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In this episode, Hayley and Amy talk with producer and RISE Program Manager Victoria Detres about embracing humanity through storytelling, creating a culture of care in the theatre industry and beyond, building sustainable theatrical spaces that are inclusive of artists from underrepresented groups, and more. We also highlight Hannah Cowley as part of our Women's History Month Playwrights You Should Know series, in partnership with Expand the Canon. Click here for a transcript of the episode!Episode NotesHosts: Hayley Goldenberg and Amy AndrewsGuest: Victoria DetresMusic: Chloe GellerEpisode Resources:Check out Victoria's mini-interview - from the Women & Theatre Season 4 RISE bonus seriesRISE TheatreTectonic Theatre ProjectThe Play CompanySOCIETY Theatre CollectiveRISE Theatre Inaugural SummitWomen's History Month:Expand the Canon - A Bold Stroke for a Husband by Hannah CowleyTrailblazers of the Week:Team Women & Theatre: Beth Rosebrook, Sylvia Blair, Courtney Seyl, Ally VaritekKate WillardAnnouncements:Join us for virtual co-working on April 8 at 11am ET on Zoom!Stay tuned for Women & Theatre Podcast Season 5 Part 2, coming June 3!Guest Bio:Victoria Detres (she/her) is a Puerto Rican and Albanian producer born and raised in New York City. She is passionate about building a platform for contemporary theatre's innovative voices, particularly those of the global majority. While highlighting these voices, Victoria also aims to dismantle the structures that do not allow for access and restructure for equity and accessibility. Formerly, Victoria has worked as the Producing Assistant at Octopus Theatricals and Associate Producer at Broadway & Beyond Theatricals. Victoria is one of the co-founders of the RISE Theatre Directory, in partnership with Lin-Manuel Miranda, the Miranda Family Fund, and Maestra Music. Currently, Victoria leads RISE Theatre as the Program Manager. Additional credits include THE KITE RUNNER (The Hayes Theatre, Associate Producer), SOCIETY Theatre Collective's productions of Mona Mansour's BEGINNING DAYS OF TRUE JUBILATION and Emily Zemba's THE STRANGERS CAME TODAY (The New Ohio, Line Producer). Learn more at www.victoriadetres.com.Find Victoria Online:Visit Victoria's websiteCheck out Victoria's RISE Theatre Directory profileConnect with Victoria on LinkedInFollow Victoria and RISE Theatre on Instagram Thanks for listening!Who do you want to hear from next on the Women & Theatre Podcast? Nominate someone here.The Women & Theatre Podcast is created and produced by Hayley Goldenberg and Amy Andrews. Please like, comment, subscribe, follow us on Instagram and Facebook, and consider making a donation to support our work. Thank you for listening!
Paul gauges the temperature of what concerns the people of Cork have Hosted on Acast. See acast.com/privacy for more information.
Use offer code MIDDLE50 when signing up to get 50% off your first month off a Patreon subscription! Now through March 7th! Patreon.com/MiddlingPodEden's one-person show, "I Was On a Sitcom," is taping the show on March 9th in Los Angeles, and you can be in the audience! Use offer code SITCOM at EdenSherLive.com for buy-one-get-one tickets!Get our your calculators - we're nickel and diming today! After catching each other up on what we missed over our hiatus, we're breaking down 202, "Homecoming," with our Line Producer! Werner Walian (Fresh Prince of Bel Air, Platonic) talks all about what it means to be the operations manager of The Middle. Plus, the amount of money wasted in unaired scenes in a single season will take your breath away!Want extended episodes and video? That's all happening at Patreon.com/MiddlingPod. You can subscribe monthly or purchase one off episodes!Wanna chat with us?! Click HERE to leave us a voicemail with your questions or comments. You could just hear it on the podcast...All that and much more, so let's get to Middling! Hosted on Acast. See acast.com/privacy for more information.
With Pancake Tuesday tomorrow, Opinion Line producer Paul Byrne hits the streets to find out how people celebrate it! Hosted on Acast. See acast.com/privacy for more information.
Tell us what you though of the episodeToday, my guest is Taha Sadaqat, who served as the Line Producer for Netflix's The Greatest Rivalry: India vs Pakistan. He played a key role in managing the complex Pakistan shoot and shares insights from working with cricket legends like Shoaib Akhtar and Javed Miandad. In this episode, we explore his journey in cinema, collaborations with international stars, and his passion for storytelling within one of the world's most iconic sporting rivalries.Taha Sadaqat is a Pakistani entrepreneur known for his work in healthcare and entertainment. As CEO of Willing Ways, he oversees addiction treatment services across multiple cities, while also providing professional training in leadership and communication. He has managed top celebrities like Shoaib Akhtar and the band JoSH and was a producer for the 2018 film Teefa in Trouble. A graduate of GCU with a Master's in English Literature, he is recognized for his expertise in both business and media.#documentary #championstrophy #netflix #pakistancricket #livecricketmatchtoday http://twitter.com/dreamingkingdomhttp://instagram.com/kingdomofdreamspodcasthttp://facebook.com/kingdomofdreamspodcast Watch the feature films that I have directedCitizen of Moria - https://rb.gy/azpsuIn Search of My Sister - https://rb.gy/1ke21Official Website - www.jawadmir.com
96FM Opinion Line Producer Paul Byrne asks people should the tree be real or fake? Hosted on Acast. See acast.com/privacy for more information.
Opinion Line producer Paul Byrne checks out Christmas turkeys at East Ferry Farm and meets shoppers and traders in The English Market and around Patrick Street. Hosted on Acast. See acast.com/privacy for more information.
PJ hears from Paul about a house attack that went viral overnight plus he gets an update on the Patrick St assault Hosted on Acast. See acast.com/privacy for more information.
In this episode of the She+ Geeks Out podcast presented by Inclusion Geeks, we interview Sara Seligman, a writer, producer, and director whose work includes the film "Ramadan America" and the feature "Coyote Lake." Sara shares her journey from training as a ballet dancer in Mexico to becoming an actress in telenovelas to transitioning into directing and producing films. She discusses the challenges of breaking into the industry as a Latina and the complexities of different directing and producing roles in film and television. Sara also touches on the significance and controversies of the term 'Latinx,' and the importance of diverse representation in the media. We also discuss our journey from "She Geeks Out" to "Inclusion Geeks," explaining how our name change better reflects our dedication to Diversity, Equity, and Inclusion (DEI) training. Join us as we discuss our evolution from "Boston Girl Geek Dinners" to our current mission, highlighting our broader focus beyond gender to include race, ethnicity, social class, disability, and more.Links we discussed:Ramadan AmericaCoyote LakeSara Seligman InstagramInclusion GeeksInclusion Geeks InstagramChapters:(00:00) Introduction and Podcast Rebranding(00:53) The Evolution of Our Name(03:40) Why 'Inclusion Geeks'?(06:34) Celebrating Birthdays and Switching Topics(08:13) Interview with Sarah Seligman(09:37) Sarah's Villain Origin Story(18:05) Moving to LA and Producing Films(27:16) Role of a Line Producer(28:46) Balancing Director and Producer Responsibilities(32:55) Breaking into Directing(33:42) Challenges in Different Directing Fields(37:50) Commercials vs. Narrative Directing(45:38) Leadership and Management in Film(52:28) Representation and Identity in Film(01:01:40) Final Thoughts and Contact Information Visit us at InclusionGeeks.com to stay up to date on all the ways you can make the workplace work for everyone! Check out Inclusion Geeks Academy and InclusionGeeks.com/podcast for the code to get a free mini course.
Présentation de Claire Léger, Line Producer chez Twin Sails Interactive Je vous présente Claire Léger, Line Producer chez Twin Sails Interactive, anciennement Asmodee Digital. Claire accompagne les studios de jeux vidéo dans la finalisation et la publication de leurs jeux sur diverses plateformes, en assurant un soutien financier, technique et marketing. Résumé du podcast Dans cet épisode, j'ai eu l'opportunité de discuter avec Claire Léger lors du GameCamp. Nous avons exploré son rôle de Line Producer, son parcours professionnel et les services offerts par Twin Sails Interactive aux développeurs de jeux vidéo. Claire a partagé ses conseils pour les développeurs indépendants, les étapes pour trouver un publisher et l'importance de la communauté et du marketing dans le succès d'un jeu vidéo. Liste des questions posées Présentation personnelle : Comment te présenterais-tu en soirée ? Description du métier : Peux-tu décrire ton rôle de Line Producer et le métier de Publisher ? Parcours professionnel : Peux-tu nous parler de ton parcours et de tes études ? Processus pour les développeurs indés : Comment les développeurs indépendants peuvent-ils entamer des discussions avec des publishers ? Types de jeux et plateformes : Quels types de jeux et sur quelles plateformes publiez-vous chez Twin Sails Interactive ? Game Pass et abonnements : Comment fonctionne le processus pour intégrer un jeu au Game Pass ou à d'autres abonnements ? Red flags et green flags : Quels sont les éléments positifs et négatifs que tu observes lors de l'évaluation des projets de jeux ? Concepts originaux : Quelle est votre approche face à des jeux qui cassent les codes ou ne suivent pas les tendances ? Études de marché : Quelle est l'importance des études de marché et comment les réaliser ? Marketing pour les indés : Peux-tu détailler le paquet marketing que vous proposez aux studios ? Conseils aux développeurs : Quels conseils donnerais-tu aux développeurs pour maximiser leur visibilité et succès ? Importance du GameCamp : Pourquoi est-il important de participer à des événements comme le GameCamp ? Liens utiles Site de Twin Sails Interactive : Twin Sails Interactive J'espère que cet épisode vous a apporté des insights précieux sur le monde du publishing dans l'industrie du jeu vidéo. N'hésitez pas à consulter les liens pour en savoir plus sur le travail de Claire Léger et Twin Sails Interactive. À bientôt pour un prochain épisode !
Harrison is still filming his movie and still inviting guests on that are part of it. This week is no different. Harrison is joined by another crew member of his upcoming feature film "Writer's Block". Entrepreneur, filmmaker, Photographer, owner of Adalaid's Fort, AD, and Line Producer; Victoria Bedingfield. As Harrison and Victoria discuss things like social media, cinema, and other interesting topics of conversation, they're joined by Harrison's dog Luke. Harrison and Victoria of course partake in some good old fashioned sh** talking. #cinema #podcast #entrepreneur
Send us a Text Message.Join host Jonny Diaz as he welcomes Producer, Brenda Blair. Brenda delves into her journey as a filmmaker, sharing insights from her previous pojects and the challenges she faced along the way. She highlights the importance on how her unique perspective shapes her creative process. Brenda also discusses her future ambitions about her newest venture as a certified Pilates instructor for film crew members at her new Pilates Studio, Misfit Pilates. Check her out at https://www.misfitpilates.com/IG - @bis4brenda, @misfitpilates805For More please visit: www.SoloPictureStudios.comFollow: @SoloPictureStudios - InstaGram & Youtube. Like, Rate & Subscribe Thanks!
Unser heutiger Gast hat nach seinem Studium an der Hochschule für Fernsehen und Film in München seine Karriere als Line Producer begonnen. Nach mehr als 10 Jahren, zuletzt als Geschäftsführer für den französischen Markt bei der Tresor Entertainment GmbH, damals einer der größten unabhängigen Produktionsfirmen in Deutschland und Frankreich, wechselte er zum ersten Mal die Branche. Mit der Gründung Bodychange, einem Unternehmen, das Menschen dabei begleitet, ein besseres Körpergefühl zu entwickeln, wurde er außerdem zum ersten Mal Unternehmer. Nach dem erfolgreichen Verkauf, Rückkauf und abermaligen Verkauf des Unternehmens, gründete er im Jahr 2021 zusammen mit seiner Frau Julia cleverly. Bei cleverly - so lesen wir es auf der Homepage - kombiniert unser Gast mit seinem Team Nachhilfe mit Mentoring – zur Notenverbesserung & Stärkung von Kindern bei ihren schulischen & persönlichen Herausforderungen. In den letzten 7 Jahren haben wir uns in bisher 430 Folgen mit mehr als 500 Menschen darüber unterhalten, was sich für sie beim Thema Arbeit geändert hat und was sich weiter ändern muss. Wir sind uns ganz sicher, dass es gerade jetzt wichtig ist. Denn die Idee von “New Work” wurde während einer echten Krise entwickelt. Was können wir tun, damit unsere Kinder, sich in dieser unserer Welt besser zurechtzufinden? Wie muss sich unser Verständnis von Bildung ändern? Und warum können wir gar nicht früh genug mit Thema Mentoring beginnen? Wir suchen nach Methoden, Vorbildern, Erfahrungen, Tools und Ideen, die uns dem Kern von New Work näher bringen! Darüber hinaus beschäftigt uns von Anfang an die Frage, ob wirklich alle Menschen das finden und leben können, was sie im Innersten wirklich, wirklich wollen. Ihr seid bei "On the Way to New Work" - heute mit Fredrik Harkort. #NewWork #onthewaytonewwork #blackboat #newworkmasterskills #cleverly
Episode 17 - Why You Need a Line Producer, With Jill Bugbee In this episode of the Faith and Family Filmmakers podcast, host Jaclyn Whitt interviews Jill Bugbee, co-founder of Blue Trail Productions. Jill shares her journey from having a background in biomedical engineering to embarking on a career in filmmaking with her husband, Eric. Despite initial job losses and financial hurdles in their early marriage, the couple felt led by faith to start their own production company in 2004. Over the years, they have produced over 750 projects, including commercials, non-profit stories, and their first feature film released in 2015. Jill discusses the challenges and learnings from their filmmaking journey, emphasizing the importance of strategic budgeting, mentorship, and the value of wisdom in the industry. She also explains their film financing strategies, including the significance of tax incentives and presales. The conversation concludes with a discussion on their current project, 'Solitary Refinement,' from a screenplay by Jaclyn, aiming for a $5 million budget. Jill's story is an inspiring example of perseverance, faith, and the pursuit of wisdom in the world of filmmaking.Jill's Unexpected Journey into FilmmakingThe Birth of Blue Trail ProductionsThe Long Road to Their First Feature Film Learning from Mistakes and Celebrating WinsNavigating the Complexities of Film BudgetingCommunity Support for CateringThe Importance of a Line ProducerOptioning Jaclyn's script, "Solitary Refinement"The Success and Challenges of 'Heroes of Dirt'Perseverance, Perseverance, PerseveranceThe Power of Utilizing Test AudiencesWhere to Watch "Heroes of Dirt"The Importance of Wisdom in FilmmakingJill Bugbee is a film and TV producer, Songwriter, Worship leader, and author. Based in Atlanta, Georgia, Jill Bugbee and her husband, Eric, are the founders of Blue Trail Productions. Early in their marriage, they found common ground in the love of storytelling, filmmaking, and adventure. Since launching their company together in 2004, they have helped many decision makers take their businesses to a higher level. They seek to mentor up and coming filmmakers through their mentorship program, FilmBusters Academy.Blue Trails Productions Website https://www.bluetrailproductions.com/FilmBusters Academy website https://www.filmbustersacademy.com/Jill on Facebook https://www.facebook.com/jill.bugbee.7Heroes of Dirt Website https://bugbeeweb.wixsite.com/heroesofdirtHeroes of Dirt on Amazon https://www.amazon.com/Heroes-Dirt-Joel-Moody/dp/B0196DUGDCHeros of Dirt on Youtube https://www.youtube.com/watch?v=8-HkGj8h0tgHeros of Dirt is also available on TubiJaclyn's actor's reel script writing Workshop https://www.faffassociation.com/actors-reelThe Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every Monday, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and...
Welcome to Decorating the Set: From Hollywood to Your Home with Beth Kushnick! One of the unsung positions in your favorite TV show or movie is the Production Manager. The Production Manager is charged with keeping many aspects of a production on time and on budget, to say nothing of securing the perfect shooting locations. This week, Beth and Caroline speak with one of the best Production Managers in the business, Tom Whelan. With over 30 plus years in film and television, Tom is a treasure trove of stories and insightful advice on how to manage, not only tight deadlines, but also, a multitude of personalities. Do not miss this interview! The Interview with Tom begins at Time Code: 4:44 As you'll hear in the interview, Tom is a Line Producer on the upcoming BET+ Original Television Series, Diarra Kilpatrick's Diarra From Detroit. Diarra From Detroit is a dark comedy that follows a divorcing school teacher (Diarra Kilpatrick) who refuses to believe she's been ghosted by her rebound Tinder date. Her search for the missing man pulls her into a decades-old mystery involving the Detroit underworld. As the case unfolds, her co-workers, friends, and lovers become unlikely allies as she falls down a dangerous rabbit hole. Diarra From Detroit Premieres on March 21st, Streaming BET+. Watch HERE! Check out the Trailer for Diarra From Detroit below: ### For over 35 years, Beth Kushnick has created character-driven settings for countless award-winning television series and feature films. As a Set Decorator, she's composed visuals that both capture and enhance any story. Now, she wants to help you capture and enhance YOUR story. Join Beth and her co-host, Caroline Daley, each week as they go behind the scenes of Hollywood's magic, and give you approachable, yet sophisticated tips to realize the space that best expresses who you are. ### Follow Beth Kushnick on Social Media: Instagram: @bethkushnick Twitter: @bethkushnick Website: DecoratingTheSet.com Follow Caroline Daley on Social Media: Twitter: @Tweet2Caroline Website: PodClubhouse.com ### Credits: "Giraffes" by Harrison Amer, licensed by Pod Clubhouse. This is an original production of Pod Clubhouse Productions, LLC. Produced, engineered and edited at Pod Clubhouse Studios. For more information, visit our Website.
Amy and Chris are reporting all the action live from the 233rd Icklewick Agricultural Festival! As the festival's newly crowned “Lady Muck”, Amy is preoccupied with her upcoming performance at the closing ceremony. Whilst first time camper, Chris is trying his best to embrace the countryside in all its beautiful, harrowing glory. Ever the renaissance man, Mr Patel has decided to try his hand at hospitality, which should be simple as long as his customers remember to eat around the teeth.The extortionate cost of a festival pint sets Simon Toke spiraling but will he make it back in time to interview Toploader, and will Amy be able to overcome her nerves and save Icklewick from another year of blight?Mr. Patel has managed to get a special sponsor for this episode. ChemNice. Just nice chemicals. Nothing weird.Created and written by Chris Cantrill and Amy Gledhill with additional material from the castStarring:Tom Burgess Tai Campbell Janice Connolly Colin Hoult Ed Night Nimisha Odedra Benjamin Partridge Nicola Redman Mark SilcoxSound Design and Music by Jack Lewis Evans. The Line Producer is Laura Shaw.Produced by Benjamin Sutton.Icklewick FM is A Daddy's SuperYacht Production for BBC Radio 4.
Anthony and Alex are in the pod with Producer (with an emphasis on Environmental and Brand Experiences and Pubic Space Consulting and Activations, Design and Hospitality Management) Brooksie Hughes from BAH Productions. The Bollotta-philes start with a TIPSY with a checklist for adding SOUND to your event and a YaiYai-ism about how her yaiyai would yell at sound guys. Now the main course, Brooksie Hughes is not only a producer but she also is a public space strategist ie. she does festivals and multi-day programs. They get into the basics like what is a Line Producer or PSM and how the vernacular of positions names change per region and industry. They also get deeper with her experiences with surprises onsite (both good and bad). They get into planning in 4 months vs 4 years, how infrastructure can cost the client more, managing public spaces and even how she got her chops touring with legends. There is a reason why today's guest has charted multiple times on a few of BizBash's "Best of" lists. Listen now, there is a lot of good stuff in here.Connect with Brooksie Hughes: http://www.linkedin.com/in/brooksiehughes or http://www.bahproductionsinc.com/ for faster response give her a ring at 917.647.7621Follow @bollottaentertainment on InstagramSubmit ASK ANTHONY questions on the form at www.bollotta.com/podcast
Donna Smith began her career as Production Coordinator on RAGING BULL and quickly rose through the ranks, serving as Production Manager, Line Producer and Producer on notable projects that included THE TERMINATOR.Smith was tapped by Universal Pictures to serve as President of Physical Production and Post Production; becoming the first woman to serve in that role for a major Hollywood studio.During Smith's seven-year tenure at Universal, more than 120 titles were released under her leadership including; Academy Award winner SCHINDLER'S LIST, JURASSIC PARK, BABE, SCENT OF A WOMAN, CASINO, BACKDRAFT, BACK TO THE FUTURE, APOLLO 13 and WATERWORLD.Following her executive role at Universal, Donna entered the world of completion bonds, having established a sterling reputation as a “highly bondable” producer. Donna served as CEO/President for the Entertainment Coalition, a management entity formed to coordinate full-service completion bond and insurance services for the entertainment industry worldwide.
Get the Inside Scoop with Nathan Hoobler! Hear how Nathan went from Fan to Line Producer of Adventures in Odyssey! Find out what a Line Producer does and what an Internship at Focus on the Family entails! Learn what the internet was like in the old days and where you will find the largest collection of AIO merchandise! See Bob Smithouser after a workout! Who rocks their Tell Ya Later hat better--Nathan or Bob? ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ THANK YOU for watching Tell Ya Later! We appreciate each and every one of you! =========================== We would love to continue making content for you all, so if you would like to help us grow our channel, please consider giving a one-time donation! ➜ http://bit.ly/3vqpXxG =========================== ◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆ BIG THANKS TO OUR PATRONS! ◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆ Support us by joining our Patreon Family and enjoy early episode releases and TONS of exclusive content! Such as our other shows, “5-Star Cooking with Katie,” “Adventures in Popcorn,” and more Fun Stuff! ➜ https://www.patreon.com/TellYaLater ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ Other ways you can support the show: ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ ✔️ Subscribe
In this episode I speak with Moshin Khan fondly known as Moshu, who is a Line Producer with Yaazhi Films. He worked in the critically acclaimed Tamil movie - Kuthirai Vaal and many more movies. recently he has directed his first short film and awaiting it's release.
For this episode, we're breaking down The Inventor with an 'Anatomy of an Indie Stop Motion Film'.We first had Jim Capobianco on the show almost two years ago! In that chat, he talked about the stop motion feature project he'd embarked upon. With the Inventor releasing in theatres on Friday, September 15th, we thought doing a deep dive and breaking down how it made it to screen would be a great idea. To do so we were joined by Jim, the film's writer and director (Jim was also Oscar-nominated as co-writer of Ratatouille), Co-Director Pierre-Luc Granjon, and Line Producer Kat Alioshin. When looking at how a low-budget film came to be, Kat's role as Line Producer was key. And since Jim came from the 2D and CG world, Co-Director Pierre-Luc, with a wealth of experience in stop motion, was also key. All three joined me to walk through the project, which itself is a charming depiction of not only Leonardo Davinci's latter years but also captures the spirit of creativity and curiosity of a man who gave the world so much. Really hope you enjoy the podcast - but also the film! Go see it!- - If you enjoy the show, please like, rate, and comment on your favorite podcasting platform and share the episode on social media.If you have any comments or suggestions please get in touch, we'd love to hear from you!If you'd like to hear about new episodes in your inbox, please subscribe here.Host & Producer: Michael WakelamExecutive Producer: Eric M. MillerMusic by: Rich DickersonEdited by: Jonathan WakelamAudio Engineering: Mike RochaThe Creators Society is a professional society for all disciplines of the animation industry. Our mission is to bring the animation community together to build strong relationships, provide education, and form a better understanding of the different roles we all play in creating animated stories. We celebrate and promote the love of animation and all the talented Creators who breathe life and imagination into their work.Learn more about the Creators Society, and how to become a member at creatorssociety.net
For this episode, we have zoomed in Michael E. Brown - Line Producer, Production Manager, Director, and more - to talk about how he got into the business and what it means to be a line producer. He talks the ins and outs of managing a production from the financial side and how budgets can really impact a production. 1:16 - Michael E. Brown introduction 14:30 - Job of a Line Producer 29:00 - From short to feature 36:00 - What's next for Michael?
Join Luz Cabrales and Tony Susi on a conversation with Joe Dain.Joe Dain has been an Actor, UPM, Line Producer, Producer, Executive Producer, Film and Distribution Executive on various independent films across all genres.He has overseen the structure of financing, development, acquisition and production of various award winning projects including the Berlin International Film Festival Official Selection "Gardens Of The Night" starring Gillian Jacobs, Evan Ross, John Malkovich, Tom Arnold, Kevin Zegers and Jeremy Sisto and the GLADD Media Award Nominated film, "Geography Club" based on the bestselling book.From 2011 until 2017 Dain was the Executive in Charge of Production for Sunrise Pictures where he oversaw various aspects of several high profile films including, "The Trials of Cate McCall" starring Kate Beckinsale, Nick Nolte and James Cromwell (Distributed by Lifetime); "The Whistleblower" starring Rachel Weisz, Benedict Cumberbatch, Vanessa Redgrave and David Strathairn (Distributed by Samuel Goldwyn Studios); "Always Woodstock" starring Allison Miller, Brittany Snow, Katey Sagal, Jason Ritter, Ryan Guzman and James Wolk (Distributed by Gravitas Ventures); and was also involved in several high profile development projects for the company including Doug Liman's feature film, "Attica" written by Oscar Winning writer, Geoffrey Fletcher and a TV Development deal with eOne Television.In 2016, Dain along with fellow Sunrise Executive, Jim Klock started the indie distribution label, Terror Films followed by sister label, Global Digital Releasing in 2017. Between 2016 and 2019 Terror Films has quickly become one of the fastest growing indie horror distribution labels in the industry with films in over 50 countries across 20 platforms and growing. Global Digital Releasing has distributed TIFF and BAFTA Winning Films - among many others.Joe continues to focus on building the distribution labels while working diligently with his team to continue to create a "filmmaker first" distribution model unlike anything available in the indie market.
A Line Producer is the unsung hero of a film production. Full of responsibility and, of course, stress, the job of a line producer is crucial and really challenging. In this episode Leslie breaks down the whole job from beginning to the end leaving no stone unturned. This is a must listen!
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Meet Cameron Brumbelow IMDB: https://www.imdb.com/name/nm7918809/?ref_=fn_al_nm_1 INSTAGRAM: https://www.instagram.com/cameronbrumbelow/ --- Support this podcast: https://podcasters.spotify.com/pod/show/moviemakingpod/support
In episode 2 of our Performing Perspectives series our host Payal Nayar is in conversation with Vessela Banzourkova, a cinema, photography, and fine arts enthusiast and Stefan Mustafchiev a man who gets things done.Vessela had always known she wanted to work in the artistic field since she was a child. Vessela tried with many kinds of expression, but it wasn't until she took up a camera that everything clicked, and she soon fell in love with the art of photography. This became her major passion and source of joy in life.Stefan is a seasoned professional in the offshore industry, boasting a proven record of efficiency, productivity, and accuracy. With his well-organized nature and excellent attention to detail, he possesses the ability to effectively prioritize a substantial workload. Over the years, he has acquired extensive experience working for various employers, honing his skills and expertise to perform under pressure. His exceptional interpersonal skills allow him to work seamlessly with individuals at all levels, making him a highly valuable asset within any team.Stay tuned to hear more from Vessela and Stefan about their experiences in photography and cinema in the upcoming episode with our host Payal Nayar.Vessela Banzourkova has worked as a freelance filmmaker in over 100 feature films. She's become a renowned figure in the film business over the years, working as a First Assistant Director, producer, or Line Producer on a range of projects. She is especially pleased of her contributions to a number of blockbuster films, including The Enforcer, Hellboy, The Expendables, Bricklayer, Rambo V, and many others. Working alongside stars like Antonio Banderas, Jason Statham, Silvester Stllone, Aaron Eckhart, Nicolas Cage, Gerard Butler, William Dafoe, and many more has been an honour for her. Tune in as she shares insights of working with big names in the industry and her journey throughout with our host Payal Nayar. Episodes streaming on Spotify, Google Podcasts, Apple Podcasts, Amazon Music or wherever you may listen to podcasts.Apple Podcasts: https://buff.ly/2Vf8vv8⠀Spotify: https://buff.ly/2Vf8uHA⠀Google Podcasts:https://buff.ly/2Vds6LX⠀-Original music credit: Rish Sharma.His music is available on Spotify, Apple Music, YouTube and other streaming platforms.-October2019 voicesandmore Pte Ltd All rights reservedDo support the show with reviews, shares and a one time donation to help bring you a lot more important content.https://www.paypal.com/paypalme/meltingpotcollective Become a member at https://plus.acast.com/s/melting-pot. https://plus.acast.com/s/melting-pot. Hosted on Acast. See acast.com/privacy for more information.
You might not know this about our Line Producer Jackie Martin, but she is an Air Force Veteran who served from 2000-2005. On The Takeaway, she has produced segments about “Other Than Honorably” Discharged LGBTQ+ Veterans who were discriminated against and discharged due solely to their sexual orientation, gender identity or HIV status. On top of that, she has coproduced a number of other segments about sports, politics, and culture. "After she left the AirForce she began her career in radio, where she worked for Howard Stern, and the SiriusXM sports channels. Jacklyn joined the Takeaway in January 2020 and has led production on a number of stories. She is the mother of two and enjoys traveling with her family, visiting every Major League Baseball stadium across the U.S. is her goal, and she also enjoys hiking, biking, or any outdoor activity." Jackie is thoughtful and empathetic, and most of all, unparalleled in the speed and quality of her work on the show. That is why we want to thank her for all her work and wish her all the best in her future endeavors.
You might not know this about our Line Producer Jackie Martin, but she is an Air Force Veteran who served from 2000-2005. On The Takeaway, she has produced segments about “Other Than Honorably” Discharged LGBTQ+ Veterans who were discriminated against and discharged due solely to their sexual orientation, gender identity or HIV status. On top of that, she has coproduced a number of other segments about sports, politics, and culture. "After she left the AirForce she began her career in radio, where she worked for Howard Stern, and the SiriusXM sports channels. Jacklyn joined the Takeaway in January 2020 and has led production on a number of stories. She is the mother of two and enjoys traveling with her family, visiting every Major League Baseball stadium across the U.S. is her goal, and she also enjoys hiking, biking, or any outdoor activity." Jackie is thoughtful and empathetic, and most of all, unparalleled in the speed and quality of her work on the show. That is why we want to thank her for all her work and wish her all the best in her future endeavors.
Catalyst is a Creative Industries podcast, from Chapman University. Each episode features Chapman students who have completed a Podcasting course through the Center for Creative and Cultural Industries at the university. Students who had no podcasting experience or technical ability in the genre before taking the course were able to contribute all the segments to Catalyst this season with the goal being that they will take this ‘hands-on' experience and carry it over to the launching of their very own series. Each episode of Season 9 will feature one to two different interviews conducted by CCI students, exploring different aspects of the Creative and Cultural Industries. This week we start with an interview of Donna Smith, the CEO and Founder of 2w Entertainment Network, Persnickety Productions, and Co-Chair of Hollywood Express, Emma DeBoer. Smith, who began her career as Production Coordinator on Raging Bull, followed by positions as a Line Producer and Producer on films such as Jurassic Park, The Terminator, and Schindler's List was also the first female President of Physical and Post Production at Universal Studios. She has also served as the Vice President of the Cannes Film Festival, was a former President of Women in Film, and currently serves as a Trustee for Women in Film. In addition, she is the president of the Bali Film Council and the United States Film Ambassador to China. Emma and Donna discuss how Smith works as a creative on projects ranging from independent to big studio productions and delve into the importance of the international market. Donna discusses what exactly her jobs have entailed and how her views on the CCI have changed. They wrap up with some insider information when Donna dishes on what she looks for when being approached with a new idea and what she thinks the future of film looks like. In our second segment of the week Alissa Sakamoto interviews Danielle Madeira, the CEO/Founder of Madeira and Partners, a full-service creative brand marketing agency specializing in experiential events. Danielle expounds on her experience at the highest levels of event marketing, production and talent buying. Known for her contributions to popular music festivals such as Outside Lands San Francisco and Life is Beautiful Las Vegas Danielle sits down to share with Alissa her insights on the industry, including the cultural importance of live events and experiences to communities that they reflect and serve. They also touch on such things as how the concept of sustainability within the culture of live events is evolving to reflect the change they want to see. For example, utilizing creative initiatives at events to decrease the percentage of the waste produced that goes to landfill vs compost and/or recycling. Before they conclude the talk, Danielle and Alissa discuss the impetus for launching Madeira and Partners and what Danielle hopes to see in the world of live events and festivals in the future.
Francisco is a film producer in the commercial and music video world. As a Venezuelan native, a Full Sail University graduate, and semi-recent LA resident, Francisco shares from a diverse wealth of experiences spanning a multitude of on set positions in a variety of industry subcultures. Some of his most recognizable credits include F9: The Fast Saga, Westerworld and Creed 3. He's currently developing a short as he strives to actively make a positive change with his work.
Through her work in video and film production, alumna Dawn L. Manning '00 has worked with some of the biggest names in the entertainment and music industry. Some of the stars she has worked with include Will & Jada Smith, Beyoncé, Lady Gaga, Madonna, Terrell Owens, Common, Jason Derulo, Nicki Minaj, and more. On this episode of The People of Penn State, Dawn takes us through her passion for entertainment, music and sports, the projects she's worked on in her career, the challenges she's faced in production as a black woman, advice to new producers, and more. Dawn is currently working as an EP/EIC over numerous projects at Westbrook Media -- Will and Jada Smith's production company -- with projects ranging from documentary, scripted, VR and branded content.Her previous work is highlighted by being EIC of "The Fresh Prince of Bel Air Reunion," Line Producer of Showtime's three-part sports documentary series “Shut up and Dribble,” Production Manager of Beyoncé's Visual Grammy performance 2017 and “Vice World of Sports," Vineland's PGA award winning series for Best Produced Sports Programing. Her Film Producing credits include “LUV” starring Common, “Dysfunctional Friends” starring Terrell Owens and Stacy Dash and “Eden” starring Nate Parker. Connect with Dawn on social media: TwitterInstagramLinkedInLearn more about the Penn State Alumni Association: alumni.psu.edu. Follow the Penn State Alumni Association on:FacebookTwitterInstagramLinkedIn----------------------------------------------------------------------------------------------------Timestamps:0:00 — Alma Mater Open0:20 — Intro2:50 — Becoming a Penn Stater3:30 — Involvement as a student4:40 — Initial career goals6:40 — Getting a start in the entertainment industry 11:56 — Being a cheerleader for the Washington Wizards13:21 — Sports, entertainment and music16:03 — Working with Terrell Owens17:00 — Overcoming challenges in the workplace as a black female producer21:43 — The impact of Westbrook Media24:40 — Working on Will Smith's audio book 26:00 — Big and small budgets of production28:50 — Using the resources you have29:53 — Ad Read - Alumni Shop31:02 — Lightning Round Q&A 35:30 — Outro
Join us for a dope interview with the super-talented Richard Lederer. Line Producer, Producer, and Assistant Director on such great films and TV shows as Barbershop Two, My Best Friends Wedding, Empire, Powerbook Force, and more. In this episode, we chop it out about the magic of filming and Chicago, the movie that inspired him to get into the business, and more!
Our show this week recounts the near-death experience of a very special man.Robert Neal Marshall has worked for many years in the Arts in various creative positions which include actor, director, producer, casting director, and playwright. He graduated from New York University Tisch School of the Arts with a BFA in Film and is currently Executive Director for Columbia Festival of the Arts in Maryland.Early projects took him to Berlin, Germany for Regina Ziegler Productions and Chicago, IL with Jack Lieb Productions. In the mid 1980's Marshall had a rare opportunity in London's West End as Assistant to Agent and Theatrical Producer Richard Armitage on several hit shows, including ME AND MY GIRL with Robert Lindsay and Emma Thompson and HIGH SOCIETY with Natasha Richardson.Marshall has independently produced stage productions in the West End at the Donmar Warehouse, at the famed Edinburgh Festival, in Southampton, UK, and back in the US. His documentary, MR OCEAN LINER, premiered on board Cunard's Queen Mary 2 and screened at the Elinor Bunin Munroe Film Center at Lincoln Center. Marshall's credits include multiple independent feature films and shorts as Production Manager and Line Producer.As Casting Associate with Pat Moran, CSA (HAIRSPRAY, THE WIRE) Marshall was a member of the team to win an Emmy® award for casting GAME CHANGE and an Emmy® nomination for casting season one of the comedy VEEP, both for HBO.As a member of SAG-AFTRA and Actors' Equity, Marshall's work features Off Broadway, Regional stage, Film & Television roles, including AWESOME 80'S PROM and HOUSE OF CARDS. For 12 years Marshall has been a guest lecturer for the Cunard Insights Enrichment Program.Raised in a theatrical family, Marshall's mother is actress turned photographer Bette Marshall. whose recent pictorial “Young Whitney - Stories and Photographs” is a behind-the-scenes glimpse into the pre-fame life of a yet unknown 18-year-old Whitney Houston. His father was Music and Entertainment Law attorney Paul G. Marshall.Marshall is also a survivor of a near-death experience having gone into V-Fib “The Widow Maker” in an ambulance where he was resuscitated by paramedics.Robert's critically acclaimed documentary, BACK FROM THE LIGHT on the aftereffects of surviving a near death experience is the topic of several inspirational talks and asks the question “What would you do if a loved one died… then came back to talk about it?”This week on the Paranormal Project, we will attempt to answer that question.
In this episode, Hayley and Amy speak with performer, producer, and playwright Kimberly Lara about the lived realities of immigrant families in the United States, the importance of cultural specificity in representation, crowdsourcing feedback on new shows in development, and the transformative quality of theatre. As a bonus, we celebrate Women's History Month by spotlighting Vinnette Justine Caroll, the first Black woman to direct a show on Broadway. Click here for a transcript of the episode! Episode Notes Guest: Kim Lara Hosts: Hayley Goldenberg and Amy Andrews Music: Chloe Geller Episode Resources: Women's History Month Spotlight: Vinnette Justine Caroll Starting Up: A New Musical Comedy (directed by Women & Theatre community member Jen Wineman!) The Musicals de Mañana at 54 Below Theatre Twitter, created by Ayanna Prescod Jacob's Pillow Afro-Latin Immersion program Guest Bio Multi-hyphenated performer and creative, Kimberly Lara (she/her) is an American Musical and Dramatic Academy and New School Musical Theater BFA program Graduate. During her time completing her BFA, she became a contributing writer and published author for PopSugar Latina, has performed in multiple college productions, along with other works including performing with the Broadway cast of Chicago for Broadway Cares, appearing in CBS's “The Code” and Nickelodeon's “Club 57”, and recently performing at Jacob's Pillow as part of their first ever Afro-Latin Immersion Program. She assisted writer/composer Jesse Sanchez for "Sueños: Our American Musical" during its residency at NYTB, and now is the Associate Producer for New York Theatre Barn after taking on the role of Line Producer for NYTB's Award-Winning New Work Series. She recently produced, co-hosted, and performed for NYTB'S Musicals De Mañana: Latin Heritage Month Celebration presentation at 54 Below this past fall. She is currently working as Associate Producer for Starting Up: A New Musical Comedy and Dorothy Dandridge: The Musical! Find Kim Online: Instagram: @kimberlyglara Thanks for listening! Who do you want to hear from next on the Women & Theatre Podcast? Nominate someone here. The Women & Theatre Podcast is created and produced by Hayley Goldenberg and Amy Andrews. Please like, comment, subscribe, follow us on Instagram and Facebook, and consider making a donation to support our work. Thank you for listening!
In this episode Ryan talks with STEVEN A. LEE (The Ark, Almost Paradise, The Deal) about what it was like to work as the Line Producer on the Syfy channel series "The Ark". Steven also shares insight and tips on how he keeps a film production on schedule and budget.
Jenny Gersten serves as Line Producer for Beetlejuice on Broadway and National Tour, Executive Producer for the musical Born for This, Producer of Musical Theater for New York City Center, and Interim Artistic Director of the Williamstown Theatre Festival. She sometimes produces commercially, including the award -winning Off Broadway “pie shop” production of Sweeney Todd. She works with Jessica Hecht on The Campfire Project, an arts program that primarily serves Syrian and Ukrainian refugees overseas. Previously, Jenny served as Executive Director of Friends of the High Line and as the Associate Producer of The Public Theater in New York City. At sea, she is the Creative Producer of Virgin Voyages. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Will Rodriguez and Karen Endsley, the hosts of The Skeptic Metaphysicians Podcast, join us in this episode and share their journey in bringing light to the questions and woo-woos around the metaphysical world through their show. WHAT WE TALKED ABOUT Karen's and Will's childhood and how their differences in points of view about the metaphysical world gave birth to The Skeptic Metaphysicians podcast. How Will's mother's experience influenced him to dig deeper into knowing and creating his own spiritual identity. What one specific scenario made him believe and accept that there is something beyond the 3D world we're living in. How Karen has always known ever since she was a child about the metaphysical world. How regular people like Will and Karen and their podcast guests make a transition to spiritual works. What were their professional lives prior to their spiritual exploration? Why did Will and Karen build their podcast The Skeptic Metaphysicians and why they decided to continue doing it even when they wanted to quit? What does a safe space on The Skeptic Metaphysicians podcast look like? How has metaphysics impacted the work that they do and how they serve people? Karen's moment of play, fun and love, and how she remembered who she truly was. How Karen and Will plan to expand their podcast into The Skeptic Metaphysicians travel show. Let me know your takeaway on this episode by emailing me at erin@erinpatten.com or DM me on Instagram or LinkedIn. Check out all The MetaBusiness Millennial episodes on iTunes, Overcast, Stitcher, Spotify, or my website at themetabusiness.world! Appreciate you subscribing, leaving a review, and sharing it with your friends. Much love and light, Erin “Master EL” Patten ABOUT WILL RODRIGUEZ Producer/Creator/Host Starting his career with NBC/Telemundo, Will ended up as Line Producer, second only to the Executive Producer of a live daily entertainment news show at the Telemundo network in Miami. In 2005, Will created his own video production company, specializing in corporate video production. Identifying a need for delivery methods for true branded content in the corporate market place, he created one of the first online TV networks, “iZonOrlando.com”, bringing local television to the world, straight from one of the most visited cities in the world. In 2011, he was asked to join the production team that produced 19 Kids and Counting and the United Bates of America for TLC and is now the Regional Programming and Video Production Manager for a national TV network where he created Emmy-award nominated programming such as Destination Virginia, Untapped VA, I Do – The Ultimate Wedding Guide, Calm, Cool and Connected, and Living 757. ABOUT KAREN ENDSLEY Producer/Host Karen Endsley is the host of Cooking from the Heart and Destination Virginia. Her passion is showing busy moms/dads how to prepare healthy, delicious and budget -friendly meals that are simple to make and won't take away from family time. When she is not in the kitchen, she loves traveling and discovering new places and things to do. Though she's traveled extensively around the world including to China, Morocco, Egypt and Greece, her favorite destination country is Italy, where she spent several months learning cooking secrets from chefs in that country. Her love of travel is what has inspired her to explore the hidden (and not so hidden) gems on Destination Virginia, a show that provides her with an opportunity to show viewers the amazing experiences to be had right here in our own back yard. Links: https://www.skepticmetaphysician.com https://www.facebook.com/SkepticMetaphysician https://www.instagram.com/skepticmetaphysician_podcast https://twitter.com/WillRodriguezFl WANT MORE? Stay connected with simple solutions to level up your life + business. Receive your weekly Sol Full inspiration with MetaBusiness Letter. Which MetaBusiness Avatar Are You? Take this free 15-question quiz to find out now. Running around looking for answers only to get more confused and waste more time and money? In this masterclass, I'll be providing you with actionable information you can use to help get back into alignment and live your best life. Podcast Disclaimer: By accessing this Podcast, I acknowledge that the entire contents and design of this Podcast, are the property of The MetaBusiness World, or used by The MetaBusiness World with permission, and are protected under U.S. and international copyright and trademark laws. Except as otherwise provided herein, users of this Podcast may save and use information contained in the Podcast only for personal or other non-commercial, educational purposes. No other use, including, without limitation, reproduction, retransmission or editing, of this Podcast may be made without the prior written permission of The MetaBusiness World, which may be requested by contacting admin@themetabusiness.world. This podcast is for educational purposes only. The host and guests claims no responsibility to any person or entity for any liability, loss, or damage caused or alleged to be caused directly or indirectly as a result of the use, application, or interpretation of the information presented herein.
Tyrone D. Dixon graduated from the American Film Institute (AFI) in the Producing Program. Has produced and directed music videos and short films while as an executive for Russell Simmons' Def Pictures. Dr. Dixon was a producer and director on Emmy nominated TV show Cool Women with Executive Producer Debbie Allen. Tyrone acted as Line Producer on the production of the Oscar nominated documentary Tupac Resurrection. Additionally, he's produced and directed the award wining documentary 8 Wheels And Some Soul Brotha Music as well as a Producer for the hit film Roll Bounce. Mr. Dixon is presently attached to direct the Dikajada Films project SCOUTS, The chronicles of troop 242. A coming of age comedy about a struggling TROOP, produced by Preston Holmes. Additionally, Dr. Dixon earned a PhD in Media Psychology and continues To teach film production at Texas Southern University.
Ty Franck (one half of James S.A. Corey) and Wes Chatham ('Amos Burton' on The Expanse) are joined by 'Manny' Danelon (Line Producer on The Expanse) to talk about his role on the show and some fun stories.
Ali Abunimah talks about Israel and Palestine and the New York Times piece blaming Russia for the hate and Islamophobia faced by Linda Sarsour and the organizers of The Women's March. But first Karen and Jamie Zelermyer talk about their award winning podcast "I Was Never There," which looks at what happened to their friend Marsha "Mudd" Ferber, a rock-club owner and low-level drug dealer who went out for an errand in 1988 — and never came home. Ali Abunimah is a Palestinian-American journalist who has been described as "the leading American proponent of a one-state solution to the Israeli–Palestinian conflict." He's the co-founder of The Electronic Intifada website and the author of 'One Country: A Bold Proposal to End the Israeli-Palestinian Impasse' and 'The Battle for Justice in Palestine: The Case for a Single Democratic State in Palestine..' Jamie Zelermyer has been a New York based Producer and Production Executive for the past twenty plus years. Currently, she is the co-host and creator of I Was Never There, a serialized eight episode non- fiction podcast, made in collaboration with Wonder Media Network. The series premiered at The Tribeca Festival in 2022 garnering a Special Jury Mention and has cracked the top 20 on ApplePodcasts. She was the VP, Physical Production at Focus Features / Rogue Pictures for six years. Prior to Focus Jamie was a Line Producer and Production Manager working on films such as Igby Goes Down, Boys Don't Cry and You Can Count on Me. Jamie is the President of the Board of Directors of New York Women In Film and Television, and is an adviser on NYWIFT's The Writer Lab, a program for female Writer's over 40 funded by Meryl Streep and Nicole Kidman. In her 73 turns around the sun, Karen Zelermyer has held a multiplicity of job titles including President and CEO of a philanthropic advocacy organization, Deputy Director of an LGBTQ foundation, Development Director of a women's social service organization, Board Chair and foundation consultant. Karen is also a life-long social justice feminist activist. She cut her activism teeth in the Vietnam anti-war movement and continues to have an unwavering commitment to the dismantling of racism and white privilege, heteronormativity and misogyny. She is the co-host and creator of the podcast I Was Never There. She also has a few degrees but that was a really long time ago. Links to "I Was Never There" podcast: Spotify: https://open.spotify.com/show/1crmHd7u1dLqfw9NJa82xc Apple: https://podcasts.apple.com/us/podcast/i-was-never-there/id1619387402
We're talking with veteran line producer and photographer Nicci Freeman in this episode. Nicci has over twenty years of experience in the business as a line producer, and she's also a member of the DGA as well as an accomplished photographer. We're going to take a look at her journey as a woman of color in a male-dominated industry and see how she's thrived. Nicci is an inspiring figure who has defied the odds and carved out a successful career in a challenging field. We hope her story will encourage other women of color who are pursuing their dreams. ===================================== Watch the full interview here: https://www.youtube.com/embed/RfneF2UT33w ===================================== Nicci Freeman -Line Producer - DGA UPM - Producer BIO: Nicci Freeman has been working in some form of the entertainment industry her whole life. From with working for her parents, mom was a costume designer, and dad was a female impersonator both on and off stage to then transitioning to film, television, video, commercial and print. In her 25 year career she has worked as a Producer, Line Producer, Unit Production Manager, Production Coordinator, Costume Designer, and a PA. Freeman's career spans features, television series, music videos, and commercials, working for such names as Spike Lee, Lady Gaga, Will Smith, and Mariah Carey. She is a Member of the Director's Guild of America as Unit Production Manager. She spent two years as Head of Production for an independent film company producing $1.5m $35M pictures. Additionally, she has recently worked on a number of projects while dealing with the challenges of filming in the time of Covid. Some of her feature projects include: GEMINI LOUNGE, A COWGIRL'S SONG, SNAPSHOT OF LOVE, THE MESSAGE, and HARDCORE HENRY. Television productions include: Your Attention Please, Rhett & Link's Buddy System, Comic Relief, and The Casino. Among the Music Videos she has worked on are those by the artists Dwight Yoakam, Linkin Park, Nicki Minaj, Ariana Grande, Tyga, Aloe Black, Will Smitt, P Diddy, and Godsmack. Gaming/Live action includes: Payday 2: The Biker and Payday 2: Hardcore Henry, and Command and Conquer: Tiberian Sun. And Brand work: Walmart, Wendy's, Gillette, Garnier, Smart Car, and Kyle Cosmetics. In her spare time she is a world traveler and accomplished photographer. She has had three solo art shows in Los Angeles, and Florence, Italy. She has lent her talents to T.I's Trap Music Pop Up Museum in Atlanta, GA as the Project Manager and Curator as well as to the Starbreeze / IMAX VR Pilot Center as the Project Manager. In addition she has also served as DGA AASC Special Events & Activities Chair & DGA AASC Council Rep and volunteers with Women of Color Unite. Submit Your Film to Our Film Collective: ifapfilmcollective.com Connect With Floyd Marshall Jr: instagram.com/floydmarshalljr tiktok.com/@floydmarshalljr0 Youtube: FlodyMarshallJr --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/aconversationwithfm/message Support this podcast: https://anchor.fm/aconversationwithfm/support
Filmmaker Loren Waters is a citizen of the Cherokee Nation and the Kiowa Tribe. Focusing her art on the intersection of film and Indigenous storytelling, Loren has a passion for sharing stories that center environmental knowledge and impact. In prior years, Loren worked for the Cherokee Nation Film Office, and documentary-style television show, Osiyo, Voices of the Cherokee People. Recently, she has been the recipient of the 2020 Next Gen Under 30, while also taking part in fellowships such as 2021 Warner Media Bootcamp, and 4th cohort of the Intercultural Leadership Institute. Most recently, Loren was a Line Producer on the 2022 Sundance Film Festival selected short ᎤᏕᏲᏅ (What They've Been Taught), a film that is part of the Reciprocity Project by Nia Tero at Upstander Project. Recent projects to her experience include Season 1 of Reservation Dogs and the Martin Scorsese directed feature film, Killers of the Flower Moon. Currently, Loren is the Background Casting Director for Season 2 of Reservation Dogs. She is also in development of a short film titled, ᏗᏂᏠᎯ ᎤᏪᏯ (Meet Me at the Creek), the fourth installment of a short documentary film series that focuses on tribal environmental professionals. The first two films, celebrating tribal environmental professionals, Polly Edwards and Yvette Wiley, premiered in 2019. The third film, Restoring Néške'emāne, screened at festivals such as deadCenter Film Festival, LA Skins, Durango Independent, and recently won Best Short Documentary at North Dakota Environmental Rights Film Festival. Website: https://lorenwaters.com/ Facebook: https://www.facebook.com/lorenkaseyjewelry IG: https://www.instagram.com/lorenkaseyjewelry/
Jaclyn Paris is someone I've known since I was a little kid! Jaclyn has held various Senior Producer roles in Los Angeles including at Lost Planet, Rabbit Content, Liquid VFX in addition to working as a Line Producer with brands such as Nestle, Intuit, Absolut, Target, Jaguar and Bose Audio. In addition she served as Executive Producer of Deluxe Entertainment Services at their tr-branded Atlanta facility: Company3 | Beast Editorial | Method Studios. During her decade in New York, she worked for feature documentary outfit IsotopeFilms at the Tribeca Film Center and worked with Voyeur Films creating 16mm content for Salon94 and The New Museum in addition to freelance commercial work. Paris is a graduate of NYU and currently serves as Head of Development of Cosmo Street Editorial where earlier she served as Head of Production. In collaboration with Green the Bid, Jaclyn is tapped as an advocate on greening the media management process. Most proudly she is: the mother of two boys, zine-obsessed, trying to not get injured. Learn more about what she does here let's connect at: @ziggyandgimbal --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thewrongadvicepod/support
In this episode, we have Kristin Overn the Founder and Executive Director of the PAGE International Screenwriting Awards competition. She began her film career as a producer's assistant and script reader at companies like Davis Entertainment, Bonneville Worldwide, and 20th Century Fox, and since that time, she has consulted, collaborated, and developed screenplays with dozens of writers, producers, and production companies. Kristin also has extensive experience in production, and she has served as a Producer, Line Producer, and UPM on various independent features, original sitcom pilots, several award-winning short films, TV commercials, and videos. She is a member of the Producers Guild of America and the Directors Guild of America.
Filmmaker Loren Waters is a citizen of the Cherokee Nation and the Kiowa Tribe. Focusing her art on the intersection of film and Indigenous storytelling, Loren has a passion for sharing stories that center environmental knowledge and impact. In prior years, Loren worked for the Cherokee Nation Film Office, and documentary-style television show, Osiyo, Voices of the Cherokee People. Recently, she has been the recipient of the 2020 Next Gen Under 30, while also taking part in fellowships such as 2021 Warner Media Bootcamp, and 4th cohort of the Intercultural Leadership Institute. Most recently, Loren was a Line Producer on the 2022 Sundance Film Festival selected short ᎤᏕᏲᏅ (What They've Been Taught), a film that is part of the Reciprocity Project by Nia Tero at Upstander Project. Recent projects to her experience include Season 1 of Reservation Dogs and the Martin Scorsese directed feature film, Killers of the Flower Moon. Currently, Loren is the Background Casting Director for Season 2 of Reservation Dogs. She is also in development of a short film titled, ᏗᏂᏠᎯ ᎤᏪᏯ (Meet Me at the Creek), the fourth installment of a short documentary film series that focuses on tribal environmental professionals. The first two films, celebrating tribal environmental professionals, Polly Edwards and Yvette Wiley, premiered in 2019. The third film, Restoring Néške'emāne, screened at festivals such as deadCenter Film Festival, LA Skins, Durango Independent, and recently won Best Short Documentary at North Dakota Environmental Rights Film Festival. Website: https://lorenwaters.com/ Facebook: https://www.facebook.com/lorenkaseyjewelry IG: https://www.instagram.com/lorenkaseyjewelry/
Shannon Lee Bowen is a LA native and proud fourth-generation filmmaker. She started out in reality tv, but once she saw the light of producing live-action branded content, she never looked back. Shannon specializes in commercials, promos and still campaigns.. from Geico, Dove, Papa Johns and too many to list. Here's a recent Amazon Fashion spot Shannon produced for Commercial Director…
Shannon Lee Bowen is a LA native and proud fourth-generation filmmaker. She started out in reality tv, but once she saw the light of producing live-action branded content, she never looked back. Shannon specializes in commercials, promos and still campaigns.. from Geico, Dove, Papa Johns and too many to list. Need to level up? Check out my Commercial Director Mega Bundle for serious one-on-one mentoring and career growth. My first annual Filmmaker Retreat Joshua Tree is September 30th through October 2nd, 2022. Out theme is “Define Your Voice” and more can be found here at the Commercial Directing Film School site. DM for more. Limit 20 #filmmakers. Bootcamp Alumni save $300. My online Commercial Directing Masterclass has received 100% 5 star reviews. Plus we do a free filmmaker consultation call. We passed 1200 filmmakers taught globally, thanks to the new Filmmakers Academy and, of course, my www.CommercialDirectingMasterclass.com site. Thanks, Jordan This episode is 42 minutes and is sponsored by Oso Delicious Hot Sauce, the hot sauce made by bears. Flavorseeker Fun Pak‘s ship Friday's at 3pm. My cult classic mockumentary, “Dill Scallion” is online so I'm giving 100% of the money to St. Jude Children's Hospital. I've decided to donate the LIFETIME earnings every December, so the the donation will grow and grow. Thank you!
Would you accept a hug from a stranger? The consensus on the Anna and Raven show is yes but…only under certain circumstances. (:30) Stealing is always bad, but if you steal something this weird that's all I need to know about you! (3:40) Anna has a Facebook parenting group and it's usually just a nice forum for local parents to talk about their experiences. But after reading one Dad's story, Anna needed some advice on how to help him! (7:09) Anna has been obsessed with the American Song contest, so much that she wants to do her own version on the air! She's tasked Producer Jon with writing a song about a random state, but the trick is he only has 6 minutes to do it! (14:14) Basketball may not be your thing, but everyone is always excited about the latest trends! Anna and Raven present March Fadness, the ultimate tournament to determine the greatest fad of all time! Today's match-up is between; The South Beach Diet and Beanie Babies! (20:40) Anna is fed up. She's been in charge of one of the most important daily chores in her house for years, but she feels like it's time to share the burden. Is she out of line? (27:47) Alex was let go from his job as a mechanic. About a year and a half ago, he purchased a coffee maker, microwave, and toaster for the garage's kitchen because there wasn't anything there. His wife, Dana, is upset that he didn't take the items when they terminated him last week. She wants him to go get those items. What would you do? (35:36) Donna has got a chance to win $3500! All she has to do is beat Raven in pop culture trivia! (43:04)
Michael & Phil tackle the subject of writer's rooms, how writer's staffs are organized, and the responsibilities of individual writers at each level. Learn more about the different jobs in a TV writer's room and some interesting ways to break-in.Michael's Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJim Serpico, EP of Maron - https://www.imdb.com/name/nm0785351/Tom Sellitti, EP of Maron - https://www.imdb.com/name/nm0783418/Javier Grillo-Marxuach Website - http://okbjgm.weebly.com/Netflix in Albuquerque - https://www.bloomberg.com/news/articles/2021-05-03/why-hollywood-is-moving-to-albuquerque“Shit My Dad Says” Twitter Show - https://www.imdb.com/title/tt1612578/Michael: (00:00)The next step below, that would be writer's PA and that stands for a production assistant. So the writer's PA usually, usually writers are veal. We are kept hostage in a, in a writer's room like for hours and hours and hours, you don't leave, but they bring you lunch. And when they bring you lunch, that person who is bringing you lunch is a hero because they're feeding you and you, you know, so that the writer's PAs is usually the one who goes out. On a running brings you lunch.Michael: (00:32)Welcome back everybody today. We're going to be talking about various creative jobs in Hollywood, and we're going to probably start, I think, with, with the writer's room. Cause there's a lot of myths that we're going to expose. I think it's a lot of people have misconceptions about how writer's rooms, um, you know, how they actually work. I fell.Phil: (00:48)Yeah. And, and, you know, to, to your point, I think there are a lot of people who don't even understand things like what a showrunner is or what the difference between a co-producer, producer, a story editor, all these different writer's terms. I once had a friend mentioned to me, she's a nurse. She wanted to be an actress. And she's just like, you know, when you watch a TV show and you see all the credits that they're getting that say producer, they're all just writers. And she said it like, it was condescending a little, this is like just writers, like, Okay.Michael: (01:13)She's right, unfortunately. Um, but yeah, so a showrunner is the boss and a TV show in a movie. Uh, the director is Boston. A TV show that the showrunner is the boss. The showrunner is the head writer. Usually the showrunners, the creator of the show, the person who sold it, but not always and often not always the case. So, um, a number of times my partner would have been showrunners and we didn't create that show where the hired hands, because we have experience and were brought on to run the writer's room and the writer's room can consist of, we've been on show, usually around eight writers, let's say, but we've been on shows where we've had as few as four writers. And when we were on King of the Hill, that was Maron. When we were on King of the Hill, uh, there were about 20, at least 20 writers it was a huge writing staff.Michael: (02:00)So there's, there's that. And then all the writers in the writer's room compose the writing staff, but there certainly there are different levels to, to writers. So the showrunner again is the boss, the showrunner decides what kind of stories to tell and how to tell them. And some people, I guess I can maybe I'll get to the misconceptions first. Some people think that well, so where do you get these ideas from? Does the network just tell you what stories they want to have? And no, cause there's no one at the network who knows how to do that. If they did, they'd be writers there, that's not their job. Right. They, you know, so we pitched them our ideas, but we come up with the ideas. We say, we're going to do an episode about X, blah, blah, blah. And then that works. Does that sounds good?Michael: (02:39)Go ahead and do it. And so we have to come up with the ideas and usually it's the writing staff that will pitch the ideas to the showrunner and the showrunner and say, okay, I like that one. Let's talk about that one. Let's turn that. Let's see if we can turn that into an episode or I like the beginning, but not the middle, you know? And so let's stretch it out. Is that that's how do we break that into a story? And another myth I heard all the time, well, years ago it was like, oh, what character? I was around. It came when I was on King of the Hill. They'd say, what character do you write for as if like every writer was responsible for one character's voice. And there are 20 of us and king of the hill. I don't know how many, there were like five characters or whatever, or maybe more there's cause there's periphery characters.Michael: (03:16)But so no. And I used to tell people, I used to write for the dog, the dog, obviously didn't talk or have any lines, but that's when I said, but you write for all the cat, your job is to you get an episode and you write all the characters and that episode. And that's how, that's how it works. And they're so the staff, the writing staff is composed of one or two showrunners usually. And then there's certain levels of writers. So the newest baby writer is called a staff writer. That's the person with no experience. They just broke into Hollywood. Usually, usually they're a staff writer then above them. They, they say they work for a year. They get a promotion. Now they're called a Story Editor. And you'll see that at the end of the credits off. And you see the story that, or it gets a credit.Phil: (03:57)Let me ask this question, because this is something that came up on another podcast. We did, you made a reference that all of these titles that you're probably going to go through right here, that the next year. So are you a staff writer, your first year writing and then you bump a story editor usually, or you're so bad that you could stay staff writer. Is that a chance or do you just lose your job at that point?Michael: (04:20)Sometimes? Yeah. You could lose your job if you're no good. Sometimes you'll be a staff writer on the on one year and then the show gets canceled and then you get another job in a different show and they make you repeat your staff writer. They say, yeah, you're not getting the bump because we don't have a budget.Phil: (04:34)The bump budget-based. I imagine usually.Michael: (04:37)Yeah. I don't know if too many people who had a repeat staff it's like repeating your first year of college, I guess. Right.Phil: (04:45)I got held back in preschool by the way. SoMichael: (04:47)Yeah. Well, I can tell it's obvious when I talk to you.Phil: (04:49)Yeah. The adults don't set your kids in preschool in the middle of the year, guys. They just look stupid when all their friends move on.Michael: (04:55)For the rest of the let's talk about it. Um, so then after a story editor to become Executive Story Editor back in the sixties, the Executive Story Editor, or was they, that was the boss I'm executive story editor mean that was basically being called the showrunner, but these titles have changed over the years. And so executive story at a restorator is at one point it was like the most important person. And now it's one of the least important people on the staff. Um, I remember when I, well, I remember when I had, I had a writing teacher and he was, he like, he wrote on, uh, uh, Get Smart and Andy Griffith Show and all those great shows and Twilight Zone, the original Twilight Zone and all that. And he used to say that you just need to, you got to impress the story. It, the story editors that want to makes all the decisions. And, and this is back in like, you know, the nineties, I was like my old man, what are you talking about? The Story Editors at title has long since changed.Phil: (05:47)Uh, so I was going to ask, so my understanding here is that this changed because cause you're about to get into the producer titles, right? Yeah. So my understanding is that this changed because the story, the writing credit positions pay specific portions of their money into the WGA funds, but the producorial fees you get do not.Michael: (06:10)Yeah separately.Phil: (06:10)And the benefit to the, to the network and the studios is they don't have to match percentages of those funds, to the Writers Guild stuff .Michael: (06:19)To your health and pension. Right. It's separate. Exactly.Phil: (06:23)Where it changes, like how do we get these people and entice them to do this thing with us without having all the other expensive paying percentages of their, their fees?Michael: (06:31)Yeah. We'll give them a fancy title. Yeah. That'll tide them over there. Stupid. Um, so yeah, so there's executives. So is it okay to repeat Staff Writer, Story Editor, Executive Story Editor, then you get Co-Producer and then you become Producer and then you're like, wow, Producer, it's really just another level for a writer. Then you get, uh, after Producer becomes Supervising Producer, then Co-Executive Producer, which often means the number two, the number two writer, the like the number two in command and then Executive Producer. And so in sometimes there's also another title of Consulting Producer, which is just a fancy way of paying you even less money. Got it. So, but those are all just writers and there's very, you know, the producer aspect of those jobs are very limited. So when you're executive producer, you have, you do have many other Producer titles, like your responsibilities, you'll be responsible for casting or post-production... Supervising post production, or maybe editing stuff like that. The Co-Executive Producer doesn't often do those things, but is capable of doing those things.Phil: (07:33)And that's what you currently are on the show.Michael: (07:36)On Tacoma FD I'm a Co-Executive Producer. Right. But, but you know, in the past I've been Executive Producer on other shows. So, uh, you know, the difference in money there's a lot its not that much. Well, the Co-Exec... Co-Executive Producer that gets a good salary without all the stress of being executive producer. It's a good job to it's really the best job to have is a co-executive producer because he made good money, but you don't have all the stress of the boss.Phil: (07:59)Got it. So that's what to aspire to is not be the showrunner, but just be a co you'd be.Michael: (08:03)I remember years ago when I was, you know, thinking before I became a Showrunner, I was like, man, if I were a show runner, I'd do things different, do things better. And then, you know, cause you always think your bosses know what you're doing, they're they're doing. And then, then you become the boss and you're like, Ugh, I just wish I was a Co-Executive Producer.Phil: (08:21)Yeah. You always wish you had the less responsibility, the more, you know, the more, you know, you don't know. Right? Yeah.Michael: (08:26)So, but then, you know, those jobs basically at my level, like those, the two jobs I get, you need to be the boss or the second in command. So there's, I have to take whatever, whatever comes.Phil: (08:36)Now there is another executive producer on the show and that's typically the, basically the guy in charge of, or the woman, the person in charge of making sure that the show is happening from an actual producorial perspective. Right? So not always. So the production. So for example, to come at di we had a production company running things and the owner of that company had the title of EP as well. And that shows up in the credits and that person can be not a writer.Michael: (09:03)And I believe, I believe one of the, uh, managers, David Miner, I believe he's also executive toPhil: (09:09)Both of, both of the guys managers are on our show. They have EP credits because they brought the show to the network and said, we think you should buy this show.Michael: (09:19)Yeah. They help make it. They help sell it. They help make it possible. Yeah. But on other shows, I've worked on this. There's really only there aren't too many co uh, Executive Producers is their Showrunner and maybe no other executive producers, or maybe there's an actor who is so powerful to help got the show me, they might be Executive Producer or maybe often if the show is, is sold through a pod, you have a production company, then they'll get, you know, like you're saying, they'll have a Executive Producer title. Uh, yeah. So some actually that's not really no. And I say that now that I think about it. Yeah. I've always, I've been on other shows where there, there are other executive not they're called non-writing Executive Producers. So when I was on Maron, for example, uh, Jim Serpico, Tom Silletti, they were non-writing Executive Producers. They helps sell the show and their creative involvement in the show. It really depends on what their, what they have time for. Sometimes they're very involved in, sometimes they're not very involved at all.Phil: (10:12)Yeah. Okay. So that's an interesting note. I think, so those people have the same way now from an Office PA perspective. So during production, we still saved those people parking spots, and we understood who they were. And we made sure that they were included on every single email, every single notice that went out, anything that involved creative decisions, they were invited to all meetings. And it was always an understanding they could show up at any time, but also an expectation that they probably weren't going to show up. And so it's an interesting thing like, or, you know, one season of a show, I worked on the, one of these non writing Executive Producers showed up and our Office Production Coordinator didn't know who they were and it, but the secretary did luckily. So they were able to save that situation or it probably would have been a really, you know, egg on the face situation.Michael: (11:00)Yeah. Because sometimes they don't show up. Right. The homes that parking spot is empty all year. Yeah. But you know, sometimes they do show up cause they, yeah. So those are all, those are all creative jobs. So when you see at the front of a TV show, all those producers, like what are all these producers? Most of them are writers. And then some producers, there was always a couple of, there's a Line Producer, he'll get he, or she will get a producer title. And they're in charge of kind of, uh, they're in charge of the, the money and the budget. If, for example, the show runner says, Hey, I want to shoot a show, um, in a submarine. And like, I bet, you know, how do you make that happen? Well, the line producer, their job is to figure out how to make that happen to either rent a submarine or get a soundstage that looks like a submarine or tell you what, that's just too expensive. You can have to shoot it in a rowboat.Phil: (11:43)Right. Right. Yeah. And then, so there's a Line Producer and then a Unit Production Manager or UPM. Yeah. But there are different jobs or they are, or they're at the same job because I see it both ways I've seen it separated or they're the same person does both. Yeah,Michael: (11:57)Yeah. Yeah. And I, yeah, that's exactly right. And I don't, I don't really know what the difference is. Job responses, uh, job responsibilities are between the two, because on the shows that I've worked on, they've mostly been the same person. So.Phil: (12:09)Yeah. It's, I think it's just a level of authority and responsibility. So UPM is typically making the decisions to make sure everything happens in the line producer. My understanding is basically in charge of the budget and making sure you're not blowing the budget every episode and you can get to the end of the road and they're like your accountant almost, I guess you could say as the showrunner. Right.Michael: (12:27)Um, but we still have accountants.Phil: (12:28)We all see cameras like a CPA. Like they're like the CPA who says, we're a business manager, Hey, you need to cut your expenses here because yeah. This thing coming down the road.Michael: (12:36)Yeah. Often they'll negotiate, they'll, there'll be dealing with the unions and they, they, uh, they make sure that the show, they make sure that the physical production of the show actually happens. Yeah.Phil: (12:46)So, so, so this brings up what we're discussing here might be considered "above the line". Yeah. Goes right. Yeah. And, um, you know, we recently had an interesting conversation with someone who did not like the title above the line and alsoMichael: (12:59)A derogatoryPhil: (13:01)It's like, you know, the union negotiates those things. So your union is responsible for earning you those credits and signing what goes where yeah,Michael: (13:10)I think it's, I think actually it's just like where you appear on the call sheet. It's like, are you above this line or below this line? That was my understanding. It's like, and it's just, it's just the line, relax everybody you're on. It doesn't mean, you know, you deserve to die, you know? Right. It's just an, it's a, basically an accounting formality. Yeah. Right.Phil: (13:29)Yeah. Okay. But, but you do not have control over who does that? Just to clarify, because this person seemed to think that you, in your role as an Executive Producer, Showrunner have the ability to dictate through your use of language who gets called what? So people aren't offended.Michael: (13:44)Yeah, yeah. No, I, I walked into, you know, it's so strange. It's like I walk into these terminologies, these, these, the terminologies were decided before me. And, uh, and somebody has someone thought that they were just very offended by that. And I'm perpetuating some kind of, I don't know, egregious, uh, you know, offense in Hollywood.Phil: (14:01)And not to get like super into the weeds on this subject. But I do know, um, this season on Tacoma FD, either production company did require us to use gender neutral terminology for things. So this is like a term for like the Best Boy or Best Boy Grip or Best Boy Lighting. And now that's like Key Lighting Person and it's like a term, um, different things instead of form. And it was for a person. And so I understand those things, but when we're talking about literally anyone below the line is garbage and trash and we stop and use it, that's not exactly what's going on in this space.Michael: (14:31)No, those people are kind of important because they're writers the above the line. People like maybe we were the dreamers that, Hey, what if, and the other people, the ones who are doing it, so you can't just have dreamers on set. They don't that nothing will get done.Phil: (14:43)Yeah. Right. It's like, uh, I, I did hear an example on another show I worked on where they're like, they want us to have 50 people with the exact same haircut sitting in a restaurant. It's like, you don't understand the complexity of, of casting that the complexity of finding those people, the hair and makeup, the costs for extra pay. Like we got you 10 of those people not 50. Right, right. Yeah. So, so those are all the, so those are all the jobs that are just the ones that you've talked about. And those that basically to get into Hollywood, you have to start as a Staff Writer.Michael: (15:16)Hi guys, it's Michael Jamin. I wanted to take a break from talking and talk just a little bit more. I think a lot of you, people are getting bad advice on the internet. Many, you want to break into the industry as writers or directors or actors, and some of you are paying for this advice on the internet. It's just bad. And as a working TV writer and showrunner, this burns my butt. So my goal is to flush a lot of this bad stuff out of your head and replace it with stuff that's actually going to help you. So I post daily tips on social media, go follow me @MichaelJaminWriter. You can find me on Instagram and Facebook and TikToK. And let's be honest, if you don't have time, like just two minutes a day towards improving your craft, it's not going to happen. So go make it happen for you @MichaelJaminWriter. Okay. Now back to my previous rant.Michael: (16:02)And yes, then how do you start as a staff writer? There are entry-level jobs. So there's no assistant writers. People often say, well, I want to be an assistant writer on your show. It's like that doesn't exist. There are Writers Assistance. And those are the people who will sit in the writer's room and they sit at the keyboard and they literally, they usually either take notes or they type, as we, as the words go up on the, on a monitor, we're watching a screen. And so they actually type the script as we pitch lines. And so that's, um, it's, it's a kind of a high pressure job because you have to know the pro word processing program, like the back of your hand, but also you have to be a good speller because if you are not, people will make fun of you. And you know, everyone's staring at you while you do your job and like busting your balls.Michael: (16:46)Uh, you know, so it's a, it's a high pressure job. You have to have a good sense of humor about it. And so, but it's a great job to have because once you're in the writer's room and like, you will learn more as a Writer's Assistant than you would the tenures in film school because you're watching professional writers do their craft. So it's a wonderful, it's a great learning experience. And how do you get a Writer's Assistant job? Well, the next step below that would be Writers PA and essentially a production assistant. So the Writer's PA usually, usually writers are veal. We are kept hostage in a, in a writer's room like for hours and hours and hours. And you don't leave, but they bring you lunch. And when they bring you lunch, that person who's bringing you lunch is a hero because they're feeding you and you, you know, so that the Writer's PA is usually the one who goes out on a run and brings you lunch. This is before COVID of course, I don't know what goes, no one brings me food anymore. No one gives within six feet of me.Phil: (17:39)That's right. That's not in your family. Right.Michael: (17:43)Keep an arm, social distance kids. Um, so that's, Writer's PA and then kind of not, I wouldn't say below it, but Jason too, it would be regular PA or Set PA, which that PA works on the set. Another job would be Office PA. And that PA you know, the set PA might run errands, or it might block off the set when like, you know, when they're shooting an episode, the set PA will be on the perimeter. And you had, I'm telling you, you had this job for a while. And they're the ones who are, let's say you're shooting on New York City street. They're on the perimeter stopping traffic and people, you can't walk here. We're shooting.Phil: (18:14)Yeah, no. And let me point out here, the, our Locations Guy, when I said that I was locking down traffic interjecting and said, you are not allowed to do that. That is illegal. The police lock down traffic. You were there to wrangle pedestrians.Michael: (18:29)Whoa,Phil: (18:29)Interesting. Right. Because we do not have the legal authority to stop traffic, but on a closed set, that was my first day of PA work was literally standing in the hot sun out in the middle of Southern California telling cars when to drive into the scene. Yeah. But it was a closed set. And I was, I was literally doing that. And youMichael: (18:50)Had, you had your piece in a headsetsPhil: (18:54)[inaudible] or there, they literally call it background and you tell them to move. Yeah. Right. YouMichael: (18:58)Tell them that would be a set. That's one of the responsibilities of a set PA.Phil: (19:02)Yeah. They're responsible for getting information to everyone. Um, locking down, set for a sound. It's another very common thing where you literally post up in a doorway and you hold stop people from coming in and out because they're shooting that direction and you don't want to walk through set, like one of the first days of shooting of season two of Tacoma FD I walked onto a set and I looked right at the set PA and she didn't say anything. So I walked toward her and ended up walking right through the shot, like, yeah. And they showed it to me. They showed me a post me Sasquatching and through the background of the firehouse.Michael: (19:36)And that's the job of the PA supposed to stop. You I've walked on sets before to have my own show where I was Executive Producer. And I guess some PA was too nervous to tell me not to walk on set. And I walk into the shot and I ruined the shot. And I'm like, dude, you got to tell me not to walk into the shot. It's okay. You can tell, don't be afraid of me. Tell me I'm not, not tell me not to ruin the shot.Phil: (19:53)Didn't you tell me that there was a, uh, you had to spend like a significant amount of money and post cutting a PA out of the background and standing behind a tree or something.Michael: (20:01)Um, I'm sure that, yeah. I'm not sure if the PA, but I remember sometimes you have to do that we're or you cut a reflection. Sometimes you see a PA or something, or somebody is a reflection in a window. You have to take that out. Yeah. Yeah.Phil: (20:14)Um, so, so I've had most of these PA jobs, so that's a Set PA and then Office PA, you're the one making copies. You're the one making the signs. You're laminating things and go, go runs. You're coming on, runs and picking up stuff. You're going to Home Depot to buy specific daylight, luminescent, light bulbs for the Makeup Department, because they need specific lights in the trailer. You're getting water, you're moving things around set. You're going out on a run to Burbank to pick up Audio Equipment for the audio team. Cause they always need something. Yeah. You know,Michael: (20:48)It's interest. Cause I posted a little bit about that on social media. I do like these little clips and uh, and, and someone said, you have to, you, you know, I said, it's an entry-level job. It's not too hard to get. And someone said, you don't know what you're talking about. You have to have a Harvard Degree. You have to degree a degree from Harvard or an MBA. And like you already your mind, like, I can tell you need a car.Phil: (21:07)That's it. You need a car and you need to breathe. Right.Michael: (21:11)The pulse, if you, if you're dead, you're going to have, you're going to struggle. But if you have a pulse, you be okay. It's like, I don't really care. I don't need to know that you have a degree from Harvard from what do I care? I want to know. Can you go on a run?Phil: (21:23)Do you think that's people who just assume it's all an old boys club and you ha it's about who, you know, and it's not about like, like, oh, Harvard Alumni will hire Harvard alumni. Is it that kind of thing? Or do you think they actually think you have to be like a Rhode Scholar to be a PA?Michael: (21:38)No, I think there's, you know, breaking into Hollywood is hard and it's, you know, that first job, the hardest one is that first job to get in. And so you have to hustle and you really have to like, you know, send out flight. You kind of have to really be in contact with people. And you've got a nudge way in and I, and it takes a lot of work. And I think people would much rather say, well, they're not hiring people like me. Cause you know, there's an excuse as opposed to, that's not true at all. It's like, you just have to do your end to the part. You have to hustle to get the job. Yeah. You know, it's just, there's so many excuses. And like, I always say like, you can, you can have results or you can have excuses, uh, or you can have excuses or you can have results, but you can't have both. Right. And people like to have excuses. It just makes them feel better for not trying or not trying hard enough.Phil: (22:22)Now, now I've been on a other side of things. I think my first PA job, um, you gave my resume to a show that you were running and I didn't get that job. And I didn't get that job because your writing partner also referred someone and that person had experience. Yeah. Right. Yeah. And so I didn't get that job, but because I did so well in the interview when they needed a day player to come out and just lock down set for a day, they called me and said, Hey, it's one day job. You want to come up and sit? Absolutely. What time? Where should I be? I showed up early. I was there. I ran around set the whole day. And it just happened to be that that day, the Office PA was called back in to his Fox show and he had to leave. And so the UPM who was on set with me, watching me work said, you should consider this guy. He seems good. And I got offered a full-time position as the office PA because of that. And so it was thatMichael: (23:16)Is that luck. Was that, was that, did you get lucky or did you make your own luck?Phil: (23:20)I think that there's a, there's a level of luck, you know, there's this old saying that luck is where opportunity meets preparation. Right? Right. And so the opportunity came because I knew you and you were able to give them my resume, but I didn't get that job. Someone else got that job. And they had three other people who you and your running partner did not recommend who also got jobs because they had, and that's just the racket. But because I was willing to show up and I was prepared and I understood what was expected of me as a PA, I was able to prove myself on that, on that day, the chance I go, yeah.Michael: (23:57)We had a PA on Tacoma, FD, we talk about, I don't mention his name, but one day one of the writers asked him to get a, for like Tylenol or Advil or something to go to drugstore. And he kind of said, no, he was busy.Phil: (24:10)So we should talk about that too. So, so the Writer's PA job is not just lunch. Like you're responsible for whatever the writers need. Like the Showrunners asking you for binders, but not just not binders, but D clipped binders, full ring binders, because they don't like the way the dividers are. And it's my job to go get that for them. I'm also supposed to stock the fridge. I'm supposed to have first aid available. I'm supposed to clean up after them. And so to have a Writer's PA tell a Writer I'm busy. I can't get you medicine because you have a headache. But I think it was worse than that. I think it was. Do you know if we have any, I think they have some upstairs. Can you go get some, I don't think I can do that.Michael: (24:48)Yeah. And man and we all laugh when he said no and you know, like men just falls in this guy. Yeah. And then he didn't last much longer than that.Phil: (24:59)Well, he did some other stuff I heard too. I, I ended up replacing that guy that season. Um, but he did some other stuff too. Like you told me that he would just like stare through the glass at you guys while you were watching writing stuff.Michael: (25:12)Yeah. He just, I had a weird thing where like, he just didn't, he'd come into the room, the Writers' Room and he just wouldn't know when to leave. And he was like, you know, and it got awkward. It's like, Hey, did you got to leave? Now? We got to work. And he would just kind of stand there. I dunno, gabbing or, you know, watching and was just so uncomfortable. And the writer, we, we thought it was hilarious. Like this guy he's something else.Phil: (25:33)Well, he hit the nail in the coffin. And I think this is like a big note of what not to do is one of our Showrunners who is an actor on the show is like on Nutrisystem and like cutting weight to get camera ready, because he's going to be, you know, he's effectively starving himself to look good on camera. And he's entitled to lunch more than anybody else on the show. Cause it's his show. And one day he comes in, he's like today I want sushi. And he said, uh, we don't have the budget for that. Right. And he said, I don't care. I'll approve it. Cause he's show is responsible for the budget. And he goes, I've already put in the other lunch order.Michael: (26:11)Yeah. That's what it was about. And that, you know, and afterwards we were busting that actor's because you know, I, you're not in charge.Phil: (26:24)Yeah. You'll keep your job if you, uh, if you deny your showrunner on her food, the one time he asks for it and the whole season.Michael: (26:32)So that guy didn't, he didn't last very long. But, uh, yeah, your, your job is to say yes, not to say no as a PA. Right.Phil: (26:39)Well, yeah. Well, interesting stuff. And you know, ultimately like I got that job and I think to your note, one of the first things you told me forever ago is if, you know, if you want to make it in Hollywood, you have to be in LA because that's where the jobs are. And I think there's a caveat because this is a question I've seen in a lot of your social media people say, do you have to live in Hollywood to make it in film? And the answer is depends on what you want to do. Right? So for example, I went to film school in New Mexico and New Mexico is a smaller market that is expanding ridiculously right now. I think Netflix is investing a billion dollars in New Mexico and infrastructure expanding stages. And they bought the biggest stages there where they shoot Breaking Bad and Better Call Saul and all that stuff.Phil: (27:17)And so if you want to work in camera or you want to work in, you know, an office position or a locations or a costume position, my opinion is those exterior markets, Utah, where you have Park City studios, you have, um, Santa Fe or Albuquerque where you have a fast growing film industry. You have Louisiana, you have Georgia. Those markets is really easy to progress and move up the ranks in those craftsmen positions. Right. Right. But when we talk about writing, I really think the answer is you do have to be an LA because this is where the writing happens.Michael: (27:52)Yeah. All the writing, they even Handmaids Tale. They shoot that. I think in Toronto, they sh they write it here. Um, I'm pretty sure Breaking Bad. They, they, theyPhil: (27:59)Wrote here in LA, in LA shot, in New Mexico.Michael: (28:02)Right. So if you want to be a writer, then you want to be a writer's assistant and you want to be a PA here in LA. So you can come up this way. But in someone, some of them had sent me, um, a question that maybe was on Tik TOK or something. And she was, she seemed very lovely. And by, so I still let her have it. She was, um, she was like, uh, I live in the UK and I would gladly, I really want to break into the business. And I would gladly come here to LA. If someone could guarantee me a job. And I was like, you know, there's no guarantee, you know, no, one's gonna guarantee you a job. Uh, first of all, there are no guarantees in Hollywood. Right. You know, you're not, um, you know, you're, you know, you're not Brad Pitt Brad Pitt.Michael: (28:42)He's guaranteed to get a dressing room and, and a driver. You're a PA you have no guarantees. If you came here and got a job, let's say the show would get canceled after 10, at 10 weeks, or you get fired or whatever, you're still out of a job. Now you're out of a job. And so you're still screwed. You have to come here first. And when they're hiring for those positions, that basically for any kind of PA position, the job is like you interviewed today to start tomorrow. And so you can't fly here. We're not going to get, I'm going to give you a week to fly here. And then a week to find a place then a week to get a car because you need a car. It's like, you know, no, you have to be here for those opportunities. There's no, there's no guarantees.Phil: (29:22)Yeah. That's what you told me. You said you have to be here because when they want to hire someone, they need you today. Right? Yeah.Michael: (29:27)And I, I called you. I remember when that opportunity came up on our current show, I said, Phil, can you, can you be here this afternoon? They're hiring you. You have to be here today.Phil: (29:35)Yeah. I think the exact text was, um, we need a PA the job sucks. It's low pay. Do you want it? And I said, I'll do that job for free. Right. And your response. Good answer. That's how I got my first paid job. Hold on. And they're like an hour or so later the Script Coordinator. Um, so basically shot me a text said, Hey, man, uh, it looks like, you know, we'd like to use you on the show. I said, do you want my resume? He's like, no, Michael Jamin's words. Good enough. And it's because you had proved yourself at that time. Right. So they took your recommendation. And I literally showed up the next dayMichael: (30:09)And I have a new gunPhil: (30:10)And I haven't been working on the show in two years. I'm still on the show.Michael: (30:13)And if you had 'em right. And if you had, uh, you know, said, well, yeah, I'll be there next week. They would have found somebody else. Right.Phil: (30:20)Because, um, literally cause they were, they were buying their own. You guys were buying your own lunch at that point, I think.Michael: (30:25)Yeah. Like we, like, we need lunch. Yeah.Phil: (30:29)Carrie Clifford's like, I want my tuna where, which tuna do I get. Yeah,Michael: (30:32)Yeah, yeah. Yeah. And so yeah, having a good attitude and being ready to start tomorrow is, is really key. Unfortunately, that's how you, if you want to, like, if you want to work in Hollywood, you have to be in Hollywood, you know? And, and sure there are other jobs like in Atlanta and, and, uh, Albuquerque, but often, um, like it may be harder to have a career in those cities because there's just not as many opportunities. So I'm sure people, you know, piece together careers. I just think it'd be easier to piece together a career in Hollywood. There's just more options.Phil: (31:02)Yeah. There's constant. There shows constantly shooting, especially right now with streaming and cable. There's not like a development season. Like there used to be right. It'sMichael: (31:11)And you may have to move, you may, I know like costumers, they work here, but they have to take a job in some other state because that's where the show is shooting, but writers generally have to generally stay in LA. Yeah.Phil: (31:23)Yeah. So are there any other jobs or any other ways to break in to Hollywood at this point? I mean, is it, is it just, you have to work yourself way up as a PA or get lucky enough to, you know, be lucky enough and have the craft and skill to become a Screenwriter. Is there another option?Michael: (31:38)We talked about this in other episodes where if you have your own, if Hollywood is not going to come to you, unless you really make it worth Hollywood's while. So if you are blowing up on Twitter, if you have a giant Twitter feed or, uh, you know, Instagram or whatever, and, and you have a million followers, Hollywood will find you, you don't have to start at The Bahamas. Like, man, this person here, she's got it going on. Uh, let's give this person to show because they have a built-in marketing platform that often happens. Yeah. So there's a show on CBS, it'd be 10 years ago. Shit My Dad says, and that was based on a popular Twitter feed. Yeah. And so, you know, that guy just tweeted it from wherever he wanted and you know, just find stuff that his dad said.Phil: (32:19)Got it. So I, I do, you know, of other people who've broken in, so I'm another writer who is that a lot of stuff to put stuff out there as website he's got scripts and things. Javier Grillo-Marxuach who I think you might know. Yeah. He wrote lost. Yeah. Yeah. Lost. He was a showrunner on a bunch of stuff. So he, I believe was a development executive and he transitioned that position to being a writer. Yeah. So there are those other opportunities as well. Do you know anything about those?Michael: (32:45)I do know. I have a friend who we hired on a show, Glen Martin DDS years ago. And I didn't know him at the time we just hired him. We became friends. And I... I discovered after about a year that he was at one point a Development Executive at a studio and I was shocked. I was like, oh, I hadn't because it's a whole, whole different thing. Um, and he told me that most development executives from his they're, they're jealous of writers. They want to be writers. And so, because it's more creative and development executives or, you know, they, they tend to give notes, uh, but they don't do it themselves. And so, cause you know, it's one of those, like why would you want to become, uh, an executive at a studio or a network if you were not had that creative passion in you, you wanted to create. And so the closer I think they can get to creating the more fulfilled they would be, which is, you know, obviously writing is probably closer to... than giving notes toPhil: (33:35)Somebody. That makes sense. It makesMichael: (33:37)Sense, but I'm, I'm not gonna speak for all that. I'm sure there are many great development executives or creative executives who love exactly their job. But this is what he told me was that he felt that that many or most really wanted to be really wished they were writers. Right.Phil: (33:50)And I think that, you know, from my limited perspective, with the, the limited amount of work I've done, kind of the general vibe that I get from most people is that most people in most jobs in Hollywood dreamt of being a writer, director, producer, and they are now doing this other job, hoping to have the job that you're also trying to get.Michael: (34:13)I think many writers also want to be directors because it's not writing. It's like, Ooh, because writing is hard. You're like, well, directing it, that seems like something I could do. Was that, wasPhil: (34:20)That your experience when you directed on Maron?Michael: (34:23)Uh, no. That was just an opportunity that came our way. We didn't want to say no to it, but I know other writers who want to get into, or have gotten into directing because writing is really hard. Writing can be difficult even like, I, I used to say like, if you think writing is fun, you're kind of, you're probably doing it wrong. It's hard to do it. Right. It's hard. Yeah. And so I think a lot of writers that well, anything about writing, so.Phil: (34:47)Right, right. Well, awesome, man. I think it was incredibly helpful. You have any other thoughts or?Michael: (34:52)No, I think that's, I think we covered a lot. We have, we have more podcasts come and Phil. We got to save it for the next.Phil: (34:57)Oh, I love it. No. So again, you know, I think that if you want any more of this information, definitely check out Michael's course because he goes into this more detail kind of what's expected in some of those positions and what it takes. But yeah, I think the big note that I would like to give or leave people with is that you don't have to have won the lottery or be born with a silver spoon in your mouth. I sure wasn't. And I live in LA and I work full year round as a PA. And I'm actively working on progressing towards being a better writer so you can make it happen. You just have to get rid of the excuses and just take control and just make decisions with what can I do today to improve things. And we talked about this on another podcast, like I've always was raised with this prodigy syndrome.Phil: (35:41)I feel like I have to hit grand slams with everything I do. And there's this framework that I've transitioned to, which is, you know, it's Moneyball, it's singles singles win baseball games. If I can hit a single today, like which might just be writing something, I can hit a single today. It's not sexy. If I hit a single tomorrow, it's not sexy. If I hit a single one day three, it's not sexy, but they, for you score it run day five. You score a run. It's about chaining those singles together. And that's how you ultimately win.Michael: (36:08)I think so. That makes sense to me. Yeah. Like people say like, well, how do I become a writer is like, you're, if you write every day, you're a writer, right? If you want to be a paid writer, that's a little different, but you know, but if you were someone new who wrote a script last year, you're not a writer. You have someone you're someone who has written. So a writer you're constantly writing, it's active. And, and that will make, that will make you better at your craft and will increase your odds of actually becoming a professional writer.Phil: (36:35)Awesome. I love it. Here's a great way to end. Thank you, Michael. Thanks everybody for listening.Michael: (36:40)Thank you.Phil: (36:53)This has been an episode of Screenwriters Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing leaving a review and sharing this podcast with someone who needs to hear today's subject. If you're looking to support yourself, I encourage you to consider investing in Michael's screenwriting course at MichaelJamin.com/course. I've known Michael for over a decade. And in the past seven years, I've begged him to put something together. During the global COVID-19 pandemic. Michael had time. And I have to say, I wish I'd had this course 10 years ago. As someone who has personally invested in most online courses, earned a bachelor's degree, and actively studied screenwriting for over a decade, this course has been more valuable to me than most of the effort I've put in because it focuses on something noone else teaches: story. In his course, Michael pulls back the curtain and shows you exactly what the pros do in a writer's room and that knowledge has made all the difference for me. And I know it will for you too. You can find more information at MichaelJamin.com/course for free daily screenwriting tips. Follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.filet Hudson. This episode was produced by Phil Hudson and edited by Dallas crane until next time, keep writing.
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