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3 episodes with Laemmle
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ICYMI: Hour Three of ‘Later, with Mo'Kelly' Presents – Another TGIF Edition of your favorite radio game show, ‘Name That Cult Classic Movie' brought to you by ‘Drop Dead City,' the new documentary directed by Michael Rohatyn and Peter Yost that details the 1975 New York City fiscal crisis wherein “the grittiest city on Earth was minutes away from bankruptcy until an unlikely alliance of rookies, rivals, fixers and flexers found common ground - and a way out”! ‘Drop Dead City,' premiers Thursday, May 22 at Laemmle NoHo 7, followed by screenings at Laemmle's Monica Film Center for a week (5/23 through 5/29) and at Town Center 5 over Memorial Day weekend (5/24 & 5/25) - on KFI AM 640…Live everywhere on the iHeartRadio app & YouTube @MrMoKelly
Heute vor 110 Jahren eröffnet der deutsche Auswanderer und Filmpionier Carl Laemmle sein Studio "Universal City" in Los Angeles.
Antonia Carlotta is a film historian and niece of Universal Studios founder Carl Laemmle. She explores her great uncle's legacy on her YouTube channel and website, Antonia Carlotta Presents: Universally Me. Co-hosts: Jonathan Friedmann & Joey Angel-Field Producer-engineer: Mike Tomren Antonia's websitehttps://www.antoniacarlotta.com/ Antonia's YouTube channelhttps://www.youtube.com/user/AntoniaCarlotta Amusing Jews Merch Storehttps://www.amusingjews.com/merch#!/ Subscribe to the Amusing Jews podcasthttps://www.spreaker.com/show/amusing-jews Adat Chaverim – Congregation for Humanistic Judaism, Los Angeleshttps://www.humanisticjudaismla.org/ Jewish Museum of the American Westhttps://www.jmaw.org/ Atheists United Studioshttps://www.atheistsunited.org/au-studios
This very special LIVE episode was recorded at Laemmle's Monica Film Center after a screening of "For When You Get Lost." I moderated a conversation with fellow "cherries" Jennifer Sorenson, Michelle Steffes, Alethea Root and Meredith Riley Stewart. Visit our website (www.forwhenyougetlost.com) to preorder the movie today!+++++++++++++++++++++++++++++++++++++++++++++++++++++SHOW NOTES“For When You Get Lost” pre-sales:https://forwhenyougetlost.com/Jennifer Sorenson:https://www.imdb.com/name/nm2295145/?ref_=tt_ov_wr_1IG @thejensorensonMichelle Steffes:https://www.imdb.com/name/nm1418490/?ref_=fn_al_nm_1IG @unrealmichellesteffesMeredith Riley Stewart:https://www.imdb.com/name/nm1982444/?ref_=ttfc_fc_crIG @meredithvilleAlethea Root:https://www.imdb.com/name/nm1524838/?ref_=ttfc_fc_crIG @alethearootFor When You Get Lost socials:IG @forwhenyougetlostFB @forwhenyougetlostTikTok @forwhenyougetlostfilmSuffer socials:IG @dosgoatsfilmsFB @dosgoatsX @dosgoatsfilms
Film lovers have long heard of the legendary names that built Hollywood into a global entertainment empire - Goldwyn, Mankiewicz, Laemmle, Mayer, Loews. But it was The Schenck Brothers, a ruthless pair of Bowery boys, who worked their way up to launch the Hollywood studio system, creating a lasting legacy of 'star maker machinery" while simultaneously breaking all the business rules. MOGULS: The Lives and Times of Film Pioneers Nicholas and Joseph Schenck (Sept. 24, 2024) is co-authored by Producers Guild of America member and film director Craig Singer, and Brooklyn-based writer Michael Benson (Gangsters vs. Nazis). MOGULS is a noirish, incredible Hollywood history. The Schenck brothers held controlling interests in three major studios: Metro-Goldwyn-Mayer (MGM), Twentieth Century-Fox, and United Artists (UA). But chances are you've never heard of them because they preferred to run their global empire behind closed doors. Nick was Louis B. Mayer's boss. Think Mank meets Chinatown and LA Confidential, with a heaping dose of Hail, Caesar! and The Godfather II (of course). Twice as powerful as the Warner Brothers, the Schencks were immigrants who quietly ran Hollywood out of the spotlight, bringing film into a world of blazing color. They were as American as jazz and baseball, as flashy as Gatsby, as cunning as gangsters, who controlled a third of the motion picture industry at their height - and were some of the richest men in America.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.
Film lovers have long heard of the legendary names that built Hollywood into a global entertainment empire - Goldwyn, Mankiewicz, Laemmle, Mayer, Loews. But it was The Schenck Brothers, a ruthless pair of Bowery boys, who worked their way up to launch the Hollywood studio system, creating a lasting legacy of 'star maker machinery" while simultaneously breaking all the business rules. MOGULS: The Lives and Times of Film Pioneers Nicholas and Joseph Schenck (Sept. 24, 2024) is co-authored by Producers Guild of America member and film director Craig Singer, and Brooklyn-based writer Michael Benson (Gangsters vs. Nazis). MOGULS is a noirish, incredible Hollywood history. The Schenck brothers held controlling interests in three major studios: Metro-Goldwyn-Mayer (MGM), Twentieth Century-Fox, and United Artists (UA). But chances are you've never heard of them because they preferred to run their global empire behind closed doors. Nick was Louis B. Mayer's boss. Think Mank meets Chinatown and LA Confidential, with a heaping dose of Hail, Caesar! and The Godfather II (of course). Twice as powerful as the Warner Brothers, the Schencks were immigrants who quietly ran Hollywood out of the spotlight, bringing film into a world of blazing color. They were as American as jazz and baseball, as flashy as Gatsby, as cunning as gangsters, who controlled a third of the motion picture industry at their height - and were some of the richest men in America.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.
Laupheim wird wieder zur Filmstadt: Die 2. Laemmle Film- und Kinotage rücken näher! Ab Dienstag, den 30. April wird drei Wochen lang mit Aktionen rund um das Thema Film und Kino Laupheims wohl berühmtester Sohn geehrt: Carl Laemmle, der als Mitbegründer Hollywoods die Filmwelt revolutionierte. Laupheim wird wieder zur Filmstadt: Die 2. Laemmle Film- und Kinotage starten! Natürlich werden Filme gezeigt, es gibt aber auch wieder Filmmusik-Abende, Kinderkino, Lesungen, Vorträge oder auch die Stadtführung „Auf den Spuren Carl Laemmles“. Eröffnet werden die 2. Laemmle Film- und Kinotage in Laupheim am Dienstag, den 30. April um 19 Uhr mit dem Laemmle-Ball im Schloss Großlaupheim. Den Abschluss bildet am Sonntag, den 19. Mai der internationale Museumstag im Laupheimer Museum zur Geschichte von Christen und Juden. Laupheims Oberbürgermeister Ingo Bergmann hat sich mit DONAU 3 FM Filmexperte Paolo Percoco über die 2. Laemmle Film- und Kinotage unterhalten. Das komplette Programm gibt's auf der Website der Stadt Laupheim.
In Director Heidi Hutner's thrilling feminist documentary, four indomitable women fight back against America's powerful nuclear industry to expose one of the most consequential and egregious cover-ups in our country's history. RADIOACTIVE: THE WOMEN OF THREE MILE ISLAND is an award-winning film about the 1979 Three Mile Island meltdown – the worst commercial nuclear accident in U.S. history – and its aftermath. It uncovers the never-before-told stories of four intrepid homemakers who take their local community's case against the plant operator all the way to the Supreme Court – and a young female journalist who's caught in the radioactive crossfire. RADIOACTIVE features activist and actor Jane Fonda, whose film,The China Syndrome (a fictional account of a nuclear meltdown), opened 12 days before the real disaster in Pennsylvania. RADIOACTIVE also breaks the story of a radical new health study that may finally expose the truth of the meltdown. For over forty years, the nuclear industry has done everything in their power to cover up their criminal actions, claiming, as they always do, "No one was harmed and nothing significant happened.” Director, producer and writer Heidi Hutner joins us for a conversation on the devastation caused by the reactor meltdown, the cover-up and the dire consequences of the lies and malfeasance that occurred on March 28, 1979 and why it matters today and into the future. For more go to: radioactivethefilm.com Los Angeles Theatrical Run – Friday, Dec 8 - Thursday, Dec 14 at Laemmle's Royal STREAMING: RADIOACTIVE will drop on Apple+ and Prime on March 12, 2024. 45th Anniversary of THREE MILE ISLAND meltdown (March 28, 1979)
HAPPY HALLOWEEN! In our GEEKTOBER FINALE, Aeric is joined by filmmakers Jessica Morgan and Chris Carter to discuss their newest film NIGHT OF THE HARVEST. As connoisseurs of independent horror films, Chris and Jessica have a deep love for the Halloween season and all things horror – and now their latest feature film premieres THIS THURSDAY in Los Angeles! Oh and by the way, AERIC IS IN THE FILM! Get ready for an in-depth chat about their creative process, behind the scenes stories, and why this project is so special to this writer/director duo. Plus our latest Weekly Review on Loki Season 2, this week's Comics Countdown, and more! Check out the trailer for NIGHT OF THE HARVEST: https://youtu.be/ZqkrkON2_ak?si=xYRXvJUScr3sFpch Get tickets to the premiere at The Laemmle in Glendale: https://www.laemmle.com/film/night-harvest Time Stamps: 00:00:53 Intro 00:04:50 Night of the Harvest w/ Jes & Chris 01:36:28 Weekly Review 01:45:09 Comics Countdown 02:01:51 Wrap-Up Follow us! Twitter: twitter.com/geeksplainedpod?lang=en Instagram: www.instagram.com/geeksplainedpod/?hl=en Send us your questions for the Geeksplained Mailbag! Email: Geeksplained@gmail.com Music Sampled: "Sayonara" by SAKEROCK “This is Halloween” by Danny Elfman “Night of the Harvest” by Paul Mekailian
Greg Laemmle is president of Laemmle Theatres, a family-owned and operated art house theater chain that has operated in Los Angeles County since 1938. He's the subject of the 2022 documentary, Only in Theaters, and is one of the few exhibitors with membership in the Academy of Motion Picture Arts and Sciences. Co-hosts: Jonathan Friedmann & Joey Angel-FieldProducer-engineer: Mike TomrenAbout Laemmlehttps://www.laemmle.com/pages/about Only in Theaters – trailerhttps://www.youtube.com/watch?v=yk7NJ2nvLNE The Man Trying to Save Movie Theatershttps://datebook.sfchronicle.com/movies-tv/movie-theaters-greg-laemmle-17793965 Laemmle Charitable Foundationhttp://laemmlefoundation.org/ Subscribe to the Amusing Jews podcasthttps://www.spreaker.com/show/amusing-jews Adat Chaverim – Congregation for Humanistic Judaism, Los Angeleshttps://www.humanisticjudaismla.org/ Cool Shul Cultural Communityhttps://www.coolshul.org/ Atheists United Studioshttps://www.atheistsunited.org/au-studios
rausgefischt & vorgestellt von Marcus Weible und Gabi Leucht Wir besprechen in loser Reihenfolge Bücher, die wir beim Entrümpeln unserer Regale entdeckt, wieder gefunden oder erneut gelesen haben. „Die Geschichte des armen jüdischen Jungen, der in einem fremden Land ohne Geld ankam, aber erfolgreich die amerikanische Traumfabrik Hollywood gründete, beeindruckte Laemmles Zeitgenossen. Er wurde zu einem Beispiel an Willen, Überzeugung und Vorstellungskraft trotz seiner bescheidenen Anfänge. (…). Er war ein Mensch, der als Filmproduzent, kultureller Mediator und als Wohltäter Geschichte schrieb. Er versuchte sein ganzes Leben lang, zwischen den Vereinigten Staaten und Deutschland zu vermitteln, und das in einer Zeit voller politischer Extreme, wirtschaftlicher Schwierigkeiten und kultureller Unterschiede.“ Marcus Weible, geboren 1968 in München. Nach Abitur und Bundeswehr habe ich Geschichte und Rechtswissenschaften in Erlangen und Würzburg studiert. Ich war 15 Jahre als Rechtsanwalt und juristischer Repetitor bei Kern – Nordbayern tätig. In dieser Zeit bereitete ich bundesweit zahlreiche Studenten und Referendare auf das Erste und Zweite Juristische Staatsexamen vor. Mittlerweile lebe ich in Regensburg und gehe dort dem Anwaltsberuf mit Schwerpunkt im Verwaltungsrecht nach. Neben meinem Hobby Geschichte, sind und waren SF und Fantasy meine große Leidenschaft. Ich bin Mitglied des Münchner Fankreises „Die Phantasten“ und betätige mich auf mehreren Literaturseiten als Autor und Rezensent.” Gabriele Leucht, geboren: 1981 in München, Ausbildung: von den alten Sprachen bis zur Avvocatessa der Juristerei in Rosenheim, Birmingham, Maryland, Neapel, Straßburg und München. Interessen: Kunst, je abstrakter desto lieber, Literatur, besonders Romane und Dramen, Opern-Musik, fürs Herz italienisch, für den Rest auch alles andere, Politik: Grundgesetz-Fanatikerin, Antirassistin u.v.m., Sport: nicht ohne meine Berge. --- Send in a voice message: https://podcasters.spotify.com/pod/show/hoerbahn/message
In this week's episode of the Boxoffice Podcast, co-hosts Rebecca Pahle and Jesse Rifkin go over the latest in cinema news–including new NATO boardmembers–before diving into analysis of the debut performance of The Exoricst: Believer… and whether we can expect a $100M opening from Taylor Swift: The Eras Tour. In our feature segment, Pahle speaks to director Raphael Sbarge about his film ONLY IN THEATERS, which pays tribute to Laemmle Theatres and the key part it's played in the evolution of arthouse cinema in the U.S. He's joined by Greg Laemmle and Maggie Mackay; Maggie, a returning guest to the podcast, updates us on her L.A. video store/screening space Vidiots.Give us your feedback on our podcast by accessing this survey: https://forms.gle/CcuvaXCEpgPLQ6d18 Episode Resources: Vidiots What to Listen For 00:00 Intro 02:41 New NATO executive board members 04:33 The Exorcist: Believer 06:00 Weekend box office Top 5 09:56 Taylor Swift concert film pre-sales 13:14 Laemmle Legacy 16:05 Wide releases is bouncing back 19:22 Vidiots physical media store rental 24:32 Approach to programming 27:00 The problem with streaming platforms 32:45 Maintaining the human element 35:29 Only in Theaters
The real haunting is the podcast we made along the way. Codie and Billy are back for OVER TWO HOURS to talk about another Agatha Christie novel. This time, it's Hallowe'en Party, which was adapted for British television starring David Suchet. Completely unrelated, they also saw Kenneth Branagh's new film A Haunting In Venice. No real reason, not like it's an adaptation of Hall-- WHAT? https://linktr.ee/soonmajorpod Hearing on the Laemmle building on 9/28: Full site: https://planning.lacity.org/about/commissions-boards-hearings Specific meeting agenda: https://planning.lacity.org/dcpapi/meetings/document/75285
Nominated for the 2023 "Best Feature" Independent Spirit Award, Ellie Foumbi's elegant moral thriller and debut feature OUR FATHER, THE DEVIL ("Mon père, le diable") stars a riveting Babetida Sadjo, (Ritual), as Marie, the head chef at a retirement home in small-town France. Her easy day-to-day life spent caring for residents, hanging out with her co-worker and best friend Nadia (Jennifer Tchiakpe), and teasing a potential new romance is disrupted by the arrival of Father Patrick (former Spirit Award nominee Souleymane Sy Savané, (Goodbye Solo), an African priest whom she recognizes from a terrifying episode in her homeland. As he further endears himself to the residents and staff, Marie is forced to decide how best to deal with this reminder of her troubled past. Writer / Director Ellie Foumbi joins us for a conversation on her intense and fearless dissection of trauma, power, revenge, guilt, and the devils hiding within all of us and the Oscar-worthy performances by Babetida Sadjo and Souleymane Sy Savané, OUR FATHER, THE DEVIL is a stunning showcase for the impeccable talents of everyone involved. 2023 Spirit Award Nominee: Best Picture Tribeca Film Festival, Audience Award Winner: Best Narrative September 1 in Los Angeles at the Laemmle
A timely metaphor for failing democracy, Jiří Havelka's THE OWNERS takes a seriocomic look at the most local form of self-governance: the co-op apartment building meeting. It includes a curious cast of characters, all of whom own apartments in the same building in Prague, as they attempt to tolerate each others' presence long enough to try and make some important decisions about the building's future. Mrs. Zahrádková (Teresa Ramba) wants to save the old crumbling building she shares with other apartment owners. She hopes to find supporters for her plan in young newlyweds with their idealistic enthusiasm, who have just moved in and are astonished by the co-owners' inability to agree on anything. Mrs. Roubíčková (Klára Melíšková) vigilantly controls the proper course of the meeting, not allowing the slightest deviation from the rules; Mrs. Procházková and her proclaimed business partner Mr. Novak are looking for ways to increase the value of their property by subletting the apartment to African students; Mr. Nitranský tries to get a hold of the attic to expand his own flat; and frustrated Mr. Kubát sabotages any and all decisions. Will the neighbors reach an agreement, or will the building become the casualty of their self-centered interests? Director Jiří Havelka (Prague Orgies, Desperate People) joins us for a conversation on his personal connection to the story, pulling together a cast of terrific actors and how striking the right tone to accentuate the dramatic and comedic elements that make THE OWNERS work so beautifully. For more go to: bigworldpictures.org/theowners Opens 8/25/23 Laemmle's Royal, West Los Angeles, CA Opens 8/25/23 Gene Siskel Film Center, Chicago, IL
WGA writer Jim Agnew discusses the real issues behind the strike. Plus The Continental trailer, the Barbie Liberation Organization, the first AI feature film Window Seat and an interview with Greg Laemmle and Only In Theaters director Raphael Sbarge.
Hal is joined by Meghan Pressman, the CEO of Center Theater Group, to discuss the abrupt end of the Mark Taper Forum's season. Then, Lois Neville and Ellen Boudreau Den Herder join Hal to talk about the Hollywood Fringe Fest. Also, Laemmle theater chain owners Greg and Tish Laemmle discuss what has changed in movie theaters since the pandemic.
Greg Laemmle runs Los Angeles' cherished Laemmle Theaters. We discuss the present and future of movie theaters, and their dramatic struggles in the post-pandemic and video streaming age. Also, the remarkable Laemmle family legacy, including Greg's great-grand uncle, Carl Laemmle, founder of Universal Pictures and an originator of the motion picture business. Also joining us is Raphael Sbarge, director of the feature documentary, “Only In Theaters” which chronicles the Laemmle Theaters' fight for survival. Action!
In this episode we talk to filmmaker James L. Freedman about the man that created Universal Studios Carl Laemmle. Join our VIP club by emailing us at daydreamingofush@gmail.com Book a trip by emailing us at chadday@portkeyvacations.com
Is our personal information at risk of being stolen? (Probably.) Do we truly understand the barriers people using wheelchairs encounter every day? (Probably not.) Is it possible for divorce proceedings to be a little less nasty? (Here's hoping!) This episode of Real Talk celebrates The Art of Innovation, as highlighted in the May issue of Edify. But first... 5:30 | When's the last time you went to a movie theatre? Cinemas helped shape our connection to arts and culture for decades, but they've fallen on hard times in recent years. In fact, many of them (that haven't already closed) are fighting to survive. Director Raphael Sbarge's film "Only in Theatres" tells the story of the revered Laemmle family, and their mission to save their legendary Los Angeles theatre. CHECK OUT THE NORTHWEST FEST LINEUP: https://www.northwestfest.ca/2023-films 30:25 | When Nidhi Hegde, Arne Andres, and Melissa Bourgeois see red flags, hurdles, and inefficiencies, they do something about it. That's what makes them innovators, featured in the May issue of Edify. Do divorces have to be nasty and expensive? Does AI have to go hand-in-hand with privacy risk? Do daily tasks in a wheelchair have to be so damn inconvenient? Our Real Talk Round Table panelists say no! GET YOUR TICKETS TO EDIFY'S INNOVATION EVENT: https://tickets.edifyedmonton.com/innovation-event-2023/ 58:25 | With the UCP and NDP polling neck and neck, and the Alberta election less than four weeks away, it's no surprise this week's Trash Talk presented by Local Environmental Services is 100% politics! KEEP IT LOCAL: https://localenvironmental.ca/ WEBSITE: https://ryanjespersen.com/ TWITTER: https://twitter.com/RealTalkRJ INSTAGRAM: https://www.instagram.com/RealTalkRJ/ TIKTOK: https://www.tiktok.com/@realtalkrj PATREON: https://www.patreon.com/ryanjespersen The views and opinions expressed in this show are those of the host and guests and do not necessarily reflect the position of Relay Communications Group Inc. or any affiliates.
Laupheim feiert seinen berühmtesten Sohn, den legendären Hollywood-Filmproduzenten Carl Laemmle, jetzt noch größer: mit den Carl Laemmle Film- und Kinotagen! Vom 13. bis zum 26. Mai dreht sich in ganz Laupheim für Jung und Alt alles rund ums Thema Bewegtbild.
Comedians Darren Carter and Daniel Lobell have a nice chat in Daniels backyard in West LA. In this episode you'll hear roosters crowing, birds chirping and both of laughing. We talk a little religion, comedy, fatherhood, how podcasting has changed since he started in the early 2000's, his comic book, his movie Reconquistador that will be playing at the Laemmle theatre in Encino, CA April 26th, 2023. and much much more!Daniel Lobell is a Los Angeles based comedian, comic book creator, and podcast host. He is the host of the Modern Day Philosophers podcast, which features comedians like Bill Burr, Brian Regan, Maria Bamford, Aisha Tyler, and Fred Armisen talking philosophy, and Tipping the Scales, a podcast about body image and health. He is also the creator of the “Fair Enough” autobiographical comic book series, and has two albums out on Stand Up! Records: “Some Kind of Comedian” (2013) and “The Nicest Boy in Barcelona” (2017). In 2017, Daniel made his Edinburgh Fringe debut with his one man show “Broke As A Joke,” which received accolades from critics and fans alike. He returned with his breakout hit “Tipping the Scales” at the Underbelly in 2019. He has appeared on WTF with Marc Maron, This American Life, The Howard Stern Wrap Up Show, Dr. Drew's podcast, Gilbert Gottfried's Amazing Colossal Podcast!, Risk!, KPCC, and The Artie Lange Show.In 2015, he gave a TEDx Talk, and he has toured all around the world doing standup comedy. He is a graduate of The Second City improv program and the creator of the first comedy podcast to feature interviews with comedians, Comical Radio. He is married to writer Kylie Ora Lobell, and is a proud papa to two dogs, a tortoise, and five lovely chickensPLEASE SUBSCRIBE, Rate and Review to this podcast. THANK YOU!Keep moving forward and do something positive for yourself everyday.Thanks for watching my comedy clips, Pocket Party Podcast and Vlogs. Have a great day! Every time you tell someone about me, share a video, or click the "Like" button It helps.So THANK YOU!Have a great day and keep shining!
Yes, Greg Laemmle is related to Carl, the movie pioneer and founder of Universal Pictures. But he is—more to the point—the third generation owner of Los Angeles's celebrated Laemmle Theaters chain. The history of this business and how it narrowly survived the pandemic is the subject of Raphael Sbarge's documentary Only in Theaters, which is still making the rounds of film festivals. (Leonard appears in it as an interviewee.) When it comes to running a movie theater, there is very little that Greg doesn't know and he speaks with the easy authority of a veteran. Leonard and Jessie are among his many loyal customers.
This month, Ian and Sujewa welcome special guests filmmaker Raphael Sbarge and subjects Greg and Tish Laemmle to discuss their documentary, Only In Theaters!This eye-opening roller coaster of a movie traces the history of L.A.'s most prominent independent theater chain back to the very origin of the film industry--and charts the Laemmle family's ups and downs in the face of streaming services and a global pandemic that brought an entire industry to its knees.Here, Sbarge and the Laemmles talk about how the project came together; how it evolved during several extremely challenging developments; and how things have continued to change since the film's release last year.Plus: Sujewa shares updates on his upcoming film, Cosmic Disco Detective Rene, and the Laemmle's involvement with its premiere!Chicagoans! This Saturday (4/8/23) you can catch Only In Theaters at the Music Box Theatre! As an added bonus, Greg and Tish Laemmle will be on hand after the 4:30pm show for a Q&A! More info below. Show Links:Watch the Only In Theaters trailer.Get info and tickets for this Saturday's special Music Box Theatre screening of Only In Theaters--featuring a Q&A w/ Greg and Tish Laemmle! Watch Sujewa and Matt Zoller Seitz's discussion with Raphael Sbarge and The Laemmles.Learn more about Sujewa's upcoming series, "Indie Discovery L.A."Rent Sujewa's latest movie, The Secret Society for Slow Romance.Find clips, making-of videos, and other cool info about Sujewa's upcoming film, The Secret Society for Slow Romance.Follow the production of Sujewa's Slow Romance sequel, Cosmic Disco Rene.Keep up with all of Sujewa's projects.Follow Sujewa on Twitter.Subscribe to, like, and comment on the Kicking the Seat YouTube channel!
Another unusual visit with pals on the Flipside. In today's podcast we have folks who've been to visit us before, but had more to say. One is the Oscar nominated dog Hira, owned by the screenwriter director Robert Towne. Hira's been to visit us before, transcripts are in the book "Backstage Pass to the Flipside." David Crosby stopped by again - after talking to us about what it was like to return to the flipside, and in this case, he wanted to talk further about his semi jaded, snarking observations. Here's a link to the official story of how Graham Nash met David Crosby, but in this account, he recalls a lifetime in Victorian England where he knew Graham. (Be interesting to see if Graham has any memories of that era.) But in terms of Hira - I walked him for a number of years when Robert was at Warner Bros, and later in the Marina. And was with Hira when he passed - a wild car ride to rush him to the animal hospital to try to save him. That's another story for another time, but Hira stops by to tell the audience that we are always connected to our pets. He talks about the "contract" of our connection. Then David Crosby takes the spotlight - we didn't ask for him to stop by, but he did a few weeks back, and had more to say about his adventure. (David knew our moderator on the flipside Luana Anders, so it's not hard for me to see how she'd put him at the top of the list of guests.) Prince stopped by - sorry I didn't ask him any direct questions, but David talked a bit about creating music on the flipside. Then I did ask a direct question to Carl Laemmle about the film "All Quiet on the Western Front" - a film he bought for his son to produce when he was the head of Universal pictures, which one lots of Oscars. I mention the amazing story of the triathlete who purchased the rights, knowing that it would win her an Oscar (which she hasn't won yet.) Carl predicts the film will win three Oscars. A bit about predictions - and why I never do them. Because the future is not set. Carl doesn't know for sure if the film will win three Oscars, but has a "better view" and is more apt to be correct. However, anything could happen - and it sometimes does. People ask mediums like Jennifer all the time to predict the future, and as I like to point out - it's not set, however a good medium has a better opportunity to get the "likely outcome" as opposed to lottery numbers. "It's likely" that the remake of ALL QUIET ON THE WESTERN FRONT will win three oscars, so if one is a betting person, perhaps dial up one's bookie. But don't blame me if it doesn't - blame Carl Laemmle. He's the one who said it. Than back to Hira - who had a message for Robert Towne, my old boss, which I will pass along. Always fun to hear from a pet on the flipside, if only to remind us they still exist.
Irradiated beams are so the light of fashion (See what I did there?) In this episode: Jason illuminates the apparently very scant production history and William pipes in to detail the kicking out of the Laemmle family from their studio. William then lets his soul glow shine through by traveling back in time via Andromeda ray to the story of what on earth happened in this movie. And Mr. Beast uses the ray to cure all the people with blindness and... wait, no, that would be Mr. Benet. Sorry, Dr. Benet. Timestamps: 01:00 - Production/Cast; 0:41:22 - Plot; ------ Music by RoccoW Welcome! (RoccoW) / CC BY-SA 3.0 Sweet Self Satisfaction (RoccoW) / CC BY-SA 3.0 Local Forecast - Slower by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3988-local-forecast---slower License: https://filmmusic.io/standard-license Audio clips from movies: The Day the Earth Stood Still, The Wolf Man, 2001: A Space Odyssey, Godzilla (1954), Invisible Man, Frankenstein (1931) Audio clips from movies: The Invisible Ray (1936) --- Send in a voice message: https://podcasters.spotify.com/pod/show/cinematic-fantastic/message Support this podcast: https://podcasters.spotify.com/pod/show/cinematic-fantastic/support
There has been a Laemmle in the movie business since there's been a movie business. ONLY IN THEATERS shines a spotlight on the beloved Arthouse Cinema chain with an astonishing Hollywood legacy that includes four generations of Laemmle's dedicated to elevating the art of filmmaking and the filmmakers who make them. Responsible for bringing foreign film to Los Angeles and popularizing countless foreign independent films and their filmmakers, the Laemmle Theatres' impact on Hollywood and world cinema cannot be overstated. In a world of growing conglomeration, the Laemmle circuit of theatres has become even more of an anomaly: a family-owned and operated art house theatre chain. Filmed over 2 1/2 years, ONLY IN THEATERS, chronicles a family business, and their determination to survive. But in a changing world this is also a story about the future of Cinema. Interviews with Ava DuVernay, Cameron Crowe, James Ivory, Nicole Holofcener, and others. ONLY IN THEATERS, a film by actor /director Raphael Sbarge who follows one of the most dedicated members of the Laemmle clan, Greg, the intimate and moving journey have been taken by the Laemmle family, spanning nearly three years of challenges, losses, and personal triumphs. Director Raphael Sbarge (Emmy Nominated for directing “LA FOODWAYS,”) and subject Greg Laemmle joins us for a conversation on the sheer joy of getting to know world class artists, writers, producers and director, connecting with a wildly diverse community of people who support them as well as a being the preferred platform for many of the world's most influential and talented filmmakers. For more go to: onlyintheaters.com For filmmakers: thefilmcollaborative.org/onlyintheaters
Sundance is on the horizon but Erik Childress and Steve Prokopy are still checking in with nine movies you can see right now; one of them from last year's Sundance (When You Finish Saving The World) and another from ten years ago finally making its debut (Virtually Heroes). Steve catches up with Jafar Panahi's latest (No Bears) and Erik watched a documentary about the Laemmle family business from home (Only In Theaters). There's a string of horror films involving children including a party gone wrong (Kids vs. Aliens) and a trip to a cave gone even worse (There's Something Wrong With The Children). We even have a comic horror tale from wunderkind Emily Hagins (Sorry About The Demon). Anna Kendrick gives one of her best performances in a real world horror story about mental abuse (Alice, Darling) and the team from Searching scour the web again for clues about another disappearance (Missing). 0:00 - Intro 1:21 - When You Finish Saving The World 8:14 - Virtually Heroes 14:58 - No Bears 22:01 - Only In Theaters 30:28 - Kids vs. Aliens 41:29 - There's Something Wrong With The Children 50:07 - Sorry About The Demon 1:00:14 - Alice, Darling 1:10:49 - Missing 1:23:00 - Outro
A new documentary about the Laemmle family and their chain of arthouse cinemas opens this weekend in NYC. It's called "Only in Theaters" and we have Greg Laemmle & filmmaker Raphael Sbarge. Also, the programmer of DCTV's new documentary theater called the Firehouse Cinema, Dara Messinger.
ONLY IN THEATERS, a film by actor/director Raphael Sbarge (Emmy Nominated for directing “LA FOODWAYS,”) is an intimate and moving journey taken with the Laemmle family, spanning nearly three years of challenges, losses, and personal triumphs. There has been a Laemmle in the movie business since there's been a movie business. Their beloved Arthouse Cinema chain with an astonishing Hollywood legacy has, for four generations, been dedicated to elevating the art of filmmaking and the filmmakers who make them. Responsible for bringing foreign film to Los Angeles and popularizing countless foreign independent films and their filmmakers, the Laemmle Theatres' impact on Hollywood and world cinema cannot be overstated. In a world of growing conglomeration, the Laemmle circuit of theatres has become even more of an anomaly: a family-owned and operated art house theatre chain. Filmed over 2 1/2 years, Only in Theaters chronicles a family business, and their determination to survive. But in a changing world this is also a story about the future of Cinema. Interviews with Ava DuVernay, Cameron Crowe, James Ivory, Nicole Holofcener, and others. Opening in New York on January 20th at the IFC Center and New Plaza Cinemas --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/followingfilms/support
Claremont is a destination for many who seek to appreciate a variety of art forms, and among the most valued are independent films. Movie theaters were severely impacted by the pandemic, most vulnerable among them has been independent films. Vince Turner, however, is working to revive the movie-going experience by providing unique and interesting short-form, independent films in his weekly Claremont Film Festival. Showing first-rate, curated films selected from hundreds each week, Vince provides Claremont a movie experience in keeping with and befitting the city's tacit theme "Claremont, for what you just won't find anywhere else." Among the recent and upcoming selections are films about the cultural hurdles encountered when a Chinese auto parts company opens a factory in Ohio, sending a rocket/space probe to retrieve samples from an asteroid, and a documentary on the conflict in Ukraine in 2014 - the predecessor of the situation today.Vince offers his broad and ambitious perspectives on the social importance of the in-theater movie experience - postulating that one crafted "from Claremont, by Claremont, for Claremont...might be able to sustain itself simply because it would have the community effect." This and other insights, coupled with his anecdotes on starting the film festival and what it takes to produce it each week, make this episode one for all of Claremont. For those then motivated to attend the showing of his curated collection of movies each week, let Vince know you appreciate what he's doing and how much you liked his turn at the mic on Claremont Speaks.==================================================Contact Vince Turner for more information, location, movie titles and showtimes:vince@schoolbiz.comFeedback, questions, comments, constructive criticism are all welcomed and encouraged.Send to claremontspeaks@gmail.com with Feedback in the subject line, or go to the appropriate page on Claremont Speaks' website - https://www.claremontspeaks.comClaremont Speaks is a Paradise Road Media production. PRM is dedicated to helping you create, launch and produce your own podcast, allowing you to focus on being the creator while PRM does the rest. To explore using the power of your own podcast for your self or to promote your business, charity, political group...or any other reason...email paradiseroadmedia@gmail.com.
Award-winning, writer, director, actress Christina began her career acting in such cult films as Suburbia, Boys next door and Dudes. She was one of three women accepted into Fox Searchlights new director s program, her IFP nominated Best screenplay, debut feature, PERFECTION was part of their rough-cut labs, Independent film week and winner of The Adrienne Shelly female directing award.PERFECTION screened at The Oxford film festival where Christina won Best Actor and Best Narrative feature and also screened in the San Francisco International Women's film festival, the USA film festival in Dallas, Texas, The Egyptian theatre in Hollywood, CA, premiered at the RIO cinema London, The Quad cinema, New York and screened at The Laemmle' s Monica 4plex in Santa Monica, CA.Christina has sat on the juries for the London feminist film festival, the Eastern European film festival, the 100 word film festival, NC and has served head of the jury at the USA film festival, Dallas.Her upcoming projects include, EXPECTING GRACE set in Marseilles France, her short, HOOKER #2 and the punk rock pilot, POSEUR. Christina has lectured at The New York film academy, The Met School, London, Harvard Westlake, Cal State Fullerton and is an adjunct professor at Loyola Marymount University in Los Angeles in the film and television department.Show NotesChristina Beck's Website - https://www.christinabeck.comChristina Beck on Instagram - https://www.instagram.com/cbrubylee_xtinabeck/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistTranscripts Are Auto-GeneratedChristina Beck:I always say to my students, Pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories. But to say something visually is powerful. I think it can change minds and hearts.Michael Jamin:You're listening to Screenwriters Need To Hear This with Michael Jen. Hey everyone, this is Michael Jamin and you're listening to Screenwriters. Need to Hear This. We got a special guest for you today. If you are an indie filmmaker, an aspiring indie filmmaker, you're gonna wanna listen to this. You're gonna wanna meet Christina Beck, who I've known forever. She's an old friend, independent filmmaker, but she's you. She also teaches at Loyola Marmont University and the Fame Stella Adler Theater where she teaches screen screenwriting as well as film producing filmmaking, all that stuff. Well Christina, welcome to the big show.Christina Beck:Thank you. Thank you so much. I was gonna call you Mr. Jam and it's a habit. I can't help it.Michael Jamin:It's a habit. There it is. Cause cuz Christina briefly worked for me as an assistant for me and my partner on a show. And then I force you to call me Mr. JaminChristina Beck:. it just kind of fell into this thing. Yeah, no, you did not force me. You didn't force me at all.Michael Jamin:I never did that.Christina Beck:But I will correct you Mr. Jamin. So I actually don't teach at Stella Adler. I teach at least Strassburg, but I could see where you would choose that. Oh, at least Strasberg. Yeah,Michael Jamin:Just I would think,Christina Beck:Right. Well, they're all,Michael Jamin:They're East Strasberg. Go to that one.Christina Beck:Yeah, but sad. They're not around anymore. But the legacies are for sure.Michael Jamin:I haven't been to West Hollywood forever. Yeah. And you guys see, you got your one sheet from, That's from Perfection. Let's talk about what you're at, some of your movies that you've done, cuz Christina is an indie filmmaker. She's a hustler. She makes her movie, she writes your stuff. You also started as an actor, right? Where, let's take me back to the beginning. You basically started, you wanted to be an actress, right?Christina Beck:Yes, yes. Yeah. So I grew up here in Hollywood, actually not in Hollywood. I grew up in the Valley. Let's get real about that. So I like to call it the main streets of Studio City. And although it was very different back then, I know today it's a unaffordable, you can't even get in there. But back in the day it was the suburbs, basically. And my folks were in show business. My father was a screenwriter and an actor, and my mother was an actress, a model kind of actress. She ended up studying in New York with some very significant people. Sandy Meisner had a full scholarship for the Neighborhood Playhouse, which was a big deal back in those days. But my beginning with acting really started just as a kid. being extremely bored in the valley and putting on shows. I was that kid. I was putting on shows, arranging the stuffed animals. If we ever had company, they were held hostage to my extravagant. Really? Yeah. It was Cabaret 24 7 and . I know. Yeah. You didn't know that about me. Yep. I didn't know that. Yeah.Michael Jamin:I also didn't know your dad was a screenwriter. I didn't know that as well. Did he work aChristina Beck:Lot? Yes, he didn't work a lot as a screenwriter. He worked a lot as an actor. So when he came out to Hollywood, he's from Texas originally, and he came out to Hollywood and straight away got signed to William Morris, got put under contract at Universal and did a bunch of movies. But then he did westerns. I always played the bad guy on Bonanza andMichael Jamin:Yeah, Christina, I didn't know your Hollywood royalty Well,Christina Beck:A little bit, yeah. Yeah. Oh wow. Definitely the lineage is there. Yeah. But his real love was screenwriting. He didn't love acting. He really did fall into it. And he had a great look and he was a cowboy, so he played a cowboy, but he wasn't even really a cowboy. He's just from Texas. But yeah, there's this really great story. So Robert Blake, who some of us know strange stuff all around that guy. But that said, back in the fifties, he was friends with my father was friends with him, and Robert Blake had a part where he had to ride a horse. And my dad said, All right buddy, I'll take you out. And they went to, I think probably, well, I don't know what it's called now, but it used to be called Pickwick, which is in Burbank near Disney. They went out over there and not only did he teach him how to ride a horse, he helped him learn his lines. And because I heard this story later after my father passed Robert said, Your father, he really sat with me in this tiny little apartment and he had me drill my dialogue and I got the roof because of him and just very sweet old school. Wow. Hollywood, stuff like that. But that said, when my father wasn't working as an actor, he was always in his, it was dad's den type, type type, type type. He was always working on screenplays and he loved writing.Michael Jamin:Yeah. Do you feel the same? Do you acting more, writing more for you? Well, are you like your dad orChristina Beck:Not? No. Yeah. No, I'm not like my dad. I, there's bits of me that I like him, but it's more acting was definitely the first bug. And like I said, putting on shows at home. But then I got kind of lucky, I was in the valley still. So on Ventura Boulevard near Vineland there was this place called Moral Landis Dance Studio. And my mother used to go and take a jazz class there. This is the late seventies. And next door was a place called the American National Academy of Performing Arts. So I kind of wandered over there and at this academy place, and I ended up joining an acting class. And my very first acting class, an acting teacher, was a man named Francis Letter. And I didn't notice at the time, so I'm like nine years old, 10 years old, and he is about 80 or maybe seven in his seventies. And so I joined this acting class and then he asked me to be in the adult acting class, and I gotta play all the juicy, the bad seed and just fun stuff like that. Oh wow. And so it turns out that later on I found out that he was a big deal and he was in Pandora's Box, the silent film starring opposite Louise Brooks. And he's, and he did a ton of stuff for a long time. And then he was part of the actor studio in New York, and he was from Eastern Europe, but came over here right before the war, I think, . So that's when I really just was in heaven as a kid acting in this class. And then I also did some commercials with my brother. We were in some commercials. And then I became a teenager, , and then I became really rebellious and mm-hmm got into the punk rock scene and completely fell in love with music and artistry. I mean, really at that time too, this was the early eighties when punk rock wasn't necessarily vi What's so funny,Michael Jamin:Cause I can't picture you doing being into punk rock. I guess it,Christina Beck:I got pictures. I got pictures, and I've actually written the whole show about it. Yeah, I . But all that to say, yeah, I, I never wasn't like the punk rock chick. I more, I liked the artistry of it. I liked the right, And when I say that, I mean there were a lot of wonderful, cool artist people that I'd met mostly, much older than me at the time, but they were musicians and writers and actors. But they were on this kind of rebellious thing where we don't need permission to do anything, we just get to be creative. And that's what I loved mostly about that whole scene. And then there were different facets of it that were cuckoo and, and intense and lots of drugs and lots of alcohol and lots of inappropriate stuff. But then I got cast in a movie, so now it's my late teens.And my best friend, she was well there is a woman named Penelope's Theorists who has made films that we know of Wayne's World and different Hollywood films. But at that time she had made a documentary called The Decline of the Western Civilization, which is a really amazing film even to this day because she really got into that la punk rock scene at that particular time in space. And it was an incredible film. And she wanted to make a narrative film. So she wrote a script and got it produced by a furniture salesman guy. And I think Roger Corman of course. And so I got cast in that. And like I said, I was in my late teens and at that time I was kind of over punk rock and I was like, Eh, don't wanna, this is stupid. But I ended up doing it. And that is where I really was like, okay, this is the way I wanna spend the rest of my life.I loved being on set. And to answer your question, it's really tricky. I love in the realm of all that we do in terms of writing has its moments and then the pre-production, but being on set to me is definitely my favorite. And post is a whole nother exploration. But yeah, so it was from that moment on that I was just like, Okay, this is what I wanna do. And I did a couple more films with Penelope and then I moved to New York City and I wanted to be a real, I also felt like, okay, I didn't really, I need to be a real actor. I really have. And soMichael Jamin:A theatrical actor, is that why you moved toChristina Beck:New York? Well, yeah, I mean I love theater and my very best friend, you might know her, Cynthia, Man. Oh, okay. Yeah, it's Shannon. Familiar . Yeah. So we wereMichael Jamin:Frozen. That's how I met my wife. That's how I met her. I met you through her. I met you honestly, Christina. That was the first time it was really, I met you really on real early on, but go on. When I was with Cynthia. Really? Yeah. Tour or something.Christina Beck:I know, it's so great. Michael Jamin:But go on. AndChristina Beck:So Cynthia was in New York and at that time, for me, I felt like I really wanted to study and be a serious actor because I come from more of a film background. I did study a bit with Francis, but I really wanted to pay my dues as an actor. And I, I studied with a bunch of different great people. I auditioned for everything that was there at the time. AndMichael Jamin:Tell me, I'm gonna interrupt for a second, hold on. But tell me what your thoughts are, the difference between acting for film or television and acting for the stage.Christina Beck:Well, in my experience and what I'm also kind of revisiting lately, well when you're acting in film, it's very subtle. There's a camera and the camera picks up everything. And so when you're on stage, you are playing to the back row. People in the back need to see and understand what's going on. And it's just a very different, and I think most actors can do both. Some are, I guess more comfortable doing one or the other.Michael Jamin:But when you study and you train, do you sometimes study specifically or did you specifically for film versusChristina Beck:No, no, I didn't. No.Michael Jamin:Are are classes like that? Yeah. Just forChristina Beck:Fun. Yeah. Yeah. There's like on camera classes where people, it's for auditions I think, but also to get to practice how you come off on camera. Yeah. I never did that . I never, yeah. Really did that. But here's a weird, maybe creepy thing. Ever since I was a kid though, I always felt like there was a camera on me. , I would visualize, I could almost disassociate a little bit, this is a psychological thing here, but I felt, I would kind of imagine walking to school, what would it be if this character was walking to school? I almost was above myself a little bit watching myself. And that's a weird thing to say cuz actually when you're acting in a film, you really shouldn't be watching yourself. But that's where I am also a director. SoMichael Jamin:In other words, you were visualizing visualize how you would shoot yourself or is it more of Yeah. Was it more of a fantasy thing or how would I appear on, I wanna shoot myself if I was walking down the street?Christina Beck:Yeah, it's more the that one. And of course a little bit of fantasy, but it was escapism. But it was also, I was sort of able to take myself little Christina walking to school fifth grade out of it and see it from this other angle. And I don't know what that's about, but I do now I I see things that way all the time.Michael Jamin:Really How you would shoot it, where you would place the camera Christina Beck:Or where is the camera? Yeah. And it's such a funny thing cuz we live in a world now where everyone has a phone and everyone is documenting, everyone is shooting themselves. And that's a little different. But I guess it's similar in a way.Michael Jamin:Did you have film equipment when you were that Young? Christina Beck:I mean, Well my dad I none. We really didn't. My dad, no, my dad did my made some super great films and actually. Yeah, we did a lot of home movies when I was little. So I was usedMichael Jamin:To with sound.Christina Beck:No, no sound. No, it'sMichael Jamin:Interesting.Christina Beck:So yeah, yeah, being tied up on a tree and then my brother coming up on a horse and all sorts of me crying. Yeah, I got it. I got it all.Michael Jamin:Wow. Then so after New York, so how long were you in New York?Christina Beck:Three years. I was there for three years. AndMichael Jamin:Then what made you decide to come back?Christina Beck:Well, I wrote a play and that's kind of what happened. So I'm in New York, I'm studying, I'm auditioning for Everything film. I remember that there was one year where I really went out for everything that was shot in New York or anywhere around there and didn't get anything. And at the time I was studying with a woman at Playwrights Horizons who was a writer and an actress. And she said, Listen, you guys really should start writing characters that you feel you could play or just more of an empowerment in terms of instead of waiting around for everyone to give you a role, write something. So a bunch of us did, and it really started out by writing monologues. So I was in a group of women and we formed a little theater company and so we wrote characters and monologues for these characters and then we put it up and that was really great. And then I gotMichael Jamin:You. Don't skip that step. How did you put it up? How do people stage playsChristina Beck:You a lot of time? Well, at that time, at that time, which was a long time ago we raised a little bit of money, kind of similar to a lot of independent film stuff. But we raised a little money, family and friends type of thing. We actually did it at the Samuel Beckett Theater, which was where Playwright Horizon, I think they're still there on 42nd Street, I think eighth and ninth, 42nd Street, . And we put it up for a weekend and we got reviewed and we got in. It was great. It was super fun. And it also felt like I started to feel more complete as stuff that I could do as an actress. I always, I didn't, waiting around, I don't waiting for, I just felt like I have more to do and I was always journaling and stuff as a kid and as I got in my teens.And so writing to me didn't feel that far off from what I was already doing. And coming into it as an actor, I knew I've read enough plays and I've read enough monologues to understand how to write in that form. So I ended up when I was living in New York, I'd come back to LA and visit in the summers. Cause summers are horrific in Manhattan. So there were some musicians that I met that were doing some kind of cool stuff. And this one guy played, he had a character that he did. And so I wrote a play. I kind of inspired me to write this play about him. He was playing a lounge singer and he, his friend had this group and it was kind of rock and roll stuff, but then they would go into a lounge sort of thing. And I thought, oh, that would be funny to, what would it be if these lounge singers had a kid and tried to live their life? And it was a little autobiographical, the father's alcoholic and the mother's sort of obsessed with her beauty. And so these themes started to come up in my work. So I wrote this full length play and there was music in it too. And then we also shot some video footage, so it was sort of like a multimedia thing. So I kind of had to come back to LA to do that.Michael Jamin:So you staged it?Christina Beck:Yes. I didn't direct it, so I wrote it and I starred in it. But a friend of mine this woman named Modi, who I met from the punk rock days, but also she was Penelope's assistant on some of the film stuff I worked on with her and was a video director in her own. And so she came in and she directed it and it was great. It was amazing. It was.Michael Jamin:And how do you even get the theater to put it up?Christina Beck:We raced a little bit of money and then we got producers and they put it up up.Michael Jamin:What do you mean? How does that work? You got producers, what doesChristina Beck:That mean? Yeah, so the woman who played my mother in this is an amazing singer, artist, actor. Her name is Jane Cotillion. And so she loved the play and she said, Oh, I know this guy Billy DeModa and he's a casting director and maybe he could produce it. And he didMichael Jamin:. This is just from being out here, just from honestly, just meeting people, being in circles, taking acting classes and because that's the thing about la everyone's trying to do something right?Christina Beck:Absolutely, yeah. I mean think it's now because of Zoom and different things in the world and there's so much more accessibility. I think it's possible to collaborate and not be here. But all that said, especially at that time, you had to be here. And I do think it's still important to be in the place where you wanna be if you can. And these people I knew, so I knew about the guy, his name is Manny Chevrolet and he and his friend had this act and they were opening up for the Red Hot Chili Peppers and I knew them from suburbia, which was the movie I did with Penelope I knew. And so it was kinda a group of people that I already knew. And then the musical directors, this guy named Tree, who's good friends with, and they were just all these people that kind of organically came on board.Michael Jamin:Interesting. And tell me, but how do, you're also, obviously you've written and directed and produced a bunch of movies, indie movies, some are shorts, some are full length, but do you go about, alright, so you work on the script. How long do you work on the script and when do you know it's done?Christina Beck:Yeah, that's a great question. And then everything's a little bit different. So with short films, well I'm teaching a course right now, so I feel like I already have this in my mind. Short film is one idea and that script can take a long time to write. It's not easy to write a short film because basically you're trying to squeeze in this one idea in a way that has a beginning, middle, and end. So you don't have the luxury of necessarily three acts, but you have to have this.Michael Jamin:How long is it short for you? Well,Christina Beck:Okay, so that's another great question because what I have learned now, I think a sweet spot for a short is anywhere from 10 to 12 minutes. I think if you can sit, do it in a shorter amount of time, even better because depending on what you wanna do with it. So there's a whole film festival world, which is pretty much the best place for your shorts to be seen if you can get them produced. So it's a matter of programming these films. So if you have a film that's 20, 25 minutes, that obviously takes up more time. And most film festivals, they program the short films in a block. So they're literally trying to pack in as many as they can and good ones. And it's all different too because the academy nominated films, they can be up to 40 minutes. But even again,Michael Jamin:When you say program, when they're looking for blocks, what is their intention?Christina Beck:Well, they'reMichael Jamin:Showcasing what I mean, you have to understand that right as well. How does the film festival, how do they make money so that they would want you?Christina Beck:Right. Well that's a whole other thing. So there's different kind of aspects to that. So there's short films that are star driven, meaning you can put a star name in it. Now that always brings money and cache to a festival but not you can make a great short film and not have a star in it, is really what I wanna say. Because a good short film is something that has a very original idea. Again, it's short enough where you want more basically. And it's not making a feature and then picking a scene from the feature and making a short out of it. Sometimes you can create characters or create a separate script. So I made a short film for Fox Searchlight, I got in this new director's program with a feature script and they would not let us just take us a scene from the feature.They were like, no, no, no, you have to make a short on its own, but with the same characters and the same relative premise. So that's kind of how I learned about that trap. But to answer your question the short films that get noticed at festivals or can even get into a festival are ones that are very authentic to whatever the genre is and the writer's vision. What are you talking about? Is it something, And that's also a weird trap too, because as a writer, I don't wanna be thinking about a festival, you know? I mean that's way down the line. But you have to live in both of those realities in a way. Because if this is a calling card as a writer or as a director of Indy films you have, it's good to keep in mind, okay, I'm not gonna write a 45 minute short film and expect it to be programmed. That would set myself up to fail if I could write. WhenMichael Jamin:You say programmed, you mean, what do you mean by programmed? Are they gonna play for that weekend?Christina Beck:Yeah, so in a film festival, they have a program of films they have, whether the festival is a week long or a weekend , depending on what festival it is. But for instance, let's just say Sundance, I believe a week. So there's some pretty intense statistics that I just found out from a friend of mine. So they had the largest amount of submissions of short films this past year than ever over 10,000 short films. And they only program 59 films. So wow. like, oh my God. And Sundance is wonderful and amazing and if you can get in, great, It's not the only festival. There's a gazillion festivals and anyone is a great experience to get in and go to have that festival experience. But to answer your question about programming , are we there? The people that program the festivals are people that watch the films and decide, we have a three short film programs, A, B, and C. This is just making this up, but it's kind of how they do it. We have 30 minutes in each block, so I gotta squeeze. It all depends. Sometimes there's a film that's a little longer, but they really like it, so they're gonna put that in there. And then there's less room for other films.Michael Jamin:. And how much does it cost to submit to a festival? Usually?Christina Beck:It varies. It definitely varies and it varies. Sometimes they have early submissions that are always a little cheaper. Also depending on you can always ask for a waiver. Sometimes they give them to you, sometimes they don't. So it can be anywhere from 20 bucks to 75 to 150 bucks. It definitely can add up.Michael Jamin:When you make a film, how many festivals will you submit to?Christina Beck:Again, that all depends. There's certain festivals that you can target for. Again, there's the big five seven festivals, Sundance and Berlin and Toronto Telluride and then those are kind of the biggies. But then there's everything that tears down from there. So yeah, it can get very expensive and super daunting. And that's a whole other conversation. The film festival world. Huge, big.Michael Jamin:Now let's say you get into a festival into a big prestigious one. What is the goal? Eventually I And what is the goal? You got, you're short, eight minute film is in Sundance. What are you hoping?Christina Beck:Right, right. Well you're hoping for Eyes on the Film and that's a really also interesting question that you asked because back when those festivals, especially Sundance is a very different festival today than it was when it first started as most things are. But those, that would be the eyes, all the, everyone would be there and you would get would just get the cache of this is a Sundance film. It would give you opportunities to meet agents and if you don't have representation it'll help with that. And it's still, those things can still happen, but now you can get eyes on your film, on the internet, you know, can generate that if that's what you really want, if that's your goal. So know we need those things, but we don't as much anymore. It's a very different business today. But initially you wanna get eyes on your film people to see your work, hire you for more stuff.Michael Jamin:And when you say on the internet, you mean YouTube or Vimeo or what's the platform? Both.Christina Beck:Yeah, I think YouTube is, I don't know if Jimmy I don't know how many people, I mean you can certainly send people there, but I think YouTube a little more, right,Michael Jamin:People find right. But what do you tell your kids in your class today? Are you telling to do more on social media? Are you like a TikTok or what else are you telling to get found?Christina Beck:Well don't more talking about the actual craft of the work, whether it's directing or screenwriting. I don't come up with all of that in terms of my work is as a writer director when I made my feature, I was very fortunate to I submitted the script to well I got into that Fox Searchlight program, which no longer exists. But there are other programs, there's lots of diversity programs, different studios have programs for emerging writers. And that one at the time I was one of two women, there were all men. There was like 40 men and two women. And nowadays it's definitely even doubt a lot. But all that to say that helped with, oh she was in that program, so let's take a look at her script. And then I submitted to an organization in New York called the If P, which now is called Gotham, but they do the spirit awards and Filmmaker magazine, which is something that I started reading very early on and I got nominated for best screenplay. So from that I got on their radar. So it's kind of just taking steps to be seen. It's always about people. Knowing what you're doing and what your vision is for this work,Michael Jamin:Do you go to a lot of film festivals even when you're not in them? Do you go just to watch or to meet people or anything?Christina Beck:I do in town. Yeah, in LA I will. I went to right Berlin when I didn't have anything in Berlin sadly. But I was there, I for a meeting with some European producers and then just happened to watch some amazing films. Film festivals are great cuz you meet like-minded people, whether it's people in the industry but also you meet other filmmakers, other writers, other directors, people that are maybe a little above you, maybe you've done a little more than them, but it's a really cool, cause the energy at most festivals I went to Can God, when was it 2006? I was trying to get my feature made and I was very naive. I made a short film version of my feature and I went to Can and I had my DVDs and I had my little pitch idea and I didn't really know that these meetings that they have, cuz there's a film market, some festivals have a film market and that's always really great. Berlin has one there's a film market here at afm. Kind of different energy though for sure, but can, it was like, oh my god, I was so lost. I was just like, what am I doing here? It was amazing and it was horrible and it was like that within each hour I just felt like I was in, was so over my head and yet really cool, wonderful things happened and I met people there that I'm still in touch with today.Michael Jamin:Hey, it's Michael Jam. 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 could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist. People ask me this a lot, but do you find from where are that, it's that right meeting writers and actors and directors. Do you feel it's like collaborative or is it competitive?Christina Beck:Well, I think it's collaborative and you can kind of sniff out people that are competitive. I, I've been in quite a few groups of women especially, so back a couple, one when my first short film screened with the American Cinema Tech, not my very first short film, but the first short that I directed. And I met a woman there named Kim Adelman and she's amazing. She's written a book about short films. She's incredible and she supports a lot of female directors. And her and this guy named Andrew Crane created a program at the cinema tech. And so through that we made this thing called the Female Filmmaking Collective. And so we would bring other women directors and this was kind of, well this is like 15, 16 years ago. And then there's been other women's filmmaking groups. The film Fatals, a member of the a w Alliance of Women Directors.So all that to say there's, for the most part, the energy is very much like, yay, how can I help you? And then there's a few people that are anywhere in the world. It is, it's their personalities, the spirit of, I try to stay in the spirit of that there's enough for all of us. Cause otherwise that makes me uptight and I don't wanna be uptight. But definitely, yeah, I think I don't write with other people. I haven't yet. I've tried to in different increments, but it just hasn't quite felt right. But I do collaborating for sure. And especially filmmaking when you're actually getting in production that's like all about collaboration,Michael Jamin:Especially with the good dp, you know, What are you shooting? What do you like to shoot on? Or do you care that much? What kind of camera?Christina Beck:Well, I like things to look like film . I mean, we shot my first short that I wrote Disco Man that was shot on 16. And my dp, I found him at USC Film School and he's a really good friend and we just shot something this last spring. So that was a long time ago. He became chair of the film school that I teach at now. But all that to say, yeah, again, it's the people that you meet here, you meet them there, we're all still here and still love film making. So that said, my DP for Perfection, my feature, his name's Robert Psal and he's amazing. Cause this guy, not only is he super talented, we shot that film for two years on the weekends, two and a half years. So to get someone to literally, okay, we got a little more money, Rob, come over, we gotta shoot this other would. And then a lot of times just he and I would jump on a bus and I'd borrow a camera from a friend. We had prime lenses, which if you put that on digital cameras, it gives a more cinematic look. So we had those for a while. We shot that film literally in four different formats, meaning four different cameras. And I DidMichael Jamin:You find it matched? Okay, Did itChristina Beck:Worked for the film? I don't know. Recently someone asked to see it, this wonderful DP that I was talking to, he lives in France and I felt a little self, cause I'm like, Oh my God, he's gonna see how, And he is like, Oh, it's shot so beautifully. And I'm like, wow, nobody knowsMichael Jamin:All this.Christina Beck:Yeah,Michael Jamin:Why you don't have to worry about that stuff. Well, and what aboutChristina Beck:It's gotta be in focus, let's put it that way, . Yeah. And sound is a big deal too,Michael Jamin:For sure. Absolutely. That's huge. It's hugely important if you can't hear it. Right. But what about how concerned are you when you shoot the stuff crossing the line or the cameras? Are you relying your DP for that, making sure that you know, don't have these jump cuts because the character's looking the wrong way? AndChristina Beck:IsMichael Jamin:That your concern or you let the DP handle that?Christina Beck:Well, because so far I've been mostly acting in the stuff that I've shot. I definitely rely on my DP as well as my script supervisor. . I mean, I can tell myself when we're setting up a shot and then sometimes you can cross that line and it's okay, it's not gonna be an editing nightmare, but you sort of have to gauge it. And I don't make those kind of decisions by myself. And I really do rely so much on my DP and my script D because it's, it's that funny thing for me. What the reason I became a director in film was because I made a short that another different short besides Disco Man that it's called Blow Me. And I didn't direct it. And I did a lot of directorial stuff on that project. And my director at the time was busy with other things.And so we weren't really able to finish the film for a long time. And actually my co-star was an editor as well. So he kind of got the film and he edited and we worked on it together. And what I learned, and this goes back to the film festival thing. So in film director has the say in everything in terms of how final say on music and different stuff. And being a screenwriter and an actor and even a producer, I didn't have the same access to the vision that I had. So I thought, ooh, I need to direct this stuff . SoMichael Jamin:Yeah,Christina Beck:That's how that shifted. HowMichael Jamin:Do you go about, but how do you go about fundraising for all this stuff and what kind of budget do you usually try to get?Christina Beck:Well, it's tricky. That's the hardest part. And I just was at a film festival here in la, it's the American French Film Festival. They have it every year at the dga. And I was listening to a panel of producers and directors and from Europe and the UK and Los Angeles. And the thing is, those foreign countries, they have film funding built into their system, literally the government. And there are different types of ways that those more character driven films. This is what I'm pretty much more interested in what we would call art house films. , especially right now, there's just this huge divide, which is very mm-hmm , much like the whole world that we're in right now. So there's tiny budgets and huge budgets and the middle size budget isn't really around anymore. No support for it. And it's happening in Europe too right now. So I was listening to see, okay, are they going through it too? So that said, yeah, there's different ways. And I would say for first time directors that are making a feature or a short film for the first time, Crowdfunding's great, there's amazing platforms. I did that with a company called Seed and Spark and they were really supportive and helpful. And we haveMichael Jamin:Some, Well what do they do? What do they do that's better than putting it up on what's some crowdfunding site?Christina Beck:Well they are a crowdfunding site, butMichael Jamin:Why not just use your own, I don't know what's the difference between, well go fund me or whatever.Christina Beck:Well I don't, yeah, get, well go Fund Me I thought was more for donations. Yeah, so there's fiscal sponsorship, which is something you'd need so that people that are donating to your project get an actual tax write off that's properly done. So you wanna do that but they help curate and they have a platform. I mean, look, you've written the thing, you're doing all this work. Are you gonna set up a website so people can give you money? So, and maybe you're really good at that. Places. Well indeed, Gogo and Kickstarter, and I mentioned Student Spark because they're someone that I did it with, but all those places haven't already. It's like, why reinvent the wheel? They've done all that work. So literally you can just send people there. They take a small percentage of whatever you get and different platforms have different things. I don't know. I know there's one that if you don't make your gold then you don't get any of the money. So I didn't do that one , butBut going back to someone who's starting out and wants to make something a short or a feature and hasn't already exhausted their family and friends, there's nothing wrong with doing that. Also there's grants and And those aren't easy to come by, but they're there. And depending on, there's different places. There's like in San Francisco, there's the San Francisco Film Society has very specific grants for people that shoot in the Bay Area. And a lot of films have gotten made through that grant. They give a significant amount of money. So there are ways, and it's not easy. I mean really, ideally a private investor is great and there's gonna be a loss. So now most of the indie films, and these aren't Es, and I'm not an expert, I'm just speaking from my own experience. But an indie film may not get a theatrical release. I did not with my feature. What I did get is I got the theatrical experience in film festivals and I was lucky to be programmed in Los Angeles through the American Cinema Tech. And I got to see my film at the Egyptian Theater, which was heaven. And I was there for that. You were there. So, and now it's available to stream. So most projects go to streaming and huge projects go to streaming now. So it's just in this very differentMichael Jamin:World. Is it, where is your playing, where is the streaming now?Christina Beck:On Tubby? Tubby . AndMichael Jamin:This is per perfectionist. Which one isChristina Beck:Yes. Perfection.Michael Jamin:Which, yeah,Christina Beck:Yeah. Okay. And all that's on my website. Christina Beck do com.Michael Jamin:Christina beck.com. Interesting. Wow, that's interest. ButChristina Beck:This is, and my shorts are on there too.Michael Jamin:All your short. Is there a down, getting to a big festival, that's gotta be a game changer. But can a little festival help you?Christina Beck:Well, yes, because again, you see your film on a big screen, you see your film with an audience, you meet other filmmakers and yeah, as you know, Mr. Jamin, everything in this business is preparation and luck. So you're honing your craft , you're doing what you love. There's no slam dunk guarantee. Even with the bigger festivals. I know people that have gotten into huge festivals and got big representation and then a year later nothing. So it's like nothing. Yeah. Yeah. I guess I always say to my students, pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories.But to say something visually is powerful. I think it can change minds and hearts. So I come to it with that. And it is frustrating. I have a feature that I wrote last year that I have not made yet. We shot a few scenes in the spring with some of my students and my first dp, me, Kyle to kind of see where it lands and figure out do we wanna do a crowdfunding thing? Do we wanna try to get in Grant? Like what? And I don't know honestly, I don't know if I have the bandwidth to go through that hustle for getting financing right now. Right now. BecauseMichael Jamin:If not that, Oh well I was gonna say, if not that, then what? You know.Christina Beck:Well, right. Well, I mean look, ideally if we were all Henry Ja or somebody who has a trust fund, independent filmmaking is for people that have a trust fund basically.Michael Jamin:Or can fund, right? Or you,Christina Beck:Yeah, I'm teasing, right? Yeah.Michael Jamin:, how many, when you shoot, how many people on set, How many crew members do you wanna have? What's your skeleton crew?Christina Beck:My skeleton is probably 12 peopleMichael Jamin:That I'm surprised it's that big. So who,Christina Beck:WellMichael Jamin:Let's walk. You mean you've gotta skip supervisor DPChristina Beck:Happens fist. Yeah. Okay. Scripty, dp, ac sound mixer, boom. Makeup, hair. That could be one person blah. Who am I forgetting? Producer. Of courseMichael Jamin:You're gonna want someone with the lights.Christina Beck:Well, right. Lights, gaffer, grip. Then we have,Michael Jamin:How many cameras are you rolling at once?Christina Beck:Oh, one . Yeah, one. Okay. Yeah. Okay. Yeah. This isn't like tv, but I did actually, I made a short film with three cameras. Once I did that one I did for search site. Yeah, that's true. But that was a, people were like, Why did you do that?Michael Jamin:But that's still not even year 12. That might be, I don't know. I lost count.Christina Beck:Well, I'm missing people. I'm on the spot here. I'm trying to think. I'm totally missing people. I mean, there's craft service,Michael Jamin:Right?Christina Beck:Oh my God. Probably like the most You got people person, Yeah. Anyways, yeah. 10 to 12. It just adds a pa. You need a pa you need, yeah. Yes. But yes, you can do it with five people. I've done it with three. I mean,Michael Jamin:Are you pulling any permits or are you sort of shootingChristina Beck:That? I do permits when I am renting equipment. And I have, I've also completely gorilla so many things.Michael Jamin:Wait, if you have, why do you have to have a permit if you rent co equipment they requireChristina Beck:Because yeah, you have to have insurance and there's film LA and yeah, there's a whole thing that needsMichael Jamin:To happen. Yeah. People get paid off. Yeah.Christina Beck:. Well, it's kinda a, Yeah,Michael Jamin:It's hard and happens. Yeah, it's hard. It's a hustle. But you do it cuz you love doing it, right?Christina Beck:Yes. Yes. That is true. Right? That is true.Michael Jamin:And how many scripts do you have that are just sitting around that? Are you, I guess I won't even try with that one or,Christina Beck:Yeah, I know that breaks my heart cuz I was at a ratio of, at one point having everything produced. I was like, I don't remember everything's been produced. But now I've written more scripts. I like, Yeah, I have probably, but not a ton. I have a couple features and I've written a few series, so yeah, Not yet. Not yet. ButMichael Jamin:What about just something you could do and now we'll wrap it up cause I don't wanna keep for chill up. But what about doing something where you could just shoot it in your apartment? Write it specifically for your apartment?Christina Beck:Yeah, well I would still need to get permission from my landlord. I'd still need to get equipment. Cause you can't shoot without permission if you wanna have insurance and you have to have insurance. Now look, my , my feature perfection in my old apartment, I actually did have permission from my landlord, but we shot so much of it just really running gun. And that can be done. That can have, But you still, And also I wanna pay people. I'm at a place where I can't ask people to work for free. Now if it's your first project and stuff, I encourage everybody to ask people to work for free if you treat them well. And if they're newbies too and it's a shared experience of discovery and stuff and they feel connected to the work and you feed 'em well, you gotta feed well. You gotta giveMichael Jamin:'em some very, But it seems like you have the perfect person for that because you have a bunch of students who wanna just get their names on stuff.Christina Beck:That's true. That's true. Yeah. Well, and I would probably and probably will end up shooting this feature with, And look, my students are amazing. They are so talented and professional when I get on their set. So this year I've had two students cast me in their short films. So I got to show up really as an actor on these. That's fun. Well, it's great because I was talking to the other film professors, because we work with them on the scripts and we sign off the scripts and then they go off and shoot. So these, they're kind, they're on their own, they're chaperoned and then they come back and bring, and we work on the edit and stuff, but we don't know what really goes on in those sets. So I was saying to this other professor the other day, I'm like, Yeah, I was there. I gotta be there and see what, And the truth is these students are wildly professional and I wouldn't really honestly wanna work with anyone else. But then they are so good. SoMichael Jamin:Someone called me up a student, I don't wanna say where they needed a 50 year old man. Now I don't play 50. We all know that. I play mid thirties ofChristina Beck:Course.Michael Jamin:But I was like, right, I didn't really wanna do it. I was like, all right. And then he goes couple weeks later he's like he's like, Yeah, well we're gonna need you to read . I wasChristina Beck:Like,Michael Jamin:I'm off only . Oh my God. I didn't want it that bad. But I think that was part of the experience that they wanted to have was they wanted actors. I'm not reading dude Christina Beck:Great. Well they're trying out their stuff I guess. Who knows? In terms of, Yeah, but wrong guy. They got the wrong guy with you.Michael Jamin: offer only.Christina Beck:That's right. That's right. Mr. Jam .Michael Jamin:How funny. Yeah. So, alright. This is so fascinating cuz this is a world I know nothing about this whole people cause people ask me all the time I got India. I don't know, Ask Christina. So where do people follow Christina back on? How do they learn more about what you're doing?Christina Beck:Well, like I said, my website and then myMichael Jamin:Give it to you again so that,Christina Beck:Okay. It's christina beck.com. There you go. And yeah, and then I'm on Instagram X Beck. AndMichael Jamin:What do you mean wait, X dyna? How do you spell that?Christina Beck:X I don't remember that. T I n a.Michael Jamin:Oh it. So it's X.Christina Beck:Yeah.Michael Jamin:I dunno why you said Ina. We'll work on this later. Christina Beck:Put a little thing up there. We don't have to talk about it. Yeah, yeah. And I just wanna say lastly, I am so not an expert on this. Please. I've been just finding my way as I go. But you know, I've watched other writers, The path is just, it's just not a straight line. And I think to stay connected to purpose and okay, I feel like I gotta tell certain stories. And when I talk to my students about this, okay, why do you have to tell this story? And we ask ourselves those questions and why now and all those things. Which in as far as indie film goes, I feel like we're in a little bit of a dip right now where the character driven independent films, at least in America, are not being celebrated as they once were. . And I believe that that'll shift.And I talk, I've talked to many people about this and we've gone through so many different, you know, can look back in the 1970s where Paramount was like studios were making beautiful character driven films. And I don't know if we'll ever go back to that, but I do think like you said, you can have a tiny crew and you could make something. I could make something in my living room. Absolutely. And one of my favorite filmmakers is a woman named Barbara Loden. She sadly passed away a long time ago. She was an actress. She actually was married to Ilie Kaza and she made a film called Wanda. And it's an amazing film and you can find it online. It's on the Criterion Channel and different places like that. But she had a tiny crew. She had maybe six people. And , sometimes people besides the attacks right off, they wanna contribute. They wanna be a part of it. They wanna be a part of this passion storytelling.Michael Jamin:Sometimes they also wanna give you their notes. Right?Christina Beck:WellMichael Jamin:Sometimes that money goes and comes with strengthsChristina Beck:Or here's the other thing. Yeah. Find an actor who really wants a great part that has some dough that wants to coce or something. And you guys can collaborate on that and you can write something that's really great for them that they would never get cast in. There's a lotMichael Jamin:Of you recommended. That's a great idea. That's a great idea. You recommended to me to watch Thunder Road. Remember that? Oh yeah,Christina Beck:I watch that. The short.Michael Jamin:And I loved it That and I loved, and I didn't realize I didn't, it was actually, I watched the scene from it, but it was actually, I guess a feature or whatever, but the scene stood on its own. I go, this is a beautiful it short. But it was a beautiful scene.Christina Beck:Oh, so you watched from the feature or did you watch the short film?Michael Jamin:Yeah. Yeah. Cuz I think you gave me the link to Vimeo or something. OhChristina Beck:Okay.Michael Jamin:I just watched that one church scene where he wasChristina Beck:Like, Yeah, yeah.Michael Jamin:So over,Christina Beck:Yes. That guy is amazing. He's the real deal. He's a guy to follow. Cause he's Joe Independent film. He, Jim is his name actually . And he makes stuff and he works as an actor. He'll do commercials, whatever. And then he'll take that money and that's what caves did. Caves made whatever he was working in television stuff he wasn't crazy about. And then he would take that money and then he would just make the films he wanted to make. So maybe it hasn't changed at all. It just goes back to that thing again where if you have this story you gotta tell and it does start with theMichael Jamin:Story. What kinda stories do you feel you have to tell?Christina Beck:Well I feel like I almost keep telling the same story, but I, I'm reallyMichael Jamin:Love different versions ofChristina Beck:It. That's right. That's, as I get older, I get this different perspectives of it. But I do, I love the story of people, characters that have perceived limitations or real ones and they slowly find their way out of that predicament. And yeah, I like happy and things. I like to see the journey of someone of starting off in a place where they don't feel and they get a little better.Michael Jamin:And you said before I cut you off, you was, it all starts, the focus has to be on the script.Christina Beck:It's all about the script. That's the blueprint. That is the blueprint. Especially if you're shooting with no money and no time. And because you don't have the luxury and we never have the luxury. You see it all the time and any budget level. But the truth is, the script really is everything starts there. That's how you get anybody on board. That's how you can refer if a DP who's maybe a great DP and wants to do something small because he loves the story or he loves the subject matter and that script should be tight and ready to shootMichael Jamin:. Right. And because you could shoot something and you get the biggest crew and the biggest budget and it looks like a movie. But if the script sucks, so what? No, it's not anyone's gonna wanna watch it, but it may look like a movie. Yeah,Christina Beck:Yeah, that's right. And then it won't get programmed really in festivals cuz there's so much competition. I just think that thing that we kind of all know, make it a personal story, doesn't have to be autobiographical, but make it something that you really connect to or a topic that really you do have some experience in that you can bring something that maybe we haven't seen yet or we haven't seen from that angle, like you said. Yeah. That's the stuff that's really gold. I love that Thunder Road short. It's such a great example of a guy who just took a very, very simple premise. And the other kind of novelty of that short is he shot it in one take, which is pretty cool. That's not easy to do.Michael Jamin:That's not easy. What I'm saying. He did it and that's a novelty. But as you pointed that out, I forgot. I like the story of it.Christina Beck:Well that's the thing, you should just be looking at it like, oh, where's the cut? No, we wanna be engaged. And that was very engaging and that was a very personal story. I mean, I don't know about his personal story, but I know that I felt that in his work. Yeah,Michael Jamin:Yeah. It's all about that. It's all about being vulnerable and about sharing something that's that only you can do, right?Christina Beck:Yeah. Yeah. I mean hopefully, I mean, I don't know, I think it's two, there's too many topics now that people are dealing with in terms that need to, voices that need to be heard in the world, I believe. And yeah, this is a powerful way to get our voices out,Michael Jamin:But that means writing. So that's what I think cuz everyone's looking for diverse voices and voices that have been underrepresented. So that means writing about, I think your experience, that's what we want from youChristina Beck:Because Well, I think so too.Michael Jamin:Yeah. Now's your shot.Christina Beck:Yeah, I think so too. No one can steal your idea. That's a whole thing too. Sometimes people are like, Oh no, someone's gonna steal this idea. Well there's real, there's not that many ideas really when you think about it, the same story over and over. I'm still telling the story of someone overcoming. I love characters that overcome their limitation or their perceived limitations or their background. I come from alcoholism and all sorts of other things. And that doesn't mean that I'm gonna keep getting it on the nose with those topics, but it informs the way I look at the world growing up in that environment. And today I'm really grateful for that. But when I started writing, I was still very tortured by that. So , but keeping it, that process of keeping it personal and having that point of view with those circumstances makes it only something that I can sayMichael Jamin:I Christina, I think everyone should start taking your class one of either your classes, but the LMU one is a little difficult cause they have to enroll, but the other one Yeah.Christina Beck:Well, yes, is different. Yeah. I mean, I'm also, I do workshops too sometimes, so,Michael Jamin:Oh, you do private workshops?Christina Beck:I do screenwriting workshops.Michael Jamin:And Is that on your website as well?Christina Beck:Yeah, not right now, , but it was, Oh,Michael Jamin:How would that basically work? Yeah.Christina Beck:Well, I've worked, so I've done six weeks workshops where we really start off with, Okay, what's the story you wanna tell that's most personal to you? And so it's literally creating a character or that story from the point of view of the storyteller and the steps to take, whether it would turn into a series or a short film, or a feature or a play.Michael Jamin:And it's six weeks and it meets once a week or something.Christina Beck:Correct.Michael Jamin:That sounds really good. How many people are in that course, or outta time?Christina Beck:Well, it's different times I, It's been usually pretty intimate. Not a ton of people , but now we can do stuff on Zoom, which is great. Right.Michael Jamin:Wow, that sounds pretty cool. Yeah, people should check you. Yeah, you better put that up once this, IChristina Beck:Guess. I guess I'm Do that. Yeah, I guess so. ButMichael Jamin:Tell people where to find that again, so in case that you make that happen, that sounds like a beautiful thing.Christina Beck:Oh, thanks. Yes. Christinabeck.com.Michael Jamin:Christinabeck.com. Christina, thank you so much for joining me. This is a good talk. I thought this wasChristina Beck:Really helpful. Thanks, Mr. JaminMichael Jamin:Now I wanna be an independent filmmaker.Christina Beck:No, you don'tMichael Jamin:. No, you don't.Christina Beck:If you wanna make money. No. There are some that make money. There are some that make money, right? Yes, yes, yes, yes. But yeah, thank you. Thank you so much. It's so fun to talk with you, Mr.Michael Jamin:Yeah. Thank you. Thank you. I'm gonna sign up, right? Everyone, Thank you for listening. And yeah, for make sure you get on my free weekly newsletter michaeljamin.com/watchlist. What else we gotta talk about? We have a course. Yeah, we can check out my course at michaeljamin.com/course. And if we post this in time, I don't know, but I'll be doing two shows in Boston, November 12th and 13th from a paper orchestra. It's my stage reading, and then two shows in December 10th and 11th. And for tickets, go to michaeljamin.com/live. All right. Thank you again, Christina. Wonderful.Christina Beck:My pleasure. Thank you. Thank you. Thanks for asking. Yeah.Michael Jamin:Hey, it's Michael. One more thing. Come see me perform. I'm going to be in Boston area, actually, Amesbury, Massachusetts on November 12th and 13th at the Actor studio, performing my show, a paper orchestra. And then I'm gonna be back in Los Angeles on December 10th and 11th again at the Moving Arts Theater Company. So tickets are on sale. Go get 'em at michaeljamin.com/live. It's a small, intimate venue. I'm gonna be performing for my collection of personal essays, and each one's gonna be followed by like a 20 minute q and a. We get to talk about the work. It's a fun event. So I hope to see you there. Go get them tickets again are at michaeljamin.com/live, and of course, sign up to my weekly newsletter that's called the watchlist at michaeljamin.com/watchlist.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review ,and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhillaHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.
Larry Mantle and KPCC film critics Tim Cogshell, Wade Major and Charles Solomon review this weekend's new movie releases in theaters, streaming, and on demand platforms. Also on the show, John Horn interviews ‘Battleground' director Cynthia Lowen. FilmWeek: ‘Amsterdam,' ‘Lyle, Lyle, Crocodile,' ‘Tár,' ‘Hellraiser' And More (0:15) “Amsterdam,” Wide Release “Lyle, Lyle, Crocodile,” Wide Release “Tár,” Select AMC Theaters; Expands to Wide Release October 28 “Triangle of Sadness,” Multiple AMC Theaters “Piggy,” Alamo Drafthouse [DTLA]; Expands to additional theaters & VOD October 14 “Iké Boy,” Digital & VOD October 11 “Battleground,” Laemmle Monica Film Center [Santa Monica]; Expands to multiple Laemmle locations October 11 “Young Plato,” Laemmle Monica Film Center [Santa Monica] “Taming the Garden,” Laemmle Royal [West L.A.], Claremont, and Glendale starting October 10 “Pretty Problems,” Laemmle Monica Film Center [Santa Monica] & VOD “Mortal Kombat Legends: Snow Blind,” Digital & VOD October 11 “Quintessentially British,” VOD October 11 “Hellraiser,” Streaming on Hulu “Tiger 24,” Laemmle NOHO 7 [North Hollywood] “To Leslie,” Laemmle Monica Film Center [Santa Monica] & VOD John Horn's Interview about ‘Battleground' with Director Cynthia Lowen (40:50) Three years before the Supreme Court overturned Roe versus Wade, filmmaker Cynthia Lowen started work on her documentary ‘Battleground'. The film follows the efforts of anti-abortion activists, and shows how they were able to succeed despite the majority of Amercians' support for abortion rights. The documentary ends before the Supreme Court strikes down Roe in its Dobbs decision, a move seemingly preordained in light of Lowen's film. Today on FilmWeek, KPCC's own John Horn sits down with Cynthia Lowen to talk about the making of ‘Battleground.'
GREG LAEMMLE is President and CEO of Laemmle Theatres, the LA-based family-owned arthouse theatre chain. Due to his professional, community and charitable work, he was invited to join the Academy of Motion Picture Arts & Sciences, an honor extended to very few exhibitors. Read Greg's chapter “The Independent Exhibitor” in The Movie Business Book. Host Jason E. Squire is Editor of The Movie Business Book and Professor Emeritus, USC School of Cinematic Arts. Music: “The Day it All Began and it All Ended” by Pawel Feszczuk (License: CC by 4.0)
Can we evolve consciousness? Can we align ourselves with nature? Can we redesign our civilization? These questions and more are explored in the new documentary film, 2012: Time for slated for theatrical release in Los Angeles at the Laemmle's Sunset 5 October 8th and in New York City at the AMC Loews Village 7 for exclusive limited engagements. The evening screenings are followed by a post Q&A with experts featured in the film and leading luminaries in their respective fields including Mallika Chopra , Founder of Intent.com , don Jose Ruiz author and Toltec Shaman, Elizabeth Thompson of the Buckminster Fuller Institute, Yogi Ganga White, Tiokasin Ghosthorse and more. Directed by Emmy Award nominee João Amorim, the film follows journalist Daniel Pinchbeck, author of the bestselling book, 2012: The Return of Quetzalcoatl, on a quest for a new paradigm that integrates the ancient wisdom of tribal cultures with modern science. This provocative independent film posits, "As conscious agents of evolution, we can redesign post-industrial society based on ecological and spiritual principles to make a world that works for all?" 2012: Time for Change presents a refreshing and optimistic alternative to apocalyptic doom and gloom and features leading experts, scientists and celebrities including; Sting, Ellen Page, David Lynch, Barbara Marx Hubbard, Gilberto Gil, Dean Radin, Buckminster Fuller, Paul Stamets, Shiva Rea, Bernard Lietaer, Terrence McKenna , Ganga White and many more. ******************************************************************To listen to all our XZBN shows, with our compliments go to: https://www.spreaker.com/user/xzoneradiotv*** AND NOW ***The ‘X' Zone TV Channel on SimulTV - www.simultv.comThe ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com ******************************************************************
Larry Mantle and KPCC film critics Tim Cogshell, Andy Klein and Charles Solomon review this weekend's new movie releases on streaming and on demand platforms. FilmWeek: ‘Honk For Jesus,' ‘The Rings Of Power,' ‘Kaepernick & America' And More “Honk For Jesus,” Wide Release & Streaming [Peacock] “The Lord of the Rings: The Rings of Power,” First Two Episodes Streaming on Prime Video; Remaining six episodes will debut each subsequent Friday one at a time. “Gigi & Nate,” Wide Release “We Are As Gods,” Laemmle Monica Film Center [Santa Monica] “Kaepernick & America,” VOD (Amazon Prime Video, Apple TV+) and Cable On Demand (AT&T, Comcast, Dish) “Love in the Villa,” Netflix “Our American Family,” Laemmle Monica Film Center [Santa Monica]; VOD September 6 “Burial,” Laemmle's Glendale Theater & VOD “Peter Von Kant,” Laemmle Royal [West L.A.], Laemmle Glendale, Laemmle Town Center [Encino] & Aero Theater [Santa Monica] “One Way,” Laemmle Royal [West L.A.] “McEnroe,” Streaming & VOD Platforms for SHOWTIME subscribers starting September 2; airs on SHOWTIME September 4 at 7 p.m. PT “The Movie,” VOD platforms starting September 6 “Tiny Cinema,” Laemmle Monica Film Center [Santa Monica]; VOD [iTunes] September 6 With Major Releases Like ‘LOTR: The Rings Of Power' And ‘House Of Dragon' – What Makes For A Good Fantasy Adaptation?
Esta semana, el fundador de Universal Studios
Esta semana, el fundador de Universal Studios.
Esta semana, el fundador de Universal Studios.
TVC 585.2: Julian David Stone talks to Ed about the many ways in which wunderkind producer Carl Laemmle Jr. changed Universal Studios and the face of movies altogether in the 1930s. Julian's latest novel, It's Alive!, captures the vibrant, exciting, and often chaotic days of 1930s Hollywood while also weaving in such actual figures as Bela Lugosi, director James Whale, legendary gossip columnist Louella Parsons, and Boris Karloff himself. It's Alive is available in hardcover, as an eBook, and as an audiobook through Greenleaf Book Group and Amazon.com. Julian David Stone's other books include No Cameras Allowed: My Career as an Outlaw Rock 'n' Roll Photographer: 1981-1987, the amazing story of how Julian managed to sneak camera equipment into rock concerts over a six-year period during the mid 1980s (and, along the way, amassed a collection of more than 10,000 up-close-and-personal photographs of some of the biggest rock stars of the era), and The Strange Birth, Short life, and Sudden Death of Justice Girl, a historical novel based in the world of the 1950s live television that is currently being developed into a TV series. For more on Julian, visit JulianDavidStone.com. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices
In this week's Jean Arthur Acteurist Oeuvre-view episode, we look at two more movies from 1935, Public Hero No. 1 (directed by J. Walter Ruben for MGM) and Diamond Jim (directed by A. Edward Sutherland for Universal, with a screenplay by Preston Sturges). In the first, Arthur injects some screwball swagger into a Code-era gangster drama with an FBI agent hero; in the second, she has a dual role as the love(s) of Edward Arnold's life. We consider the qualities Arthur brings to these films, for which she was loaned out by Columbia, and marvel at the dark oddity of Diamond Jim, made not long before the advent of the post-Laemmle banker regime at Universal that thwarted Preston Sturges' first shot at directing. Time Codes: 0h 01m 00s: PUBLIC HERO NO. 1 (1935) [dir. J. Walter Ruben] 0h 30m 17s: DIAMOND JIM (1935) {dir. A. Edward Sutherland] +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project! Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join!
You love him as Jiminy Cricket in Once Upon a Time, but do you know what Raphael Sbarge wishes for upon a star when is not busy portraying some of television's most iconic characters? A trip to the movies. That's right Raphael Sbarge loves going to the movies, so much in fact that he even made a documentary about it! He tells hosts Clare Kramer and David Magidoff all about that movie magic, the moment when he first fell in love with cinema, how it can bring a smile to his face on a bad day, and why watching movies at home just isn't the same, only on Fanaddicts. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
In Laupheim war so einiges los – denn es wurde der Carl-Laemmle-Produzentenpreis 2022 im Schloss Großlaupheim verliehen. Der Filmpreis ging dieses Jahr an die Filmproduzentin Gabriela Sperl. Der Filmproduzentin Dr. Gabriela Sperl wurde am 12. Mai 2022 in der Carl-Laemmle-Geburtsstadt Laupheim im Rahmen einer feierlichen Verleihung für ihr bisheriges Lebenswerk als herausragende Produzentenpersönlichkeit mit dem Carl Laemmle Produzentenpreis 2022 ausgezeichnet. Damit wird die leidenschaftliche Filmemacherin für ihr bisheriges Lebenswerk geehrt. DONAU 3 FM Reporterin Tabea Aust war vor Ort und hat nicht nur die Gewinnerin getroffen.
Als Produzentin sei ihr Ziel, etwas zu erzählen, in dem sich Menschen wiedererkennen, sagte die Trägerin des diesjährigen Carl-Laemmle-Produzentenpreises, Gabriela Sperl, gegenüber SWR2, „etwas, wo sie was mitnehmen für ihr eigenes Leben.“ Dabei würden viele Filmstoffe einfach vor ihr stehen. Auf das Thema Kinderhandel etwa hätten sie gleich drei Personen - zwei Freunde und eine Journalistin - aufmerksam gemacht. „Das Thema hat dreimal bei mir angeklopft und dann habe ich gedacht, jetzt kann ich nicht länger wegschauen.“ Daraus seien dann die Filme „Operation Zucker 1“ und „Operation Zucker 2“ entstanden. „Ich habe immer wieder Unterstützer gefunden, die gesagt haben: Ja, das machen wir.“ Grundsätzlich sei ein guter Produzent bzw. eine gute Produzentin jemand, der Stoffe finde, der dafür die Menschen suche, die Regie führen könnten, der dann diese Vision verkaufe und dafür auch Partner finde, sagt Sperl. Über den Carl-Laemmle-Produzentenpreis freue sie sich sehr, „denn Laemmle ist eine Legende“.
ACCN Color Commentator and Louisville alumni Jessica Laemmle joins Brian in Episode 14 to talk about her days a player, her new life in broadcasting, Jeff Walz, and a complete breakdown of the NC State debacle.
Written and Read by Mick RhodesFeatured in the December 10th, 2021 Edition
Written and Read by Mick RhodesFeatured in the December 10th, 2021 Edition
As we announced in last week's episode, Unearth is releasing theatrically on Earth Day: Thursday, April 22, 2021. In this episode, we bring you our full conversation with Gregory Laemmle, the President of Laemmle Theatres in Los Angeles county. Greg saw our pitch email and Laemmle Theatres became the first venue in the USA & Canada to agree to program Unearth. Tickets available now! We talk about meeting the arthouse demand in Los Angeles, the importance of curation, pandemic shutdown, challenges, pivoting to virtual cinema and re-opening. Listen wherever you podcast. Patrons of Lyons Den Productions will receive the complete conversation in the coming weeks. For more information go to www.patreon.com/lyonsdenproductions. About Laemmle Theatres (from their website): Laemmle, pronounced "LEM-lee", is synonymous with great independent, foreign, and art house cinema. In over 75 years of operation, we have been guided by our commitment to exhibit "quality film without regard to genre or provenance". Our theaters serve over a million film patrons each year from several locations in the greater Los Angeles region including West Los Angeles, Santa Monica, Pasadena, North Hollywood, Claremont, and Santa Clarita. In addition to standard movie-going, Laemmle provides unique cinematic experiences such as one-night screenings, special events, premieres, and Academy qualifications. These events reflect Laemmle's commitment to being an artistic resource and gathering place for the entire Los Angeles community. In addition, our popular Sneaks Club gives over 60,000 cinephiles access to movies prior to their release, helping to create a buzz for an eclectic range of films that may rate high on artistry yet lack the marketing reach of big Hollywood releases. Laemmle is a scion of cinema's golden age. The company was established in 1938 by Kurt and Max Laemmle, nephews of legendary Universal Pictures founder Carl Laemmle (click here for an amazing video of Carl Laemmle and Albert Einstein! speaking in German together). The company is currently run by Robert Laemmle and his son, Greg Laemmle. | Published on April 14, 2021 | Produced by Lyons Den Productions | Hosted by John C. Lyons | Music by Tony Grey | Support CINEMACTIVIST and Lyons Den Productions by becoming a Patron at www.patreon.com/lyonsdenproductions --- Send in a voice message: https://anchor.fm/cinemactivist/message
Real life lesbian vampire/podcaster Annie Rose Malamet joins the crew to talk the 1936 sapphic sequel DRACULA'S DAUGHTER! Brennan shares the history of how this movie brought the Laemmle dynasty to its knees, Nay denounces whistling, Sam lets his inner Ru queen loose, and Michael struggles with his feelings about Stephen Dorff. Plus, in Tea Time we sip on SCREAM 3 & 4, DEAD TO ME, DETECTIVE PIKACHU, WINE COUNTRY, and YouTube Munchausen docs. Follow Annie Rose Malamet on Instagram @fatgawth Follow Girls, Guts, & Giallo on Twitter and Instagram @girlsgutsgiallo Find us on Twitter and Instagram: @queerwolfpod You can follow the whole crew here... Nay: Twitter & Insta @blakkcupcake Art Insta @gaudylosangeles Michael: Twitter @michaelkenken Sam: Twitter and Insta @samwineman Brennan: Twitter @itsrainingbrens Insta @theburningclem
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