Film school in London, England
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2 episodes with London Film School
2 episodes with London Film School
2 episodes with London Film School
2 episodes with London Film School
The Filmographers interview director Nathan Deming and producer Adam Stunkle of the Wisconsin-shot indie film, “February.” We discuss Mike Leigh and the London Film School, realities of low-budget filmmaking, working with nonprofessional actors . . . and, naturally, Steven Soderbergh! Join our Pateron! Social media Instagram @thefilmographers Bluesky: @thefilmographers.bsky.social Letterboxd @filmographers YouTube @TheFilmographersPodcast Website: https://filmographerspodcast.com/ Credits Keir Graff & Michael Moreci, hosts Kevin Lau, producer Gompson, theme music Cosmo Graff, graphic design
Naomi Waring started out writing for the theatre and was part of the young writer's program at the Royal Court, an invite-only group with Stacy Gregg and Alice Birch with her first play showing at London's BAC. Her first film Little Ones, an autobiographical documentary was supported by Film London and the Kevin Spacey Foundation and went to various international festivals. She holds an MA degree from the London Film School and her graduation film won best short film and screened at top BAFTA and Oscar qualifying festivals. Her work is usually set in working-class communities and is influenced by social realism, with a particular interest in youth culture and the female perspective. In 2019 Naomi was selected for Bela Tarr's directing workshop, where she developed and shot the film Ascend, The film got screened at Locarno Film Festival as part of the anthology Under the God. She was also selected for the Encounters Widening the Lens and Go Shorts writing program as well as mentoring by Raising Films in 2016 at The Edinburgh Film Festival. In 2020 Naomi was commissioned by BBC N.I and Screen N.I to shoot a short film, Ode, which was screened on BBC Arts, BBC Iplayer, and various international film festivals, such as Aesthetica, Dublin Film Festival, Uppsala, and Underwire. She is currently shadowing director, Alex Winkler on the HETV series Mary and George. Naomi is currently developing her debut feature film: which was shortlisted for the Torino Script Lab and LIM. Naomi is a visiting lecturer at the Royal Central School of Speech and Drama, and GSA teaching screen Acting on the BA acting course. Other clients include Hatch Films, The Paper Birds, The Round House, The Lyric Hammersmith, and ISSA. Her Films have screened at BBC I Player, Dublin Film Festival, Cork International Film Festival, Galway Film Festival, Belfast Film Festival, Manchester International Film Festival, Underwire, Aesthetica, Locarno Film Festival, Kerry International Film Festival, Richard Harris International Film Festival, Shiny winner, Off Line Best International Short, Finalist European Cinematography Awards.
Victress Hitchcock has been an explorer all her life as a child of diplomats, a filmmaker, meditator, mother and poet. This past October, she published her memoir, A Tree with My Name On It--Finding a Way Home. It is a powerful story of healing, resilience and finding inner freedom. As the 20th century careened towards the finishing line, author Victress Hitchcock moved with her husband of 25 years from their familiar urban world to 160 acre historic ranch in the Wet Mountains, a range in the Colorado Rockies so remote no one they knew had ever heard of it. Within months, their lives unraveled, and out of the wreckage a path opened to a radically new way to be in the world fully alive with joy and sorrow. Guided by a rich concoction of Buddhist insight and horse sense, a deep friendship with a woman born on the ranch and the unlikely support of a prison meditation group, Victress began a journey that broke open her heart, shattered old concepts and defenses, and loosened the grip of lifelong fears that bound her. This is a story told with humor and grace that will resonate with anyone who has reached that moment in their lives when they are ready to tear off the bandage, and take a deep look at the old wounds, assumptions and fears that have been holding them hostage for too long. Victress Hitchcock grew up in London, Paris and Madrid as the daughter of a diplomat. She graduated from the London Film School and spent 45 years making documentary and educational films. A long-time meditator, a poet, a mother and a grandmother, she lives in Boulder, Colorado. You can learn more about her at victresshitchcock.com. Follow Victress: https://www.instagram.com/victresshitchcock/ https://www.facebook.com/victresshitchcock/ https://www.facebook.com/profile.php?id=61563898306552
Un ritratto intimo e universale, diretto da Antonio Donato, esplora il rapporto padre-figlio con tensione e delicatezza. Premiato e selezionato in festival di prestigio, è un'opera che punta i riflettori sull'identità e sulle aspettative sociali. Il cortometraggio Sparare alle angurie, scritto e diretto da Antonio Donato, offre uno sguardo intenso e stratificato su dinamiche familiari complesse. La trama si svolge in un lussuoso residence estivo nel nord della Sardegna, dove Federico, il protagonista, si trova in vacanza con il padre, Aurelio, e il fratello. L'opera affronta temi come le aspettative sociali, il conflitto intergenerazionale e la scoperta di sé, con una narrazione capace di coinvolgere ed emozionare. Durante una cena con una famiglia straniera, Federico si rende conto che, nonostante il disagio e l'ansia generati dal comportamento autoritario del padre, condivide con lui tratti che inizialmente aveva rifiutato. Questo momento di introspezione cambia il modo in cui vede la propria identità e le relazioni familiari. Con un cast di talento, tra cui Luigi Di Fiore e Luca Lacerenza, il corto bilancia dramma e introspezione con una regia curata nei minimi dettagli. Una produzione ambiziosa con riconoscimenti internazionali Prodotto dalla prestigiosa London Film School insieme a realtà come VIA73, Eclettica e Hyperion, Sparare alle angurie ha già raccolto numerosi riconoscimenti. Tra i premi spiccano il Best Cinematography Award al Vaughan International Film Festival in Canada e il Best Student Film Award al The Smalls Film Festival nel Regno Unito, entrambi nel 2024. Il film è anche stato presentato in festival prestigiosi, tra cui il MEDFILM Festival di Roma e l'Interfilm International Shortfilm Festival di Berlino. La sceneggiatura, scritta da Donato con Paolo Carbone, mescola universalità e dettagli personali, creando una narrazione profondamente coinvolgente. Il regista Antonio Donato, regista e sceneggiatore, ha esordito nella video-arte, laureandosi con lode alla London Film School. Il suo corto Sparare alle angurie è stato candidato ai BAFTA Yugo Awards 2023. Attualmente Donato lavora su un nuovo cortometraggio e sta sviluppando il suo primo lungometraggio. La sua esperienza su produzioni internazionali, molte delle quali proiettate agli Oscar e ai BAFTA, conferma il suo potenziale come una delle voci più promettenti del cinema contemporaneo.
Nina Chávez Góngora is an award-winning filmmaker and Creative Producer with a master's degree from London Film School. . . With over 50 short films exploring themes of mental health, migration, and identity, her work has captivated audiences at festivals worldwide. Currently, she brings her storytelling expertise to life through impactful, community-focused projects . . . Nina's IMDB: . https://www.imdb.com/name/nm7078900/?fbclid=PAZXh0bgNhZW0CMTEAAabYhc1drljO7MEkygiO30y7H9q9-azic7l_5bzfp3aDtF17MDce3vjcn7I_aem_bBfsD1khXDTMhS2nHZOrTQ . Nina's Instagram: . https://www.instagram.com/ninaachavezz/?hl=en . . Thank you to our studio sponsor Backdoor Modern Vintage - your go to content creation hub located at 907 W Business 83, Weslaco, TX. . Follow Backdoor Modern Vintage on their instagram: . https://www.instagram.com/backdoor_modernvintage/?hl=en . Cuadros Corner Podcast is a service that I provide to the local community of the Rio Grande Valley and the pricing is as follows: . Zoom Interview: $25 . Traveling Podcast (I go to you): $100 . Studio Podcast in Weslaco, TX: $200 . If you would like more information please click the link below: linktr.ee/storystormaker --- Support this podcast: https://podcasters.spotify.com/pod/show/cuadroscorner/support
Mon, 09 Sep 2024 06:00:00 +0000 https://efm-industry-insights.podigee.io/62-pathways-to-equity-the-special-edition-seminar-podcast 53b2d69fc562df209e5fba9d4fd266ed Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by Curator and Impact Producer Nadia Denton, it delves deep into the rapidly evolving film industry. Funded by Creative Europe MEDIA and taking place yearly at the EFM 2023, 2024 and 2025, the Equity & Inclusion Pathways Seminar is an industry-wide consultation forum that brings together European decision-makers, advocacy groups, stakeholders and change-makers with the aim of shifting the needle regarding equity, inclusion and accessibility in terms of policymaking, strategy, measures and actions. The change and advances that this Seminar aims to bring about for the European film industry are resolutely structural, and involve not only integrating marginalised groups into a European film sector that is free of biases, barriers and exclusions but also valuing the hitherto unrealised potential of the contributions of marginalised film professionals to the industry as well as redistributing resources and decision-making power more equitably. Featuring the Seminar's 3 moderators (Nadia Denton, Yolanda Rother and Sailesh Naidu), one of the Ambassadors, Tina Trapp (EAVE), the leadership of OMNI Inclusion Data, Helge Albers (MOIN Film Fund) and a speaker and representative of an advocacy group, Julian Carrington (REMC - Racial Equity Media Collective), this episode will explore the mission, vision, objectives and challenges to implementing effective, long-lasting and sustainable DEI and accessibility policies at institutional level across the European screen industries. OMNI Inclusion Data aims to underpin the diversity of the media and culture sector and the people working in it with factual data. At the same time, OMNI Inclusion Data aims to close the blank spots due to a lack of data. OMNI also intends to collect data that is compliant with data protection legislation from cast and crew on a voluntary basis and provide the industry with the most up-to-date analysis on inclusion statistics. With the OMNI project, the initiator MOIN Film Fund, in co-operation with Australia's The Everyone Project, is taking on this important task for the European film industry and, more importantly, taking a leadership role in promoting diversity in the industry. The host Nadia Denton (she/her) has worked in the UK film industry for over a decade as an Impact Producer, Curator and Author. She specialises in Nigerian Cinema and coined the term BEYOND NOLLYWOOD. She has worked with the BFI London Film Festival, Berlinale EFM, British Film Institute, British Council, Doc Society, London Film School, Sundance Film Festival, Tribeca Film Festival and Comic Relief. Her books include The Nigerian Filmmaker's Guide to Success: Beyond Nollywood and The Black British Filmmaker's Guide to Success: Finance, Market and Distribute Your Film. She is an Honorary Research Fellow with the University of Exeter. Yolanda Rother (she/her) is co-founder of "The Impact Company", a diversity, audience and culture consultancy. She moderates and speaks on topics related to digital society, politics and open government, diversity and sustainability. The Berlin native is a graduate (Master of Public Policy) of the Hertie School and has lived in Brazil, France and the United States. Sailesh Naidu (they/them) is a writer, researcher, and performance artist working in the sphere of migration, gender, and education. Their work interrogates the queer body as territory, ancestral knowledge, and building of queer personal narratives as archive. Tina or Kristina Trapp (she/her) has worked in the international film industry for over 20 years, amongst others at the German regional film fund MFG-Filmförderung Baden-Württemberg, with the European culture channel ARTE, heading the Film Commission Strasbourg and with the European training programme “Atelier Ludwigsburg Paris”. She joined EAVE in 2004 as Programme Manager. In 2007, she became Deputy Chief CEO and was appointed CEO in 2009. Kristina has been closely working with several European festivals and production companies in her career. She was part of various selection committees and juries for film funds and co-production markets and is member of the European Film Academy and ARTEF (Anti-Racism Taskforce European Film). She was co-director and board member of the umbrella organisation for European training providers, ATC (audiovisual training coalition), as well as member of the advisory board of the CEE Animation Workshop and board member of EWA (European Women's Audiovisual Network). Helge Albers (he/him) Helge Albers, born in 1973, has been CEO of MOIN Film Fund Hamburg Schleswig-Holstein since April 2019. As a producer, he won the German Film Award in 2001 for ‘Havana, Mi Amor' and in 2016 for ‘Above and Below'. His other successes include ‘Full Metal Village' about the Wacken Festival as the most successful documentary film in 2007, as well as the Oscar-nominated short film ‘Ave Maria'. His experience as a producer, managing director of the VDFP (now Producers' Association), as a member of the FFA's awards committee and advisor to the World Cinema Fund ultimately led him to Germany's northernmost film funding organisation. Julian Carrington (he/him) is Managing Director of the Toronto-based Racial Equity Media Collective, a national not-for-profit research and advocacy organization dedicated to equity for equity for Black, Indigenous, and People of Colour (BIPOC) creators in Canada's film, television, and digital media industries. This episode also features short soundbite contributions from Valerie Creighton (Canada Media Fund), Regina Mosch (ARTEF) and Lissa Deonarain (BGDM). The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Film Business,Entertainment Industry,Future Trends,Berlinale,European Film Market,Collaboration Film Industry,Media Industry,Equity and Inclusion,Representation European Film Market 3083
Ever pondered the dynamic force of life or the profound beauty amid challenges? Visual storyteller Riccardo Sai dives deep into these themes, exploring how nature, storytelling and purposeful living intertwine to inspire and drive change. Riccardo discovered the significance of crafting meaningful connections especially in testing times. Riccardo shares his evolving journey, from renaming his company to supporting ethical, value-driven and purpose-led brands, all while capturing the transformative essence of life. KEY TAKEAWAY ‘I've always been very fascinated by film and photography and in a way that's an incredible visual storytelling tool that allows people to connect at a very deep level and a very meaningful way also with the essence of life. The essence of life is beauty. Capturing that beauty has always been a major drive in what I do and why I do it as well.' ABOUT RICCARDO Riccardo Sai is a passionate storyteller, director, and creative producer with Italian roots, now based in London for over two decades. With a background in art, cinema, and philosophy from Bologna, and a master's degree from the London Film School, Riccardo has lent his creative vision to award-winning projects across films, documentaries, commercials, and photography for notable clients like Nike, Microsoft, Nivea and BBC. In 2022, he founded Storo, a strategic visual storytelling studio named after his ancestral village in the Italian Alps, aiming to drive positive change by assisting purpose-driven organisations in narrating compelling stories through films and other audiovisual mediums. His work, dedicated to creating a fairer, healthier and happier world, has attracted a diverse clientele including Brunello Cucinelli, The Home Office, Unicef, The Gorilla Organization, The Red Cross, The Green Party of New Zealand, Lenovo and The European Union, underscoring his belief in the transformative power of impactful storytelling. Riccardo strongly believes in the ability of impactful stories to educate, transform, connect, and heal. By collaborating with like-minded partners, I hope to produce work that contributes to a fairer, healthier, happier world. CONNECT WITH RICCARDO https://www.facebook.com/the.storo https://www.instagram.com/the.storo/ https://www.linkedin.com/in/riccardosai/ ABOUT THE HOST - AMY ROWLINSON Amy is a Life Purpose Coach, Podcast Strategist, Top 1% Global Podcaster, Speaker and Mastermind Host. Amy works with individuals to improve productivity, engagement and fulfilment, to banish overwhelm, underwhelm and frustration and to welcome clarity, achievement and purpose. WORK WITH AMY Amy inspires and empowers entrepreneurial clients to discover the life they dream of by assisting them to focus on their WHY with clarity uniting their passion and purpose with a plan to create the life they truly desire. If you would to focus on your WHY and discuss purpose coaching or you want to launch a purposeful podcast, then please book a free 30 min call via www.calendly.com/amyrowlinson/enquirycall KEEP IN TOUCH WITH AMY Sign up for the weekly Friday Focus - https://www.amyrowlinson.com/subscribe-to-weekly-newsletter CONNECT WITH AMY https://linktr.ee/AmyRowlinson HOSTED BY: Amy Rowlinson DISCLAIMER The views, thoughts and opinions expressed in this podcast belong solely to the host and guest speakers. Please conduct your own due diligence.
Editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher The Fall Guy editing team of editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher once again find themselves in the cutting room of a David Leitch action spectacular. With this film being the fifth the trio has worked on together; their postproduction process is like a highly coordinated stunt sequence. THE FALL GUY, directed by David Leitch from a script written by Drew Pearce, is loosely based on the 1980's TV series about a stuntman who moonlights as a bounty hunter. The film version follows a stuntman (Ryan Gosling) working on his ex-girlfriend's (Emily Blunt) directorial debut action film, only to find himself involved in a conspiracy surrounding the film's lead actor (Aaron Taylor-Johnson). ELÍSABET RONALDSDÓTTIR, ACE Elísabet Ronaldsdóttir is an award winning tv and film editor, who has worked on over 50 feature films, television programs, documentaries, as well as animated features. She is best known for her collaborations with film directors David Leitch for BULLET TRAIN (2023), JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018) and Baltasar Kormákur for JAR CITY (2006), THE SEA (2002) and CONTRABAND (2012). Although Elísabet edited various movies throughout her career, she developed international recognition for her ability to balance humor and seriousness in action features. She built her international prominence by editing CONTRABAND (2012) and later JOHN WICK (2014), which also began her career-long partnerships with Baltasar Kormákur and David Leitch. She first started in the industry by editing Icelandic tv programs, shows, and films. Elísabet is also actively participating and changing the industry. She is a founding member and two-term inaugural chairwoman of Women in Film & Television Iceland (WIFT Iceland). In addition, Elísabet has sat on the Icelandic Producers Guild board and served for two years as chairwoman of The Icelandic Film & TV Academy in 2005 and 2006. Since 2007 Elísabet has been a board member of the prominent Filmmakers at Reykjavík International Film Festival (RIFF). Born and raised in Reykjavik Iceland, Elísabet is graduate of the London Film School. MATT ABSHER Assistant editor Matt Absher has been Elísabet Ronaldsdóttir's right hand man in the cutting room for seven films spanning eleven years. In addition to their most recent work on David Leitch's THE FALL GUY, the two collaborated on; THE MISSIONARY (2013), JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018), SHANG-CHI and THE LEGEND OF THE TEN RINGS (2021) and KATE (2021). Aside from his work with Elísabet, Matt has also assisted editors such as Stephen Mirrione on THE INFORMANT! (2009) and Nick Monsour on NOPE (2022). Editing THE FALL GUY In our discussion with The Fall Guy editing team of editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher, we talk about: Defining David Leitch Intercutting to the chase Taming a triad of tones Syncing split screens Voice over and out The Credits Visit ExtremeMusic for all your production audio needs Check out Frame.io for the "Rough Cut Blog Spectacular" See what's new with Avid Media Composer Listen to Elísabet discuss cutting BULLET TRAIN Check out Elísabet's talk with her co-editors from SHANG-CHI and THE LEGEND OF THE TEN RINGS Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Explore The Rough Cut on YouTube
Amund er en erfaren kameramann og dykker. Han startet sin dykkerreise i en alder av 14 og oppnådde sin BSAC/CMAS-lisens i Kenya i 1982. Opplært som 16/35 mm filmkameramann ved The London Film School 1990 - 92, våget han seg inn i forskjellige kameraer, redigeringssystemer og film/TV-produksjoner gjennom årene. Hosted on Acast. See acast.com/privacy for more information.
Babak Jalali is a film director, producer and editor based between London, Paris and Rome. Born in Gorgan, Iran, he was raised primarily in London and gained a degree in East European Studies and an MA in Politics before attending the London Film School. His award winning work includes “Heydar: An Afghan in Tehran”, “Frontier Blues”, “Radio Dreams”, “Land”, and his 2023 release “Fremont”.
Alasdair Beckett-King was a regular panellist on Mock the Week, most notably appearing in the show's final ever episode. He was named Leicester Mercury Comedian of the Year 2017 and won the NATYs New Act of the Year in 2014. Alasdair's debut solo show ‘The Alasdair Beckett-King Mysteries' was a finalist in the Amused Moose Comedy Award 2017, made Dave's top 10 jokes of the fringe and went on to sell out at the Soho Theatre. A stand up comedian and animator, ABK has written and performed for BBC radio and for several indie video games. His stand up clip for 'BBC Scotland Short Stuff' went viral in 2017, with over 2 million views. A graduate of the London Film School, he won a student Royal Television Society award and was nominated for a Student Oscar in 2013. Alasdair's social media profile grew significantly during Lockdown when he began creating online comedy shorts. The videos gained great traction with his ‘Every Single Scandinavian Crime Drama' achieving over 2.5 Million views in less than a month.Alasdair Beckett-King is guest number 317 on My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Cab Calloway - St. James Infirmary Blues animation - https://www.youtube.com/watch?v=8r-6_EBw6T8For Alasdair's books, gigs and everything else, visit: abeckettking.com .Follow Alasdair Beckett-King on Twitter: @MisterABK & Instagram: @itsmisterabk . Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people. Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.
In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus Anthony Thomas are joined by Writer/Director Remi Moses, a recent attendee of the prestigious London Film School. There are no clear routes into the film industry as a director and many people see film schools as a clear pathway, but this isn't entirely the case. With Marcus and Oz's affilliation to the National Film and Television School and Remi's to LFS, we have a chat which aims to demystify film schools for those who haven't attended. This conversation covers: -How Remi got into filmmaking. -The challenges he faced which made him apply to film school. -The application and entry process. -A bit about the curriculum. -What did we learn through attending? -Is there an academic aspect to them? -Did it improve your prospects/entry into the industry? -Listener experiences and observations. -Do you need to go to film school? About Remi Remi is a British born filmmaker who has been film-making for 9 years and likes to tell stories about disability, invisible illnesses/struggles and intimately complicated queer relationships. He has an affinity with intimate black stories, often told from his own experiences growing up in a Caribbean household. When it comes to visual storytelling, Remi has a very poignant and romantic style. He takes huge pride in bringing heavy emotions and realism to his drama's, often elevating the genre by fusing it with horror, thriller or mystery. Remi has won awards for his films and had them screened all around the world. Notable festivals include: BAFTA qualifying Norwich Film Festival and Aesthetica Film Festival, Los Angeles Short Film Festival and other smaller festivals in New York, Australia, Sweden and Glasgow. https://rmmoses.co.uk/ Film School Information The National Film and Television School https://nfts.co.uk/directing-fiction London Film School https://lfs.org.uk/full-time-study/ma-filmmaking/course-overview https://lfs.org.uk/full-time-study/ma-filmmaking/curriculum Marcus' NFTS Entry Film Watch No Exposure Here Nuggets of the week Oz: Harry's Podcast Marcus: Best Girl Grip Podcast Remi: The scent of flowers at night – Leila Slimani What Editing a Big Movie Looks Like – This Guy Edits Credits Music by Oliver Wegmüller Socials Instagram: @TheDirectorsTakePodcast Twitter: @DirectorsTake Remi Moses socials: Twitter Instagram Vimeo If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.
Newborn babies get their first microbiome from their mother's vagina during birth. The baby will become covered with this beneficial bacterial as they come out of the protected environment of the womb, through the birth canal, and to the world beyond. When the baby is born vaginally, they will have a gut microbiome similar to that of their mother's vaginal and fecal flora. This helps set up lifelong gut health. But for babies not born vaginally, there are other ways to help insure good gut health. Join us for a thought-provoking discussion of why microbiome is important and how to help families advocate for procedures that will be beneficial for themselves and their baby. Toni Harman is a graduate of the London Film School and has produced and directed a number of internationally-distributed documentary films, including: MICROBIRTH (about the origins of the human microbiome), FREEDOM FOR BIRTH (about the struggle for women's rights in childbirth), and DOULA! (about the work of birth and postnatal doulas). Toni's extensive research for MICROBIRTH led to her co-authoring the books THE MICROBIRTH EFFECT and YOUR BABY's MICROBIOME. Toni is a professional speaker at international conferences about the science of the microbiome and epigenetics. She also leads the MICROBIOME COURSES online school. Toni combines knowledge gained from researching the subject for ten years with her extensive experience of running educational one-day and multiple-day workshops for adult learners. Listen and Learn: Why microbiome is so necessary for healthy humans, starting at birth How initial microbiome is transferred from mother to baby What happens with the microbiome if the baby is born by cesarean Processes other than birth that can help increase a newborn's microbiome How we can teach these important facts to pregnant and new families How mothers can increase the beneficial parts of their microbiome for their own health and their baby's Resources & Mentions: https://microbirth.com and https://microbirth.teachable.com Get in touch with Toni Harman: toniharman@hotmail.com Related Products from InJoy: Understanding Birth Curriculum
Spegillinn 15. júní 2023. Virkjanaleyfi vegna Hvammsvirkjunar hefur verið fellt úr gildi. Ógilding leyfisins kemur Landsvirkjun á óvart. Freyr Gígja Gunnarsson sagði frá. Jón Gunnarsson dómsmálaráðherra vill harðari löggjöf og skilvirkari vinnubrögð í málefnum fólks sem hér sækir um alþjóðlega vernd. Hann lætur væntanlega af embætti á mánudag en hefði viljað sitja lengur. Jóhanna Vigdís Hjaltadóttir ræddi við hann. Sendiherra Íslands í Moskvu tekur við stöðu sendiherra í Kaupmannahöfn í sumar og Þórdís Kolbrún Gylfadóttir, utanríkisráðherra ákvað að senda ekki annan sendiherra í hans stað. Starfsemi sendiráðs Íslands í Rússlandi og umfang rússneska sendiráðsins hér hefur verið rædd í ríkisstjórn og utanríkismálanefnd en ákvörðun um að leggja niður starfsemi í Moskvu var hennar. Óttast er að mörg hundruð hafi farist þegar skip sökk undan strönd Grikklands í gær. Talið er að 750 flóttamenn hafi verið um borð, þar af hundrað börn í lestinni. Ástrós Signýjardóttir sagði frá. Skóla- og frístundasvið Reykjavíkur og skólastjórar borgarinnar hafa rætt umað banna snjallsímanotkun barna á skólatíma. Ákvörðun um símabann verður ekki sett fyrir haustið. Karitas M. Bjarkadóttir sagði frá. ----------------- Boris Johnson fyrrverandi forsætisráðherra Breta á ekki afturkvæmt í framlínu stjórnmálanna að mati fréttaskýrenda. Hann er sakaður um að hafa vanvirt breska þingið með því að hafa sagt því ósatt átta sinnum. Þórdís Kolbrún Gylfadóttir utanríkisráðherra segir að framtíð Úkraínu sé í Atlantshafsbandalaginu - það verði sterkara með Úkraínu innanborðs. Hún situr nú fund varnarmálaráðherra NATO ríkjanna í Brussel, og Björn Malmquist, ræddi við hana síðdegis, um málefni Úkraínu - en einnig um nýlega ákvörðun íslenskra stjórnvalda að loka tímabundið sendiráði Íslands í Moskvu og viðbrögðin við þeirri ákvörðun. Kvikmyndamiðstöð Íslands tók til starfa fyrir rúmum tuttugu árum. Gísli Snær Erlingsson, kvikmyndagerðarmaður og fyrrverandi rektor London Film School, er nýráðinn forstöðumaður miðstöðvarinnar, sem er ætlað að efla kvikmyndamenningu, kynna íslenskar kvikmyndir á erlendum markaði og margt fleira. Ævar Örn Jósepsson ræddi við hann. Umsjón: Anna Kristín Jónsdóttir. Tæknimaður: Kári Guðmundsson. Stjórn útsendingar: Annalísa Hermannsdóttir.
Spegillinn 15. júní 2023. Virkjanaleyfi vegna Hvammsvirkjunar hefur verið fellt úr gildi. Ógilding leyfisins kemur Landsvirkjun á óvart. Freyr Gígja Gunnarsson sagði frá. Jón Gunnarsson dómsmálaráðherra vill harðari löggjöf og skilvirkari vinnubrögð í málefnum fólks sem hér sækir um alþjóðlega vernd. Hann lætur væntanlega af embætti á mánudag en hefði viljað sitja lengur. Jóhanna Vigdís Hjaltadóttir ræddi við hann. Sendiherra Íslands í Moskvu tekur við stöðu sendiherra í Kaupmannahöfn í sumar og Þórdís Kolbrún Gylfadóttir, utanríkisráðherra ákvað að senda ekki annan sendiherra í hans stað. Starfsemi sendiráðs Íslands í Rússlandi og umfang rússneska sendiráðsins hér hefur verið rædd í ríkisstjórn og utanríkismálanefnd en ákvörðun um að leggja niður starfsemi í Moskvu var hennar. Óttast er að mörg hundruð hafi farist þegar skip sökk undan strönd Grikklands í gær. Talið er að 750 flóttamenn hafi verið um borð, þar af hundrað börn í lestinni. Ástrós Signýjardóttir sagði frá. Skóla- og frístundasvið Reykjavíkur og skólastjórar borgarinnar hafa rætt umað banna snjallsímanotkun barna á skólatíma. Ákvörðun um símabann verður ekki sett fyrir haustið. Karitas M. Bjarkadóttir sagði frá. ----------------- Boris Johnson fyrrverandi forsætisráðherra Breta á ekki afturkvæmt í framlínu stjórnmálanna að mati fréttaskýrenda. Hann er sakaður um að hafa vanvirt breska þingið með því að hafa sagt því ósatt átta sinnum. Þórdís Kolbrún Gylfadóttir utanríkisráðherra segir að framtíð Úkraínu sé í Atlantshafsbandalaginu - það verði sterkara með Úkraínu innanborðs. Hún situr nú fund varnarmálaráðherra NATO ríkjanna í Brussel, og Björn Malmquist, ræddi við hana síðdegis, um málefni Úkraínu - en einnig um nýlega ákvörðun íslenskra stjórnvalda að loka tímabundið sendiráði Íslands í Moskvu og viðbrögðin við þeirri ákvörðun. Kvikmyndamiðstöð Íslands tók til starfa fyrir rúmum tuttugu árum. Gísli Snær Erlingsson, kvikmyndagerðarmaður og fyrrverandi rektor London Film School, er nýráðinn forstöðumaður miðstöðvarinnar, sem er ætlað að efla kvikmyndamenningu, kynna íslenskar kvikmyndir á erlendum markaði og margt fleira. Ævar Örn Jósepsson ræddi við hann. Umsjón: Anna Kristín Jónsdóttir. Tæknimaður: Kári Guðmundsson. Stjórn útsendingar: Annalísa Hermannsdóttir.
Herschel Weingrod joined me to discuss being influenced by Billy Wilder and Laurel and Hardy; getting his Bachelors in European history; taking film courses close to graduation; going to the London Film School for graduate school; odd jobs taken; looking to write a film noir; getting the idea for "Cheaper to Keep Her" from an article; having Mac Davis star; Roger Ebert said it was a good script; writing "Trading Places" as "Black & White"; the Dukes were brothers his partner, Timothy Harris played doubles tennis with; making them commodities brokers; setting it in Philadelphia; pitched for Richard Pryor and Gene Wilder; Wilder wanted to change the character to be more likeable; Aykroyd gets hired; Ray Milland fails physical, replaced by Don Ameche; 90% of the movie is from the script, 10 % improv; censors won't let Eddie smoke Kools; Don Ameche apologizes for the f-bomb; explanation needed for end of the film; "Trading Places: The Musical"; timelessness of film; writing "Brewster's Millions", a film made many times; "My Stepmother is an Alien"; Jon Lovitz; Gene Wilder wouldn't've worked because he wanted to be loved; John Landis added Franken & Davis, the train and the monkey to the story; Broadway versions of 80's movies have challenges; The Broadway Rule of the "What I want Song"; "Trading Places" Funko Pops; people quoting the movie in real life; Trading Places remembered as #5 Christmas movie; "Twins" - hired to rewrite the original script; added search for the mother; studies twin tics for movie; "Lifted"; Lana Clarkson; "Kindergarten Cop"; how to write for Arnold; "Brewster's Millions" written originally for Bill Murray; people bet on whether he would show up for "Space Jam"; Bill adlibs; picking the players for "Space Jam"; "True Luck"; Peter Weber comedies; Harold Ramis; Cary Grant; Tom Hanks; English antisemitism; Kaifeng Jews
In this episode of R, D and the Inbetweens PGRs Belinda (Dan) Li and Irene Gomez talk to other PGRs about being a Postgraduate Teaching Assistant. This epsiode contains interviews with: Lu Yang Lisanne Moline Umas Jin Riadh Ghemmour Chris Grosvenor Music credit: Happy Boy Theme Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Transcript Hello, and welcome to rd in the in betweens. I'm your host Kelly Preece. And every fortnight I talk to a different guest about researchers development, and everything in between. Hello, and welcome to the latest episode rd and the in betweens. I'm your host, Kelly Preece. And for now on rd in the in betweens is going to be taking a slight change, of course, and the reason for this is that I have started a new job. I was in a researcher development team and my job was to support our postgraduate researchers with their training and development. But I've just moved to join our academic development team doesn't sound that different. And in reality, I suppose it isn't. But I'm working on the other side of things. Now I'm working to develop and deliver doctoral supervision training. So I'm helping our supervisors become even more excellent in the support of our postgraduate researchers. So as such, the content of R D and the in betweens might be a little bit different and might be a little bit more teaching focused, a little bit more supervision focused, but it will fundamentally still be about researchers, their development and everything in between. So for this first episode, I've actually got a guest episode from two PGRs, Belinda L, and Irene Gomez, and they ran a project in the summer, talking to our postgraduate teaching assistants about their experiences Welcome to our PTA podcast, aiming to improve your experiences. We are a group of PTAs from a range of courses and backgrounds with various different experiences. We have been working on a project this summer to share inspirational PTA experiences and top tips. We hope this will help both incoming and current PTAs have the best experience possible. Lu Yang is a second year PhD student in the Department of Modern Languages and Cultures, she teaches speaking seminars for intermediate Chinese. My first tip is don't be afraid of your students, because if you are afraid, they will find it. The second is pay more attention to those shy students and those that are not catching the lessons because they need more attention and need more help. My top tip is about to take your classmates (and) your student as your friends because we are most near the same age and we are all at the state of learning things. If we just take them as friends, it will release your stress and they will also feel relaxed to talk about your lesson and the content. My teaching style is more friendly and because my lesson is about the oral speaking. So, I think a friendly atmosphere will make them more encouraged to like practice and rather than worrying about any potential mistakes. My lesson is about the Chinese oral speaking. So to prepare my lesson and I usually split the whole lesson for like three parts. The first part is mainly designed by the textbook, questions on the textbook. And the second part usually combined events happened recently, or like holidays, Chinese holidays. I will design some key words about it. And the third part would be like open questions around the lesson they learned on the textbook. And I usually prepare for around an hour. But if I need to search some online videos about the lesson, it will take about two hours. I am a film student, so I tried to add some film cuts and some short videos in the class. And I always like to try to encourage them to talk more and don't worry about the mistakes. So, I think it will make a relaxed class. Lisanne Moliné is an American filmmaker and a PhD researcher. She trained at SUNY Purchase in New York and she holds a Master's in international film business from the London Film School from University of Exeter. She is currently finishing her PhD in Film by Practice and her research is centered around transmedia. Thank you so much for joining me in this interview. So Lisanne what would be the three top tips you would give to an incoming PTA Thank you, Irene for having me. The PTA scheme was is a great experience. And some of the key points that I found were at the forefront of my whole experience was three particular points, I think would anyone coming into the program would be fixated on thinking about it. And that would be: Diversity and preparation, accessible learning and transferable skills. So what I found, one of the helpful things to do from the very beginning is to journal your experiences. So I actually pulled out my week one, one page notes on my experience of how it went. And week two, and I'll read a little bit for you. So you get an idea of what it was like for me when I came into the program teaching and how these three topics really ended up galvanizing in and helping me through this journey. So, week one, and I put it first term of teaching diary. So this is what I said to myself, I was quite nervous to have to go at it alone. Despite going through the UK shadow scheme, I wasn't so much concerned about the students, though being able to academically engaged with them was on my mind, especially with the cultural differences. I was worried about University politics. Not to say or do the wrong thing. Having come from a conservatory with hands on practical training. I didn't want to cross the line in how Uni wanted and intended the seminar modules to be delivered. A bit of walking on eggshells for me. I made the cliché blunders of dropping all my handouts on the floor. But recovered The two classes were sweet. yet different. The first class was mostly writers very much keen on the creative takeaways. In contrast, the other class was mostly taking the seminar because it was interesting. I did have a few students tell me they enjoyed the seminar, one following me out the door. I think it was a good sign. So that was my first week. And what I found and when I was speaking about the university politics and different cultures is that we all come with our unique experiences and of what education looks like. And the students also are very diverse coming into the seminar classes and the lectures with certain expectation expectations. Trying to balance those experiences that are unique that you're bringing to the table. And at the same time, not overstepping or not delivering on the expectations others are anticipating is, is a, it's a bit of a juggle. But what I found was going to the first topic of importance was diversity in preparation really helped me to close that gap. Look at what the syllabus is and what was going to be covered. But read the material, read all of the material that the students are expected to be preparing, and it's a lot it really is, you're going to see that you're going to have empathy for the students. Because you're, you're preparing for one module, but they have several. And the other thing too, is that by understanding what the handouts are, and the materials are, that are being presented and covered, then you're going to be able to extract information to be able to communicate with those students and pivot more on a dime in the in the classroom setting. The other thing I did was I attended lectures that again, depending on how much time you have, I made it a point to attend the lecture so that not only am I informed on the material, but the students are actually seeing me there. And I found it a very nurturing experience, and I recommend it to anyone that has an opportunity to do it. I would definitely do it again for sure. Umas Jin has recently graduated from his PhD study, which was on Virginia Woolf and neuro psychology. He has years of his teaching and research experience in the higher education sectors, both in Taiwan and the UK. He is currently working on his publication of his doctoral thesis and seeking a research post. The only tip I would give to new PTAs is enjoyment. Try to enjoy yourself. And when you're preparing for the course, to learn it like as if you were a student, to prepare it as if you are the module leader. Right. I really don't have that many tips about developing teaching style for new PTA. But one thing I had to say is that when we are teaching, we are learning. We are still students, postgraduate students, which means we are still learning. Well, everyone is a student anyway. We learn, we teach, and we teach, and we learn. So, I think rather than think that you have to know everything, think about you're learning things with your students. So yeah, so I just think we come in enjoying the courses, try to enjoy the course as they do. And relax, and enjoy teaching, and you're inspiring the next generation. And then in the future, they will thank you for anything you told him in the course, in a seminar. I will watch the recorded lecture before I prepare for the seminar. And I will check the teaching materials on ELE. And it will benefit me from understanding the course and the content. Well, I actually don't know how I develop my teaching style as a PTA. I just thought that it will be nice to think about incorporating the teaching materials within our life. One from a literature background, literature inspired by the author's life, so a lot of literary texts and theories, they are actually closely linked to the author's life or the philosophers' life. So, I thought it would be nice to help and encourage my students to think about how they combine their academic aspect of life with their personal life. And then so that they can feel related to the contents, and they can feel comfortable to talk about some sensitive topics that are related to the teaching materials. So, I think that is how I got my inspiration for my teaching style. As I said earlier, I will not spend that much time on preparing for a PTA job. And I will definitely expand my research to the PTA role content. And again, enjoy while you can prepare for the course. So I'm Riadh Ghemmour. I hold a PhD in education. So basically, I'm based at the Graduate School of Education at the University of Exeter. And my research interests are critical pedagogy, decolonization, social justice, education, anti-racism, and everything related to EDI (inclusivity, diversity and inclusion). And I'm a postgraduate teaching associate as well, based at GSE. I work part time at the Royal Central School of Speech and Drama in London, which is half University, which is part of the University of London, but also, it's a Conservatoire. And my role really is about overseeing the international students experience in terms of learning development. So, I'm the international students learning skills coordinator, where I work with international students, I have one to one sessions with them, group discussions. I do facilitate also like academic and learning sessions with them in terms of preparing for visitations, academic writing, critical thinking and so on. So, it's been a fun experience so far. Thank you very much for your sharing. I know you're one of the first PTAs at the Graduate School of Education. Would you like to share your experience about that? And do you have any suggestions for the coming PTAs? Yeah, that's true actually. I'm one of the first cohort of GSE PTAs. And it's such a privilege to be part of a brilliant team of other PTAs, colleagues, staff, and so on. I think, at the start, nobody knew because it was our first attempt our first trial to test, experiment and make mistakes. I think, at first, nobody knew what was going on, what we were supposed to do, and stuff like that. But I think, the overall experience has been really productive and fruitful. I think what really made this experience fantastic is the collaboration, the willingness to work together, the willingness to receive constructive criticism, feedback and act upon that feedback from, you know, from our line manager, for example. And I think we found that platform where we acted upon our agency as PTAs, we used our lived experiences as students, but also PhD candidates. We use our lived experience as educators and teachers because we taught before. We made use of our research interests to shape the whole GSE provision and practice. So really, overall, I think, working closely with staff and students has been fantastic really. And I really enjoyed working with them, but also developing my skills in terms of holding spaces for students, co facilitating sessions with another PTA. So, there is a lot of like teamwork, and, you know, and so on. So, it was a really great experience. Thank you very much for your sharing. It sounds like a meaningful experience indeed. Would you like to probably give some useful suggestions or your experience sharing when it comes to, you know, the new PTAs not knowing what to do when they first start the role? I've got a couple of suggestions. I think the first suggestion is really to ask questions when you don't know when you feel confused. I think a lot of people obviously do not expect you to do the whole work. So do ask questions if you don't know how to do it, or who to go to to ask questions and so on. I think right from the start, do ask your line managers, previous PTAs, like any questions related to the job into the role. I think that's the first suggestion. And the second suggestion is really be part of the community. Don't work on your own. Create relationships with other PTAs, with colleagues. Expose yourself as well. Work in teams as well. Collaborate, listen to and understand other perspectives. Obviously, like, do suggest your own ideas, your own perceptions, find compromises. Really like just put yourself out there. I think that collaborative aspect is really crucial to make the work impactful and meaningful, not only for PTAs and staff, but also for students and the whole GSE community. Today we interviewing Dr. Chris Grosvenor. Chris is a former PT and a newly appointed Lecturer in Film Studies at the University of Exeter. He has recently published a book based on his PhD research, which examines the importance of cinema in the frontline during World War One. Hi, Chris, thank you for joining us. So how was your experience as a PTA? I know you did it for a few years. Yes, so I started on the PTA program around 2016. So quite a while ago now, but I shadowed one of my former teachers, strangely enough in film studies. And I shadowed her for a term on that PTA program. And then ended up teaching a seminar in the final week of term. Alongside that I was completing all of the LTHE requirements and workshops and exercises and coursework on that side of things. But definitely the most informative, the most fun, I guess was actually being in that classroom setting with the person I was shadowing and learning. So for an incoming PTA what tips would you give to them? So for anyone joining or coming into the PTA program, I think my general advice would be to get stuck in be prepared to you know, do a good bit of prep and research and reading around the course or module that you are shadowing, you may not be the one teaching it every week, you may just be watching someone else teach it to seminars you to teach it on a lecture but you know, making sure that you're as sort of intellectually engaged as your students and you can learn from them as much as possible as well as the teaching what's working well what doesn't work. When other students are engaged, when are they perhaps not as engaged. So yeah, get stuck in with the module content, of course content. I think, learn as much as you can from the tutor that you're shadowing but realize as well, that they may have a particular approach that doesn't necessarily gel with your own ideas for teaching. You know, there are all sorts of ways to go about teaching a subject and no two ways the same. And just because you watch or see your tutor set about teaching a task or communicating to their students in a certain way, doesn't necessarily mean that that's the best way for you. So prepare to you know, think outside the boxes a bit and don't take that tutors approach as gospel, you know, bring your own spin on it. Be prepared to sort of offer a different take or a different type of approach. What other tips? I think being able to, or being prepared, I should say, to teach beyond your comfort zone as it was whether that's the comfort zone of your current research or your own sort of backgrounds in whatever field of study you have, you've had experience in chances are when you first start teaching, you'll be put on a module or a course that is actually quite removed from what your own research interests might be. So be prepared for that. And don't be scared by that. I think in many ways being able to teach beyond your own sort of specialism as scary as it might sound, gives you the best sort of standing as an early career teacher, you know, being able to cover a larger remit of topics and subjects and shows that you have a kind good all round knowledge and experience as a teacher. And the other tip I'd say is just make sure that your doctoral research or you know, your day job as it were doesn't get overshadowed by your PTA role, obviously, you know, you need to be making sure you have the time to commit to any PTA placements or teaching experiences that you can. But the day job as it were, the doctoral research should be the priority. And that should that should always be the case, if you find that you're spending more time with the PTA material or that more is being asked of you, you know, you are perfectly within your rights to say,No, I'm not sure I can take on that third module or third seminar group, right, this second. I'm comfortable with one, I'm comfortable with two. And don't let that sort of dictate effectively what should always be your main focus even if the teaching element does sound exciting, and something you do want to get engaged with which obviously, obviously, you can just don't let it roll, roll everything I guess. Thank you so much for all your tips and sharing your experience with us. We really appreciate it. Thank you for listening to our podcast. We really hope you enjoyed it. We hope you also enjoy the rest of our episodes, and good luck with your PTA work. And that's it for this episode. Don't forget to like, rate and subscribe. And join me next time where I'll be talking to somebody else about researchers development and everything in between.
In this conversation we talk to writer/director Koby Adom. We discuss the power of short films, how he came to direct episodes of British crime drama series Top Boy. And his new venture in to the commercial landscape.Koby Adom is a Ghanaian-British film director, writer & executive producer who was born in Ivory Coast but raised in South London from childhood. He is also the CEO and founder of DBK Studios.Graduating with a Masters Degree from the London Film School in 2017, Koby went on to write and direct his breakthrough short film: Haircut (https://vimeo.com/281079824) the following year, finishing the film in May 2018. Haircut screened at the London Film Festival and a few places, racked up 900,000 views online and earned Koby a spot on the 2018 Screen Daily Stars of Tomorrow list as well as the Broadcast Hotshot list for 2019. By November 2018, Koby was in Cape Town preparing to shoot three episodes of BBC 1 drama Noughts and Crosses at the age of 28.Between September 2020 till now, Koby has directed two episodes of Top Boy Season 4 for Netflix, the entire 4-part season 2 of Noughts and Crosses for BBC 1 as well as Executive producing 5 short films from black filmmakers through DBK Studios, funded by Sky Studios, airing on Sky Arts.Find the rest of Koby's work here -https://www.kobyadom.com/
Mark W. Travis acclaimed as "the director's director", Mark W. Travis is regarded by many Hollywood and International professionals as one of the world's leading authorities in the art and craft of film directing. Drawing from his impressive background in design, writing, acting, and his wide range of experience directing theater, film and television, Mark is able to bring new insights and exceptional clarity to the complex task of directing the feature film.Mark W. Travis earned a B.A. degree in Theatre at Antioch College and did his graduate training in Directing in the MFA program at the Yale School of Drama. Mark is a creative consultant to film directors Mark Rydell, George Tillman, Cyrus Nowrasteh and many other notable writers and directors.Mark's television directing credits include The Facts of Life, Family Ties, Capitol and the Emmy Award-winning PBS dramatic special, Blind Tom: The Thomas Bethune Story. In 1998 he directed the pilot for LifeStories.In 1990 he completed his first film, Going Under, for Warner Bros., starring Bill Pullman and Ned Beatty. In 2001 he wrote and directed The Baritones (parody of The Sopranos) as well as the short documentary, Earlet. In 2006 he co-directed the documentary, Ancient Light.Mark's unique approach to working with actors and characters (The Travis Technique) has gained the attention of directors, writers and actors worldwide and is becoming a standard approach for stimulating powerful performances.Since 1992 Mark has been sharing his techniques on writing, acting and directing worldwide.USA: The Directors Guild, American Film Institute, Pixar Animations Studios, UCLA Extension, Taos Talking Pictures Film Festival, Denver Film Festival, Hollywood Actor's Workshop, Hollywood Film Institute.JAPAN: Film & Media Lab and Vantan Film School.GERMANY: UW Filmseminares, ActionConcept, IFS, and HFF, the Munich Film School.POLAND: The Film Farm in Kotla.ENGLAND: Raindance, Paradigm Film Productions, Hurtwood House, Metropolitan Film School, National Film and Television School, London Film School, Lionhead Studios, London Film Academy.FRANCE: The Cannes Film Festival,NETHERLANDS: The Maurits Binger Institute.UKRAINE: HSU in Kiev, OIFF in Odessa;RUSSIA: International Film Actors Workshop,IRELAND: FAS Screen Training Ireland,NORWAY: The Norwegian Film School,DENMARK: The National Film School ofDenmark,SPAIN: afilm International Film Workshops,CZECH REPUBLIC: FAMU Academy of Film and Television.Mark has served as a Creative Consultant on several feature films including: Here's Herbie; Notorious; Not Forgotten; The Stoning of Soraya M,; Black Irish; Men of Honor; Barbershop; Barbershop 2; The Day Reagan Was Shot; Norma Jean, Jack and Me and television episodes of: Lois and Clark; The Pretender; Picket Fences, 90210, Melrose Place; Strong Medicine; NYPD Blue; The Practice and Ally MacBeal.Mark is the author of the Number-One Best Seller (L.A. Times), THE DIRECTOR'S JOURNEY: the Creative Collaboration between Directors, Writers and Actors. His second book on directing, DIRECTING FEATURE FILMS (published in April of 2002) is currently used as required text in film schools worldwide. His next book, THE FILM DIRECTOR'S BAG OF TRICKS will be published in September 2011.
David Windsor Rolfe is a British Academy Award-winning producer and director with a long career in British television and film. After graduating from the London Film School in 1971 he cut his teeth making specialized sequences within major films like The Great Gatsby (Redford and Farrow) for Paramount and other major distributors and then documentaries around the world charting subjects as diverse as the rise of the desert kingdoms of the Middle East, the collapse of communism and the crisis posed by CFC's to the ozone layer. This film won a major award and paved the way for the banning of the chemical. His academy award was for The Silent Witness – An Investigation into the Shroud of Turin. This film and a subsequent series on the Historical Jesus would come to have life-changing benefits to him, personally, and, in semi-retirement, he is devoting himself to share the insights his work across all fields have provided. He is a member of the British Academy of Film and Television Arts. Subscribe to the channel to listen each week. New episodes are uploaded every Thursday-Friday. Want to learn more about author Guy R. Powell? Check out the socials below: Website: www.guypowell.com Instagram: @guy.r.powell Facebook: @AHistoryOfTheShroudOfTurin Email List: https://guypowell.us6.list-manage.com/subscribe?u=27f4c87d37aa36fffdca695f3&id=6857bf7051 Connect today to unlock the mysteries of the Shroud of Turin.
Singin' in the Rain was a product of MGM's so-called “Freed Unit,” named for the person who headed it -- Arthur Freed. Before this film, Freed worked on many of the best known musicals, both historically and of their respective days: The Wizard of Oz, Babes in Arms, Meet Me in St. Louis, Ziegfeld Follies, Easter Parade, On the Town, Annie Get Your Gun, Show Boat, and An American In Paris. It was after working on An American in Paris -- which featured music by George Gershwin, and went on to win 7 Academy Awards (including Best Picture) while becoming one of the top 10 highest grossing films of 1951 -- that Freed decided to put together another musical featuring pre-existing music by a specific songwriter… namely, himself, along with collaborator Nacio Herb Brown. The resulting film features tunes the duo wrote for previous MGM musicals. Screenwriters Betty Comden and Adolph Green worked on the initial draft of the screenplay with Gene Kelly and Stanley Donen jumping in to collaborate on adjustments to the story once they were done with American In Paris. Debbie Reynolds, who was not a dancer before the movie began production, had a particularly rough time making the picture -- with Kelly being rough on her throughout and one extremely long day of shooting a number resulting in bloody feet. In 2003, she told the Saturday Evening Post that "Singin' in the Rain and childbirth were the two hardest things I ever had to do in my life." And the famed “Make ‘Em Laugh” sequence reportedly left heavy smoking Donald O'Connor recovering in a hospital bed for several days. The film was considered only a modest hit at the time it was released, though it did receive strong reviews from many of the major critics of the day and it did rank as the 10th highest grossing film of 1952. It was nominated for 2 Oscars -- Best Supporting Actress (Jean Hagen) and Best Scoring of a Musical Picture -- but won neither. The Academy Award for Best Motion Picture that year went to Cecil B. DeMille's The Greatest Show on Earth -- and that film was also the highest grossing of 1952. Over the nearly 70 years since its release, Singin' in the Rain has arguably become one of the best loved movies of all time, especially as far as Hollywood movies go. It wa among the first batch of 25 films considered "culturally, historically or aesthetically significant" that the Library of Congress recognized in 1989 for its National Film Registry. And it was included in AFI's 100 Years, 100 Movies list in 1998, ranked at #10... then rose to the #5 spot when that list was updated in 2007. AFI also listed it as the #1 greatest movie musical of all time in 2006, beating out West Side Story, The Wizard of Oz, The Sound of Music, and Cabaret... in that order. For our purposes, the film first ranked in the top 10 of Sight and Sound Magazine's critics' survey of the best films of all time in 1982.. At #3. It was then a runner up in 1992 and at #10 in 2002. And though it didn't make the top 10 in 2012, it was included on the full list at #20, right behind Andrei Tarkovsky's Mirror and just ahead of Michelangelo Antonioni's L'avventura -- both of which we've discussed in previous episodes of this podcast… Ben Gibson, Director of the London Film School, put it on his list, saying: “Through the faked-up DIY of Singin' in the Rain, seemingly a mad throwing together of stuff that somehow just gels, we're allowed to feel the joy of creativity and to glimpse the very human face of genius. It's the least improvised film providing the most thrillingly spontaneous feeling to be had in a cinema.” Singin' in the Rain also came in at #67 on the 2012 directors' poll. Among the directors who voted for it were Francis Ford Coppola and Marc Webb. --- Send in a voice message: https://anchor.fm/stereoactivemovieclub/message
Koby Adom is a fantastic director with an eye for dramatic sequences that not only draw in the audience but capture the essence of each project he directs bringing out the best from the cast he works with ... Graduating with a Masters Degree from the London Film School in 2017 Koby's directing career began with his acclaimed short films House Girl (2016) and Haircut (2018) going on to direct hit shows such as Netflix's Top Boy and recently series 2 of BBC series Noughts and Crosses. But that's not all, Koby also gives a platform to emerging filmmakers with his production company DBK studios producing content by creatives from black and diverse backgrounds committed to bringing to life untold narratives. We caught up with Koby to talk all things Noughts and Crosses, and how his faith centres everything he does ...
Today gmoney speaks with Catalonian filmmaker, Miguel Faus, known for the short film The Death of Don Quixote in 2018. He's a graduate of the MA Filmmaking at the London Film School and has written about cinema and interviewed film directors for Spanish magazines. Now he is here to discuss his film, Calladita, set to be one of first European films made entirely from NFT funding. Timecodes: 0:00 - INTRO 0:55 - How the cryptopunk community have supported Calladita 1:25 - Why Miguel chose to ape into cryptopunk 3:08 - Miguel's background in the filmmaking 5:41 - Best advice from established filmmakers 7:06 - How Miguel turned to directing his own material 9:48 - How Miguel first heard about crypto 11:45 - His path to funding films through NFTs 18:20 - Miguel's advice to new filmmakers in web3 21:49 - Details of Calladita 23:54 - Details and availability of Calladita NFTs 27:05 - How Miguel overcomes budgetary concerns 31:19 - Calladita DAO 33:15 - Hollywood vs European film industry 34:09 - Long term vision for Calladita 42:13 - What Miguel looks for when collaborating with others 43:46 - Miguel's future projects 45:55 - His favorite NFT
What you'll learn in this episode: How David earned the nickname the “100-carat man” for selling some of the most expensive jewels in history What type of buyers are interested in eight-figure gems How David got the opportunity to write “Understanding Jewelry” with Daniela Mascetti Why the most incredible jewelry may be off the beaten path Why 18th century jewelry is so rare, and why people have refashioned old jewelry throughout history About David Bennett Regarded internationally as a leading authority in the field of precious stones and jewelry, David Bennett is best known in his role as Worldwide Chairman of Sotheby's Jewelry Division, a post he held until 2020, after a brilliant 42 years career at Sotheby's. During his prestigious career David sold three of the five most expensive jewels in auction history and as well as seven 100-carat diamonds – earning him the nickname the ‘100-carat man'. David has also presided over many legendary, record-breaking auctions such as the Jewels of the Duchess of Windsor (1987), The Princely Collections of Thurn und Taxis (1992) and Royal Jewels from the Bourbon-Parma Family (2018). Among the many records achieved during his career as an auctioneer is that for the highest price ever paid for a gemstone, the CTF Pink Star, a 59.60ct Vivid Pink diamond which sold for $71.2 million in 2017, and the world record for any jewelry sale where he achieved a total of $175.1 million in May 2016. David was named among the top 10 most powerful people in the art world in December 2013 by the international magazine Art + Auction. In June 2014, Swiss financial and business magazine Bilan named him among the top 50 “most influential people in Switzerland”. David Bennett is co-author, with Daniela Mascetti, of the best-selling reference book Understanding Jewelry, in print since 1989. They have also co-written Celebrating Jewelry, published in 2012. In 2021, David and Daniela launched a unique website showcasing their unparalleled experience and knowledge in the field of jewelry. David Bennett grew up in London and graduated from university with a degree in Philosophy, a subject about which he is still passionate, alongside alchemy and hermetic astrology. Additional Resources: Website: https://www.understanding-jewellery.com/ Instagram: https://www.instagram.com/understandingjewellery/ Facebook: https://www.facebook.com/UnderstandingJewellery Twitter: https://twitter.com/UJewellery_ LinkedIn: https://www.linkedin.com/company/19192787 Transcript: Whether you know his name or not, David Bennett is responsible for some of the most significant jewelry auctions in history. Before retiring from Sotheby's in 2020, David sold the Pink Star, the most expensive gem ever sold at auction, and whopping seven 100-carat diamonds. He's also the co-author of the jewelry bible “Understanding Jewelry” with his colleague Daniela Mascetti. He joined the Jewelry Journey Podcast to talk about his new business with Daniela; what it was like to handle some of the world's most precious jewels; and why he thinks gemstones hold incredible power. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there. This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is David Bennett, who you may be familiar with. He coauthored with Daniela Mascetti what is often referred to as the bible of the jewelry industry, and that is the ubiquitous book “Understanding Jewelry.” David spent his 40-year career at the international auction house Sotheby's. When he left, he held the position of Worldwide Chairman of International Jewelry. He's a veteran of gemstones and is often called the “100-carat man” because of his multiple sales of hundred-carat diamonds at record-breaking prices. He and Daniela just published “Understanding Jewelry: The 20th Century.” They've also launched an online business, UnderstandingJewelry.com, which encompasses education, appraisals, travel and more. In his spare time, he is a part-time lecturer in philosophy, and he's also an astrologer. We'll hear more about his extraordinary jewelry journey today. David, welcome to the program. David: A pleasure. Sharon: So glad to have you. Tell us about your jewelry journey, how you became involved with jewelry and how you joined Sotheby's. It's an interesting story. David: As you've already mentioned, I graduated in philosophy. Most people are rather surprised about that. It's a wonderful thing to study. It was a long time ago in the distant past. I graduated in 1973. I wanted, after university, to go to the London Film School because I've always been interested in film as a medium, but my father, who was basically a Victorian, thought that Hollywood was not the sort of thing for a young gentleman. He cunningly invited me for lunch with a friend of his who was a director at Sotheby's. He painted Sotheby's so glamorously, I might say, more than anything else, and he invited me to come on a one-year training in all the things that Sotheby's sold, from contemporary art to silver. I thought, “Oh, O.K., that's another year of education.” It was the beginning of many years of education, but I thought I'd try that. In May of the following year, Britain and most of the world had fallen into disastrous economic times. London was working a three-day week because there wasn't electricity to power it. It's amazing when you think of it. Of course, as a result, there were very few jobs, so for the first time in my life until that point, I suddenly thought, “I'd better get about what I'm going to do.” Literally, I hadn't thought about it. I thought, “Well, something will come up, maybe a lecturer in philosophy.” So, in this very difficult environment, my father's friend came to me and said, “Look, David, I've got a job for you.” I said, “Great, what is it?” He said, “It's in the jewelry department,” and I said, “The jewelry department. I don't even know how to spell sapphire. Is it two p's or one?” He said, “You'll love it. They have sales. They just started having sales in Switzerland. There's a lot of travel, and you'll be getting in at the ground floor of very interesting subjects.” I was very skeptical about it, but he said, “Look, more important than anything else, you need a job because the world's going into a very difficult time.” In fact, he turned out to be right, because it was at least 15 years before we started to get out of this massive crisis at the time. So, I took the job and that's how I got into it. It was sort of through the back door. I knew nothing about jewelry, absolutely nothing about jewelry. It was a huge learning curve, a huge apprenticeship. I think I mentioned to you that I went out early on and bought some sheets of gold and silver. I learned how to work with the metal and how difficult it is to set a stone in a ring. I wanted to know about everything. I wanted to know about Roman jewelry, Greek jewelry. I thought, “If I'm going to spend my whole life doing this, I don't want to have any bits that I don't know at least something about.” So, that's how I began. As always in careers, you get a lot of lucky breaks. People seemed to like me, which is very surprising, so there you are. I got quickly promoted, and my first big job was running the London Jewelry Department. That was in 1984. I took my first auction in 1979. The big break after that was that I was promoted to head of jewelry in Europe and the Middle East in 1989. I moved with that promotion to Geneva, which was a great move, a wonderful place. Then I started having to make my mark. I was in a highly competitive environment. Christie's the main competitor. It's an extremely good company as well. We ran sales in Geneva. My principal sales were in Geneva twice a year and once at St. Moritz in the winter, at which we competed to do the largest turnover and the biggest, record-breaking sales and the biggest, record-breaking stones and so on. It was a great time, and I continued doing that until two years ago when I retired. By then, I'd become Worldwide Chairman of Sotheby's. During this career, I was very lucky because I saw some of the greatest jewels in the world. I still hold the world record for the most expensive diamond ever sold at more than $70 million. I sold the most expensive ruby ever sold for more than $30 million. There were so many wonderful collections, like the Windsor Sale in 1987, which is what made my name really. The jewels of the Duchess of Windsor are still the most incredible auction. So, it was a combination of determination and lucky breaks. Everybody's career is like this. Sharon: What were your thoughts the first time you looked at a 100-carat? Was it, “Oh, there's another diamond?” or was it “Oh my god, how could that be?” David: The first time I saw one was in the summer of 1990. I had just arrived in Geneva. I put together my first sale, really, in Geneva, and I wanted to make a mark, to do something that nobody else had done. I can see it now. In those days, I was in this splendid Medieval chateau in the middle of nowhere in France, and I got a phone call. In those days, mobile phones were virtually unheard of, so it was a big thing like a brick, and this chap said, “I've heard about you. I've got a very important stone I'd like you to come and see. Would you be able to come to Antwerp to meet me?” In those days, the answer was always yes. So, I left my family there and took a plane right to Antwerp. This young chap, about the same age as me, passed a little bag across the table, and there was the first hundred carats of the Pashe Stone. Extraordinary. It was D color, internally flawless, actually like a piece of ice. It was absolutely crystal clear. I fell in love with it, so he said, “Do you think you could sell it?” I said I had absolutely no idea, but I'd love to try. He said it was $12 million. I can't remember the exact figures for it. That was probably nearly double what any other diamond had ever sold for, but in the beginning when you take risks, you're very comfortable. When I got home that night, my wife said to me, “You look worried. What's the matter?” I said, “Well, I think I may have made the biggest mistake of my career.” She said, “What?” I said, “I've taken a diamond worth $12 to 15 million.” And she said, “You're kidding me.” I said, “No.” And then she said that awful question that began to haunt me: “Who would you be selling it to?” At that point, I didn't know. I had three months to find somebody. I remember it was rather amusing because the timing could not have been worse. A week after that—you're just about old enough, I think, to remember—Hussein invaded Kuwait. Do you remember? Sharon: Yes. David: You may remember what happened, because I remember it vividly. The world went into shock. Markets dropped. In Switzerland—can you believe it—we all had to suddenly take rations into our air raid shelters. I thought, “Oh, that's that, then. At least it lets me off the hook. Maybe he doesn't expect it to sell now.” Either way, it was a bit of a relief. After this, I decided to start taking it around the world a bit. I took it to certain countries in the Middle East and began showing it to possible clients. One chap, I'll never forget it, came in and said, “Sir, can I see the stone?” and I said, “By all means.” He's looking at the stone, and I'm thinking, “He's been looking for a long time. Honestly, he really seems to like it.” So, I said, “Sir, are you buying for your wife?” There's a young man talking; my naivete. He looked at me with a slight grin and he said, “No.” So, I said, “For somebody else, then?” He said, “No, it's for nobody.” I said, “You want it because you think it's an investment?” He said, “Maybe partly, yes.” I said, “What's the main reason?” He said—it's something that's stuck in my mind ever since—“How can I put $14 million in my pocket any other way?” Maybe uranium. You'd still need a lead box, but it was an extraordinary thought. When you've got war around, this sort of thing matters, doesn't it? It's portable value. Throughout history, for the last 4,000 years, jewelry has also been used for that specific purpose because it's very portable. So, I get up on the rostrum. I have no idea that I'm going to sell it. I think there were 200 lots before the final lot with this 100-carat diamond. The sale was going quite well. I opened the lot. I think I opened at $8 million. There wasn't much interest at all when they start bidding. Suddenly, right at the back of the room, this chap started waving his hand. I took the bids from him and knocked it down for him, “Sold!” All the cameras and TV stations and radios in the room are approaching the rostrum where I was standing. Of course, the first question to me is, “Who's the buyer?” Now, I looked at the back of the room, and the man who had raised his hand, as I was being asked the question, was moving very quickly out of the back of the room. I said, “Oh my god!” because that was the worst possible thing that could have happened in those days. This was before you had to register to bid. It could have been some sort of maniac. So, I quickly got my colleagues sitting beside me. I said, “Run after him. Find out who it is.” Luckily, they found him as he was leaving the hotel where we had been holding the sale. He was in fact the driver, the chauffeur, of the buyer. So, I was lucky that I was able to announce the buyer. That was the first of many extraordinary experiences with highly valued stones, pink diamonds, blue diamonds. They make millions and millions. Within 10 or 15 years, $12 million had been dwarfed by bigger stones and higher-value things. It was an extraordinary career when I look back at it. I'm quite busy doing what I'm doing now, to be honest with you. There comes a point where something like that, that is so unpredictable—you don't know what the next stone is going to be, what the next collection is going to be—you suddenly start thinking, “Actually, I've done that. I'd like to do something else.” That's when Daniela and I, about two years ago, decided we would retire. We were above the age we were expected to do that, so we set up this company, which so far has been great fun. Sharon: You mean your online company, UnderstandingJewelry.com. David: Yeah. Sharon: Did you decide to write the book and then it occurred to you to do this? David: No, the history of the book is a thing in itself. Believe or not, I'm thinking back to 1986. I got a phone call. I'm in the office and this chap was on the phone. He said, “Mr. Bennett?” I said, “Yes.” He said, “I'm so-and-so. I'm from a publishing company. I'd like to take you for lunch,” and I said, “O.K.” We fixed it for a week's time. We arrived at this restaurant, and he said, “Thank you. Now, I'll explain why I want to see you,” and as he did so, he slid across the table an envelope. He said, “Have a look inside.” Inside in the envelope was a check for a man who just had his second baby, a check for the sort of sum of money that makes you think. I said, “What is this for?” because I was suspicious. He said, “That's an advance, because you're going to write me a book, and it's going to be called ‘Understanding Jewelry.' Amazing, isn't it?” I said, “Really?” and he said, “Well, what do you think?” I said, quite candidly, “That amount of money is quite persuasive. Let me think about it.” I thought about it for a couple of days and said yes, and he said, “O.K., I want the first manuscript within a year,” and they published the book within two years. When I got back to the office, I said, “Goodness me, O.K. Well, you'd better get started.” I began quickly to realize that I wasn't going to be able to do this on my own because I had so many other things going on. Daniela was working with me in London at that time, so I approached her because she's a real academic. She loves research and everything else, so I said, “Look, would you be interested?” and she said, “Yeah, absolutely. Let's do it.” That's where it began. It took about two years to write it. In those days, writing a book like that was much more complicated because when you put the book together, you have the negatives of everything, and you can imagine there were a huge number of photographs in the book. Each one of them had to be printed. It's not like nowadays, where you have digital photographs. It was a massive task, and without Daniela it would never have been written. We brought it out in the autumn of 1989, just as I was leaving to go live in Switzerland, and it was a huge success right from the word go. We thought, “We'll sell a few copies.” In fact, it's been incredible. They're saying it's the largest selling hardback book in jewelry in the world. It's been around so long. Sharon: It wouldn't surprise me. I know you've had several updates. David: And 10 reprints, separate editions in Russian, Japanese, Italian, Hungarian, even. It's been great. In 2012, we decided that we'd become old and ugly enough to think about another book, so we wrote one for ourselves called “Celebrating Jewelry,” which was done for our own pleasure. We just chose items that we'd sold throughout our careers and wrote a book about it. That was also celebrating the new photography that was available. “Understanding Jewelry: The 20th Century” came out at the end of last year. It's selling very well. We're working now on another book, “Understanding Jewelry: The 19th Century.” We're both looking forward to it, as it's one of our favorite periods of the history of jewelry. Sharon: What made you decide to write “Understanding Jewelry: The 20th Century?” What made you decide it was time to write another book? David: It was very simple, actually, because “Understanding Jewelry” runs a timeline. It begins from about 1750 and runs all the way through to when it was written, the late 20th century. With 20 years of hindsight about the 20th century, we're a little bit distant; we have a little bit of perspective about it. We thought the obvious thing to do was to complete the last two decades of the 20th century with the best of hindsight and everything else. It became clear to us that we'd like to do that also to the 19th century. So, we decided to have two new volumes which go into more depth about each of the time periods. Sharon: Did you decide to launch the online business when you were writing the book? Did you think, “Oh, this would make a great business online?” or had you already thought about doing an online business? David: I was thinking about it with what's happened in the last 10 or 15 years in our careers. What became quite clear to me was the power of the internet, particularly, for example, on the auction business. 20 years ago, you would have had virtually no bids coming online because they wouldn't be online. Even before I left two years ago, huge portions of the sale were being sold to online bidders, very often people who'd never seen a piece of jewelry that was being sold. It seemed to me that there was this opportunity for us to offer a service to people who were collectors of jewelry, but weren't able to see the jewels themselves. A lot of the new collectors are, as you know, from the Far East and, increasingly and in very recent times, from mainland China. What I think people need in this new online world is—we wanted to offer a sort of endorsement. We wanted to be able to say that we think this is a wonderful piece of jewelry. We've seen it. We've handled it. We have this section to bring out very shortly, in the next month or so, beginning with London and Geneva and then New York and other cities, looking at what's on offer within the trade. We call it “Hidden Treasures,” because a lot of the great jewelry retailers or specialized retailers are not shop fronts on Madison Avenue or on Wall Street. You have to know where they are, and we've chosen pieces in their retailers to write about. We're not owned by price; we're not trying to sell them. It's just to say that these are great pieces; have a look at them. See what you think, and we offer other services that offset our evaluation services. This summer in June, we're starting our first tour. It starts in Burgundy, where I'm sitting now, at my property in Burgundy, and then we move to Paris. We're going to take a group of 12 or 14 collectors. It'll be lectures and visits. Hopefully, the idea is that it'll be nearly a week of entertainment but also study. It's meant to be a learning thing as well as being entertaining. We're going to visit some great restaurants around here, great restaurants in Paris. We're going to visit the remaining French crown jewels. We've also been invited by some of the major historic jewel companies, Cartier, Boucheron, Valeria, so we'll be taking this group there to have an insider's look at these companies. This particular course, which will be between Burgundy and Paris, as I said, will feature jewelry from 1880 to World War II, so Belle Epoque, the Gaden style and Art Déco very roughly. It will be quite an intense six days I think, speckled with fun. Sharon: I'm sure. It sounds very intense. It sounds like somebody would learn a lot.
Quantas vidas terá vivido nesta vida Jorge Silva Melo? Ele que é encenador, ator, cineasta, dramaturgo, tradutor e crítico português. Ele que passou a infância na antiga cidade de Silva Porto, em Angola, que se formou realizador na London Film School e, mais tarde, estagiou em Berlim, Milão e foi ator em Paris. Decidiu regressar para o seu país porque para si pátria é culpa e responsabilidade. Fundador do “Teatro da Cornucópia” e dos “Artistas Unidos” é um mestre e mobilizador de artistas, histórias e projetos. O Expresso recupera esta entrevista, de 6 de dezembro de 2019, ao Beleza das Pequenas Coisas no dia da morte de Jorge Silva Melo (1948-2022) See omnystudio.com/listener for privacy information.
How do you write a great script that integrates well and allows the audience to accept the unacceptable? In this episode, Leslie has on Screenwriter James Napoli to break down his writing process Step by Step. If you're a writer or wanna be writer than you can't miss this episode of Best in Fest!More About James NapoliJames has a master's in film from the London Film School. He began his career on a one-year temp assignment re-cataloguing the coverage library of the Walt Disney Studios, and there learned how to do coverage from some of the most accomplished union script readers in Hollywood. For over twenty years, he has been providing coverage to agencies, production companies and private clients in Los Angeles.In the early 2000s, James followed around his two award-winning short films as writer-director on the festival circuit. He went on to be the Head Writer for the XM/Sirius program “New Frequency,” a live radio theater show which culminated its four-year run at the Roxy Theater on the Sunset Strip. James wrote nearly one hundred original short radio plays for the project. At the same time, he created original drive-time content, including a long-running rock and roll parody series, for the nation's largest syndicator, Premiere Radio Networks. He is the author of the humor best-seller “The Official Dictionary of Sarcasm,” and recently devised and co-hosted a comedy podcast called “Movies Not Movies.” His new serialized detective story “Plea from a Dead Silhouette” is set in 1988 Boston and features private eye Maggie Dunne. James has optioned several screenplays and is currently shopping an original dramatic pilot with his producing partner. He has completed two new screenplays, an environmental crime thriller and an independent oddball romance.
This week The TV Boys sit down to talk about Gillian Anderson. But you already know that because of the title. Why are you reading this? You should have pressed play already!
Activist, playwright, novelist, critic, broadcaster and ‘searcher' Bonnie Greer tells Zawe about the power of being on the outside looking in. Bonnie is one of the UK's most influential black cultural figures - having played a part in running numerous major institutions including the British Museum, the Royal Opera House, London Film School, RADA, Serpentine Gallery and Theatre Royal Stratford East. You may well have seen her on TV, as a regular contributor to Newsnight Late Review, or a panelist on Question Time, where in 2009 she famously took down the BNP leader Nick Griffin in what is still one of the programmes most watched - and most controversial - episodes. Bonnie has written numerous plays, musicals and operas which have appeared everywhere from Radio 4 to the West End, and is the author of five books, spanning fiction, non-fiction and memoir. She was awarded an OBE in 2010. Bonnie's book choices are: ** Small Island by Andrea Levy** Their Eyes were Watching God by Zora Neale Hurston** Harry Potter and the Philosopher's Stone by JK Rowling** Character Breakdown by Zawe Ashton** Entropy by Bonnie Greer Zawe Ashton, acclaimed actress, director, playwright and author, hosts Season Four of the chart-topping Women's Prize for Fiction Podcast. The new Women's Prize Podcast season continues to celebrate the best fiction written by women, by interviewing inspirational women about the books that have most influenced their life and career. Make sure you listen and subscribe now, you definitely don't want to miss the rest of Season Four. This podcast is sponsored by Baileys and produced by Bird Lime Media. See acast.com/privacy for privacy and opt-out information.
In this episode, Sarah speaks with Jaclyn Bethany, an actress and Emmy award winning filmmaker. Called "fast rising" and "one to watch" by Variety Magazine, she is a recent graduate of the prestigious American Film Institute Conservatory with an M.F.A. in Directing. She has written, produced and directed numerous short films which have played festivals worldwide. Her AFI Thesis Film The Delta Girl starring Isabelle Fuhrman and Caitlin Carver premiered at HollyShorts in 2018. Jaclyn's work focuses on complex women, stories rooted in her Southern upbringing, complex female protagonists and LGBTQ stories from the female gaze.In addition to AFI, Ms. Bethany holds a B.A. in Acting from Fordham University, an M.A. in Screenwriting from The London Film School. The Rehearsal, her digital series in which she created and stars, won a 2020 Emmy Award for Best Supporting Actress in a Digital Drama for actress Tina Benko. Her first feature film Indigo Valley was released by Giant Pictures and is available via Amazon and Apple TV. You can find out more on https://www.imdb.com/name/nm5794274/ ! Follow along her instagram @Jaclyn_bethany
Heidi Greensmith is an English director and screenwriter. One of seven children she began writing scripts at the age of sixteen, and left home to attend the London Film School where she trained in camera. Her first job was shooting undercover documentaries for Channel 4. Her love of music and eye for cinematography soon lead her to sign to a London production company where she directed music promos and commercials. Greensmith shot her award winning debut feature 'Winter' in just 24 days. She is married to musician and composer Dominic Greensmith and they have five children together. Heidi is currently shooting her next feature 'Like Sugar'.
Anabela Mota Ribeiro traz-nos Os Filhos da Madrugada. Entrevistas a homens e mulheres, nascidos e criados em democracia. Diferentes sensibilidades políticas. De diferentes áreas de trabalho e geografias. Um retrato concreto, particular do quotidiano do Portugal que hoje somos, 47 anos depois da revolução. Uma entrevista com o empresário Domingos Folque Guimarães. Por ter nascido duas semanas antes do 25 de Abril, ouviu a mãe dizer que era o arauto da revolução. Nasceu, portanto, em 1974 e é o mais velho dos 25 entrevistados d? Os Filhos da Madrugada. Domingos Folque Guimarães estudou n? A Voz do Operário, fez um mestrado em cinema na London Film School, estudou teatro e, muito mais tarde, estudou gestão em Nova Iorque. Viveu 13 anos fora de Portugal, em Espanha, Itália e Inglaterra. É mentor de jovens empreendedores. É tão otimista e tão sociável que tem amigos no mundo todo e diz que só se lembra do futuro. O comunismo está presente na sua vida desde sempre: o seu pai foi fundador da CGTP, a mãe é redatora do Avante, os padrinhos são históricos resistentes antifascistas.
In this episode, I speak with filmmaker and educator Victoria Thomas. In our conversation, we chat about her latest project, Born in New York, Raised in Paris, her teaching at the London Film School, the production company she founded, the Polkadot Factory, and the challenges of navigating a documentary and narrative film industry rooted in a white supremacist work culture that is resistant to change. Because just like many Black women, Victoria finds being in these spaces can be taxing and exhausting, to say the least, this episode’s song is Destiny Chid’s “Survivor.”
@Passion, People & Purpose #filmmaking #filmmaker #script #writer Hello Everyone, Our today's guest, Mary N. Hasavari is a film director and scriptwriter with an international background that includes Thailand, Norway, and Iran. She received an MA in Filmmaking from The London Film School in 2015 but made her first film at the age of 16. Her film, BEFORE SPRING, was award-nominated at five film festivals, among them, Oscar-qualifying Bogo shorts International film festival. She received Honorable mention at The Isle of Wight International Film Festival. Mary has several years of experience in the international film industry. She recently received a talent development grant, and a script development grant from The Norwegian Film Institute. Her feature documentary and stage play "Dhamma" received financial support from the Norwegian Arts Council. She is currently working on her directorial feature debut "Persona" with producer Autumn Bailey Entertainment and Paradox House. Mary would like to share her creative process, along with some of her ups and downs, to inspire and guide other creative visionaries out there, especially other outliers like herself. Quick Summary: Introduction - [00:18 - 2:00] Passion & Interest [02:13 - 04:40] Questions from Audience [04:41 - 09:20] Fun Segment [09:20 - 10:17] Career/Work/Volunteering [10:18- 13:40] Tips/Advice/Books [13:41- 18:17] Leadership [18:17 - 21:30] Closure & Thank you - [21:30 - End] So Watch the complete episode- https://youtu.be/6dJE9jQkRwM Listen to complete episode- https://anchor.fm/vaishali-lambe/episodes/SoLeadSaturday---Episode-69---Mary-N--Hasavary-filmmaking-filmmaker-script-writer-etj42e If you have any further questions for her, please feel free to connect with her on @LinkedIn Until we meet, happy leading and let's lead together. Stay safe. Bye for now. Find me on - YoutTube - @Passion, People & Purpose Twitter - https://twitter.com/vaishalilambe LinkedIn - https://www.linkedin.com/in/vaishali-lambe/ Instagram - @PassionPeoplePurpose Website - https://www.vaishalilambe.com/soleadsaturday Facebook - https://www.facebook.com/vaishalilambe17 Apple Podcasts - https://podcasts.apple.com/us/podcast/soleadsaturday/id1496626534?uo=4 Google Podcasts - https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMzFiYTA0MC9wb2RjYXN0L3Jzcw== Spotify - https://open.spotify.com/show/0bFOIm9EGFalhPG8YPBhVp --- Support this podcast: https://anchor.fm/vaishali-lambe/support
My guest in the last episode of this season is Ziad Oakes. Born in Beirut, and raised in London. Ziad graduated from the London Film School with a major in cinematography in 2001. He moved to Dubai in 2004 and has been working in the film industry since then.
The names Bond…James Bond in Episodes 61 and 62, as Chris and Alex tackle the official Eon James Bond 007 film series by casting their eyes over a longstanding staple of the franchise - the celebrated credits sequences. Beginning with Dr. No (Terence Young, 1962) and culminating in Spectre (Sam Mendes, 2015), listen as they place in rank order their ‘Top 24’ title sequences, judging their audiovisual spectacle, structural elements and broader connections to traditions in animated fantasy (Part 1 focuses on Bond films #24 to #13, while Part 2 counts down from #12 to their #1 ranked 007 title sequence). Joining them for this extended double-header is Dr. Ed Lamberti, an independent researcher in Film Studies who has been a teaching assistant at King's College London, a screenwriting mentor at the London Film School, and who is currently Policy Manager at the British Board of Film Classification (BBFC). In 2019, Ed published his monograph Performing Ethics through Film Style, which discusses the ethics of Emmanuel Levinas alongside films directed by the Dardenne Brothers, Barbet Schroeder and Paul Schrader. He is also the editor of Behind the Scenes at the BBFC: Film Classification from the Silver Screen to the Digital Age (2012), and the assistant editor of the upcoming V. F. Perkins on Movies: Collected Shorter Film Criticism (2020). Listen as the trio examine elements of design, movement, rhythm and pacing in the Bond titles; the gendered imaginaries and Anglophonic fantasies of race that support the sequences’ progress of imagery; authorial figures such as Maurice Binder, Robert Brownjohn, and Daniel Kleinman; questions of coherency and the relation between image and soundtrack; and the broader structural role of the credits across the Bond series. Quite simply, nobody does it better.
The names Bond…James Bond in Episodes 61 and 62, as Chris and Alex tackle the official Eon James Bond 007 film series by casting their eyes over a longstanding staple of the franchise - the celebrated credits sequences. Beginning with Dr. No (Terence Young, 1962) and culminating in Spectre (Sam Mendes, 2015), listen as they place in rank order their ‘Top 24’ title sequences, judging their audiovisual spectacle, structural elements and broader connections to traditions in animated fantasy (Part 1 focuses on Bond films #24 to #13, while Part 2 counts down from #12 to their #1 ranked 007 title sequence). Joining them for this extended double-header is Dr. Ed Lamberti, an independent researcher in Film Studies who has been a teaching assistant at King's College London, a screenwriting mentor at the London Film School, and who is currently Policy Manager at the British Board of Film Classification (BBFC). In 2019, Ed published his monograph Performing Ethics through Film Style, which discusses the ethics of Emmanuel Levinas alongside films directed by the Dardenne Brothers, Barbet Schroeder and Paul Schrader. He is also the editor of Behind the Scenes at the BBFC: Film Classification from the Silver Screen to the Digital Age (2012), and the assistant editor of the upcoming V. F. Perkins on Movies: Collected Shorter Film Criticism (2020). Listen as the trio examine elements of design, movement, rhythm and pacing in the Bond titles; the gendered imaginaries and Anglophonic fantasies of race that support the sequences’ progress of imagery; authorial figures such as Maurice Binder, Robert Brownjohn, and Daniel Kleinman; questions of coherency and the relation between image and soundtrack; and the broader structural role of the credits across the Bond series. Quite simply, nobody does it better.
Quando o filme “Listen – Ouve-me” estreou em Veneza, os aplausos de pé duraram 5 minutos. Ana Rocha de Sousa venceu seis prémios, incluindo dois Leões de Veneza, um dos mais importantes festivais de cinema do mundo. É um filme duríssimo sobre a história de três filhos que são retirados aos pais por suspeitas de maus tratos e é baseado em casos verídicos. Dica: leve muitos lenços de papel para o cinema – o filme estreia a 22 outubro em portugal. E, depois, estreia também nos Estados Unidos pela produtora Magnólia – nada mau para uma primeira longa-metragem de Ana Rocha de Sousa, 41 anos, que começou por ser atriz na série Riscos, estudou Belas Artes, depois licenciatura e mestrado em cinema na London Film School, várias curtas, documentários e showcases de artistas. Connosco, a menina que nos comoveu a todos quando recebeu os prémios em Veneza, Ana Rocha de Sousa.
Sonam talks to Meghna about how she tapped on her internal resources to undertake what feels like a metamorphosis of the mind, body and soul. Meghna's journey is extraordinarily inspiring and will nudge you to consider thinking about life from a broader perspective. Join us! ------------------------------------------------------------------------------- Meghna lives in Mumbai and works in advertising. She began her career as an Assistant Director, and then moved to media marketing and then advertising. She has two Masters degrees, one from Carnegie Mellon and another from London Film School. ------------------------------------------------------------------------------- Find Sonam Mahajan: WEBSITE: www.sonammahajan.com INSTAGRAM: @yellowdoortalks FACEBOOK: https://urlgeni.us/facebook/yellowdoortalks PODCAST: Yellow Door Podcast https://urlgeni.us/yellowdoorpodcast ------------------------------------------------------------------------------- WHO IS SONAM? Aspiring to live joyfully as you thrive? Hi! I'm Sonam Mahajan, a Mindfulness Teacher, Executive & Life Coach. I have spent the past 15 years uncovering a life that now brings me joy and equanimity and I continue to explore depths of who I am. I owe everything to the spiritual journey in self-awareness, experiences through three diverse careers across continents and rock solid relationships that empowered me these 15 years. Each of us is unique and has the intrinsic capacity and capability for wisdom. I provide you the tools to tap into, access, utilise and enjoy what's most inherent to your life as a human being. My vision is to demystify the human life and make wisdom accessible, related and useable, so we show up as a force for good in the world. I am a trained Mindfulness teacher and practitioner, ICF certified Executive and Life Coach with a Masters in Sustainable Development and an undergraduate degree in Economics Honours. Website: www.sonammahajan.com Instagram handle: @yellowdoortalks
It is our great pleasure to present this bonus episode with our London Film School editing professor Manos Ioannu. He has been a great inspiration to us throughout our studies and he recommended Nolan's Memento to us as an example of great editing. Besides that we talk about how to get into the film industry and other stuff. Check it out
Ever wandered what the creative process is behind the films, tv shows and theatre productions you watch? Well, crew chats is a new podcast going behind the scenes and chatting to the crew that help make these productions. Lorraine Sibanda studied a Psychological Sciences degree. After graduating, and having had a lifelong desire to be a designer, she went on to intern and work in fashion, learning the process and practical elements of design. Lorraine also worked in fashion PR as a showroom assistant working with designers and stylists and had a brief stint in magazine advertising. Lorraine’s career in costume began with assisting in commercials and designing short films with friends from The London Film School. Having done different roles from trainee to standby, assistant and fitter, Lorraine now works as a full time costume buyer in films. Lorraine has worked on productions such as, Florence Foster Jenkins, Victoria and Abdul, Kingsman: The Golden Circle, Hellboy and Angel Has Fallen to name a few. Lorraine's Reccommendations: -Mary Poppins (1964) -Stardust -Sex and The City (Tv Series)
Professor Brett Kahr in Conversation with Dan Chambers What actually happens in psychotherapy? And does it really work? Psychotherapy has become a mainstay of our emotional wellbeing, and yet, in spite of its century-long track record, many people still regard “therapy” with a certain suspicion. Is psychotherapy simply a self-indulgent exercise in navel-gazing for bored, well-heeled neurotics with too much time on their hands, or is it, in fact, an essential route to the achievement of solid mental health, enhanced creativity and productivity, and richer, more gratifying intimate relationships? In this seminar, the television producer Dan Chambers will speak with Professor Brett Kahr, one of Great Britain's leading psychotherapists, and together, they will explore in detail both the myths and the realities about the psychotherapeutic process. The evening will consider such fundamental and frequently asked questions as: What actually happens in psychotherapy? How long might therapy last? Does therapy blame everything on one's parents? Will I be cured or will I be brain-washed? How do I find an experienced and trustworthy psychotherapist? How much will psychotherapy cost? Will I still recognise myself at the end of the process? Might there be any risks associated with undergoing therapy? We will consider psychotherapy in its historical context, examining the way in which the art and science of psychotherapy has evolved since Sigmund Freud's creation of the “talking cure”. This evening workshop will allow ample time for discussion and questions from the audience. Professor Brett Kahr has worked in the mental health field for over thirty-five years. He is currently Senior Clinical Research Fellow in Psychotherapy and Mental Health at the Centre for Child Mental Health in London, and Senior Fellow at the Tavistock Centre for Couple Relationships at the Tavistock Institute of Medical Psychology. He has worked in many branches of the psychotherapy profession as clinician, teacher, researcher, author, and broadcaster, having served previously as Resident Psychotherapist on B.B.C. Radio 2. Author of eight books including Life Lessons from Freud and, also, the best-selling Sex and the Psyche, he is also Series Editor of the “Forensic Psychotherapy Monograph Series” for Karnac Books and Series Co-Editor of the “History of Psychoanalysis Series”. He practices psychotherapy with individuals and with couples in Hampstead, North London, and he is a Trustee of the Freud Museum and of Freud Museum Publications. Dan Chambers is the Creative Director of Blink Films, one of Great Britain's leading factual independent television production companies, with an output covering history, science, documentary, and cookery for all the key channels in the United Kingdom and all the leading factual channels in America. Previously, he has been Head of Science Commissioning at Channel 4 and the Director of Programmes at Channel 5. He has directed science documentaries for the Equinox science strand, and he has produced the Channel 4 and P.B.S. history strand, Secrets of the Dead. Dan studied Psychology and Philosophy at the University of Oxford, and he is currently a Governor of the London Film School and a Trustee of the Freud Museum.
Peter is Executive Director of LAMDA, the London Academy of Music and Dramatic Art, which he joined in 2018 after many years’ experience of delivering strategic change in public and private education in the UK. He has held senior positions at London South Bank University, the University of Cumbria, the University of Salford and Regent Education Group, and carried out numerous consultancy assignments. Prior to 2000 Peter was in the British Army for almost 20 years. He specialised in field communications but occupied a wide variety of roles and for five years had the privilege of serving with Gurkhas. He is a graduate of the Joint Services Command and Staff College, MBA and a Governor of the London Film School. As he steps out on a fascinating partnership with LAMDA’s new Director, renowned UK theatre director Sarah Frankcom, Peter reflects on ideas harvested from a career in change. Top Tip: When people bring ideas, something’s going right.#InspiringLeadership #leadership #CEOs #MotivationalSpeaker #teamcoach #Boards See acast.com/privacy for privacy and opt-out information.
Ron Moler Ron started his career at the young age of 13 shooting surf movies with his mother’s movie camera. They weren’t very good but it set the hook. Ron Graduated from the Cal State Fullerton University film department. First Job CBS Television, Television City. Worked his way up to promo editor. After freelancing around for a couple of years he started Aspect Ratio with Bob Israel. Ultimately after 20 years of hard work they became the largest of the motion picture advertising agencies. Not being content with just cranking out trailers Ron produced Bachelor Party, I love you to Death, and The Endless Summer 2. Ron sold his interest in Aspect Ratio and directed two movies The Runner and Local Boys. Missing the trailer business he started Ignition Creative with Martin Kistler in 2003. Finally deciding it was time to follow his adventure dream of sailing the world and making documentaries, he sold his interest in 2012. Now happily semi-retired he still does consulting work. Ron is blessed with 3 children. Jeff Smith After graduating UCLA as an Econ major, Jeff moved to Australia for a year before coming back home to work at KNXT (CBS)news for three years. In the late 60s he became disillusioned with the political climate here, and moved to London, where he went to film school at The London School of Film Technique (now called the London Film School). Jeff stayed in Europe for 4 years. Returning to LA to work in the film business as a cameraman and grip where he worked on low budget movies. Eventually Jeff burned out on that, and started making furniture. After 2 years, and after in haling too much sawdust, he was offered a job in the finishing department at Kaleidoscope Films...then the preeminent trailer company in LA. He lasted there two years before he found is true calling...to become a screenwriter, which he did, with varying success, for the next three years. But dirt poor, $27,000 in debt and living off credit cards, Jeff took what he thought would be a six months job at Aspect Ratio. Jeff's title was producer, he was good at doing graphics and reels, but his real job was to keep the owners, Ron Molar and Bob Israel, from killing one another! Jeff was successful, and as the company grew, he forgot about his writing career and began what would become his life long career in the movie advertising business. For a number of years he was Ron and Bob’s consiglieri, and produced all the reels and special projects. Eventually Jeff became Co President along with Mark Trugman, and ran the company til he left. In 2001, Jeff opened Open Road Entertainment. "We were one of the first boutique agencies, stating with just 11 people. Over the years we grew, expanded, contracted, moved and had a great time together." In 2017 Jeff sold the company and now after 33 years, and what he thought would be a six months job, he has returned to writing. "I loved the trailers business, it was exciting, demanding, creative, frustrating, tiring, and filled with some of the best people I have ever met. But now I am happy to say, I am ecstatic to be out of it, and writing once again."
Brian Dunnigan is a writer and filmmaker from Edinburgh. He is the author of the new book ‘Screenwriting is Filmmaking' and was the head of the London Film School's screenwriting programme for twelve years. In this episode William met with Brian in London to discuss the Michael Haneke film ‘The White Ribbon', which won the Palme d'Or at Canne in 2009. We also hope you enjoy the twenty minutes of bonus content at the end in which we discuss some of Brian's advice and teachings to screenwriters in his new book. Buy ‘Screenwriting is Filmmaking'! *** Want to comment, get news and join episode discussions? Join the community on Syncify: https://syncify.fm/podcast/the-21st-rewrite. Instagram: @the21strewrite. Website contact page: https://www.the21strewrite.com/contact
Quantas vidas terá vivido nesta vida Jorge Silva Melo? Ele que é encenador, ator, cineasta, dramaturgo, tradutor e crítico português. Se juntarmos as vidas todas dos palcos, do grande ecrã e dos livros, temos vidas suficientes para uma cidade. Ou pelo menos, uma aldeia. Ele que passou a infância na antiga cidade de Silva Porto, em Angola, que se formou realizador na London Film School e, mais tarde, estagiou em Berlim, Milão e foi ator em Paris. Decidiu regressar para o seu país porque para si pátria é culpa e responsabilidade. Fundador do “Teatro da Cornucópia” e dos “Artistas Unidos” é um mestre e mobilizador de artistas, histórias e projetos. Encontramo-lo em ensaios da próxima peça “A Máquina Hamlet”, de Heiner Müller, que estreia dia 15 de janeiro. Um pretexto para falar da “esperança, imensa maldição”
Chrisna Lungala ist Komponist für Filme und Videospiele, darunter Projekte wie "Rubberneck" der London Film School und Microsofts "XONG". Er kann ganze orchestrale Soundtracks am Laptop komponieren – aber wie das geht, und welches Vorwissen man dazu braucht, erzählt er euch in dieser Folge! Seine Musik findest du hier: https://www.youtube.com/user/YouMusicStudio ___ Wenn Albert Bozesan und Robert Sladeczek gerade keinen Unsinn im Podcast reden, machen sie lustige Werbespots: https://www.unleashed-marketing.com Die Süddeutsche Zeitung über Zweibert: https://www.sueddeutsche.de/muenchen/muenchen-junge-podcasts-ueberblick-1.4514643 Like und folge Zweibert auf Facebook! https://www.facebook.com/zweibert/ Musik von Chrisna Lungala, Tiver auf Soundcloud: https://soundcloud.com/chris_toko Hier könnt ihr den Podcast abonnieren: iTunes: https://zweibert.page.link/itunes Spotify: https://zweibert.page.link/spotify Overcast: https://zweibert.page.link/overcast YouTube: https://zweibert.page.link/youtube Soundcloud: https://zweibert.page.link/soundcloud
Cinematic Sound Radio - Soundtracks, Film, TV and Video Game Music
Today's very special episode of CINEMATIC SOUND RADIO is a conversation with composer Miguel d'Oliveira. Throughout his medical school years at the University of Coimbra, Miguel started playing in several ensembles ranging from orchestra to Ethnic and Jazz to Folk. The instruments played varied almost as much as the ensembles; keyboards, guitar, bass guitar, cavaquinho (the daddy of present-day ukulele) and soprano sax. After graduation, and the odd job as cartoonist and scuba diver instructor in Lisbon, he decided to resurface in London. A quick stop in New York allowed him to get acquainted with a country band, with whom he played (cavaquinho) briefly in Manhattan. He was then invited to join and tour the US by an ethnic-fusion band, but his skills were still a green card away. In London at last, Miguel started to study audio production and orchestration by himself and, a few months later, Indie rock band Lapland invited him to join their ensemble playing keyboards and trumpet, and with whom he toured the UK for 2 years, recorded and produced two EPs and an album. One day, a student from the London Film School asked him to score his graduation film, and there was no turning back. By the end of 2001, he has stopped performing and started writing music for film and TV, having scored more than 50 projects, from TV commercials to feature films. In May 2004 he was asked to start writing about film music and music production technology for Showreel magazine, where he is now Audio Editor. Miguel has an MA in film composition - National Film and Television School/ Royal College of Art. In February 2019, for CINEMATIC SOUND RADIO, Jason Drury talked to Miguel d'Oliveira via Skype at his home in London, England about his film and TV scoring career, how he got into the industry, and discussing his work mainly scoring at this time, major documentary series including Diana Our Mother, Life and Legacy, Louis Theroux’s Altered States and Michael Palin in North Korea. During the show, you will also be hearing music from those series and much more from UK Based Portuguese composer Miguel d'Oliveira. For more information please visit d'Oliveira's website by going to http://migueldoliveira.com/ Enjoy! —— Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Movie Scores and More Radio http://www.moviescoreradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com
Camilla Henriksen and Face2Face host David Peck talk about her new film, childhood stories and neglect, mental health issues, secret dreams, parenting making choices and how we all have untapped resources of a particular sort. Synopsis In Camilla Strøm Henriksen’s startling first feature, a young girl struggles to keep her family together in the aftermath of a tragedy that forces her to grow up far too quickly. When Jill, the heroine of the startling Phoenix, arrives home from school, she calls out tentatively for her mother. She slips quietly around the family’s spacious yet dark apartment, laid out like a vampire’s lair with every piece of furniture as far from the light as possible. Relieved to find her mother Astrid asleep, Jill swiftly goes to work dumping the half-empty bottles of booze littered around the bedroom. Phoenix fearlessly charts the horrors of living with a parent suffering from mental illness exacerbated by substance abuse. When Astrid’s depression gets the better of her, Jill is forced to cover things up in order to keep the family together. But there may be light at the end of the tunnel: an impending visit from their musician father, Nils (Sverrir Gudnason from last year’s Borg vs. McEnroe, which played the Festival), who could easily whisk them away. Jill’s teenaged resilience and resourcefulness is on full display in Phoenix but there are also signs of the cost of being forced to grow up too quickly. Heartbreaking and courageous, Phoenix is a powerful debut establishing its director as one to watch. Biography Phoenix is an original story by Camilla Strøm Henriksen and is her first feature. As an actress she has appeared extensively in Norwegian films, TV and theatre productions. She studied at London Film School and graduated with an MA degree in directing in 2004. She has since directed multiple episodes of the longest running series in Scandinavia, Hotel Caesar, as well as the drama series Hvaler. She’s currently developing a TV drama series and a feature film, as writerdirector. Image Copyright: Camilla Strøm Henriksen. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to producer Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.
This week on FNI WrapChat is TJ O'Grady-Peyton TJ is an Irish director and Actor who graduated from the London Film School's graduate program in 2010. Fresh into the professional ad space, he was shortlisted for a Young Directors Award at Cannes in 2013 and 2015, later earning a Webby Award in 2016. He has directed commercials for clients such as BMW, Gatorade, Cadillac, Coke, Nespresso, Asics, Red Bull, Volkswagen, Diesel and Conde Nast, among others. A cinephile from a young age, TJ's love of cinema began after seeing Daniel Day Lewis filming My Left Foot outside his home as a child. In 2017, TJ co-directed a short film called WAVE with Academy Award winner Benjamin Cleary. As well as directing, he played the lead role as Gasper Rubicon. Wave had it's world premiere at Tribeca Film Festival and has screened in over 40 festivals worldwide to date including Clermont-Ferrand winning a number of awards throughout its run. Wave recently won Best Short at the Irish Film and Television Awards and TJ was awarded the Discovery Award at the Dublin International Film Festival 2018. Earlier this year TJ took part in Black Factory Cinema's film-making masterclass and workshop with Werner Herzog in the Amazon jungle. He is represented by the Ridley Scott Creative Group and Hey Wonderful for Directing, Butter in Dublin and MacFarlane Chard for Acting. You can find Wrapchat on Spotify, Itunes, The Headstuff Podcast Network and wherever you get your Podcasts. #WeareFni #MakeANameForYourself If you want to support FNI head on over to www.buymeacoffee.com/fni https://www.headstuff.org/ for other fantastic content on the network. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week on FNI WrapChat is TJ O’Grady-Peyton TJ is an Irish director and Actor who graduated from the London Film School’s graduate program in 2010. Fresh into the professional ad space, he was shortlisted for a Young Directors Award at Cannes in 2013 and 2015, later earning a Webby Award in 2016. He has directed commercials for clients such as BMW, Gatorade, Cadillac, Coke, Nespresso, Asics, Red Bull, Volkswagen, Diesel and Conde Nast, among others. A cinephile from a young age, TJ's love of cinema began after seeing Daniel Day Lewis filming My Left Foot outside his home as a child. In 2017, TJ co-directed a short film called WAVE with Academy Award winner Benjamin Cleary. As well as directing, he played the lead role as Gasper Rubicon. Wave had it's world premiere at Tribeca Film Festival and has screened in over 40 festivals worldwide to date including Clermont-Ferrand winning a number of awards throughout its run. Wave recently won Best Short at the Irish Film and Television Awards and TJ was awarded the Discovery Award at the Dublin International Film Festival 2018. Earlier this year TJ took part in Black Factory Cinema's film-making masterclass and workshop with Werner Herzog in the Amazon jungle. He is represented by the Ridley Scott Creative Group and Hey Wonderful for Directing, Butter in Dublin and MacFarlane Chard for Acting. You can find Wrapchat on Spotify, Itunes, The Headstuff Podcast Network and wherever you get your Podcasts. #WeareFni #MakeANameForYourself If you want to support FNI head on over to www.buymeacoffee.com/fni https://www.headstuff.org/ for other fantastic content on the network.
Hope Robinson (Michigan State University alum) discusses moving to London to study at London Film School. Hope's Instagram: @detroitshope RESOURCE LIST/BLOG for this episode: bit.ly/2OseOpL BE A GUEST: younggiftedandabroad@gmail.com www.younggiftedandabroad.com Background music: "Ella Fitzgerald - Basin Street Blues (ProleteR tribute)" by ProleteR (https://soundcloud.com/proleter-beatmaker/ella-fitzgerald-basin-street-blues-proleter-tribute) "Ella FitzGerald & Count Basie - On The Sunny Side Of The Street (ProleteR Tribute)" by ProleteR (https://soundcloud.com/proleter-beatmaker/ella-fitzgerald-count-basie-on-the-sunny-side-of-the-street-proleter-tribute)
"The Choice" (http://thechoicepod.com/) is a six-episode audio drama, a feminist dystopian thriller set in the refugee camps of Los Angeles. Set in the year 2047, Dr. Margaret Carter is facing the death penalty. These are a series of recordings played as evidence in her trial. Misty Eddy is a director working in Portland, Oregon. Her obsession with radio dramas started early when, at twelve years old, she fell in love with classic radio theater programs like The Shadow, Suspense, and Orson Welle's War of the Worlds. Molly Silverstein is the Director of Programming for the Portland Film Festival and the host of the Portland Film Podcast. She studied film at Yale and London Film School. Nick Escobar is a design manager at a digital marketing agency in downtown Portland. As a producer, he has been recognized by the Portland Comedy Film Festival, premiered a short film at the 2016 Rose City Comic Con, and co-founded Blue Envelope Productions. Smarthouse Creative's Leroy Mack sits down with "The Choice" creators, Misty Eddy, Molly Silverstein and Nick Escobar, to learn about the creative inspiration behind "The Choice" and what elements make the series unique, for example including an animator on the team to help listeners visualize the tone of each episode. Misty, Molly and Nick describe the fundraising tips that they've learned through their current Kickstarter campaign, ways to encourage your audience members to become "brand champions" for your work, long-term branding strategies, for example creating a project media-plan, and much more! Visit "The Choice" on Kickstarter: smrths.com/TheChoice_Kickstarter Check out “The Choice” on Facebook: smrths.com/TheChoicePod_Facebook Visit the official “The Choice” website: www.thechoicepod.com TAMP music by Dude York.
As the Dubai International Film Festival comes to town, the Dubai Wave Podcast is thrilled to present our world exclusive with Ali F. Mostafa, widely considered the greatest Emirati filmmaker. Writes Variety: Mostafa is “proven to be the Gulf’s first director of International standing.” Produced by Dr. Spencer Striker, Digital Media Professor at the American University in Dubai, the show is created with the help of a talented student production team at AUD. About Ali F. MostafaAli F. Mostafa is a visionary Emirati director and producer. Having grown up in the UAE, Ali pursued his goal to be a filmmaker since he was a kid, eventually getting accepted into the London Film School in 2003. He set up his own creative studio, AFM Films, in 2007, delivering highlight films, short movies, documentaries, TV advertisements, and corporate movies. Ali's short graduation film Under the Sun was formally chosen and selected as best Foreign Film in festivals around the world. Under the Sun won 'Best Emirates Film 2006' at the Emirates Film Competition held in the nation's Capital, Abu Dhabi. Ali's work gained him recognition as 'Best Emirati Filmmaker' by the Dubai International Film Festival in 2007. Mostafa then directed the first Emirati blockbuster, City of Life, a complex portrait of the city of Dubai, told from three different cultural perspectives, and featuring such international stars as Natalie Dormer (Game of Thrones). In 2010, Advanced Studio magazine named Mostafa, 'Young Filmmaker of the Year.’His sophomore film, From A to B, was the first Emirati film to open the Abu Dhabi Film Festival. His most recent feature, created by Image Nation Abu Dhabi, is one of the highest profile films ever produced in the Middle East, the dystopian spine chiller, The Worthy. Ali was awarded Man of The Year in 2014 by Esquire magazine's Man At His Best Awards for his accomplishments in helping build and develop a burgeoning UAE film industry.About the Dubai Wave PodcastThe concept with Dubai Wave is to look at big picture Dubai. Each episode focuses on a unique topic, such as Dubai Fitness; Dubai Social Media; Dubai Food Scene; Dubai Music, etc., with the goal to illuminate a 360-degree viewpoint of all the exciting things happening here, the gem of the Middle East. The impressive guest list to date includes the founders of two of Dubai’s most popular food blogs (Dubai Foodie Scene); the founder of Dubai’s most influential MMA gym, Tam Khan (Dubai MMA); successful entrepreneur, Anas Bukhash (Dubai Entrepreneurship); the editor of What’s On Dubai, Laura Coughlin (Dubai Magazines); and the host of Virgin Radio Dubai, Brent Black, (Dubai Radio). Previously, Dr. Striker, with help from talented Digital Media and MBRSC students, launched a successful podcast called Digital Media & Tech in Dubai, focused on the Dubai tech industry, with eight episodes to date, featuring some of Dubai’s most exciting digital thought leaders. Hosted by:Spencer Striker, PhD, Digital Media professor at the American University in Dubaihttps://www.linkedin.com/in/spencerstriker& Basant Moghazy, Digital Media Student at AUDSpecial Guest:Ali Mostafa: pioneer of the Emirati film industry, changing the face of film and TV production in the Gulf. Winner of numerous awards internationally, Ali’s production company AFM Films continues to produce cutting edge work.Website: http://www.alimostafa.com/Instagram: https://www.instagram.com/afmfilms/?hl=enIMDB: http://www.imdb.com/name/nm2266823/Twitter: https://twitter.com/afmfilms Produced by: Shoug Al Sayegh, AUD Digital Media studentEdited by:Dina Bashaireh, AUD Digital Media studentAudio engineering by:AUD Digital Media’s own Anil Mathew JamesSpecial thanks to the AUD Marcom Team.
Jorge Franco nació en Medellín (Colombia) en 1962. Realizó estudios de literatura en la Universidad Javeriana y de cine en The London Film School, en el Reino Unido. Con su libro de cuentos Maldito amor ganó el Concurso Nacional de Narrativa Pedro Gómez Valderrama, y con la novela Mala noche obtuvo el primer premio en el XIV Concurso Nacional de Novela Ciudad de Pereira y fue finalista en el Premio Nacional de Novela de Colcultura. Su novela, Rosario Tijeras ganó la Beca Nacional de Novela del Ministerio de Cultura, fue galardonada con el Premio Internacional de Novela Dashiell Hammett 2000 (Gijón, España), y ha sido traducida a más de quince idiomas y llevada con éxito al cine y la televisión. La adaptación cinematográfica de su novela Paraíso Travel (2001) se convirtió en una de las películas más taquilleras del cine colombiano. Melodrama (2006) fue adaptada a teatro y editada en toda Hispanoamérica. Su última novela es Santa suerte (2010). Jorge Franco ha publicado cuentos y artículos en diversas revistas nacionales e internacionales y ha sido invitado por Gabriel García Márquez a dictar con él su taller «Cómo se cuenta un cuento» en la Escuela de Cine y Televisión de San Antonio de los Baños (Cuba). Foto: Cortesía Jorge Franco aseguró que: “La familia Echavarría lo ha tomado bien. Él (Diego Echavarría) era un personaje complejo, extraño, pero lo respetaban”. Sin importar que la junta directiva del Museo El Castillo haya censurado la presentación de su nuevo libro en los espacios del lugar, los mismos en los que desarrolló la historia, afirmando que “no le hace justicia a la moral de los personajes”, Jorge Franco presentará hoy en el Teatro Panamericana, de El Poblado, a las 7:00 p.m., “El mundo de afuera”, la novela que lo hizo merecedor del Premio Alfaguara 2014 y con la que tenía muy claro que podrían presentarse polémicas. “Esta historia yo la vengo guardando desde mi niñez, tiene que ver con un hecho que ocurrió en 1972 en Medellín, yo era vecino de El Castillo. Yo era vecino de El Castillo y este libro tiene que ver con la vida de Diego Echavarría, su dueño, quien murió y padeció un secuestro”, narró el escritor. Pero, ¿por qué la obra de este autor antioqueño suscita controversia?, ¿cuáles son sus características? y ¿qué novedades entrega su autor?, son los interrogantes que nos ayudará a resolver Juan Diego Mejía, director de la Fiesta del Libro y los Eventos del Libro de Medellín, quien estará encargado, esta noche, de presentar la obra. “Es una novela bellamente escrita, sobre todo el juego que hace con diferentes planos, que le permite tener una narración: unos bandidos secuestrando a un hombre importante de la ciudad, por medio de la cual puede mostrar lo que piensa el hombre secuestrado, reconstruir la vida previa al secuestro”, explicó.
Michelle recently received admission to London Film School and moved to London at the beginning of April to begin her program at LFS in May. Michelle was a Digital Marketing Coordinator at Levi's in San Francisco for the past year and a half. Before San Francisco, she worked at Kinfolk Magazine and Sea Chant in Portland. "It's like shedding skin as a snake . . . that's the way you grow." "You have to continue looking at the unrealistic places you want to go to." To see some of Michelle's work you can go to her website: www.mkmicho.com or find her on instagram @mkmicho (www.instagram.com/mkmicho). Podcast mixed by Mike Benz.
Boaz Davidson is the Head of Development and Creative Affairs for Millennium Films. Davidson is known for his hit film “Lemon Popsicle”, which debuted at the Berlin Film Festival, receiving its Panorama Audience Award. Davidson was born in Tel Aviv, Israel, graduated from London Film School, and later moved to the United States. I was able to talk with Boaz about his early years directing films, the difference between making films in Israel compared to the United States, and the possibility of “The Expendables 3”.
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