Podcasts about miss marvel

In this episode, the boys are ranking the entirety of the Marvel Cinematic Universe up to Daredevil: Born Again. From banger's like Ironman (2008) to stinkers like Miss Marvel (2022). Grab some popcorn and listen to us give our takes!Follow Us On Social Media https://www.instagram.com/cosmickickback/ https://twitter.com/cosmickickback https://www.tiktok.com/@cosmickickbackpodhttps://discord.gg/m6p6z3B8Follow us on Twitch! https://www.twitch.tv/phantomhushhttps://www.twitch.tv/apolloxnickThe Boy's Channels! https://www.youtube.com/channel/UCOVCy8sQkO8cafKxYpO-VVA https://www.youtube.com/c/NickBarreraFollow us on Letterboxd!https://letterboxd.com/JoshuaFowlerhttps://letterboxd.com/nickbarrera

Our top picks when it comes to TV, Movies, TikTok, Instagram and all things entertainment.This week's episode covered (list below in no particular order):Miss MarvelThe Grammy'sApple Music- Usher MissingFoundationClub Shay Shay- MoniqueThe First SupperThe Marvels

Well the Oscars just went out and proved the Barbie movie right, are we surprised, yes, should we be? No... Also, Jon Stewart returns to the daily show, and honestly that's what America needs right now, please let him be unhinged Comedy Central, please. Plus Palworld has quite literally taken over the gaming world, who knew "Pokémon with guns" would be this successful.

In this week's episode, I explain why I won't write any more crossover series in my 2nd decade as an indie author. We also discuss why too long of a backstory can become a problem. TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 178 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December the 10th, 2023 and today we're going to talk about why I won't write any more crossover series. Before we get into our main topic this week, let's have an update on my current writing projects. I'm pleased to report that Half-Elven Thief is now available. This book will be out on Amazon and Kindle Unlimited. Amazon seems to have solved many of the Kindle Unlimited concerns I had earlier in the year, and so what I'm going to do with Half-Elven Thief is repeat what I did with Wraithshard back in 2020, where the books first come out in Kindle Unlimited, and then once the series is done (I am planning for six books), then they will go wide to other platforms. So if you are an Amazon and Kindle Unlimited user, you can get that as the last book I have published in 2023. Now that Half-Elven Thief is done, I am writing the outline for Shield of Storms, the first book of the Shield War series, which will be set in Andomhaim and follow up on the results of Dragonskull from earlier this year. I'm hoping to start writing that Tuesday or possibly Wednesday of this coming week. Sooner would be better, obviously. I am also about halfway through the rough draft of Sevenfold Sword Online: Leveling, and I'm hoping to have that come out early in 2024, if all goes well. In audiobook news, I had two audiobooks come out this past week: Dragonskull: Doom of the Sorceress, as excellently narrated by Brad Wills and Ghost in The Serpent, as excellently narrated by Hollis McCarthy. You can get those audiobooks at Audible, Amazon, Kobo, Google Play, Chirp, and all the usual audiobook stores. Audio for Dragonskull: Crown of the Gods is almost finished. If all goes well, it may yet come out before the end of 2023, though, given how the holidays slow down processing for everything, it might not come out till 2024. But in any case, it will be out soon. If you stop by my website between now and the end of the year, you will see that I'm doing 12 Days of Short Story Christmas, where I'm looking over the most popular short stories I've had over the last two years or so and giving them away for free on my Payhip store until December 31st. I'm doing it on weekdays. As of this recording, I have gone through the first four short stories and tomorrow on Monday the 11th we will be having the fifth of The 12 Days of Short Story Christmas. So if you're looking for free short stories to read, stop by my website and at the end of The 12 Days of Short Story Christmas, I will have a bonus coupon for my entire Payhip store. So I think it would be worth checking that out. 00:02:42 Main Topic: Crossovers Now on to our main topic this week: why I am not going to write any more crossover series. Occasionally I get an e-mail from a reader suggesting that would be cool if Caina met Ridmark in a book or if Nadia went aboard Jack March's spaceship or crossover like that between characters from different series. Much more frequently, I get emails from readers confused by the Cloak and Ghost series. How did Caina get Nadia's world? Is this a version of Caina that lives in Nadia's world? How does this affect the timeline of Nadia's books and Caina's? Didn't Andromache die in Ghost in the Storm? Why is she running around and Cloak and Ghost: Lost Gate? Or I will get an e-mail from a reader who read and enjoyed Malison: The Complete Series and then continued on to Dragontiarna: Knights, only to be confused and annoyed that Tyrcamber Rigamond doesn't appear in Dragontiarna: Knights until Chapter 15, even though at the end of Malison: The Complete Series said that Tyrcamber's adventures would continue in the Dragontiarna series. Tyrcamber really does arrive in Chapter 15 of Dragontiarna, I promise! Now I'm in my second decade of being an indie author and one of the things I've decided for decade two is no more crossovers. My reasons follow: #1: The Cloak and Ghost books. I'm very grateful to everyone who read and enjoyed the Cloak and Ghost books, but boy did I get a lot of confused emails about them, like a lot of confused emails. I still do on occcasion. The idea that when I started writing them way back in 2018 was that it would be a fun little crossover side project. I figured it would just be a side story where Nadia meets the version of Caina who lives on her world and then adventures follow. Comics do parallel versions of characters all the time in comic books, right? Of course that overlooked the fact that one: hardly anyone actually buys comic books anymore, so it's probably best not to use them as an example. And two: when the Marvel movies started doing the Multiverse and parallel versions of characters after 2019, the franchise basically went off a cliff. But that was in the future yet. What actually followed was many confused questions about the continuity I tried to explain in the prologue of the book, but then I remembered the old adage that if you have to explain the joke, it's probably not funny. The same thing applies to concepts in fantasy novels. If you can't explain it adequately within the book itself, then it's time for a rethink. #2: Malison. Malison actually went pretty well. Thanks for reading it, everyone. The idea for Malison was that it would help set up the Dragontiarna series. When I wrote Dragontiarna, I wanted the story to cut back and forth between two different worlds, Andomhaim and Tyrcamber's world. Writing Malison also helped me to work out the way the rules would work in Tyrcamber's world, and then that would lead into the first book of the Dragontiarna series, Dragontiarna: Knights, which also happened to be my 100th novel. Malison did well enough on its own, especially in the box set, that lots of people picked it up in both ebook and audiobook. This did cause an unintentional degree of confusion, since it says at the end of the final Malison book that Tyrcamber Rigamond will return in Dragontiarna: Knights, so numerous people continued onward, and I still get confused emails ever since from people since Dragontiarna: Knights starts with Ridmark's perspective, not Tyrcamber. So now I have a form letter that I copy and paste reassuring people that yes, Tyrcamber does return in Dragontiarna: Knights in Chapter 15 and is one of the chief point of view characters for the rest of that series. So Malison was probably the most successful crossover I ever did, but it still caused confusion. Reason #3: internal setting logic. Very often my settings have completely different internal logic from each other and so a crossover simply wouldn't work. Malison was probably as successful as it was because I deliberately planned it from the beginning to tie into Dragontiarna, so the internal logic of the settings matched. Like when people suggest that Nadia come aboard Jack March's spaceship, in Nadia's world, magic is real. In March's world, there's no such thing as magic, and even things that appear are magical like the targeting abilities of Navigator or Lysiana's superhuman intelligence are the result of natural phenomena that are only partially understood by the characters, but are nonetheless essentially the results of applied science. So for characters from these two different settings to cross over, one or the other would have to submit to a completely different set of logic, which would be difficult to write and confusing to read. Like if Nadia went aboard Jack March's spaceship, would her magic be a partially understood scientific phenomenon? Would magic suddenly come to the galaxy of the Silent Order series? Or would Nadia's magic stop working, which would be a bad thing, since sudden character depowerment is frequently a sure sign that the author is beginning to run out of ideas. Elves are another good example. I've written a lot about elves in both the Frostborn world and the Cloak Game/Cloak Mage setting, and now I'm about to add more elves in Half-Elven Thief. The elves in Frostborn and the elves in Cloak Games work under extremely different rules. Like, in Andomhaim so far we've had the High Elves, the Dark Elves, the Gray Elves, the Cloak Elves, the Umbral Elves, and occasionally Half Elves. In Cloak Games, we just have the elves and they're way more concerned about the divide between nobles and commoners than they are about High, Dark, Gray, Cloak, and Umbral elves. For that matter, the way magic works in Andomhaim and the way it works in the Nadia-verse is completely different. So the basic premise of some of my settings are incompatible and trying to force them together would create some weird story structure problems. #4: Marvel movie lockout syndrome. The entertainment press has spilled much ink over the fact that The Marvels is the worst performing Marvel movie in the last 15 years. A lot of the opinions about it are wholly subjective and based around whatever social or cultural drum a particular writer feels like beating. But I think two undeniable facts worked against the movie, one of which is very relevant to me as an indie writer. First, it just cost too much. The Marvels cost $274 million to make, and it brought in about $200 million. If your movie costs $75 million to make, a $200 million return is a good return. If it costs $274 million, you are up the proverbial foul-smelling creek without a paddle. To put these numbers into perspective, the top three movies of 2023 were Barbie, Super Mario Brothers, and Oppenheimer, and with respective budgets of $145 million, $100 million, and $100 million, they all cost less to make than The Marvels. In fact, the combined budgets of all three movies put together is only like about 25% higher than the budget of The Marvels alone. Granted, while I wouldn't object to someone giving me $100 million budget for something, as an indie writer, this is not a particularly relevant concern to me. Nonetheless, it is a good reminder of the importance of keeping your costs down while running a business. The second fact that is in fact very relevant to me as an indie writer with 147 novels published, who has written many long series: the movie's backstory was way too complicated because it was a sequel for too many different things. The backstory to The Marvels…okay, so this is a sequel to Captain Marvel from 2019, but also to Wandavision from 2021, which introduced the adult version of Monica Rambeau and also a sequel to Miss Marvel from 2022 on Disney Plus, which is where Kamala Khan made her introduction, but is also a sequel or possibly a prequel to 2023's Secret Invasion and in some sense is a continuation of the story is told in the four Avengers movies and the setup for the plot was introduced for the first Guardians of the Galaxy movie back in 2014, with the character of Ronan the Accuser, who also appears in Captain Marvel as the younger version of himself and they're also linked to the X-Men movies and the larger multiverse, and on and on and on. That is a lot of backstory. And if I've learned anything writing really long series is that people are very often completionists. They want to read everything and read it in the order it was written. The downside of this is that the longer something goes on, the more readers or viewers you lose along the way. You can see how this works against The Marvels. It has, like dozens and dozens of hours of movies and TV shows to watch first as its full backstory. That's a big time commitment and an expensive one. For indie authors, if the series goes on long enough, you tend to lose people from book to book as they get distracted with other things or the budget happens to be tight the month the new book comes out. I think Cloak Mage will be the last series I write that has a double digit amount of titles in the series and everything after that is going to be around five to eight books, depending on the complexity and length of the story I want to tell. The problem with crossovers is that it increases the complexity of the backstory exponentially. I ran into that with Malison and Dragontiarna, even though they were both pretty successful and in a smaller way with Cloak and Ghost, even though that was a crossover with no connection to the main storyline for either Caina or Nadia. So as I plunge into my second decade of being an indie author, I don't think I'm going to do anymore crossovers for the reasons listed above, which is why my new book, Half-Elven Thief is entirely unconnected to anything else I've previously written. But of course, when I start at the Shield War next week, it will be a direct continuation of Dragonskull and the Frostborn series. So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe, stay healthy, and we'll see you all next week.

Langoy 321 - Arrancamos el programa hablando sobre Milei, Nueva Película de Karate Kid, La selección Peruana, Open AI y Filoni como Mandamás de Star Wars. Para el tema central conversamos sobre lo que nos pareció "The Marvels" y sobretodo de las cosas que podrian haber sido mejor en la peli.

Nos entrelazamos cuánticamente para hablar de la más reciente película de Marvel Studios: el regreso de Brie Larson como Captain Marvel, y en esta ocasión trae amigas: de Wandavision la capitana Monica Rambeau (Photon para los amigos) y de su serie homónima, Miss Marvel. Y spoilers, al cast le encantó.

欢迎收听第302期大话说电影节目，这是我们十一月的加更节目，本期老章和包主播要聊的是洛基 第二季 Loki Season 2‎ 以及惊奇队长2 The Marvels 。大话说电影的群，欢迎你的加入，请加包主播：bobby8816 并回答第一期节目讨论的影片名称。

We're inviting you to our fireside chat with JW Jarvis, the author famed for his gripping storytelling. He spills the beans about his upcoming book, The Phantom Firefighter, and the real-life inspirations that fueled its creation. Jarvis' respect and admiration for first responders kindled the narrative of this engrossing tale. With the book subtly rooted in his own experiences, JW hopes to inspire younger readers to consider the challenging but rewarding path of first responders. He also gives us an exclusive sneak peek into his next venture, The Phantom Enforcer, an intriguing tale focused on the unsung heroes of law enforcement.Jarvis' meticulous research to ensure the authenticity and precision in his books adds a layer of realism that is sure to captivate his audience. He shares his fascinating research process, from extensive online studies to engaging conversations with a Sheriff friend, all to craft believable and relatable characters and scenarios. A man of varied interests, JW also indulges us in a lively discussion about his favorite thrillers and exciting TV series and movie updates. From the new Thor movie to the forthcoming Star Wars series, Marvel's Miss Marvel series, and more, our chat with JW Jarvis is loaded with insightful banter and loads of fun. Grab your headphones; this episode promises to be a treat!Tickets for 1st Responders Concerts, Sporting Events, Comedy Shows and more at INCREDIBLE discounts!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showJoin our Facebook Community!Buy us a beer!Email Us! (Justin or Jason)Thanks for listening and please share the show!

00:00 Notre avis26:10 Fin du film (Kate Bishop)40:32 Scène post-credits53:10 Saison 2 à Miss Marvel ?

EPISODE 1816: In this KEEN ON show, Andrew talks to concept artist Karla Ortiz about the existential "theft" at the heart of the AI revolutionKarla Ortiz is a Puerto Rican, internationally recognized, award-winning artist. With her exceptional design sense, realistic renders, and character-driven narratives, Karla has contributed to many big-budget projects, including Jurassic World, World of Warcraft, Rogue One: A Starwars Story, Marvel's Thor Ragnarok, Black Panther, Infinity Wars, Loki, Eternals, Miss Marvel, and most notably her design of Doctor Strange for Marvel's Doctor Strange. Karla's work is also recognized in the fine art world, showcasing her figurative and mysterious art in notable galleries, such as Spoke Art and Hashimoto Contemporary in San Francisco, Nucleus Gallery, Thinkspace, Maxwell Alexander Gallery in LA, and Galerie Arludik in Paris. She currently lives in San Francisco with her cat, Bady.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.

Pat and Patrick return with two episodes worth of Fall of X talk! We talk about the wedding of Tony Stark and Emma Frost and people's expectations. Then there's Shaw and Selene's scheming. What on Earth is Mother Righteous playing at? More clues about Captain Krakoa! More fallout of what's been happening in the pages of X-Force! And damn it, Charles, what is going on with you?  Pat on Instagram: @Loikagram Pat on Bluesky: @PatLoika Kori on twitter: @zombilicious Kori on BlueSky: @Zombilicious Kori's other podcast: Culture Cryptids Mike on twitter: @thecomicarchive  Mike on BlueSky: @TheFurthOne Mike's comic:  No Going Back Patrick's twitter: @wmorelkphoenix  Patrick on BlueSky: @PLagua  Krakoan Exports on Instagram: @KrakoanExportsPodcast

In June, I hosted a webinar called "The Truth About Screenwriting Contests and Pitch Fests" where I shared my thoughts on some of these writing contests and the potential scams out there, as well as some bad advice I always hear. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.SHOW NOTESFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTSMichael Jamin:When I'm in a writer's room all the time, we don't use these words that everyone seems to have learned on the internet. That's why when you said 15 minutes, 15 minute structure, what? It is unfamiliar to me because I've, in my 27 years, we don't talk like that. So when I teach you how we talk, it's like it's not as complicated as people wanted. When you learn from somebody, screenwriting, just find out, are they qualified to teach you? Forget. I don't care if they wrote a book. No, no. What shows have they written on? Hey everyone, it's Michael Jamin. Welcome back to another episode of Screenwriters Need to Hear this. I'm here with Phil Hudson. Welcome Phil.Phil Hudson:What up?Michael Jamin:What up? We're doing another q and a. So once a month I do a live webinar. You're all invited to go to be invited. Go to michael jamon.com/webinar. The one in June. The topic was, we always do a different topic, but the one in June was the Truth about contests, screenwriting Contests, and Pitch Fests. And afterwards I do a q and a and we try to get to as many questions as we can when we run out of time, and I can't answer all of them while Phil has kept a file. And now we're going to answer all those questions for you. So hopefully this will be very illuminating. Yeah, may seem a little random, but whatever. It's, it's knowledge. Alright, Phil. Yeah, so hit me with a question.Phil Hudson:Yeah, absolutely. Just again, for decorum purposes I guess, or flow, we took all the questions. If we don't answer your question here, it's probably addressed somewhere else. So we have previous q and a question, podcast episodes. You take questions all the time on your social media there. There's stuff everywhere. So if your question hasn't been answered, most likely it's been answered somewhere else. We've already answered. Your YouTube is actually a great place to go for our content. Yeah, subscribeMichael Jamin:To Michael Jamon,Phil Hudson:Writer.Michael Jamin:Yeah, Michael Jamen, writer on YouTube as well as Instagram and TikTokPhil Hudson:And Facebook. And you can go to Michael's site as well. And I believe in the footer there's a list of all your social media and they can click on that stuff. So yeah, I've broken your questions out into multiple sections by topic and I've had to fold some questions together because there were just a ton of questions in this podcast, in this webinar. So, okay. This first section is called Breaking In related to the Truth about Screenwriting contests and Pitch Fest. And Michael, you are not one to mince words regarding all of these hacks and sheets to get into the industry. And I think it's something a lot of people need to hear and hopefully have, are going to hear from you today.Michael Jamin:By the way, I want to say, I'm sorry, Phil, but the webinars are always free and if you miss it, we send you a free replay, which is good for 24 hours. And then if you miss that, you can purchase it on my website for a small fee@michaeljamin.com slash shop. So sorry if you missed it, but you had to wax at it for free. Okay.Phil Hudson:Yeah. And that's on demand and permanent. It's not, you watch it once and it goes away or it, it's like you get it and it's chock full of good information.Michael Jamin:Yeah.Phil Hudson:Awesome. So Natalie Faler, how do you even find a person to pitch your screenplay to? So since these contests don't help your career get started, how do you get your career started? How do you come become qualified to get hired or work in any of these production companies?Michael Jamin:So what you need to have, you look at your script as a writing sample. You can write a movie, tell whatever you want, a TV show, whatever it is. Everyone's get so focused on, well, how do I need a Bible? Do I need episode three and four and season 10? No, no. You just need one damn good script that will impress people. That's all. Just one and one is hard enough. So write your script. And then when you give it to somebody, if it's good, someone in the industry, they'll pass it along. If it's really good, if it's mediocre, they're not, if it's okay or bad, they're not going to pass it along. You don't get a chance to sell your TV show if it's bad. No, you have to write a great script. What's in your hands? So everyone just assumes that and they assume, well, I already have a good script. Okay, but does anyone else agree with you? Have you given to anyone who agrees with you that it's a great script because it's not up to you. They have to agree with you. They have to say, yeah, it's a great script and then doors will open. But first things first, learn how to writePhil Hudson:And that actually jumps us down, you address is can we, Drake ask typically how many episodes do you pitchMichael Jamin:One you first go for, you don't do any, you pi, you give one script. How are you going to pitch an episode? How are you going to pitch a show if you can't even get the meeting to pitch a show? And you can't get the meeting until someone reads a script of yours and says, this is a really good script sample. It's a work, it's a writing sample. That's it. It's not about selling anything. It's about impressing people with your ability to write. It's okay if you're not going to sell it, tell you how many scripts I've written the intention even to sell it. It was just to impress people.Phil Hudson:Yeah. The last part of this question is how do you become qualified to get hired or work in any of these production companies as an avenue of working your way up? And the answer is you start at the bottom.Michael Jamin:Yeah, you start at the bottom way at the bottom where you're not even thinking about that. You're thinking, well, how can I become qualified to get coffee for the person who works here? And then you, that's how you start making contacts. That's how you start working your way up. So everyone wants to start at the top. My recommendation is start at the bottom.Phil Hudson:Beautiful. Liz Romantic besides attempting to get representation from an agent, what's another way to get my screenplay seen by a producer?Michael Jamin:Oh, well again, working Do a fill does works at a production company versus a pa, then I got promoted to associate producer. That's how you do it. That's, that's another way to do it ano, is to start at the bottom. Start making your connections in Hollywood. Another way to do it is to, you can start your own channel on social media where you're putting out amazing, you're shooting and making your own amazing content and I'm, I'm talking about scripted, whatever it is you want to do as a scripted, start doing that. Start impressing people with your ability to write and amazing things will happen. But I was going to do a whole webinar on that as well. I know I'm not, I'm giving short shrift to that answer, but I'll explain in detail in future webinars.Phil Hudson:Yeah. Awesome. Rob Stagin Borg, they say Hollywood Ism All is always looking for new talent, but are they really?Michael Jamin:Yeah, they're looking to exploit you. And like I said, you want to be exploited. Why not? They're looking for someone to make them rich. Everyone is looking for someone to make them rich. And if you have the ability to make them rich, if they look at you and they see dollar signs in your face, you're in, you're in. Yeah. But the problem is no one wants to do that. They want to beg, come on, can. No one wants to, no one's interested in helping your career. They want to help their own career. And the way they help their own career is by finding someone who's this, who's got a ton of talent that they can exploit in a good way, but exploit.Phil Hudson:Yeah. Yeah. All right. Our buddy, the Jovan shares back, and this question is in reference to one of the topics of the webinar, which is available now for people to buy. If you want to go watch it, it's michael jam.com/shop. But this is in relation to the topic of what's the reality and value of competitions and screenwriting contests and all this stuff. And you're basically saying not a lot and most of 'em are not beneficial.Michael Jamin:Yeah. You can go listen to the webinar we talk about which ones I think are the best ones and the biggest ones. But the small ones, the little ones, it's only making them rich, not you rich. Yeah.Phil Hudson:So with that context, does this advice also go for short story competitions?Michael Jamin:I don't really know. I really don't know. I'm not in that world. I'm a TV writer.Phil Hudson:Yeah. And that might be short film contests and things, but there's the occasional short film that gets moved. Like the Poon Dynamite, right? Was it paca? I don't know. It was a short that was put into Sundance and then it got bought and then it got flipped into a feature. That'sMichael Jamin:Very, but they said short story though. This person said short story. Correct.Phil Hudson:In the context of screenwriting. Okay. I think it's really about short films because you talk you storyMichael Jamin:If, yeah, I mean if you can make something and a respective, especially a film festival, that's a little different. If you make something at a film festival that gets people's attention. But that's what I'm yelling it all along you. You've already made it. You've already made it and it's already great. SoPhil Hudson:Yeah, you've done the work. You're not hoping someone else will give you the in. Yeah. Alright. Sadie Wise heart, what are avenues with getting into the industry with just an associate degree? I keep hearing being a PA is great, but are there also other avenues? Michael, I've never once in my life been asked if I have an associate's degree. That's something people talk about, but I,Michael Jamin:No one cares. Phil, I want to know, can you get the coffee? Can you pick up lunch? Yeah. Do you know how to use the coffee machine? That's what I want to know. I don't need to see your diploma.Phil Hudson:This will be fun. So this is my diploma cover. I was handed when I walked across my stage at my college graduation. It's empty, right? There's no diploma in here. Why? My school went defunct, my school closed.Michael Jamin:They went out of business.Phil Hudson:There's no, there's no diploma. Did I earn it? Yep. Do I have the honors? Yep. Do I have photos of me? Did my family come? Yep. There's no diploma in there. If someone wanted to see my diploma, I couldn't even show it to them. That's how little it matters in the industry. Yeah. Can you do the job?Michael Jamin:But this person wants to know, are there other avenues other than pa? I mean, if you want to break into the business, you're going to have to start at the bottom. I'm you, I'm sorry. You don't get to become an executive producer unless you've, you know, got to start at the bottom.Phil Hudson:Yeah, yeah,Michael Jamin:Absolutely. But again, I have a i'll, I'll probably do a webinar coming up where I'll talk about things, other avenues to break into the business if you absolutely cannot move to LA and you insist on not starting at the bottom, what else can you do? It's going to be a harder, but there are things you can do, but it'll be harder.Phil Hudson:Yeah. Ah, we met a bunch of people are going to sign up for that one. That sounds like, that sounds like a lot of the questions we get. Okay, great. Rob Stagin Borg, again with so many services out there designed to help in Arian quotes, new riders. How can a new rider tell what is legit and what is this scam? A scam?Michael Jamin:I would assume everything's a scam. I thinkPhil Hudson:That's the answer.Michael Jamin:I mean, I don't know. I don't know what kind of service that they're talking about. If it's a coverage service, you're going to be read. The person reading your coverage is probably not qualified. They're no more qualified than you are unless you were able to find a writer, a working writer, a successful working writer with credits that you've seen on I M D B on shows. And those people are out there that have the time to help charge people to read, to give notes or whatever. That's your due diligence. You got to find them. But wouldn't, a service is different like a service is what are you going to get? You're going to get a minimum wage paying person reading your job. But if you can find a working writer to do that, and because of the internet, you probably can then expect to pay. You expect to pay for someone's expertise. They've earned it and you're going to have to pay more for it. Sorry. That's just how it goes. So if you want to pay $50, you're going to get $50 worth. If you want to pay $400, you'll probably get $400 worth.Phil Hudson:And you got your start taking lessons from a former writer who was retired and doing that, right?Michael Jamin:Yeah. Yeah. But that's a little different. But yeah, I, I wanted to learn from people who had the job that I had, who I wanted rather the job that I wanted getting charged.Phil Hudson:Dominique Davenport. Hey Michael and Phil, what's up Dominique? Hey, I'm a PA from Atlanta. I'm just now getting my footing in the industry. What steps should I be taking starting out?Michael Jamin:Good for you. You're already got your foot in the door. Maintain those relationships that you have with everyone who works there, from the producer to the associate producer to the coordinator. Just maintain those relationships and prove that you're a hard worker. That you'll go above and beyond because when they get their next job, they will bring you along with them. They don't want to want to train someone from scratch. So my advice to you is to be nice to whoever you've worked for as a pa, the coordinator, all the way up to the producer, the executive producer, show them that you're a hard worker. Show them that you hustle, that you go above and beyond because when they go to their next job, they're going to want to take you with them. Why is that? Because they don't want to hire someone brand new and have to break them in. And maybe that person doesn't have your work ethic, so it's just easier for them to work with the same people and promote those people. So you're, you've got your foot in the door. All you got to do now is continue doing more of the same, which is continue impressing people with how hard you work. Don't say no to anything. Get there early, leave late. Good for you. You're in, you're in. So just work your butt off and you'll do great.Phil Hudson:Yeah. Hannah Chartier, who's the writer's assistant on Tacoma fd, and this is very specific to Atlanta. I was talking to her and her story is she volunteered and did a bunch of work for the broken lizard guys for Super Troopers too. And then the she PA on that. And the producer was so impressed, he brought her along as his assistant for Miss Marvel in Atlanta. And I was talking to her on set and she was telling me that, and I was like, oh, that's cool. I know Miss Marvel's stunt Double Cassidy. I went to film school. They're like, oh, I know Cassidy Cassidy's. Awesome. That's how small the industry is. So someone I went to film school with in New Mexico who's working as a stunt person and an actor in Atlanta knows someone that I'm sitting on a set in Santa Clarita, California, dressed in 13th century French garb.Like we're having a conversation about that person. So that word does travel and your reputation does precede you. So Chelsea Steep, should Hollywood go back to proper employment? So for those who aren't aware, Hollywood used to literally have a contract on you as a writer, and you only work for Warner. Oh, and you only worked for M G M and that was your job. And you wrote things for them and you were on their payroll. And then that changed with a rider's strike and the formation of the Rider's Guild to stop that because credits were being assigned to producer's, girlfriends, and whoever it was. And you had no say because you were just an employee. And so they started a union to protect writer's interests. And that's how the W G A began. And they think this question is saying, should writers, should we go back to that as a form of employment?Michael Jamin:I think you answered it really well. I mean, some writers are lucky enough to have an overall deal at a studio and they get paid well, but most writers don't. That most writers are just jumping from gig to gig. And that's why we're on strike right now because the studios have turned it into a gig economy. So there's a happy medium somewhere, I hope.Phil Hudson:Yeah, Sadie Wise Heart again. Where would be some good organizations or companies to find jobs as rider's assistants, also with the rider's strike? How would that affect that process?Michael Jamin:Well, there are no jobs during the rider's strike. So that affects that process. Writer's assistant is not an entry level job. It is a job you have to be trained and qualified to do. I'm not qualified to be a writer assistant.Phil Hudson:It's a union job too.Michael Jamin:Now it's a union job covered on I O C, right? Yeah. Yep. But you have to, someone has to train you how to do that. And I'm not, I'm a showrunner and I don't know how to do it. And so usually you start as a pa and then you ask the writer's assistant who's above you, how do I do your job in case I poison you? And that way I can take your job if you fall sick and they'll train you to know how to do that job because you have to know how to use the software really well. But you also have to know the distribution protocols, who gets scripts when and how they're distributed. And so it's a little bit complicated. There's some notes you have to know how to take notes really well, but it's not an entry level job, but it's a a job you definitely want to get if you are an aspiring screenwriter for sure.Phil Hudson:Yep, yep. Everything's different right now and going to continue to be different. Even if the actors strike at this time, they have voted for the authorization to strike. So yeah, Tom Miller, if I get rejected from contest and get nos from query letters, what do I do?Michael Jamin:There's your problem right there. If you get rejected from a contest, reputative one, the big ones that we talk about in that webinar we just did, and don't, you're not going to get rejected, but you're not going to, let's say you don't win, it's because you need to work on your game. You need to become a better writer. How about work on that? It's not some, they're telling you maybe you're not good enough, but in the meantime, you should always be working on your craft, get better and better as a writer. And that, you know, don't need a contest to do that. You, or you can also shoot your own stuff. You can make it. I've done plenty of webinars on what I would do, and I'm going to do another one on what I would do if I had a break into the industry today.But at the end of the day, if you are not a good writer, there's just no demand for you. And I know you're going to say, well, but aren't there bad writers working? Sure there's a whole range of writers working, but the bad ones aren't going to keep writing forever. They may have gotten lucky. And that can't be your strategy. Your strategy can't be Well, they're bad. I can be bad too. No, there's no demand for demand for mediocre writers. You need to work on your craft and get better. But there's a lot you can do and we'll talk more about that in future webinars. Yeah,Phil Hudson:Yeah. I'd also say that a lot of that rejection, keep in mind that that also might be topical. It might be related to your subject matter, and it may be that some of those are very specifically looking for stories. Like Sundance for example, is a good one. They're looking for underrepresented voices, and so they're looking at indigenous stories and they're looking at people with something interesting. So the work I've done there, they're very fascinating people and typically from a different ethical, racial, more of a, what we call a protected class background who have not had opportunities to tell their stories that are unique. So you got to understand your audience too. And that's still a lesson you got to learn. So, alright, Jarret Frierson, ultimately what's most important, establishing connections and networking or making your writing the best it can possibly be?Michael Jamin:Well, if you could have the best network in Hollywood, and if you're writing is no good, no one's going to go out in a limb and hire you. I mean, because that they're jeopardizing their own career. If they have a show and they can hire one writer and they got some bad writer that's not contributing and is going to drag them down, they're not going to risk their career for you. I don't care if you are their babysitter, you know, have to be good. So why can't you do both at the same time? Why can't you work on your craft while continuing to make the context and expanding your circle? But again, I talk about, I've talked, I've spoken about at length about what that means, what your network means, and your network isn't people you randomly send emails to once a year to keep. That's not your network. Your network or your, is your cohort people, your friends, people, you're close to, people you work with, people, your class, your graduating class, this is your network. It's not people who you've reached out to on LinkedIn and they decide to friend you. That's not your network.Phil Hudson:No, it's Kevin who texted me today and said, Hey man, how are you doing? We haven't talked story in a while. You want to hop on a call and we have a call tomorrow to go over stuff. Oh, great. He's the guy, the who sends me things to read and I send him things to read and we hop on the calls and we spend an hour talking about them. Great. Perfect. It's so awesome. Cool. Moving on. This section is craft. It's just how we do the job. Olivia asks, some teachers say you need establishing shots. Others say no. Who's right?Michael Jamin:Well, I guess if you're going to shoot it, you always want to, if you're shooting something, get an establishing shot. It helps establish a location. We always have establishing shots. I've never been on a show. You need establishing shot, especially if you're going to cut from one location to another. If you're doing a scene in someone's house and the next scene is in a restaurant and you don't put an establishing shot, people are going to think, wait, is there back room of the house? A restaurant? They're not going to be confusing. So get the grab an establishing shot. Do you need to put it in your script? No, you don't need to put, say exterior restaurant day. I mean, you could say Interior restaurant day. So you don't need that. You don't to slug an establishing shot in your script, but if you're going to shoot it, get one.Phil Hudson:Yeah, yeah, yeah. It's a good question in an answer I wish I would've had in 2009 and 10 when I was writing a lot of establishing shots for no purposeMichael Jamin:In my script. Make it more, does it make the read more enjoyable? No.Phil Hudson:And more and clear and Right. The slug line makes it clear. I am inside a restaurant.Michael Jamin:Yeah, I get it. I know what a rest, thePhil Hudson:First ad, the first A d will schedule. Yeah, exterior shop. Yep. Yeah, right. Tamara Hanssen. What would you say are the most important things to pay attention to when writing a thriller? And what would you say is the biggest difference between a horror versus a thriller? I thought it'd be an interesting one because you're a comedy writer.Michael Jamin:Yeah. I'm not really the best person to ask. I mean a horror because I don't write either one of them. But a horror can be just a slash fest, a slash film, which is guts and gore and a slasher movie where there's a mass murderer at a campground that's a horror movie. Could be. Whereas a thriller, it doesn't have to be all that guts and glory. It could just be the fugitive, right? A guy running from the law. There was no guts and Glo guts in that. It was just a guy keeping one step ahead of almost like an action movie. So those are the kind of differences. But in terms of writing, they still both need to have a story. Both need to have, you both have to follow a story, and that's something that can be learned.Phil Hudson:And that's the answer, is the focus on telling a good story. And then you'll learn the tropes, right? Yeah. BecauseMichael Jamin:No one wants to read a story. If your screenplay screenplays, they go camping and the dad gets murdered, and now the sun's running from the ax killer, who cares? What's the story? Yeah, it's it. It's great Down. ButPhil Hudson:Silence of the Lambs, silence of the Lambs, on the other hand, wins the Oscar Oscars because at that end scene, we are worried Clarice Darling is going to be consumed by this darkness she's been avoiding.Michael Jamin:So it's not just plot, it's plot and story. Make something great.Phil Hudson:Yeah, that's solid answer. Christine, I'm an artist getting into production for animation. What would you say is the most important thing I would know from your perspective as a writer on an animated show?Michael Jamin:Well, if you're an artist, I mean, these animation houses often give you tests. And I, I've never worked at an animation house, even though I've worked with many. And the tests, can you draw? I know Disney famously has a, I think they call it like a sack test or a potato sack test or something where they ask animators, this is, you Google it, you'll find it to write the emotions. Imagine a sack of flour, and now make, it has no eyes, no no limbs, no arms or legs. No eyes or face. Make the sack sad. Now make it excited. Now make it angry. And this is a famous test that they do to show all the emotions of a sack of flour without relying on the facial expressions. And that really apparently is what made Disney so amazing in animation way back when they first started. So study all that. But again, I'm not an artist for animation, so I'm not the best person to talk to.Phil Hudson:Yeah. See, it rings true though. The magic carpet in Aladdin. Very emotive, very expressive, no face, no arms. So Conrad Michael, what's your rules around character descriptions when introducing them? How many samples would you recommend? Oh, it's two questions. I apologize. First question.Michael Jamin:Yeah, character description, shorter is better. And you want to describe them a little bit, and it helps to give 'em a little bit of their personality. And it shouldn't be cliche. A girl next door is pretty cliche, doesn't know how hot she is, is cliche, give some juice to this character. And in that description, age, what do we need? What do they look like? That helps. But also to help describe their personality just a little bit. And in a way that's not a cliche. That's often why people say, think Jack Black or whatever. That does help. We know Jack Black is a little outrageous. We know he's thinks he's cool. Maybe he isn't, but he's got that attitude that helps. That's one way people do it. Yeah.Phil Hudson:Wardrobe important as well, because it tells us who the character is. Something else you can consider, a lot of people don't think about.Michael Jamin:Yeah, I mean, if you need a woman, that was a note. If she's wearing overalls that says something about maybe she's out, maybe she's outdoorsy, maybe she works in the garden a lot as opposed to wearing a dinner gown.Phil Hudson:Yeah. And it gives eventually, if it's going to get made, gives you costuming department something to work with. So yeah. Anyway, Viki. Wow. Viki, can you tell us about the eight episode structure of the Hollywood movie in three acts, storytelling? Is there anything else? Jan from Finland?Michael Jamin:I don't understand the question. What is it?Phil Hudson:Yeah, so 8.9 0.88, that structure of a Hollywood film, right? They're specific beats and metrics you need to hit within a structure. It's more of a formulaic approach. They said eight episode, I'm pretty sure they're talking about eight beat or eight point, and I think that's famous,Michael Jamin:The topic. I thought they're talking about eight episodes. Okay. So they went, if the question is, can you tell me more about the points ofPhil Hudson:Yeah, the eight, they're saying the eight episode structure of the Hollywood movie. And so I think what they're saying is theMichael Jamin:Eight point structure. Yeah, that's why I did hear it, right? I did hear it right. You did hear it. Right. Eight episode structure, that doesn't make sense.Phil Hudson:No, it's eight point structure of a Hollywood movie compared to three act storytelling or in three act storytelling.Michael Jamin:Okay. Okay. So I was confused. So I teach in my course, I teach three act structure, and that can be applied to everything. Whether you're making a movie, a TV show, half hour, 90 minutes, 60 minutes, doesn't matter. Three act structure, it doesn't matter. It's all the same. It's just that in a movie, it's going to be a little, everything act is going to be a little longer lengthwise than in a half hour TV show. In terms of these points that you're talking about, not episodes but points. Yeah. Also, when I teach my class, there are points that you think that have to be met. The bottom of act one is a point, the middle of act two, the bottom of act two, I teach all this. I have a certain number of things that you have to do per episode in order to tell a compelling story. It's not formulaic, it's just something that you need to have in a story so that it feels like you're not just treading water. So that stuff happens. So if you'd like to learn more about that, we have a screenwriting course. It's only open once a month for a couple of days, but you can sign up to find out when it will be open. And that's at michaeljamin.com/course.Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you, and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:Awesome. Keenan, what is your opinion about whether writers should adopt and master three act structure versus the mini movie method? Roughly eight, 15 minute movies that make up a feature. Is there any reason they should be blended together?Michael Jamin:I don't even know what that is. I only know three act structure. I don't know what this 15 minute, I don't know where you're learning this stuff from. I don't. What difference does it make if I'm telling a story? I don't. Okay. Just so you know, when I tell a story on a sitcom, it's not 15 minutes, but it's 22 minutes because sitcoms tend to be short. So is there any difference between a 15 minute sitcom and a 22 minute sitcom? No, it's cutting out a couple of minutes. That's all. There's just no difference. Everything is three act structure. Boy, they make things. Boy, the internet makes things hard for people, I think.Phil Hudson:Yeah, these are a bunch of branded terms that I've read about in books and in other places that you've not, because you don't look at those things. Yeah, I don't.Michael Jamin:AndPhil Hudson:Ultimately, from my perspective, it's just a lot of it is very, very confusing. It does get very formulaic into, you know, need to introduce everybody, every major character of your script. By page three, you need to have your inciting incident on page 10. You need to, and your script act one on page 25, and then it becomes so burdensome. And then you fall into the dark zone and wasteland of act two, where no one tells you what you have to do in that.Michael Jamin:But then talk about making your course. There's so many people Yeah, go ahead, Phil. Go ahead.Phil Hudson:I was going to say, but then in your course, it's like, oh, they're very clearly defined what I need to do in the top of act two, middle of act two, bottom of act two, very clear. And it's like, oh yeah, this all makes way more sense. And now I understand exactly what I need to do. ButMichael Jamin:It's also simpler. It's like they make it so complicated.Phil Hudson:Well, they feel like making it complicated and naming it something fancy is a way of just making it sophisticated and seem more advanced. And that's the thing. I mean, I do Brazilian jiujitsu, I wrestled in high school. I like grappling Brazilian Jiu-Jitsu's, just a, it's when you talk about climbing a mountain, that's my version of climbing a mountain right now is just getting tapped out and practice murdered by a bunch of people half my size. And there's this thing called white belt mindset, which is looking for the cool hack and the cool trick that the other guy doesn't have. But then I watched this black belt. He did a, literally watched it last night. There's a black belt who's talking about a study that was done out of 500 fights in Juujitsu. You're not punching people in the face, it's just submissions and grappling. He said, out of 500 fights, what is the percentage of specific moves that won a fight? And it's like the first three, the top three make up 50% of all wins. And they're the basics. The next four, the other basics. And they make up 95% of the taps. So people are so caught up in the tips and tricks and hacks and it's, it's fundamentals. It's all about fundamentals. ButMichael Jamin:Also when I'm in a writer's room all the time, we don't use these words that everyone seems to have learned on the internet. That's why when you said 15 minutes, 15 minutes structure, what I, it is unfamiliar to me. Yeah. In my 27 years, we don't talk like that. So what I teach you is how we talk. It's like it's not as complicated as people want to, when you learn from somebody, screenwriting, just find out, are they qualified to teach you? Forget. I don't care if they wrote a book. No, no. What shows have they written on?Phil Hudson:And this is advice that you give to everyone. You literally say, if it's not me, you don't need to learn from me. Find someone who has done the job. Look them up. And you, me didn't make me, you asked me maybe a year ago to put up all these samples that used to be in the course publicly on the site so people could vet your writing and see your writing just as a like, Hey, you to help people, here's some samples of real shows. You can go watch on Hulu or Netflix or tv, wherever right now that exists, that were produced. And get an idea of whether or not they want to learn from you. And ifMichael Jamin:You don't think,Phil Hudson:Find somebody else. Right?Michael Jamin:Right. Find someone. Just study their work. Do you like it if learn from them if you don't find somebody else.Phil Hudson:Yeah. Lynn Marie, in my last script, I had too many characters. When you are hired as a writer, are you given a number of characters? Does it depend on the story you've created?Michael Jamin:No, the, it's not. It's not like you're given a number, but you can't service all of them if you had too many characters. So you can't service all them. And so you have a bunch of actors you're going to hire, whatever your number of actors that's on your TV show or movie, whatever. Let's say it's five main actors on, let's say you're doing a TV show, you have five actors. And if you can't service them, if you don't, can't give 'em anything to do, they're not going to be happy. I actually was watching an interview with Alan Ruck from Succession, and I think he was talking about season two or season one, I don't remember. But he said the first three episodes of that season, he wasn't doing anything. And he went to the showrunner and director. He goes, guys, maybe you want to kill me off because, because I'm not doing anything.And they said, please don't go into the, I know it's slow now, but we have great stuff for you later in the season. And he's like, oh, okay. And he said, I'm glad I stuck around because they did. He almost made a mistake of leaving. But you can't have an actor stand around and not service them. Why are you paying them? So I go through this in the course as well. How many characters should you basically have for a TV show? For a movie? It's a little different, but you got to give 'em something to do. Why are you paying them?Phil Hudson:And without naming names, and this is something I just read yesterday. Some other advice on the internet. Combine characters so that you're not randomly dropping in new people throughout the movie or abandoning those. You've established a lot of bad advice about characters as well on the internet. And if the answer is, what do they serve? The story,Michael Jamin:They have to have something to do and they have something to, they can't just stand around and nod when somebody else says something. You got to give 'em a good at a strong attitude or else why are they in the scene?Phil Hudson:Yeah. Awesome. Moving out of craft, another section. Being a pro anonymous. I was an actor on Lopez, one of Michael Jam's shows. Loved it, critically loved, but I felt the network it was on really limiting it, limited it. How do you compromise with a network on the final product?Michael Jamin:They're paying for it. You give 'em what they want. What's the compromise they're paying you? Do you want to work again or not? They have the right, this is what they want and you have to give them what they want. That's the compromise. Obviously, you're going to try to do it to your best of the ability so that you feel it's good, but at the end of the day, you give them what they want because it's paying for it. What's it? What's the stuff? My art, my words? What's that? How is that going to put foot on your plate when they fire you?Phil Hudson:Yeah, when we first started, you referred yourself as a tailor. Do you want to talk about that?Michael Jamin:Yeah, basically, I think of myself as a tailor. When someone comes in, they say, I got slacks. And I say, okay, you want cuffs. And they say, yeah, I want cuffs. Okay, I can give you cuffs. I don't say, I don't, no, you're going to ruin my slacks. It's theirs, whatever you want. I can give you pleats, I can give you cuffs, whatever you want. And I'll try to make the best. And I can give you a recommendation. I could say, you know what? You wouldn't look good in a three double breasted suit. You'll look better if it's a single breasted. And they'll say, but I want double breasted. Okay, I will give you the best double breasted suit I can.Phil Hudson:Yep. That's being a pro. Great. Yeah. Jim, someone offered me an option with no payment. Is it worth it to tie up my script?Michael Jamin:An option with no payment? It sounds like a bad, sounds like a bad,Phil Hudson:That doesn't sound like an option. It may not actually be legally binding, by the way. In most states, there has to be an exchange of money to be able to option. Sometimes it's a buck, sometimes it's a significant amount of money. But to me, Michael, my unsolicited opinion here is run. That is just a waste of time. And if you listen to the last podcast that we did, I recently just had an experience similar to this, not exactly this, but run.Michael Jamin:I was, that's myPhil Hudson:Opinion, Michael.Michael Jamin:Years ago I was a writer. I was accessible writer, working on a TV show, and my partner and I wrote a script and we didn't sell it. No, actually it's not true. We s That's not true. We sold it to H B O and then we got the rights back and then some other network because the H B O decided not to make it. And then some other network wanted to buy it. And I'm like, oh, okay. And their offer was $1. And I said, well, you're going to have to do more than that dollar. I told 'em to go fuck off. So sorry you don't get my script for a dollar, but suss out these people. I don't know what kind of option, why, I don't know. That's not really an option. It doesn't sound like a good deal. Who are these people? WhatPhil Hudson:That sounds, sounds like to me is some guy who thinks he's a producer is sees something in you and wants to take advantage of you at your expense to go hawk your script, to go make a dime. And the answer is, if your script is that good, other people are going to read it and they're going to want to pass it around and they're going to want to make it. And that's an option. That's something to pursue. Someone offering you an option for nothing. It's just move on.Michael Jamin:Yeah, it sounds like, it sounds suspicious if you're, you're professional, if your gut's telling you to run, then run. Listen to your gut. Yeah,Phil Hudson:My gut is speaking for you, Jim. Yeah, run. Cool. Moving on, miscellaneous, just a bunch of questions. Probably four or five here, Michael. Okay. Mark, how does one copyright a screenplay and how much does it cost?Michael Jamin:You can register your screenplay with the writer's GU of America. I don't know, it might be 35, 40 bucks or something, a copyright. I think the minute you write it, it's copywritten, you know, can mail yourself a copy but in the mail and keep it sealed. But again, I don't give legal advice on this channel, so I'm telling you what I know. If you're really worried about it, you can get an entertainment lawyer or you can Google it and you can find out for yourself. So I don't give you any, again, there's nothing in it for me to give anybody legal advice. I'm not a lawyer. So these are a couple of options, but please explorePhil Hudson:More. Electronic filing is $45, so standard application is $65 and you canMichael Jamin:Do it for free. And that gives you certain protections, not all, but do your own due diligence. SoPhil Hudson:It also publishes it in a registry that is searchable and anybody can go find your script. And there you go. But again, idea versus execution.Michael Jamin:Yeah,Phil Hudson:Right. It's all about the execution. Alright, Tina, should we get it registered with the W G A before we have someone read it? What is the best way to get your script in front of someone for just notes? And Perry does registering a script with the W G A protect the IP from being stolen from me.Michael Jamin:I've only registered, I should do a webinar on that, on getting stolen. Yeah,Phil Hudson:That's a big topic and it's a scary look. The questions from my perspective, they're scarcity mindset questions. You need to be smart. But if you're worried about someone stealing your idea, it's saying, well, this is all I have. Instead of saying, okay, I'll just move on. And it's very hard to prove theft of intellectual property unless it's just very hard. It's a case that very rarely wins. And I know of one very famous case that we did talk about early on in the podcast where there was a film that came out and they lost in France. France said that they stole an idea from someone and they had to pay a ton of money, but it was produced and made out into the world by a professional filmmaker before they even got there. So anyway, that's just my thoughts.Michael Jamin:Yeah, I mean, you know, can register. Ultimately, you're going to have to put your work out there if you want to get hired and if you can keep, you want to keep it yourself and if you're so worried about it, and you'll never, no one's going to find it in your closet. So I, I'll probably do a webinar at some point talking more about this at length, but ultimately you, you're going to have to put your work out there and be careful who you give it to. Don't give it to the guy in Starbucks with the hbar mushroom mustache, but you can give it to reputable studios and you shouldn't have to worry too much.Phil Hudson:Yeah. One thing that just came up again, we talked about before was registering your script with the W G A and then putting your registration number on your cover feels, it feels pretty amateur.Michael Jamin:It feels a little Bush League. I've only registered for whatever what it's worth, only one script in my entire career. That was the first one I ever wrote. And then I was like, I can't, and then I was like, I can't afford to do anymore, like 40, whatever it was, 40 bucks. I can't afford to do this.Phil Hudson:You can submit it directly through final draft by the, you can register your script through Final Draft Now. It's been out for a couple years, but IMichael Jamin:Didn't know that.Phil Hudson:I think registering your script and as a paper trail, that can be served as in court as evidence is one thing, but putting it registration number on your script is another mark of, yeah, maybe don't do that. Yeah, maybe. Yeah. Ryan McCurdy, how does someone who is in multiple guilds, the W G A D, G A and P G A navigate their jobs? Do they just not write but will direct or do they not work at all? How do people who are in multiple guilds? Oh, so it's a repeat of the question. I apologize, but I don't know if this is reference to the strike specifically, but I thought it was a good question for you because you W G A and D G A, right?Michael Jamin:Yeah, but it's not, and I'm not even an active member in the D D G A, whatever job you're working at, if you were working as a director, now you, there's nothing to navigate. You pay dues. If you're getting directing gigs, then you will pay dues on those directing gigs and you have writing gigs, then you pay dues for that. So there's nothing to navigate. It's just like you only pay dues if you earn money for the work you've done. Although I should be clarified, you do have a low monthly fee of, it's probably 25 bucks every quarter or something like that in addition. But there's nothing to navigate really.Phil Hudson:And during this strike it, I think specifically, not to speak for the Writer's Guild, but the research I've done as someone who is kind of at that stage of my career where I do have the opportunity to have some meetings with people and have some conversations and conversations I've had with the W G A, right? It is against the W G A strike guidelines to have meetings with signatory companies right now regarding written work. That does not mean you can't sit at home and write. And it does not mean that you can't work with other writers and pass things around. And what it means is you shouldn't be seeking employment or to gain monetary value from a signatory in violation. So regardless if you're in the guild or not, you shouldn't be doing that.Michael Jamin:Right. So next question,Phil Hudson:Lindsay, what was the biggest surprise to you when you first started working in the writer's room?Michael Jamin:The biggest surprise was everyone was incredibly talented. This is when I was on Just Shoot me and I was in way over my head. I was able to write one script on with my partner. We wrote, I was able to be funny on my own, at my own pace, but in a writer's room, when you're surrounded by really talented writers pitching ideas, I didn't understand the difference between a good idea and a bad idea idea. I had no idea. And I was worried about being fired because I didn't know how to contribute. That was really eye-opening. It was like, man, everyone is so funny. And I'm laughing after a couple weeks. I'm like, no one's paying me to laugh. I'm getting paid to make people laugh. I better figure out how to do that fast and figure out how to contribute meaningfully in a writer's room.And that really means understanding story structure, that that's kind of what I teach in the course. If you were lucky enough to get that break, God, you don't want to screw it up by not understanding how to story structure and understanding how to do the job. Man, if, here's the thing, if you get hired tomorrow, not wonderful, you got hired in a show, sign up for my course immediately and cram it because you do not want to get fired from your job because you don't understand how to do the job. And I'm telling you, 99% of new writers just don't, because there's so much to learn. So whether they get fired or not, it's a different story. But I've see, I see people flame out all the time.Phil Hudson:Yeah, it's heartbreaking. It's heartbreaking seeing that turnover, even for someone at my level just knowing I want that job so bad, but at the same time, coming to the realization that, man, I wouldn't have been able to do that job either.Michael Jamin:Yeah, yeah, yeah.Phil Hudson:Think you think can, and you have the enough gumption and ego to push you along to say, I can do that job. And you have to have that blindness to reality to continue moving forward. But there's also a level of reality you have to settle into, say a personal assessment. Yeah. I would've been fired too. I would not have been able to execute.Michael Jamin:Phil. You know me, I never yell at people, take my course. I'm never saying sell my, I'm never sell a sale, sell. Take my course. You don't. But if you get hired on a staff job, take the course please. Because if you get fired off this thing for not knowing what's sick, oh, you'll kill yourself. You will be so upset that you are not prepared soPhil Hudson:Well, on this note, did, didn't you have a friend who was a showrunner who basically wanted to offered all of her writers your course? Yes. They didn't know story.Michael Jamin:I forgot about that. Yeah, I did havePhil Hudson:A, without going into detail of the that, do you want to talk about that? The conversations you were having with her about what those struggles were?Michael Jamin:Yeah. She was running a show, a big show on a major network. This is a friend that I've worked with many years ago, but she's a really talented writer. And so she was running this show with a bunch of new staff writers, and she was just so frustrated with the quality of work. Actually, I'm not sure if she was running it or she was co-running it with somebody else. So maybe it might not have been her show. She might have been co-executive producer. And she was very frustrated and she was like, I wish everyone here would just take your fricking class so that I don't have to educate them so that they could stop arguing with me all the time when I'm telling them what a story should be. So they would stop arguing with her and just listen and contribute meaningfully because it's like so frustrating is when a new writer doesn't know how to do a job, they'll often fight for something because they don't know any better and they want to contribute and they fight for something, which is a terrible idea without knowing what a good idea is. And she was like, Ugh, this is so frustrating. I wish they would just take your damn class so I wouldn't have to waste energy yelling at them or arguing with them.And she's a good writer. She's talented. She's worked for 20 something years.Phil Hudson:And again, I've seen in my limited career in the writer's room, I have seen people burn out for arguing with the showrunners about something that ultimately doesn't matter to the story, and more specifically arguing with the showrunner's vision of what the story should be.Michael Jamin:Yeah. Oh boy. It'sPhil Hudson:Sad. And you have a whole section in the course too about writers. Were medicate, how do you behave in a room? And I had conversations with the lizards when I was on tour about that etiquette and the reality of the fact that when you're new, shut up and listen. ShutMichael Jamin:Up.Phil Hudson:Yeah. Only open your mouth if you have something that is stunning. Yeah. So awesome. Two more questions here, Olivia, ask, does the corp help? Does the course help us find an agent at the end?Michael Jamin:Well, I mean, it doesn't give you instructions on how to do that, but it's certainly going to, it's certainly if you can't write a good script, good luck getting an agent. So the course teaches you how to write a good script. Hopefully doors open after that, but good luck. You're not be able to trick an agent into hiring you if you don't know how to write or not hiring you. I don't like the expression representing you. Sorry. Yeah,Phil Hudson:Yeah, that's a good point. Two, two things. One there, I believe there is a q and a in the bonus section where you do talk about agents and managers. Yeah. And you go over the realities of that situation. Two, I'm blanking. Oh, you did? I didn't you do? Oh, one of our early podcasts. It was like episode five or something, was talking about agents and managers. So go back and listen to that podcast. Yeah, good stuff in there. Lindsay. Last question. Do you prefer to be a member of the writer staff or be the showrunner?Michael Jamin:So when you're starting off, when I was starting off, I did not want to be the showrunner at all. Like I knew I didn't know what I didn't know. And then I did it for about 10 years as a rest, staff writer, learning, soaking it up after about 10 years, you rise so high that the next step is you either become a showrunner or you just don't work because there's just not that many jobs. So becoming a showrunner actually opens up opportunities. So my partner and I took that jump and we started looking for opportunities to run shows and we ran. We've run three shows when we were before we became showrunners. You're always looking at your boss. You're always thinking, I bet I could do my job. I bet I could do his job or her job better than he or she can. Then when you finally get that job, you're like, Ugh, it's so hard. It's so hard. I don't know why I thought I was so arrogant to think that, and now, like I said, I've done it. I've proven to myself the show I'm currently on, co-executive producers. I'm not the showrunner and I'm perfectly happy not to have that pressure of being the showrunner. I'm perfect. I make less money, but I'm perfectly happy.But if the next job is showrunner better than being unemployed, I'll take whatever. I'll happy to do it. But I'm also, it's not an ego thing for me where I need to be the boss.Phil Hudson:In the documentary showrunners that I've recommended many times, there's a showrunner who says that a network at a certain point is so concerned with getting the thing done, that if you were literally dying on your deathbed and you had to be wheeled, you are like, I can't come in. I can't do the job. I would have to be wheeled in on a gurney and put up on an iv. They would say, what kind of gurney would you like and what kind of iv? What would you like in the iv? Yeah, because the showrunner job is that important to the overall production. Yeah. So do you get paid for the stress involved with that?Michael Jamin:Yeah. Yeah. Although about the shows that I did, they were cable shows, so they were less money. They networkPhil Hudson:Critic, critically acclaimed table shows.Michael Jamin:Yeah. Yeah.Phil Hudson:So that's it, Michael. That's your June webinar q and a.Michael Jamin:Woo. Yeah. Thank you so much everyone. We got a lot. What can you do, Phil? If someone, like I said, I should mention this. All the webinars are free to attend. If you attend, we always give you a little something special if you miss it, we send you a free replay within 24 hours. If you do not watch that and you want to watch some of the old ones, they are available for purchase on my website at a small fee. All this stuff, I got free lesson, I got a free webinar, I got a free newsletter. Sign up for all of it on my website, michaeljamin.com. If you want to see me tour with my book, my forthcoming book is called right now. It's called the Paper Orchestra. Maybe changing the title. I don't know, but you can learn more about that. If you want to see me in your city, go to michaeljamin.com/upcoming. I'd love to see you there. I'd love to see everyone there.Phil Hudson:Oh, it's great too. I went for my birthday last year. You did a performance in an incredible performance. Yeah, incredible performance, but then also I wait your birthday's tomorrow, isn't it?Michael Jamin:Oh God. My dad called me today. He goes, happy birthday. He goes, it's not my birthday yet. He goes, I know. Why'd you call me then?Phil Hudson:Yeah. Anyway, I went and then it was fun. I got to meet people from your course who I've talked to for years and they were there supporting and fun stuff, but really, really cool way to see how story moves and it's not like you have the amazing sets and choreography and like crazy lighting. It's you moving people with words and it's with words. It's a great explanation, A great display of what storytelling should be is how I would describe that.Michael Jamin:Thank you, Phil. Thank you. Yeah, everyone come see it. I thank you so much. Alright, Phil. Until next week.Phil Hudson:Keep writing. SayMichael Jamin:Keep writing. Alright. Thanks everyone.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar@michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @ MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

Something ground-shaking has happened in the X-books and it has forced the podcast to evolve with it! Pat and Patrick will now be covering the events of Fall of X every few weeks to talk about these stories as they happen, beginning with this episode where we chat about the now infamous Hellfire Gala of 2023, Invincible Iron Man 8 and X-Men 25. Plus, some speculation. Pat on twitter: @PatLoika Kori on twitter: @zombilicious Kori's other podcast: Culture Cryptids Mike on twitter: @thecomicarchive  Mike's comic:  No Going Back Patrick's twitter: @wmorelkphoenix    

Join us for a LIVE #KerfefeBreak at 12pm CDT with special guest host Kamran Pasha! We have a broad ranging discussion about faith (Christianity and Islam), Malcolm X, Woke Ideology, Elvis and Miss Marvel!

Get ready to venture through the galaxies of the Marvel Cinematic Universe with me, Phil Smith, your trusty guide and fellow fan. We'll navigate together through a constellation of fan theories that could change the way you view your favorite Marvel superheroes, from Kamala Khan's research possibly hinting at the introduction of another character in Miss Marvel, to the formation of a council of Loki's in the Loki series. And if that's not enough, we'll shed some light on why some fans are starting to feel a little Marvel fatigue.In the next part of our epic journey, we change course and set our sights on Thor: Ragnarok. Korg's narrative has been a hot topic, and we'll be picking it apart - could the rock-paper-scissors joke be a vital clue to the gods' depictions? And could it be that we, the audience, are the children Korg is narrating to in the trailer for Thor: Love and Thunder? Plus, we'll touch on the wild theory that Deadpool could be donning the villain cap in Deadpool 3.Squirrel Girl's introduction to the MCULoki Season 2 TheoryKorg's Narration in Love & ThunderDeadpool 3's Villain

patreon.com/plansequence pour découvrir des épisodes bonus et en avance

Phil LaMarr is an actor known for being one of the original cast members of MadTV, Pulp Fiction, and his voice acting roles in Samurai Jack, Futurama, Beavis and Butthead, Family Guy, Teen Titans Go! and a host of other animated series.Show NotesPhil Lamarr on IMDB - https://www.imdb.com/name/nm0482851/Phil Lamarr on Instagram - https://www.instagram.com/phillamarr/Phil Lamarr on TikTok - https://www.tiktok.com/@phillamarrFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptionPhil LaMarr:I was developing an animated show based on a friend of mine's web comic called Goblins. Okay. And my partner, Matt King and I, we are both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads, we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice LaMarr. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it could be.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. I, another, another. Cool. I got another cool episode. I, I was so excited about this. I, I tri over my own words. I am here with actor writer Phil LaMarr and this guy. All right. So I'm on his IMDB page cuz he going through his credits. Phil, I'm not joking. It's taking me too long to scroll through IMD,B to get through all your credits. It's nuts how much you work. But, so I'm gonna give you real fast an introduction and then we'll talk more about, what're gonna talk about but okay. So this guy does a lot of, a ton of voiceovers. I guess I think we met on King of the Hill and I know we worked together on Glenn Glenn Martin DDS, but fu you know, him from Futurama.From Beavis and Butthead family guy the Great North. All every single adult animated show, a ton of kids shows Star Bob's Burgers. That's adult, of course. Rick and Morty Bob Burgers, Bob's Burger's movie as well. I mean, I'm going through all your stuff here. It's nuts. You were a writer performer on Mad TV for many years. Mm-Hmm. . And I think the pro, I'm sorry to say this, but the, the coolest role that everyone knows you, that you maybe you get recognized most from. Right. We, you know what it is, is you were, you were in Pulp Fiction and you had your head blown off in the back of the car. And I remember watching like, oh my God, they killed Phil Phil LaMarr:.Michael Jamin:I mean, how awesome was that role? Oh man. But so Phil, thank you for doing this. Welcome, welcome to this. I want to talk all about your amazing career. But now tell me, so how did you get into acting? When did you decide you wanted to be an actor?Phil LaMarr:Well, it's funny because there are a couple of double steps in terms of how I started being an actor. And when I decided to be an actor and when I got into voiceover, both my first time performing was in eighth grade. My school was doing a production of a book that I loved. I didn't consider myself a performer. Right. It was the phantom toll booth. Right. And there's this little character towards the end of the Phantom toll booth. The senses taker who will take your sense of purpose. Your sense of duty, but he can't take your sense of humor. Right. And I wanted that part. So that's why I went and auditioned. But I wound up getting cast as one of the leads.Michael Jamin:Wow. Okay. AndPhil LaMarr:Opened a show alone on stage under a spotlight doing a two minute monologue.Michael Jamin:Okay. AndPhil LaMarr:It flipped a switch in my head. I'm like, oh, I love this. You were, that's what, so I started, you know, being an actor because I liked to bookMichael Jamin:. Right. But then, but okay. But it's one thing to be acting in as a kid in eighth grade and then to commit your career to it. What, what, what happened next?Phil LaMarr:Well, and it's funny because I didn't consider that a career or what I was doing. It's just, it's fun. Yeah. I get to play well, and also I went to an all boys private school. Yeah. So the time you got to see girls was when you did a playMichael Jamin:. Okay. That makes, now you're, makes sense. Now we know why you're being an actor, .Phil LaMarr:And I wound up graduating and I applied to colleges that had, you know, drama programs, Northwestern nor Carnegie Mellon, Yale University. But I wound up deciding not to go to Carnegie Mellon and I went to Yale. I was like, no, no, I just want to go to college. And I did not decide to pursue acting as a career. I just majored in English. It was on the flight back home to LA I said, you know what, maybe I should pursue this acting thing. I mean, I enjoy it. And you know, some people say I'm pretty good at it. I mean, I either gotta do it now or wait till my mid forties when I have a midlife crisis. Yes.Michael Jamin:But this is Yale undergrad. Yes. Yale's really not for the grad school of the school of drama. But youPhil LaMarr:Go back to thing. Cause when you were an actor and you say you went to Yale, people assume, oh, like Moral Streep and Henry Wiggler. It's like, no, no. I didn't know thatMichael Jamin:. But so after you got outta college and you got outta, we went to Yale and there was some pressure on you to are they Princeton over there? We're gonna continue, we'll continue our, we'll set aside our differences long enough to have this conversation. But so, but after college you're like, okay, I got a big fancy Yale degree and I'm gonna become an actor.Phil LaMarr:Right. And, you know, had I decided to be a comedy writer with a Harvard degree, that would've beenMichael Jamin:Yes. That would make sense.Phil LaMarr:A career path that made sense. Right. As a Yale, there were no famous Yales as writers or producers or anything. There were a handful of, you know, drama school actors. Right. But again, I didn't go to that drama school. So I'm like, okay.Michael Jamin:Yeah. There's no connect. People talk about the connections. No, there's no connection. Just because you, there's no inroad. Just cuz you went to Yale, you know, to No,Phil LaMarr:Yeah. No. The the only famous undergraduate actors at that time in the eighties were two women who were famous before they came to Yale, Jennifer Beals and Jodi Foster.Michael Jamin:Right. Exactly. Exactly. All right. So then you made this commitment to, or this, this leap. How long your parents must have been thrilled , how long before you started getting work and how did you start getting work, getting work?Phil LaMarr:Well, and, and this is another one of the double steps, Uhhuh I, when I made this decision, I already had my SAG card.Michael Jamin:How did you get that?Phil LaMarr:Because back in high school, a friend of my mother's worked for NBC Uhhuh. And I think my mother had dragged her to see a couple of my plays. And so she said, Hey, we're doing this cartoon and we're gonna use real kids for the kids' voices. Which back in the eighties was a rare thing. Yeah. And she asked me to, to come in and audition for it. And I got a job on the Mr. T cartoon in the mid eighties.Michael Jamin:Oh, wow. AndPhil LaMarr:That got me my union card. Now I did not, again, did not consider this a career path. I it was just a cool summer job.Michael Jamin:Yeah. Now, the thing is, cause I hear this a lot. People say to me, yeah, I, I can do a million voices and you could do literally a million voices. I, how do I get into you know, voice acting? And it's like, they don't seem to put the connection that it's not enough that you do voices. You have to know how to act. You have to be a trained, you have to, you know, know, be if you're trained or even better. But you have to know how to perform and act. And so yeah.Phil LaMarr:That's, that's what I always tell people who ask me that question. I say, the first thing you need to know is voice acting the term is a misnomer because the acting comes before the voice.Michael Jamin:Yes. Yes.Phil LaMarr:You know, that's why you have amazing people like Cree Summer, who has a really distinctive speaking voice, but she has the acting ability. Right. To make every character completely different and real. It's the same thing like, you know, a a movie star, it's the same face, but it's always a different character.Michael Jamin:But there's something else that you bring, and I say this because you are a consummate pro. You are truly a pro. It's well for what you bring to that other actors, that non-voice actors, I guess, I don't know what you would call 'em, but have, but what I'm directing a voiceover actor, sometimes if they haven't done avo, a lot of voice acting, they don't realize they're using their face or their body . And, and you say, no, no, no. I, I see you're acting the part I see you're playing mad, but I have to hear it in my ear. And so I don't look at them when I'm directing. I wanna hear it. And Right. And so to talk about that a little bit.Phil LaMarr:Yes, yes. I remember, cuz I started out, you know, even though I had that job in high school, I did not consider it a voice acting career. It was just a, a goofy summer job on a cartoon that nobody I knew watched. So I came home after college and pursued on camera acting and stage mm-hmm. . And so a few years later, actually it was after a several years of Mad TV where we did Claymation pieces and it got me doing multiple characters on mic as opposed to just multiple characters on camera, which I was also doing on Mad tv. And I remember I decided to actively pursue the voice acting thing. Cuz at this point, you know, in the post, you know, early nineties era when cable blew up, voice acting became a job. Right. You know, cuz when we were kids, it was just something that six guys that Mel Blanc and five other dudes Right.Voiced every cartoon of our childhood. Right. You know, Mel Blanc, dos Butler, you know, that was it. But in the nineties, once Nickelodeon had 24 hours of children's programming, there was a lot more cartoon voices. And so like, oh, this could be a path now. And I remember one of my early sessions, I fell into my on camera acting face, face acting mm-hmm. . And they said, okay, Phil, stop. Try it again. Do that line again. Angrier, I did it again. They said, hold on, we're gonna play them both back. And they sounded exactly the same. And I realized what you just said. Right. Oh my God, I just made an angrier face.Michael Jamin:Right.Phil LaMarr:And that's one of the, you know, skills of voice acting the same way that you have singers, singers can, you know, put forth feeling or fun or whatever through their voice.Michael Jamin:Right.Phil LaMarr:You know, dancers do it through their bodies.Michael Jamin:Right.Phil LaMarr:You know. ButMichael Jamin:When you perform, let's say you're doing something on camera, how much thought do you give? Do you, is it, is it just second nature to go, okay, now I can use the rest of my body? Or how much thought do you have to go in between different, you know skill sets, I guess, you know?Phil LaMarr:Well, the, the good thing is, you know, you do have to, you know, get a switch in your head because when you're on stage, it's the exact same job bringing this script to life. But you have to do it with different tools. Right, right. And the same thing when you're doing it on camera. And the same thing when you're doing it on microphone. You have to, you have to gauge. Okay. Cuz you know, you read the script, you see the character, you embody it. Yeah. But then it's how do you communicate it to the audience?Michael Jamin:Right,Phil LaMarr:Right. You know, and it's funny because with voice acting, you know, we learned to run the character through our, our ears. You know, when you see in the old days, you see, you know, announcers doing this. Do you know what that is about? No.Michael Jamin:What what is that?Phil LaMarr:It's because all of us, you know, regular people hear our voices from inside our heads. Right. We're not hearing what other people hear. But when you do this, you are channeling your voice.Michael Jamin:That's whatPhil LaMarr:Mouth into your ear. So you hear what your voice sounds like outside your head.Michael Jamin:Oh, I see. I, that's so funny. I thought they were stopping their ear, but they're not. They're just re redirecting the voice Yeah. Into their ear. Yes. Oh wow. I had no idea.Phil LaMarr:So you can hear the subtlety, you know, because if, if you don't do something with your teeth, you don't hear that inside your head. Yeah. It's only what people hear. But that's something you might want with a character. Right. You know, I always, when I teach workshops, I always try to tell people, like, there are things we hear. There's, it's the same thing with your face. Mm-Hmm. when you want to, you know, express anger. You don't just do your face flat. You, you know. And it's the same thing with if, if there's something about a character, let's say I'm doing this character, but then I see the drawing and the guy's got a big beard. Oh, well let me make him sound, let me make him sound beier.Michael Jamin:Right. Right.Phil LaMarr:Which isn't necessarily true, just growing a beard doesn't change your voiceMichael Jamin:Uhhuh.Phil LaMarr:But there are things that when we hear something, we get the sense of it.Michael Jamin:Right. Do you have a preference now, Kami? Cuz do you have a preference? You work so much in voice acting, but do you have a, do you prefer that overlap? You know, like on camera?Phil LaMarr:No, it's funny cuz you know, at Comic-Con, people will ask, what's your, you walk in so many media, what's your favorite? And the truth of the matter is, and this is what I tell them, it's not about the media, it's about the quality.Michael Jamin:Quality. The writing or, or what Yes.Phil LaMarr:Uhhuh Well, the, the, the quality of the writing, the quality of the directing, the quality of the experience. Because to me, the, the cartoon Samurai Jack, which is I consider a work of art that has more in common with pulp fiction. Right. Than it does with, you know, pound puppies or some like goofy little Saturday morning cartoon that's more focused on selling toys than on actually putting out story.Michael Jamin:Yeah. Right, right. But in terms of voice, a I mean, you don't have to get into hair and makeup. You don't have to memorize anything. And that's a whole nother skill as well. Memorizing the, the, the text.Phil LaMarr:Well, but that, that's actually harder because when you work on stage or on camera mm-hmm. , you get time to rehearse.Michael Jamin:Right.Phil LaMarr:You get to practice with a director helping guide you, your people, someone watching you, and you build the character over time. And then you don't have to make it work till the camera says, till they say action.Michael Jamin:Right.Phil LaMarr:But when you're doing voiceover, you're handed a sheet of paper, you're reading words off a page, and you have to bring those to life instantly.Michael Jamin:Yeah, that's exactly. Now do you, cuz when we work together on, on Glen, well we did King Hill first, but on Glen Martin, just so people know you didn't audition, we just, we call you up. Hey, we book you Theor agent, and you come in, you show up, you, you got the job, and you show up. And I remember approaching you saying, okay, Phyllis, the character, I remember the character's name was Rasmus, and the only thing you knew about him was that he had a milky eye. He was like seventies. He had a milky eye. And I go, what voices did you bring ? And you, you, you gave me like three different voices. And I think I said that one a little more gravelly and boom, that was it. You jumped right into it. Exactly. That was it. You're ready to go. . And that was the benefit of direction you got go .Phil LaMarr:Right. See, and we did that in a minute and a half.Michael Jamin:Yeah.Phil LaMarr:Had we been working on a movie, I would've had to go in for wardrobe, had them try on seven different outfits, had them send you the pictures, , you know, over two weeks. Right. While I was memorizing all the lines for us to come to that conclusion.Michael Jamin:But on most of the voiceover judo, is that how it is? It's just basically they book you for the day and you know, unless you're a regular, they just book you, you come on in and you spend an hour or two, and then that's it. Is that how it works for you? Mostly?Phil LaMarr:Well, ho hopefully. I mean, most of the time you get the script ahead of time, so you get to read the story, know the context. Right. But that's just one episode. You don't have the entire, you know, arc of the story. You know, don't know everything about the, you know, if you're playing the villain about the, the hero. So you learn most of it when you come into the session,Michael Jamin:But then there's another thing that you have to bring to the table, which is a whole, like, you okay, you're an excellent actor, but you also have the, the, when you do these voices, they don't sound like they're coming from you. Like, they sound like they're coming from 10 different people. And so the, how do you, like how do you approach that? How do you making voices that don't sound anything like the, any, any other voice that you do.Phil LaMarr:Well, it varies. I mean, there are, it's funny because now over the years, you know, people will bring up some old character. And I realize, okay, that sounds a little similar to that other one. But I realize it's not about, I used to think when I was younger, starting in voice acting, I used to think it was about no, no. Every voice should not sound anything like the other one. Right. You know? But I realize it's more about embodying the character. And the thing is, you know, these characters are all different. So I need them to, I want them to sound different.Michael Jamin:Right. I don't mean like, like when I first got the King of the Hill, I was shocked when you hear the voices that you've been watching the show forever, and then you see the actress playing, you go, whoa, that voice is coming from that person. That, that doesn't sound anything close to their, like, there's a transformation that you're able to do with your voice by, like, that's a different skill. I mean, forget about even, yes, I know embodying the character, but you're really playing with your vocal chords in a way that almost seems impossible to someone like me.Phil LaMarr:Oh, thank you. Well, I mean, in, it's, it's a, it's a skill set that not everybody has. Like I said, some people just like when on Samurai Jack, I worked with Mako Iwatsu Uhhuh, you know, an older Japanese actor who was an icon. He had starred in movies, starred on Broadway, you know, his name was above the title on a Stephen Sondheim musical. Right. But he had a very distinctive, you know, heavy, very textured, heavily accented voice. And I figured, okay, he's just doing his voice. And I remember there was one episode where they cast him as a secondary character mm-hmm. in the episode. And I remember thinking to myself, oh, Jesus, what are they doing? Uhhuh, his voice is so dis. I mean, that's like casting the rock in two characters in a movie. Right. You know, like, nobody's gonna get fooled. But he blew my mind and taught me a masterclass because what he did was, he did not completely transform his voice, but he acted the second character from a completely different perspective. You know, Lowe's dead, you know, complete, he performed it completely differently than he performed Aku the villain, Uhhuh . And I, and when you watch the episode, you can't tell it's him.Michael Jamin:You can Right. You can't tell.Phil LaMarr:Now, part of that has to do with the art, you know, because you're change your changing your voice, but they're also changing the drawing.Michael Jamin:Yeah. That, that's true. But I wonder how much work do you on your own at home? Like, how much do you think about other voice? Do you pra you go, do you hear a voice and you go, Hey, that's an interesting thing. Maybe I should, you know, do you practice at all? Do you, I don't know. Are you, are you constantly trying to invent new, new voices for yourself?Phil LaMarr:Well, I'm, I'm not a singer, but I've always had an ear. Right. For speech. It, I do a lot of impressions. Uhhuh, , you know, comedically and sometimes just job wise. Actually, weirdly, 10th grade, my second year of acting, I got the part in our, one of our high school plays. We did a production of Play It again, Sam.Michael Jamin:Okay.Phil LaMarr:And in 10th grade, I played Humphrey Bogart .Michael Jamin:Okay.Phil LaMarr:And I spent the entire production trying to do my best impression of Humphrey Bogart. If that plane leaves and you are not on it, you'll regret it. Maybe not today, maybe not tomorrow, but soon. And for the rest of your life. And so I watched a lot of, you know, videotapes of Humphrey Bogart. And I, and I also had to learn how to do that impression and projectMichael Jamin:It Right.Phil LaMarr:In a, in a theater cuz there was no microphone. But I think maybe that helped start me right on the, you know, aping People's Voices thing. Which, when I started doing sketch comedy Right. I leaned into that too. Oh, I'm gonna do a Michael Jackson sketch. You know?Michael Jamin:Right. Cause you, so how is that you're talking about, so that, that brings us to Mad tv. So there goes your, I dunno, how, how did you get that that audition? What did you bring, what did you bring to that audition, you know, for yourself?Phil LaMarr:Well, I, when I was in college I was part of a improv comedy group that started and I loved it, you know, having been taught that the, you know, the key to drama is conflict, but then being introduced in your late teens, early twenties to this concept of Yes.Michael Jamin:And, and yes. And yeah.Phil LaMarr:You know, improv is collaborative theater, make your partner look good. Right. Work together, you know, all of this very positive energy. It's like, huh, wow. This isn't just about performance. This is a great life philosophy. Yeah. So after graduation, and I came home to LA and I started taking classes at the Groundlings Theater mm-hmm. , the sketch, comedy and improv group. And, and I did that not for the career, but because I wanted improv back in my life.Michael Jamin:Right.Phil LaMarr:And doing improv that led me into sketch comedy and writing.Michael Jamin:Right.Phil LaMarr:Because that's what the ground wings do. It's like, okay, that's a great improv. Write it down.Michael Jamin:Right. .Phil LaMarr:Yeah. Now do that character again. Come up with another scene for him.Michael Jamin:And so that's what you, you brought to the audition, like what, three different characters or something?Phil LaMarr:Y well, by the time Mad TV came around, I had been doing sitcoms, you know, from the early nineties to the mid nineties. This was 95. Right. So I went to audition for mad TV and the people at Fox had seen me guest on a bunch of shows. Right. And in fact, I went to audition for Mad TV in what they call second place because I had done a pilot for Fox right before Mad. So it's funny because I went in there thinking, no, this pilot is gonna, is amazing. We're gonna be the new Barney Miller. Alright, fine agents, I'll go for this sketch thing, whatever. I've been doing Sketch for six years, but whatever. And so I went in and they said, okay, bring in some, some of your characters.Michael Jamin:What Century is calling ah, . That's your phone from 1970, right?Phil LaMarr:?Michael Jamin:Or is it an alarm clock?Phil LaMarr:Ah, no, it's, I forgot toMichael Jamin:What's your phone? It's your iPhone.Phil LaMarr:It's my agent calling. Oh, you, you don't need to talk to them.Michael Jamin:That's Hollywood.Phil LaMarr:Yes.Michael Jamin:I can't believe your agent actually calls you. Mine doesn't call .Phil LaMarr:Alright, let me, let me go back.Michael Jamin:Yeah.Michael Jamin:We're gonna put all this in. This is all funny. .Phil LaMarr:Well anyway, I went to audition for Mad TV having done several years at the Groundlings and having been voted into the main company of the Groundlings, alongside Jennifer Coolidge. So youMichael Jamin:Were perform Oh, so you were, that's great. So you were performing regularly on stage. Yeah. Okay.Phil LaMarr:So, so sketch comedy was solidly in my backMichael Jamin:Pocket. Yeah.Phil LaMarr:And, you know, I'd been, you know, I'd finally started making a living as an actor. I didn't have to do my day job, you know, just doing guest spots and whatnot. And I went in there without any sense of desperation. I don't need this.Michael Jamin:Right. I'vePhil LaMarr:Already got this pilot. And they said, okay, bring us your characters and a couple of impressions and we'll show you a couple of our sketches. You know, so there were three steps to each audition, Uhhuh. And it's funny because later after I got the job, I talked to the showrunner and he said, oh man, you were so relaxed. We loved it.Michael Jamin:Oh wow.Phil LaMarr:You know, cuz I remember when we had a, a callback and there was somebody from the studio. This woman was sitting there like this. And I said, oh, I'm sorry. Did I wake youMichael Jamin:? And then wow. I mean, good for you. And then, but what became of that pilot, it didn't go to seriesPhil LaMarr:The other. No.Michael Jamin:Boy, had you known that ? IPhil LaMarr:Know. Well, and when we, when we got the call back from Mad tv, I'm like, what the heck? And might have said, yeah. Yeah. somebody at Fox said, don't worry about the second position.Michael Jamin:Right. Oh wow. Wow. . So, right. So you did that for a number of years. And then, and what, what along the way, when did pulp Fiction occur during this?Phil LaMarr:Actually I did Pulp Fiction before Mad tv.Michael Jamin:Okay.Phil LaMarr:It's funny cuz the first episode of Mad TV had a Pulp fiction parody in it. AndMichael Jamin:Did you play yourself?Phil LaMarr:Yes. They pitched me playing myself. OhMichael Jamin:My God, it was so fun. I mean it's such a classic role. I mean, do, do you, and does, do people want to talk to you about that all the time?Phil LaMarr:Not, not really. What I, I find that people only bring up Pulp Fiction around the time when a new Tarantino movie comes out.Michael Jamin:Okay.Phil LaMarr:But I mean, there are some people who, you know, are big fans of it. But the funniest thing is there will be a friend, somebody I've known for several years, but it's the first time they've watched Pulp Fiction since we met.Michael Jamin:Right. OhPhil LaMarr:My God, Phil. I didn't realize that was you.Michael Jamin:That's so great. I mean, so Right. Just to remind people again. So that was a scene was, it was Samuel Jackson and and John Travolta. They, yes. I guess the, the pla that plot line was a bunch of like straight-laced kind of college kids, kind of up, you know, they, you know, good kids who probably made one bad decision. Right. But they weren't troublemakers. They were good kids. And then they owed money and then, and then I guess they, you know, so they shoot, I guess they come into the apartment Right. And they they wind up shooting up the place and they take you, I guess they, they're gonna take you to the big guy, you're hostage and then he, you're in the back of the car and they got a gun trained on you and it hits a bump and they accidentally blow your head off . Right.Phil LaMarr:Well, well actually, the backstory that Quent and I talked about is that cuz my character is Marvin, he's the kid who gets his brains blown out in the back of the car. Right. but we decided that the story was Jules Uhhuh knew somebody who knew Marvin and arranged for Marvin to, that's why Marvin gets up and opens the door.Michael Jamin:Okay. AndPhil LaMarr:Lets them in. He's on their side.Michael Jamin:Oh, is that right? Is that, I should watch that again. I don't, I didn't pick that up at all.Phil LaMarr:And so he's not, they're not taking him as a hostage. Cause actually, Sam's like, how many, because John asked him how many are in there? It's like, well, there's, oh,Michael Jamin:There'sPhil LaMarr:Five plus our guy.Michael Jamin:Oh, I gotta watch that again. I missed that. Okay. It's been a while. Okay. So,Phil LaMarr:So the idea is that Jules knew somebody who knew one of the kids that took Marcellus briefcase. So he made a connection and was like, okay, we figured it out. He's our man inside is gonna open the door for us at 7 45. We're gonna come in, we're gonna get the briefcase. But of course, in my head, the idea is that Marvin didn't realize they were gonna kill everybody.Michael Jamin:Right. Right. He thought theyPhil LaMarr:Were just gonna take the briefcase.Michael Jamin:Right. So he'sPhil LaMarr:Freaked out.Michael Jamin:And so how many days is, were you, how many days of a shoot is that for you? Is that a week or what?Phil LaMarr:I spent about two weeks. There was the car scene and the apartment scene. But the, the most ironic thing was I shot my scene after they had shot the Harvey Kittel cleaning up my body scene.Michael Jamin:Right. So whenPhil LaMarr:I came onto set, everybody was looking at me like they recognized me because they had been see, looking at me dead for two months.Michael Jamin:. But how? Wait, but but when you say looking at you dead was, were there photos or something or what? No, no.Phil LaMarr:They built, they built a dummy. The dummy. Oh. Because there's a se there's a sequence where the Harvey guy tell character comes to clean up Yeah. And then carry the body out of the car into the Tarantino character's apartment. YouMichael Jamin:Know, that must been freaky. SoPhil LaMarr:Everybody been looking at this body in the trunk body, you know, and then when I walked on, they were like, it's, it's the same thing of like, when you walk into a room and you forget you're wearing a name tag.Michael Jamin:Yeah. Did you know how great that movie was gonna be at the time? Yes. I mean, you, you can tell. How can you tell? IPhil LaMarr:Couldn't tell how successful it was gonna be because, you know, reservoir Dogs was really good. Right. But it wasn't, you know, it was a big indieMichael Jamin:Movie. Yes.Phil LaMarr:Right. But when you read the script for Pulp FictionMichael Jamin:Uhhuh,Phil LaMarr:It leapt off the page.Michael Jamin:Right.Phil LaMarr:It's funny because like, when I went to audition for it, after meeting Quentin Tarantino, we did a Groundlings improv show.Michael Jamin:Oh, is that right? BecausePhil LaMarr:He's, he was friends with Julia Sweeney, who was a Groundlings alum. Right. And she invited him to come do a show. I was in the cast. Right. And when he was casting pulp Fiction, he was thinking about Marvin. He told the casting lady, Hey, there's this black guy at the Groundling, he's go find him.Michael Jamin:Right.Phil LaMarr:And I remember preparing for the audition, reading through the scene three times. It jumped into my, I w I had it, I was off book by the time I memorized. Because the way it's written, even though it's not everyday life, every line follows exactly what the one before it would say. And it feels natural, even though it is such a heightened world he's created.Michael Jamin:Yeah. He really is. I mean, you know, he's a master with, with words. He doesn't, does he, he doesn't, I can't imagine allow much improv. I mean, it seems like he knows what he wants, right?Phil LaMarr:Oh, yeah. No, no, no. Yeah. The, the script is like a Rosetta Stone. It is carved, yes. Actually, the, the only two things that changed in the script were one a line of Samuel Jackson's character about porkMichael Jamin:Uhhuh ,Phil LaMarr:Because originally they're talking about a pig and he is like, oh, that's the Kerry Grant of pigs. And Sam was like, no, Manam my guy. I don't think this guy would ever think Kerry Grant was cool.Michael Jamin:Right. So theyPhil LaMarr:Changed it to the, the reference to the the at Albert showMichael Jamin:Oh, oh green Acres. Green Acres, yeah. Yeah, yeah. Right.Phil LaMarr:Yeah. It's like the pig on Green AcresMichael Jamin:. And,Phil LaMarr:And the o and the other moment that changed from the script to what, what we shot was because of what a thought that John had.Michael Jamin:Uhhuh GunPhil LaMarr:Travolta. Yeah. Oh. Because, because this was a low budget indie movie. They made this movie with all those stars for only 8 million.Michael Jamin:Are you kidding me? Really?Phil LaMarr:Yeah. And part of that saving money was we rehearsed the entire movie on stage before we started shooting. Right. And I remember going to a sound stage at, at cul in Culver City on Sony and meeting John Travolta and Samuel L. Jackson for the first time in rehearsal.Michael Jamin:Right.Phil LaMarr:And I remember walking in there and it's like, Quinn's like, oh, hey Phil, this John Sam, this is Phil. And John Tra goes, oh geez, this is a guy. I had to kill this guy. The eyes is gonna hate me.Michael Jamin:That's a pretty good Travolta sound just like him. . Oh, thanks.Phil LaMarr:And he just, I thought he was just joking. But eventually he talked to Quintin. Cuz originally in the back of the car, the gun is supposed to go off accidentally. Yeah. And shoot Marvin in the throat.Michael Jamin:Okay.Phil LaMarr:And then he sits there g gurgling while they go back and forth bantering, oh, dad, what are we gonna do? Right. Well, we can't take him to the hospital. Well, I don't have nobody in the valley. Well, alright. Put him out of his misery. When I, on the count of three, I'll hit the horn. And so John's character was supposed to shoot me the second time on, and John said, no, no. Quentin Quinn. Quinn. If my character kills this kid on purpose, it's gonna ha people won't, won't like him. And he was right. It would've negatively affected his sequence with Umma Thurman.Michael Jamin:That's absolutely right. But do you think he was, Travolta was interested in protecting the character or protecting himself as an actor? You know, like how people saw him? What do you think?Phil LaMarr:I think it was, he had a connection to the audience, which I guess was mostly through him, but also through the character. Because I mean, I mean, I guess, you know, Quintin's could have just said No, no, the character's just, he's a nasty, you know, junky. Yes. He does nasty stuff. But I think John was like, no, no, no. This whole sequence with the girl, he's not nasty.Michael Jamin:Right. So, right. I see. And andPhil LaMarr:Quintin agreed with John Yeah. His take on the character.Michael Jamin:Yeah. That's so interesting.Phil LaMarr:Isn't thatMichael Jamin:Wild? Yeah, that is. See, it's so funny listening to you, you can so hear like how thoughtful you are about acting, how mu how much, how it's not, it's a craft, it's a, you know, you, I really hear that from you, how much you put how passionate you are about the craft of acne. Not just being on stage, not just you know, doing voices, but the craft of it. You know? Exactly. Yeah. How do, do you miss, or do you get a chance to perform on stage a lot? Because that was your original lovePhil LaMarr:Mm-Hmm. . Yes. Thankfully. I'm still holding on to my performance foundation. My friend Jordan Black, who is another Groundlings alum Uhhuh about what, 12 years ago now, created a group. And we do a show monthly live on stage, an improv show at the Groundlings Okay. Called the Black VersionMichael Jamin:Uhhuh. It's,Phil LaMarr:It's an all black cast, and we take a suggestion from the audience of a classic or iconic motion picture, and then we improv the black version of it. ButMichael Jamin:What if you're not familiar with the, the classic?Phil LaMarr:Well that's the tricky part is our director Karen Mariama mm-hmm. , who was one of my teachers at the Groundlings and is now one of my peers, has an encyclopedic knowledge mm-hmm. , she can take a movie from the black and white era and know the entire structure or something that dropped that dropped on Netflix last week. And she knows everythingMichael Jamin:But you, but if you don't know itPhil LaMarr:Well what we do, what she does is she, she, as the director, she guides the scenes Uhhuh . Okay. Alright. Phil, you are gonna play this, you know, like let's say we're doing the black version of Princess Bride. Phil, you'll, you are this you know, swordsman who is incredibly skilled audience, what do you think his name? Okay. In Negro Montoya, that's your name.Michael Jamin:That's funny. AndPhil LaMarr:Like she'll assign the characters Right. And then guide us from scene to scene. But, you know, our choices, you know like when we did the black version of Princess Bride, it was called her Mama and them, and Prince Humperdink was Prince Humpty Hump. Right. You know, and sometimes the choices will change the, the, you know line, line of the story. But she tries to keep us, you know, take us through the iconic scenes.Michael Jamin:Right. And this is once a month you do this.Phil LaMarr:Yes.Michael Jamin:Yeah. That's a big commitment.Phil LaMarr:Yeah. And for 12 years. Yeah.Michael Jamin:Yeah. I mean, you must, you probably took a break during the pandemic for a little bit. Yes,Phil LaMarr:Yes, yes, we did.Michael Jamin:But Wow.Phil LaMarr:And recently we've you know, we've built an audience and a reputation and we've started booking on the road. We've we've played the Kennedy Center in Washington DC twice now.Michael Jamin:So you take it on the, and, and how were you able to sell tickets on the road? I mean, so easily.Phil LaMarr:It's, I I think it's, it's the, the venues and also you know, somewhat just the, those of us in the group. I mean, Jordan was a writer on SNL and part of the guest cast on community Cedric Yarborough from Reno 9 1 1, and tons of other shows. SoMichael Jamin:Just your name. Just your name. So it's kind of just your names people like, Hey, we want, you know, we recognize these names, we wanna go see it. If you, you know this.Phil LaMarr:Yeah. I, I mean, I'm, I'm not exactly sure how we managed to sell out, youMichael Jamin:Know? That's amazing. All overPhil LaMarr:TheMichael Jamin:Place. That sounds like a lot of fun.Phil LaMarr:It's so much fun.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Wow. I mean, is there a limit to how much you can, I mean, just organizing that to get everyone to get the time off. I mean, that's gotta be logisticallyPhil LaMarr:Gotta be hard. Yeah. The, the tours aren't that we don't do them that often because, you know, Gary Anthony Williams from, you know, Malcolm in the Middle and stuff, everybody in our cast works a lot. Yeah. So we can really only guarantee the show once a month. Right. but sometimes when we tour, not everybody goesMichael Jamin:Because Yeah, you have to, I mean, if someone books apart and you're shooting that at night, what, what are you gonna do? That's the way. Right.Phil LaMarr:Or you or you have to fly to Vancouver for six months.Michael Jamin:Yeah. Right. Right. And that's part of, that's, I mean, that's part of the, the plus of, of the do for you for doing a lot of voice acting is that, you know, you probably get to lead a pretty sane in life if for an actor it's, it can be very hard, you know, being onPhil LaMarr:Their Well, and, and it's also one of the wonderful things about the progress that has come since we started the show, because part of the reason Jordan created the show is because those of us in the improv world, you know, who are people of color, oftentimes spent the majority of our time being the one.Michael Jamin:Yeah.Phil LaMarr:But over the years, the, you know, the numbers, the diversity in the improv world, you know, expanded, it used to be a very suburban art form.Michael Jamin:Yeah.Phil LaMarr:But now, you know, I I I credit this mostly to Wayne Brady doing whose lives in anyway.Michael Jamin:Yeah. Right. Yeah. And so that really opens up more opportunities and more of what Yeah. That, that's, that's interesting that, you know, that really has changed a lot. How, how have you seen it change your opportunities in the past, I don't know, whatever, 20 years, 30 years, you know, however long?Phil LaMarr:Well, it's, it's, it's changed be in a lot of ways. One, when I got voted into the Groundlings in 1992, I was the first black person to get voted into the company in its 18 years of existence.Michael Jamin:You're kidding me. Yeah. That's crazy. That's crazy.Phil LaMarr:And now the pool of, you know black people, you know, who are Groundlings has expanded. It's not just one every 18 years.Michael Jamin:Yeah. Right. But, and in terms of more, you know, more opportunities for you even, you know, I mean, everything's, everything's really opened up for you. Right. I mean, I imagine Well,Phil LaMarr:Well, because we have, you know, the, those of us in entertainment have expanded. Yeah. You know, what we consider will work. You know, I was talking my son just graduated from NYU and one of his classmates is the son of the woman who directed the woman king. Okay. At Viola Davis, you know. Right. Action movie. Right. And I remember watching and thinking, oh my god, when I was 18, no studio in the world.Michael Jamin:Right. Would touch that. Right. Would'vePhil LaMarr:Would've, you know, green lit Yeah. A action movie, you know, about black women.Michael Jamin:Yeah. Right.Phil LaMarr:And, and the fact that, you know, it's out there now and is just another big movie. It's, it's not considered, you know you know, a once in a lifetime thing anymore. That's the progress and the fact that we have, you know, middle-aged women mm-hmm. leads of s of TV series. Yeah. You know, back in the old days, the only lead of a TV series was one beautiful person or one famous, you know, hilarious person. Yeah. But now they've opened it up.Michael Jamin:I wonder, is your son planning to going through the arts now that he graduated from nyu?Phil LaMarr:Yes. Yes. He's, he's musician. He oh, writes and sings and dances and raps and produces, and he's part of the Clive Davis recorded music program where they teach them music and the music business.Michael Jamin:Yeah. Wow.Phil LaMarr:One of his teachers was Clive Davis's daughter. Wow. Who's a lawyer.Michael Jamin:And do, I mean, it's, but it's, the music is different from what you do. I wonder, I wonder if you're able to, does it all feel like, I don't know how to help , you know? Yeah.Phil LaMarr:Yeah. There's a lot of that uhhuhMichael Jamin:Like,Phil LaMarr:Dad dead. Because when your kid goes into, you know, show business, you think, well, I've been in show business for 40 years, like, you haven't been in the music business. I'm like, you're right.Michael Jamin:That's true. So interesting. Wow. Wow. And, and, and so what about, I guess, you know what's next for you? Is you just, is it more of the same? Is there more, well, actually I know you have a pilot that you, that you were, you're working on, you know, you're getting into the writing side of the business. Yes.Phil LaMarr:More so. Yes. And that actually over the last couple of years has been a, a slight shift you know, having been performing. Yeah. You know, for so long now, since the eighties. I've also, and I've also been writing since the nineties when I started at the Groundlings. Right. I was writing sketches and I wrote on Mad tv. But just recently, earlier in this year, I took a job as a professional writer on a television show for the first time.Michael Jamin:Right.Phil LaMarr:And it was pretty wild to have 30 years of sitcoms under your belt and then suddenly see it from a completely different angle.Michael Jamin:And what, and what was your impression of that?Phil LaMarr:It, it was wild to cuz like you were talking about the way I look at acting and break it down. Yeah. And, you know, look at all the subtle distinctions. I had never looked at, you know, TV writing that way. Okay. But to suddenly be in a room with people who look at who see it that way for decades, you're like, oh wow. How do I feel like a rookie at 56?Michael Jamin:Yeah. Right. And so there's a lot of catching, a lot of catching up little Yeah. You know, that's so, and, and are, are you enjoying it as much or as much as you thought? Or what do you think?Phil LaMarr:Well it, the challenge part was, was a little bit, you know, tough. Yeah. But it was great to be working on a really good show with great, talented people and to be learning something new. It's like, yeah. Oh, like for me, like when we would write sketches at the Groundlings Uhhuh, you didn't think about anything about like, well, beginning, middle, and end. Right. Three minutes.Michael Jamin:Right, right.Phil LaMarr:You know, but now you have to think about, you know, character arcs and the, you know, okay, well if you introduce the character's father, we have to think about their entire family. Is the mother still a alive? You're like, oh, right. When you write a sketch, you don't have to think about,Michael Jamin:You don't think about any of that. Right. And when you, and when you're acting the part you, you know. Yeah. Yeah. And so it's, it's so interesting cause I always say like, acting and writing are really, they're two sides of the same coin. It really helps to study both whatever you want to do, study both. Exactly. it's all, and so yeah, that, that finding that emotional arc and, you know, it's all, it's all new for you, but yeah. I wonder, you know, but you're enjoying it.Phil LaMarr:Well and, and working alongside, I mean, cuz there were people who, you know, one guy at show run Will and Grace, another guy worked on Arrested Development. I mean like, you know, one guy was showrunner on five other shows to, to watch how they mm-hmm. . Cause for me, I would like, Hey, I would just pitch out a joke. I'm just gonna say something I think is funny. Right. But they had this like s you know, Superman MicroVision where they could take that joke and see Yeah. How it could affect the mm-hmm. the entire scene, the entire episode and the entire season.Michael Jamin:Yeah. Right. It's like, where does that, but offPhil LaMarr:The top of their head.Michael Jamin:Right. And where does it go? Where does that moment go into the script, into the, you know, is it act one or is it Act three? And so that Yes.Phil LaMarr:Yeah. That yes. I mean I'm sure you have that, that x-ray vision too. Yeah. Where you can look at a script and see the act structure Yeah. And you know, and or just even the structure of just the scene. Yeah. Like what does this character, where do they start and where do they finish?Michael Jamin:Yeah, that's right. Well we were, we ran a show for Mark Maron for four years and you know, he was one of the writers in it and he would pitch an idea, cause I wanna say this, and then we'd put up Neck one and then I remember at one point , we were talking about it and we said, mark, I don't think this can go in Act one. Is it okay if we put a neck three? And he'd say, oh, I don't care where you put it is. Right. long as in the script,Phil LaMarr:I'm just thinking about what the character would say.Michael Jamin:Yeah. That Right. I was like, was like, oh, that's a relief. I thought you were gonna get mad for, you know, you didn't care about that. So funny.Phil LaMarr:Right. Yeah. Just cuz as performers we are not looking at the app structure.Michael Jamin:Right, right. You know,Phil LaMarr:Most of us, I, I may imagine there are some people who do like, well I wanna build up from act two to act three, you know? Yeah. But most of us don't. We're just, what is the guy feeling in this scene right now?Michael Jamin:Right. And how to get to that, the truth of that, how difficult is it for you to make yourself vulnerable like that on stage to like, to go there, you know, whatever, maybe it's crying or whatever it is. How difficult it is for you just to allow yourself to go there?Phil LaMarr:Well, it's not necessarily easy. It's definitely something that I had to, you know, a skill set to build Uhhuh . You know, I was not one of those people when I started acting who could make themselves cry on cue, UhhuhMichael Jamin:,Phil LaMarr:You know. But I remember I had to do a scene on a, a Steven Boko show called Philly. And it's like, okay, well this character is really, you know, emotionally, you know, I gotta figure out how to make sure I'm putting that out there. Right. So I thought about something sad and let it, you know, something different than what the character was thinking about mm-hmm. . But it's again, like, you know, with the voice acting like what sounds bey you also have to think about your face, what looks Yeah. Sorrowful and how do you make yourself look sorrowful. Right. You know, although one of the things that helped me learn where to, to try to go was working on Pulp Fiction with Samuel L. Jackson.Michael Jamin:What he what? Go on. He gave you some great advice or what?Phil LaMarr:No, he just, what he showed because you would stand there offset talking to this cool old guy who was amazing, you know? Yeah. He's just talking about golfing or his daughter. But then when the camera started rolling Yeah. The person you were just talking to disappeared. Right on set. I looked over and I was looking into the eyes of someone completely different than Samuel L. Jackson. Right. And I remember standing there in my twenties thinking, oh my God, he transformed himself internally. And so that it shows externally. Yeah. That's like, I gotta learn how to do that.Michael Jamin:And then how did you learn how to do that?Phil LaMarr:Well, I, I'm still haven't gotten to his level , but what I learned is you have to figure out one, how you look and how you get, it's, it's like a map. Mm-Hmm. , you know you know, if you figure out how to guide your internal self to a place where your external self does what's on the page, that's what acting is. You know, otherwise you would just be reading words to be or not to be. That is the question. You know, it's not just about the words. It's how do you express the feeling? And Sam taught me there is a way where you don't have to do nine minutes of to get into character.Michael Jamin:Okay. IfPhil LaMarr:You know the root within yourself, you can do it like that. Right. So I, I realized it was about learning your internal, you know, where do, where do you put your sadness? Where do you put your anger and where's, what's the difference between your anger and this character's anger? Guide yourself there and then, you know, connect the two.Michael Jamin:And do you have moments where you feel like, I I didn't do it. I didn't get there. You know. Well,Phil LaMarr:I mean that's the, the one good thing about on camera work and what we were talking about about the rehearsal Uhhuh is you can find, take the time to find it, but yes, no, there's, there's always, you know, not every job is a home run. Mm-Hmm. , you're like, oh, I wish I had gone a little bit deeper with that. Right. You know and sometimes you feel it there. Yes. Other times you don't realize it until after you see it. And maybe it's, they picked a take that Right. You didn't No. That wasn't the best one. Why didn't they, you know, not nothing is ever perfect.Michael Jamin:Right, right. YouPhil LaMarr:Know,Michael Jamin:And, but do you, like sometimes I'll watch, I'll be on set and I'll watch an actor do something. Usually it's drama and or a dramatic moment. Right. And, and they let it all out. And after you, you'll cut. I'm always like, I wonder if they need a moment alone. You know what I'm saying? It's like Right. I mean, what are your, what's your take on that?Phil LaMarr:Well, I mean, I'm not a, a method guy. I don't put myself into, because Yeah. You, you hear a lot about that, about a guy's like, yeah man, I had to play this character and my girlfriend hated me for a month because when I went home I was still part of that dude. Yeah. You know? And I don't know if it's my improv and sketch background where I take my character off like a hat,Michael Jamin:Uhhuh . IPhil LaMarr:Don't take them home and, you know, I, I try to embody it during the performance, but I don't feel it's, you know, required to have to be the character.Michael Jamin:Right. But if you spend a whole day as a character,Phil LaMarr:It can, it can be draining.Michael Jamin:Yeah. Right. It can be draining. Right. You have to wash yourself up that if, if you don't like that, you know, if you don't like that person, you have to wash yourself of that. Right. And how do you do that?Phil LaMarr:Yeah. Well, I mean that's, that's about, you know, when you leave the set mm-hmm. , you leave those feelings behind, although some actors don't, but you'veMichael Jamin:Just experienced, you spent the whole day experiencing that mm-hmm. that whatever it is, and yes, I understand you left it, but you spent the whole day angry or, or mournful or bitter or whatever it is. Like how do you, you still have to wash yourself from that, don't you? Well,Phil LaMarr:But I mean, the, for me, I'm not fooling myself. I'm not trying to convince myself that the script and the character is real and me. Cuz that's the thing. Like, if you spend all day with your drunken uncle who's nasty on Thanksgiving, that's not fun.Michael Jamin:Right.Phil LaMarr:You know, and then when you leave, you're like, ugh. You can, you can still be right, you know, upset about it, but you're, you're con but because you're connected to that person. For me, it's about, that is fiction. Right. I only, you know, I'm connected to the fiction while performing. I don't feel like I have to be, you know, like when I play Hermes on Futurama, I don't have to speak in a Jamaican accent for the entire season.Michael Jamin:Right.Phil LaMarr:You know?Michael Jamin:But are there moments, and maybe this is less so for a voice acting, but when you're, when you're on, when you're on camera, are there moments when you're like, you're cognizant that, oh, I'm acting now. Mm-Hmm. , you know, and then you, and you have to, oh, I gotta get back. You know, and you're, you're delivering your lines right in the middle of the line, you realize I'm acting.Phil LaMarr:Well, it, it's interesting because I think part of this mental philosophy I have is, you know, comes from watching Sam Jackson Uhhuh because he wasn't method, he wasn't acting like Jules, you know, acting like a gangster, a man with a gun the whole time.Michael Jamin:Right.Phil LaMarr:And he showed me that. And it's funny because while he was doing that, Frank Whaley who had worked on the doors was telling anecdotes about how when Val Kilmer was playing Jim Morrison, he was the exact opposite. Right. He, before they started shooting, he sent out a memo. Everyone is to refer to me as Jim or Mr. Morrison.Michael Jamin:Right.Phil LaMarr:You know, and he had a tent set where he would, you know, work to be in character and would only come on set as Jim Morrison. Right. He was ne They never s they never spoke to Val.Michael Jamin:Right.Phil LaMarr:Right. So, you know, what about, yes. It's definitely difficult for some people if that's their approach. No, no. My approach is I have to live this character.Michael Jamin:Right. You know, so you're, so you, okay, so that's not your problem. You don't have to worry. That's not something you have to Yeah, no. Interesting. I, I'm so interested in the, the actor's approach to the material, you know? Yeah. Because, you know, we write it, but how do you guys do, how do you guys do it? Because there's a difference. There really is a difference. You know, we hear it one way we envision it, but we can't do it. Do you know what I'm saying? Yeah. We can't get it out of our heads onto, into reality, but you can. And so I'm always like, how did you do thatPhil LaMarr:? Right. Well, it was, it was, it was interesting experience, you know, from the writing, acting, you know, crossover. Mm. I worked on a, I was developing an animated show based on a friend of mine's web comic called Goblins.Michael Jamin:Okay.Phil LaMarr:And my partner, Matt King and I, we were both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice La Marsh. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it couldMichael Jamin:Be. Right, right.Phil LaMarr:And it was wild cuz I'd heard writers, you know, express a similar kind of thing. It's like, oh my gosh, you guys did such, such amazing with, and, but to have it, you know, as someone who'd been a performer, to have someone take your and do that miracle with it was an eye-opening experience. Like, ah, butMichael Jamin:There's something else that you do. Cause you know, there's a handful ofri actors, voice of actors, they always work. You're one of them. But pro you call 'em in and it's, it's knowing, especially in comedy, knowing where, how to hit the joke. I mean, we always say, can they hit a joke? And knowing where the laugh falls, not just somewhere, but which word makes it, makes it funny, you know? Mm-Hmm. , you know. And do you think that's your instinct? Or is that just something you've gotten better at?Phil LaMarr:Yes, I think that's something that has grown from performing, especially in the sense of, in the sense of comedy. Because I remember, you know, starting out on stage doing, you know, plays, then doing, doing improv, which is specific comedy cuz when you're doing a play mm-hmm. , the writer has decided which moments are funny, which moments are dramatic, you know. But when you're doing improv, you and the audience are deciding what's funny. Right. And, and I remember coming, you know, back to LA and pursuing acting and then starting to get work on camera and doing comedy. And I realized, huh. Oh wow. I don't have an audience.Michael Jamin:Yes. And youPhil LaMarr:Have, you have to create a gauge in your head for, is this funny? Because when you're on stage and you're doing a funny bit, you're, you know, you can feel from the audience whether, oh, I need to push that up a littleMichael Jamin:Bit. Right.Phil LaMarr:But when you're working on camera, this, the crew is not allowed to laugh outMichael Jamin:Loud. Right.Phil LaMarr:You know, so you have to create an audience inside you, an internal audience in your head to help, you know, is, is this the timing of this?Michael Jamin:Right.Phil LaMarr:And, and it's funny because I've developed that and a couple of years into it, I remember I got a job working on N Y P D, blueMichael Jamin:UhhuhPhil LaMarr:Playing a guy who was being questioned, you know, interrogated in the police station and then gets roughed up by Ricky SchroederMichael Jamin:Uhhuh.Phil LaMarr:But the, the lines, because this guy's on drugs. And I remember like, oh wow, I gotta be careful. This could be funny . Cause he's like, you know, like, you know, cause Ricky Schroeder, you know, sees blood on his, on his clothes, like, take your clothes off. It's like, and the guy take my clothes. What you wanna do? What you ain't gonna put no boom on my ass. Right. And I remembered I have to gauge the funny way to do this and not doMichael Jamin:That. Yes. Right, right. Because,Phil LaMarr:You know, there was, I, and I realize no, no. Pull back the tempo and lean into the anger, not the outrage.Michael Jamin:Right. Right. So, andPhil LaMarr:Then it'll be, then it'll be dramatic, not comedy.Michael Jamin:It's, again, here you are approaching it really from the craft. It's not Yeah. I just wish it's, when I hear people, I want to be an actor. Okay. Take it serious. Are you gonna study? Are you just gonna, do you wanna be famous? Which, what is it you want? You know?Phil LaMarr:Right.Michael Jamin:And well, let's talk about that for a second. What, what's your relationship with, with fame? How do you, you know?Phil LaMarr:Well, that's a very interesting thing because I feel like that has changed mm-hmm. from the generation, like when you're our age, when we were growing up pre-internet mm-hmm.Michael Jamin:Phil LaMarr:Fame only applied to stars.Michael Jamin:Yeah. Right.Phil LaMarr:Now, you know, I mean, nobody knew voice actors, only voice actor anybody knew was Mel Blank.Michael Jamin:Right.Phil LaMarr:You know, people to this day still don't know what Das Butler looks like. Right. But the now anybody who appears on anything, even a YouTuberMichael Jamin:Right.Phil LaMarr:Has some level of fame. Right. You know, and, and it's wild because, because of the internet, the, you know, it now matters what you say. In the old days, if you were a television character actor, like if you were Richard MulliganMichael Jamin:Yeah.Phil LaMarr:It never, nobody was ever gonna post what you said about something.Michael Jamin:Right.Phil LaMarr:It was only if you were Joan Crawford. Right. Or

Support this podcast and get ad-free episodes and bonus episodes by becoming a paid member at Patreon.com/KhandaanPodcast! Sign up to our new Khandaan Podcast Newsletter! Welcome to Khandaan: A Bollywood Podcast where we're still recording video podcasts from London. This week, we're discussing the monster release PONNIYIN SELVAN -2 (19.00). Directed by Mani Rathnam and with music by AR Rahman, this movie stars Aishwarya Rai, Vikram, Jayam Ravi, Karthi, Trisha, Aishwarya Lekshmi, Jayaram and many more. We discuss our reactions to the film as people who did not read the book, and struggle through technical difficulties to even have Asim praise Aishwarya (Rai). We also discussed CITADEL (12.00) the new Amazon Prime series starring Priyanka Chopra Jonas and Richard Madden and the brand new theatrical release POLITE SOCIETY(09.30) directed by Khandaan favorite, Nida Manzoor. We also have an interview with Pakistani powerhouse Nimra Bucha (1.04.30) who stars as Raheela in Polite Society and who you might also know from her stellar work in Asim Abbassi's Churails and Miss Marvel. If you'd like to watch the video version, don't forget to subscribe to our Patreon, starting at a mere $1 per month. Don't forget to subscribe! Follow us on Socials: Amrita, Sujoy, Asim YouTube, Facebook, Instagram, Tik Tok Sujoy's Instagram  Amrita's YouTube Book Channel- Amrita By The Book You can listen to Khandaan- A Bollywood Podcast episodes on the following apps: Apple Podcast Spotify Jio Saavn Deezer Audible Amazon Music Omny iHeart TuneIn      

On episode 69 of the Sofa Kingdom Podcast we attempt to run through the whole pile of movies and tv shows from 2022   Find more Sofa Kingdom Podcast at SofaKingdomOfc on instagram https://www.instagram.com/sofakingdomofc/ Audio podcast is on all major podcast platforms just search "Sofa Kingdom Podcast"     General topics this episode Master Ken, yoga, christmas story, glass onion, pale blue eye, witcher blood origins, Enola Homes 2, Dana White, slap leagues, parkour mma, Arena Combat, doom patrol, Umbrella Academy, Peacemaker, Lord of the Rings rings of power, Reacher, House of dragon, Miss Marvel, She-Hulk, Andor, Wednesday, Sandman, Moon Knight, Vikings Valhalla, Obi-Wan Kenobi , Book of Boba Fett, Willow, Star Trek strange new worlds, Star Trek lower decks, Picard, Hocus Pocus 2, Morbius, Samaritan, The secrets of Dumbledore, Jurassic world Dominion, Wakanda Forever, Thor Love and Thunder, the Batman, Doctor strange and the Multiverse Madness, Black Adam, Hellraiser, Barbarian, Dahmer, Werewolf by night, Slumberland, Top gun Maverick, Bullet train, Prey, The witch, the lighthouse,The Northman,

Os Mutantes estão aos poucos sendo citados e, de certa forma, apresentados no Universo Cinematográfico da Marvel - seja através do Multiverso do Dr Estranho 2, da série da Miss Marvel ou do novo filme do Deadpool, com Hugh Jackman retornando ao papel de Wolverine (agora no MCU). Mas será que esta introdução dos X-Men ao universo 616 do Cinema está sendo bem feita? Neste podcast Matando Robôs Gigantes, Affonso Solano, Didi Braguinha e Beto Duque Estrada recebem o amigo e desenhista Rodney Buchemi para debater! A paródia musical deste MRG foi feita pelo ouvinte Diego Broniszak! Envie-nos a sua: matandorobosgigantes@matandorobosgigantes.com Participe da conversa conosco nas redes sociais, incluindo o Twitter do MRG! Contato comercial: comercial@matandorobosgigantes.com

This week on Krewe of Japan Podcast... Meet the man who  became Marvel's Man in Japan and changed the tokusatsu & pop culture game forever: Gene Pelc!  With special guest host Matt Alt, the Krewe sits down with Gene Pelc and his son Ted to discuss how Japanese tokusatsu Spider-Man came to be (and its lasting impact on tokusatsu), behind the scenes tales of Kamen Rider & Super Sentai, the REAL origin story of the Power Rangers, how Japanese animation studios changed the American cartoon game,  mixed martial arts... and so much more!  So many untold tales RIGHT HERE on the Krewe of Japan Podcast!------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ More Info on Gene Pelc ------More on Gene's Life & CareerMarvel Man in Japan (Part 1) - Toy Bounty Hunter's YouTube ChannelMarvel Man in Japan (Part 2) - Toy Bounty Hunter's YouTube ChannelPelc Enterprises Website"Adjusting the Paradigm" - Lance E. Lee Podcast from Tokyo on YouTube (Ft. Gene & Ted Pelc)Marvel 616 E01 - Japanese Spider-Man Info (IMDb) - Find the Episode on Disney+------ More Info on Matt Alt ------Matt Alt on TwitterMatt's Book - Pure Invention: How Japan Made the Modern WorldMatt Alt's WebsiteAlt Japan's WebsitePure TokyoScope on TwitterPure TokyoScope PodcastPure TokyoScope Patreon

Never have I ever listened to TV Told Me…if you keep listening this won't be you! Ade and Kelly share fun stories about their lives with questions from Oprah and Gayle. Kelly reviews co-creator Mindy Kaling's show on Netflix “Never Have I Ever”,. Ade fills us in on the expanding Marvel Universe with “Miss Marvel” from Disney Plus. Other mentions: The Mindy Project-HULU, Orphan Black-not sure where to find #comedypodcast #tvreviews #netflix #neverhaveIever #MIssMarvel #disneyplus --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/tv-told-me/message

On this episode I'm joined by Super Nerd and Founder/Editor in Chief of the Rage Works, Richard Butler. He and I give our thoughts on What's Next for Marvel in Phase 5, Our Thoughts on AEW vs WWE, and How the MCU should Introduce the X-Men. All this and more on this episode of the ProNerd Report!Join us in this podcast as we talk about the badass comic book movies and Tv Shows/Series that we are looking forward to. We talk about Black Panther, Miss Marvel, Blade, the characters we are looking forward to. We dive into color represenataion and fans expections. We also talk a bit about the state of pro wrestling. We have a packed episode!

I'm Finally back from Vacation and I have gotten everything recorded that I missed. --- Send in a voice message: https://podcasters.spotify.com/pod/show/aidan-sullivan504/message

En esta edición del saga podcast con el peor audio en años les traemos un resumen de las mas nuevas producciones de Marvel Studios: Miss Marvel en Disney Plus y Thor Love And Thunder en cines en un podcast completamente Necroless. thor love and thunder, miss marvel, kamala khan, odinson, marvel studios, guardians of the galaxy

Hello welcome to another episode of the Dorks N' Stuff Podcast. In this episode we will be reviewing Miss Marvel and how it measures up compared to the other Disney Plus shows. We will also be talking about the growth of the characters, the culture and how it relates to the Haitian culture, our overall thoughts on the show and what the future of the MCU is in accordance with this show. We also slightly discuss Marvel shows that were announced at San Diego Comic Con so you won't want to miss this episode. Be sure to check out our instagram and subscribe to us on whichever podcast medium you listen to us on. Thank you and stay blessed. 00:00-05:19- Intro/shennanigans 05:19-01:02:19- Miss Marvel Review 01:02:19- 01:13:38- Marvel announcements and conclusion --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Avec un été riche en sorties tant du côté du cinéma que des petits écrans, il nous faut à nouveau nous réunir pour un podcast On Screen, consacré cette semaine à Ms Marvel, la dernière série en date de Marvel Studios, qui a achevé récemment sa diffusion sur Disney+. En route !  Le MCU à l'heure de la teenage TV series  Introduite dans les comics il y a moins de dix ans, Kamala Khan est l'une des héroïnes modernes les plus populaires de Marvel, tous supports confondus. Après son apparition dans des séries animées et jeux vidéo, et avant qu'elle n'aille au cinéma dans The Marvels, Disney+ lui propose donc de se présenter à un public encore plus large dans sa propre série. Cultures différentes, aspect adolescent, patte graphique, mais aussi défauts (et manque de temps) seront abordés dans cette émission qui, on l'espère, saura vous faire plaisir à écouter !  Si c'est le cas, n'hésitez pas à nous dire : qu'avez vous pensé de la série ? Et en sus de commenter, vous pouvez aussi aider le podcast en partageant nos émissions (toutes) sur les réseaux sociaux ou en nous aidant sur notre page Tipeee. Nouveauté d'ailleurs, avec le module intégré en bas d'article, vous pouvez nous soutenir sans quitter notre page. Très bonne écoute et à bientôt pour le prochain podcast !  Le Programme  Partie sans spoilers - 04:00 Partie avec spoilers - 29:17    Soutenez First Print - Podcast Comics de Référence sur Tipeee

Jurandir Filho, Katiucha Barcelos, Gnu e Fernanda Schmölz conversam sobre a primeira temporada de Miss Marvel, a sétima série do Universo Cinematográfico Marvel. Na trama vemos Kamala Khan, uma fã dos Vingadores, particularmente de Carol Danvers/Capitã Marvel, que luta para se encaixar até ganhar seus próprios poderes. Como a série conseguiu ser a obra melhor avaliada do MCU? As revelações sobre a origem da personagem foram surpreendentes? Como será "As Marvels"?

Listen for the Season 1 Recap of Miss Marvel from Kevin, Hannah & Ryan! --- Send in a voice message: https://anchor.fm/princessandthepodcast/message

On this episode of the Sofa Kingdom Podcast The new Munsters movie, Clerks 3, Lord of the Rings, The Man from Toronto, the patient, day shift, Miss Marvel's conclusion, Star Trek strange new worlds and the Orville.   Find more Sofa Kingdom Podcast at SofaKingdomOfc on instagram https://www.instagram.com/sofakingdomofc/ Audio podcast is on all major podcast platforms just search "Sofa Kingdom Podcast"    General topics this episode: Munsters, white zombie, The Mummy, Clerks 3, Lord of the Rings Rings of Power, The Man from Toronto, The patient, day shift, first kill, Ms Marvel, the boys, Star Trek Strange New Worlds, The Orville,    

David, Devindra, and Jeff discuss your reactions to the gentleminions phenomenon, discuss the pleasures of episodic television, and dive into Marcel the Shell with Shoes On. Use #slashtag on Twitter to recommend titles. Thanks to Mike C for building the Hashtag Slashtag website. Thanks to our sponsors for this week: Go to microdose.com and use code filmcast to get free shipping & 30% off your first order Weekly Plugs David - Decoding Westworld S4E4 Recap: Generation Loss Devindra - This Week in Tech Ep 884: Not Tested with Normal People Jeff - DLC with Tim Gettys Shownotes (All timestamps are approximate only) What we've been watching  (~36:00) David - The Rehearsal, Manhunter, Jack Ryan Rewatch: Sum of All Fears, Clear and Present Danger Devindra - Moonhaven, NOVA: Ultimate Space Telescope, Miss Marvel (finished) Jeff - The Sea Beast, The Rehearsal Feature  (~1:14:00)  Marcel the Shell with Shoes On Spoilers (~1:26:25) Support David's artistic endeavors at his Patreon. Listen and subscribe to David's interview podcast Culturally Relevant and subscribe to his YouTube channel. Check out Jeff Cannata's podcasts DLC and We Have Concerns. Listen to Devindra's podcast with Engadget on all things tech.  You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Also, follow us on Twitter @thefilmcastpod. Credits: Our theme song is by Varsity Blue, the newest project by Tim McEwan from The Midnight. Our Slashfilmcourt music comes from SMHMUSIC.com. Our weekly plugs music comes from Noah Ross. Our spoiler bumper comes from filmmaker Kyle Corwith. If you'd like advertise with us or sponsor us, please e-mail slashfilmcast@gmail.com. You can support the podcast by going to patreon.com/filmpodcast or by leaving a review on Apple Podcasts.

Nuestros comentarios de los últimos dos episodios de la serie de Miss Marvel y nuestras teorías de lo que se viene.

Wir müssen reden. Jetzt, hier und ausführlich. Die Aufstellung fällt ausufernd aus, vier Staffeln STRANGER THINGS, die neue STAR WARS Serie OBI-WAN KENOBI, der teuerste Netflix Film aller Zeiten THE GRAY MAN, 200 Millionen Dollar und die verzweifelte Hoffnung auf ein neues Franchise, während Ryan Gosling den Bond / Bourne / Hunt / Wick gibt. Dazu der STRANGER THINGS Tandem Film THE BLACK PHONE, feiner kleiner Horror mit Herz, die charmante MISS MARVEL Serie bisher und die dritte Staffel THE BOYS. Lauter Zugpferde, damit kommen auch die Flimmerfreunde voran. Quasi n Doppelalbum, aber vierfach Vinyl, weil wir es unter 180 Gramm und dickste Rille nicht machen. Die Flimmerfreunde, Bernd, Ben und Kay, voll drauf, Schoki, Limo, Sabbelflash.

Josh claims that he isn't actually the one responsible for most of his lines this episode, which is a shame because we had a fairly fun conversation about AIs, Miss Marvel, as well as some new games and shows.  The Copilots Review Patreon page --> PatreonNew episodes on the 2nd and 22nd of every month, with interstitial episodes released on the 12th.You can find us on YouTube. Check us out here --> Copilots Review on YouTubeIf you would like to contact us or recommend a series for us to watch/listen/play/otherwise interact with and review you can email us at CopilotsReview@gmail.com or reach us on Twitter at @copilotsreview, or join the Discord or find all of these options at copilotsreview.simplecast.com. Thanks again!Lastly we want to thank Jessica Kuczynski! She designed our awesome podcast art. You can find her other work, her shop or commission her for original art at her website jessicakuczynski.com or at her twitter

Teen superhero Kamala Khan has taken the small screen by storm in the new Disney+ show, Ms. Marvel. But she's been around in comics, including a new graphic novel collecting the first five issues of Ms. Marvel: Beyond the Limit. Reset talks to the first South Asian woman to write Kamala Khan in the comics.

Time Stamps แบบคร่าวๆ 0:00 คุยอัพเดทชีวิตทั่วไป 26:45 รีวิวจิปาถะ Uncharted, Spiderhead, Westworld ss4, Drive my Car, Miss Marvel 1:00:40 คุยสปอย Jurassic World Dominion 1:18:35 Minions : The Rise of Gru 1::21:58 คุยสปอย Obi-Wan 1:45:54 คุยสปอย Stranger Things ss4 ครึ่งแรก 2:07:29 คุยสปอย The Boys ss3 ep1-6 2:47:14 คุยสปอย For All Mankind ss3 ep1-3

Revisamos los capítulos 03 y 04 de Miss Marvel, ya vamos a la mitad de la serie y les dejamos nuestras impresiones.

En este episodio platicamos de los primeros capítulos de Miss Marvel, el final de Obi Wan, una mini reseña de Ninja Turtles: Shredders Revenge, y recordamos el legado del Game Boy! 00:00 Intro00:40 Metroid Prime 402:28 Star Wars: KotoR 2 Glitch04:44 Miyamoto y Wind Waker08:00 Spider-man: No way Home: The more fun stuff version12:50 Kraven16:50 Stranger Things 4: Vol 2 Trailer19:59 Miss Marvel 29:31 Final de Obi Wan (Spoilers! 32:21)57:52 Ninja Turtles: Shredders Revenge!1:03:42 Game Boy Hosted on Acast. See acast.com/privacy for more information.

Nuff said! Enjoy! I also took a little bit about Miss Marvel at the very end in the beginning I talk about life a little bit and what's going on with my life and then at the very very end I also gave a little bit more commentary on art why and yeah enjoy --- Support this podcast: https://anchor.fm/edgardospodcast/support

This week we look at how Lightyear is doing at the box office, there's a new Hallmark queen, Miss Marvel and Iron Chef reviews, and we go through our backlogs!

We did a sequel to jjjolf, and if we're being honest, our performance was pretty lackluster. Sometimes sequels just can't recapture the magic of the original. Who would have thought? We did manage to capture the magic of spontaneous sandwich creation though. Is that anything? Please let that be something.In this episode: New and Upcoming Movies and Shows (Blonde, Knives Out Sequel, Prey, and others), Miss Marvel, jjjolfListen to new episodes of Two Chunks And A Hunk every Monday and Tuesday, wherever you get your podcasts!Support this podcast at — https://redcircle.com/two-chunks-and-a-hunk/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

  Check us out on Patreon for your chance to support the show and exclusive content!!! https://www.patreon.com/Iheartgeekshow     You can find us on YouTube or wherever you get your podcast content and on all social media channels @iheartgeekshow   If you enjoy what you see please like/comment/subscribe to join our amazing Geek community.   Visit our website www.IHeartGeekShow.com       Do you wanna support us with virtually no hassle? Shop Amazon through this Link https://amzn.to/2VS4dbu         Visit our favorite charity, www.BroadwayHearts.org         And as always....Keep On Geekin On!!!   #entertainment #change #world #YourJourneyBeginsHere #IHeartGeekShow #KeepOnGeekingOn    

durée : 00:04:46 - La chronique de Frederick Sigrist - par : Frédérick Sigrist - Disney + vient de lancer sa nouvelle série Miss Marvel qui met en scène Kamala Khan, une super héroïne americano pakistanaise de confession musulmane.

Join us this week as we take a look at the newest character we've done yet, Kamala Khans Ms. Marvel. Come along as we see what makes her different from the others that have held the title.Check out our link tree for all of the places you can listen!https://linktr.ee/MoonBoundProductions

Coach couldn't contain his excitement so he jumped on and recorded his initial thoughts on the latest MCU show Miss Marvel. --- Support this podcast: https://anchor.fm/marvelstuffpodcast/support

Star Wars momentum barrels full-steam ahead on this week's episode of The Direct Podcast.Obi-Wan Kenobi dropped its third chapter and, well, wow. We break down everything that happened in this week's Star Wars installment and speculate where it could take the series moving forward. We double up on reviews as well, as we give you our initial impressions of the first two episodes of Ms. Marvel!Before that, we kick things off with the top news from Marvel, DC, and Star Wars. Disney+ Day is returning in September! Hawkeye could be getting a Season 2! Gotham Knights has released its first trailer!All that plus a wishlist of projects we want to see brought to the streaming screen.Thank you all for rocking with us. Be a friend and tell a friend about The Direct Podcast!Visit The Direct: https://thedirect.com/Follow Liam on Twitter: https://twitter.com/LiamTCrowleyFollow Matt on Twitter: https://twitter.com/mattroembkeTIMECODES1:54 - Scheduling Update4:02 - Ms. Marvel Spoiler-Free Review12:08 - Sizzle Reel14:38 - Gotham Knights Trailer Thoughts19:56 - Disney+ Day Predictions29:14 - Hawkeye Season 2?36:53 - Obi-Wan Kenobi Ep3 Review1:37:41 - Top Gun: Maverick Praise

This week, Bill and I had a frank and explicit discussion about important issues of the day, including:Egyptian Moon KnightSecrets of She-HulkUnsupportive Superhero parentsMiss Marvel's lack of stretchinessBill runs a Miss Marvel focus groupBill and Ryan have no pull at DisneyMiss a little, miss a lot!

THIS EPISODE CONTAINS SPOILERS FOR MULTIPLE MARVEL MOVIES INCLUDING BUT NOT LIMITED TO: ENDGAME, INFINITY WAR, DOCTOR STRANGE MULTIVERSE OF MADNESS AND NO WAY HOME. Hey, this is the 10th episode of Beyond Stressed and I'm going to talk about Doctor Strange and the Multiverse of Madness and the trailer for Miss Marvel. My brother joined me for this episode as well. Take a peek around our website at sites.google.com/view/beyondstressed/home Click the follow button on Spotify and subscribe on Apple Podcast and Google Podcasts. Have a great day and stay safe! --- Send in a voice message: https://anchor.fm/lorelei-is-stressed9/message

This week, Bill McCormick and I discuss boring Morbius, Moon Knight's gift Shop, a Professor X/Magneto buddy comedy, more Miss Marvel, and the Goldfish Effect.  Plus: A box full of kittens!

Welcome to the show! This week we discuss the trailers for Miss Marvel and The Boys season 3. We give you our 5 favorite and 5 least favorite time travel movies. Then our main topic: The Adam Project For everything Fans on Patrol go to Fansonpatrol.com Reach us directly at fans@fansonpatrol.com or on  twitter, facebook and Instagram, @fansonpatrol. Listen to us on now on Amazon Music, Apple Podcasts, iHeartRadio, Pandora Google Podcast, Spotify, Podbean and subscribe to us on Patreon for extra content and on YouTube.