IMDB. And she's like, oh, I didn't know you wrote on this show. I really liked that. And the writer's like, well, I actually didn't write on that. That's a mistake on my IMDB and writer was embarrassed. And then afterwards, she went and using her knowledge of IMDB pro fixed their listings, and then emailed them and say, Hey, I just wanna apologize for my mistake. I just wanna let you know, I took care of it for you. Right. And she got hired on that show because she was willing to go that extra mile. Yeah. And she solved a problem for her boss that wasn't even her boss yet. Yeah.Michael (30:42):Yeah. Isn't that great. Yeah. Yeah. People don't think like, most people don't think that way, but if you can get into that mindset, like doors will open.Phil (30:50):Yeah. And, and like another example, it's like little things. Like one of the Whowrunners came to me and said, Hey, I need to get 13 binders, three, three ring binders, one for every episode. And they're like, and I don't like the D ring, give me a, a full ring. I wrote down my notes. And then I went out and got them. And I, I didn't know what color he wanted. And so I came back and I said, uh, what color do you want? And he said, um, I think, I think he actually wanted a big binder at this time for just, uh, the notes. Um, later I, I got, I got a lot of binders. He really likes binders and highlighters. Yeah. But bold me, like I got these two binders and I was like, I didn't know which color he would want. I got three, I got two black and one white.Phil (31:30):And he came out and said, which color do you want? He said, uh, I don't know, black. And I had it ready. I pulled it out. And I already had all the separators, had everything ready and I gave it to him. And I remember he walked into the kitchen where you were, and I overheard him saying, "man, that guy is really good. Like he got it." And then you sang my praises to him. Yeah. But it like a little thing just, which is a stark difference in the previous PA who told him he couldn't have sushi whenMichael (31:53):He wanted it. Yeah. Yeah. It's just do it with a smile and do just yeah. And all these doors open. Exactly. And so, yeah, I think it's a wonderful, that's not just a lesson for, or Hollywood. It's just a lesson for life, I think. Right.Phil (32:06):Yeah. And then to your point, which you talked to a lot of people about, it's like be nice to everyone because everyone knows everybody is a small town. Yeah. These things get around.Michael (32:15):Yeah. Yeah. Yeah. Cool. All right.Phil (32:19):So, well, any other thoughts about like path to break into Hollywood? I know you've got a lot of content or social media. You talk about like mail room, which, you know, people accuse of being like an eighties strategy, like yeah. But still works. I know friends, who've grown through the mail room to become agents. Yeah.Michael (32:33):And so like, so I, right. So I post, I try to post, I think I do so far daily posts on Instagram @MichaelJaminWriter. And I post about Hollywood, had a break into Hollywood. And so I did one post about, you know, working in a mail room and an agency and how that's a great way to break in. And then I got all these like trolls, I don't know if their trolls or just jerks or whatever. There's like, man, you know, you ever hear a email dude? I was like, well, how do parcels come? When do parcels come through email? Or do they get delivered somewhere? You know? So just jerks, just trying to like, I, I don't know, like, okay, with that attitude, with that attitude, you're never gonna get anywhere in life.Phil (33:09):Well, you've already, you've given up. Yeah. Right. If you're always looking at the negative you've you've given up on, you're not gonna make it. Yeah. Cause you've already decided you are right.Michael (33:18):You've already. Exactly. And it's, it's, self-fulfilling prophecy. There's one woman. I, I had to post and she posted about how Hollywood is an awful place. And uh, people were, she was a PA I, I mentioned it was this post about how to get a job as a PA. And she's like, uh, yeah, P I was a PA don't listen, this guy, I was a PA and people were mean to me. And they were obnoxious and rude and like, listen, I don't know what show she was on. Maybe they were, uh, maybe they were mean and rude to her. Okay. So go get a job at Starbucks. That's a job. That's easier to get. You'll make the same amount of money. And I guarantee you, people will be mean and rude to you. The customers will be mean and rude to you either way it's gonna happen.Michael (33:53):So why don't you do it in the area that you want advance in, in Hollywood? Like, what is your problem? Like, okay. People are mean that's life, man. So what do you wanna get your goal? And someone else had another comment and she was, you know, wow. All that. I think it was a woman, all that just to be for all that work and hard effort, just to be a PA, he was like, no, it's not to become a PA it's to become a writer or a producer or a director like PA this is just a temporary job. Yeah. It's all this work for this temporary stepping stone.Phil (34:21):Yeah. You know, I had a really good conversation because I've been a PA for six years or so now at this point, and I'm 30 gonna be 36 this year. And I have a wife and kids and, you know, it's, it, it's a grind and it can feel a little heavy.Michael (34:34):But in fairness, you you've had opportunities to do other production work, but you just don't want it cuz you want to stay in the screenwriting path.Phil (34:41):Correct. I have turned down post-production coordinator jobs. I've, I've done, I've done some other stuff. I was a post PA on a, on a film, like I've done other things. Right. But ultimately the, the niche I've carved for myself is writer. Cuz that's what I want to do. Right. And if other doors open beyond that, after producing directing and great, but right now my purpose plan is to be a writer. Right. Right. So, um, I lost my train of thought.Michael (35:09):Because I Interrupted you. But the point is that we were talking about how it's just, it's just a stepping stone and you've been doing PA for a while, but it's not because you have to it's cuz you want right. So,Phil (35:16):So I remember now, so I kind of bro, I kind of privately one night, we're shooting super late. Um, it's uh, Friday, we're going into a "Fraturday", which means you're shooting into Saturday morning. So your Friday, Saturday blend. Um, and I was like talking to one of my bosses about, you know, yeah man, I'd really love to get that next step. I just don't know how to approach it. And they said, well, what you have to understand is that people see hard work and they see loyalty and they see effort and they reward that and she said, it's important to know that. Yeah. You're not asking for things, but there will be a time when you get an ask. And when that ask comes, make sure you ask for it. You have to put yourself out there. Yeah. But in general you get the ask because you're not asking.Phil (35:55):And I was like, oh, like, and, and it may not seem like it, but people reward hard workers because, and, and I think the word she said is we recognize what we have with you. And I was like, oh, that's a very kind compliment. But I think it goes back to this mindset of how can I cert and I'm by far not the only person, the production secretary on our show and the other office PA the exact same attitude to the point that our boss on our last day, when we wrapped and we were closing up the stages, she said, I would be happy to work with you any other time on any other show, if you, any of you need jobs, please let me know. Yeah. That's great. Cause, cause we all had that attitude. Yeah. And it made it easier because we were all serving each other too. Yeah. Yeah, it does. So good. We talked a lot. We got a lot of stuff in this. This was an informative episode. I thinkPhil (36:56):This has been an episode of Screenwriters Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing leaving a review, and sharing this podcast with someone who needs to hear today's subject. If you're looking to support yourself, I encourage you to consider investing in Michael's screenwriting course at MichaelJamin.com/course. I've known Michael for over a decade. And in the past seven years, I've begged him to put something together. During the global COVID-19 pandemic. Michael had time. And I have to say, I wish I'd had this course 10 years ago. As someone who has personally invested in most online courses, earned a bachelor's degree, and actively studied screenwriting for over a decade, this course has been more valuable to me than most of the effort I've put in because it focuses on something no one else teaches: story. In his course, Michael pulls back the curtain and shows you exactly what the pros do in a writer's room and that knowledge has made all the difference for me. And I know it will for you too. You can find more information at MichaelJamin.com/course for free daily screenwriting tips. Follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

On today's episode we interview Fr. Aidan Kimel about universal salvation. You can follow Fr. Aidan at his blog Eclectic Orthodoxy. You can send your feedback and questions to thesacramentalists@gmail.com or reach out to us on Twitter @sacramentalists. If you want to dive deeper and enjoy dialoguing with others about content on the Sacramentalists, check out our Facebook discussion group here. Be sure to join our Communion of Patreon Saints for only $5 a month!

La Rhon interviews Kimel, we discuss his upcoming album to be release on October 15th, 2021 and I get his thoughts and feels on the upcoming NBA Season! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/droppin-the-mic/message Support this podcast: https://anchor.fm/droppin-the-mic/support

Sally is the Executive Director of The Cottage, Sexual Assault Center and Children's Advocacy Center. https://www.northgeorgiacottage.org/

Kris Kimel is the co-founder of Space Tango. It was founded in 2014 by Clements and Kimel as a commercial spinoff of Kentucky Space and is based in the heart of Lexington, Kentucky. Space Tango facilitates research and manufacturing in the microgravity environment from design to implementation expanding opportunities for biomedical and technology applications. The microgravity environment is a new frontier for discovery and innovation. Space Tango envisions a future where the next important breakthroughs in healthcare and technology will occur off the planet creating a new global market 250 miles up in low earth orbit. The host of this episode is Sarah Gardner, a CBD advocate and educator, whose consulted for some of the top CBD companies in the U.S. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/americanhemp/support

Space Tango's Kris Kimel joins us to discuss the upcoming Space and Humanity Seminar taking place on Thursday, October 3rd at the University of Kentucky. The Space and Humanity Seminar is part of the emerging initiative involving an interdisciplinary group of creative thinkers in the humanities, biology, philosophy, economics, space business, and exploration, dedicated to addressing and better preparing for the continued expansion of human civilization into space.

Having worked out their scheduling conflicts, the boys return to the Twilight Lounge to answer the pressing questions of the day, namely: Is there anything left in the world Rosen is allowed to eat? Is red wine masculine? How close did Kimel’s kid’s basketball team get to the state title? Are there any blankets besides … Continue reading Episode #206: Rosen can’t eat; Jewbilee →

Fueled by new ideas, Kris Kimel began IdeaFestival and KSTC. Kimel is the founder of the international IdeaFestival, which originated in Lexington, Ky. in 2000 and moved to Louisville in 2006. The festival is designed to stimulate ideas and innovations across a multitude of categories – from filmmaking to healthcare, sustainable farming and more. The core of the festival is the belief that individuals don’t have to be geographically or economically privileged to have breakthrough ideas and create positive change. Kimel is also a leader and founder behind the development and successful implementation of Kentucky Space, Space Tango, and the Exomedicine Institute. In 1987, he founded the Kentucky Science and Technology Corporation (KSTC). KSTC is an independent non-profit company with an international reputation for designing and implementing innovative initiatives in science, technology, entrepreneurship and disruptive innovation. He currently serves as the organization’s president. Kimel holds bachelor’s and master’s degrees from the University of Kentucky. As a student there, he was a 1974 recipient of the university’s Sullivan Medallion.

The competitive environment in San Francisco is fierce.  Yet family-owned United California Glass & Door has beaten the odds and survived, even as many of its competitors had to close their door.  David Kimel, senior project manager at UCGD, is in-studio with co-hosts David Biondo and Dean Rotbart to explain how superior customer service has been at the heart of his company's success.  Kimel is a Denver native. B. Unconventional airs each Sunday morning at 8 a.m. (MST) on 710 KNUS in Denver.  It is also streamed over the Internet at www.710KNUS.com.  Original air date:  January 22, 2012Photo: David Kimel of United California Glass & Door