Podcasts about moving image acmi

This week we feature part two of our Last Seen conversations as Sam catches up with UN youth advocate, entrepreneur and public speaker Santiago Velasquez, who joins the show along with artist Kathleen O'Hagan who worked together with Santiago to bring his most cherished visual memories to life. We also celebrate Audio Description Awareness Day which is coming up on April 16, as Vision Australia audio description manager Michael Ward joins the show to chat about a new partnership with the Australian Centre for the Moving Image (ACMI) in Melbourne, and fills us in on the latest offerings from the world of audio description.Support this Vision Australia Radio program: https://www.visionaustralia.org/donate?src=radio&type=0&_ga=2.182040610.46191917.1644183916-1718358749.1627963141See omnystudio.com/listener for privacy information.

Have you ever walked through an epic entanglement of red cotton thread, by the artist Chiharu Shiota? The Japanese installation and performance artist takes Daniel through The Soul Trembles, an exhibition highlighting 25 years of her practice. Including the time she undertook a nude workshop with Marina Abramovic, mistaking her for the textile sculptor Magdalena Abakanowitcz. Plus, Daniel speaks with performance artist Wura-Natasha Ogunji, who came to Sydney to lead a public endurance performance in which a group of women haul water kegs through the streets. It was first performed in Lagos, Nigeria in 2011. From the sky, to the moon and the neon of electric globes, light is art's most essential element. Tate UK has a huge collection of works that speak to the evolution of light, from natural source to fluorescent tubes. More than 70 of them are on show at the Australian Centre for the Moving Image (ACMI).

Have you ever walked through an epic entanglement of red cotton thread, by the artist Chiharu Shiota? The Japanese installation and performance artist takes Daniel through The Soul Trembles, an exhibition highlighting 25 years of her practice. Including the time she undertook a nude workshop with Marina Abramovic, mistaking her for the textile sculptor Magdalena Abakanowitcz. Plus, Daniel speaks with performance artist Wura-Natasha Ogunji, who came to Sydney to lead a public endurance performance in which a group of women haul water kegs through the streets. It was first performed in Lagos, Nigeria in 2011. From the sky, to the moon and the neon of electric globes, light is art's most essential element. Tate UK has a huge collection of works that speak to the evolution of light, from natural source to fluorescent tubes. More than 70 of them are on show at the Australian Centre for the Moving Image (ACMI).

Have you ever walked through an epic entanglement of red cotton thread, by the artist Chiharu Shiota? The Japanese installation and performance artist takes Daniel through The Soul Trembles, an exhibition highlighting 25 years of her practice. Including the time she undertook a nude workshop with Marina Abramovic, mistaking her for the textile sculptor Magdalena Abakanowitcz. Plus, Daniel speaks with performance artist Wura-Natasha Ogunji, who came to Sydney to lead a public endurance performance in which a group of women haul water kegs through the streets. It was first performed in Lagos, Nigeria in 2011.From the sky, to the moon and the neon of electric globes, light is art's most essential element. Tate UK has a huge collection of works that speak to the evolution of light, from natural source to fluorescent tubes. More than 70 of them are on show at the Australian Centre for the Moving Image (ACMI).

Have you ever walked through an epic entanglement of red cotton thread, by the artist Chiharu Shiota? The Japanese installation and performance artist takes Daniel through The Soul Trembles, an exhibition highlighting 25 years of her practice. Including the time she undertook a nude workshop with Marina Abramovic, mistaking her for the textile sculptor Magdalena Abakanowitcz. Plus, Daniel speaks with performance artist Wura-Natasha Ogunji, who came to Sydney to lead a public endurance performance in which a group of women haul water kegs through the streets. It was first performed in Lagos, Nigeria in 2011. From the sky, to the moon and the neon of electric globes, light is art's most essential element. Tate UK has a huge collection of works that speak to the evolution of light, from natural source to fluorescent tubes. More than 70 of them are on show at the Australian Centre for the Moving Image (ACMI).

Seb Chan, Chief Experience Officer at the Australian Centre for the Moving Image (ACMI) discusses the evolution of how we think about visitor experience in experiential spaces, going beyond traditional engagement to cross creative and infrastructural elements. Seb covers ACMI's redevelopment, a unique approach to staff restructure, establishing the museum as a platform and its technologies including the Experience Operating System (xOS) and the Lens: the ingredients which set the ACMI team to make the most of a terrible opportunity in coping with the pandemic. Show notes: For more on the Lens, visit https://www.acmi.net.au/lens/ A pavlova recipe courtesy of Seb's Mum https://www.sebchan.com/never-fail-new-zealand-pavlova-recipe/

In the creative sector, the most visible marker of power can be seen by who occupies positions of leadership, who is on the boards, who judges the awards and runs the company? Who hires? Who dispenses funds? Who signs off on the program or decides what work gets made? Speakers on arts leadership as part of the “Take it from the Top” panel at the Fair Play Symposium in Melbourne - hosted by Diversity Arts Australia.Panelists include: Jodie Sizer, Co-CEO of Price Waterhouse Coopers Indigenous Consulting; Jeremy Smith, Director of Community, Emerging & Experimental Arts at the Australia Council for the Arts; Koraly Dimitriadis Cypriot-Australian poet, writer, actor and performer; Jane Crawley, Director, Arts Investment, Creative Victoria; Michael Williams, former Director of the Wheeler Centre; Katrina Segdewick, CEO of the Australian Centre for the Moving Image (ACMI) and Professor James Arvanitakis, former Chair of Diversity Arts Australia and pro Vice Chancellor of Western Sydney University.

This week the Sensilab CreativeAI podcast goes live at the Monash School of Film, Media and Journalism's Creative Directions festival! Hosted by SensiLab Engagement coordinator, Lizzie Crouch, join podcast regulars Jon and Nina in conversation with Seb Chan, CXO at the Australian Centre for the Moving Image (ACMI) in Melbourne. The panel discuss the impact and implications of AI for the cultural and museum sector.

With Melbourne’s third Series Mania festival imminent, Tom Parry spoke with Kristy Matheson, from the Australian Centre for the Moving Image (ACMI) about the history of the festival, the presence of Melissa Rosenberg (Marvel’s Jessica Jones) at this year’s event, the unprecedented growth of television, and the Australian content being premiered. Plus, Kristy provides an update on the renovations currently taking place at ACMI’s headquarters in Federation Square. Series Mania takes place on July 4th and 5th. For more information, head to ACMI’s official website. Segment produced by Tom Parry.

Wonderland, an exhibition featuring the timeless Alice in Wonderland, is now at the ArtScience Museum. Curator Jessica Bram, from the Australian Centre of the Moving Image (ACMI), explains the concept.

Australia and India are at a key moment in their relationship. Both countries will have elections this year. India is poised to become the third largest economy in the world, and there are opportunities for both countries in broader co-operation in areas such as security and research. A report released by Australia’s Ministry for Trade, Tourism and Investment judged that no single market over the next 20 years will offer more growth opportunities for Australia than India. Despite much in common there are still cool reactions in some quarters. Resistance to investment from the Indian conglomerate, Adani Group, for the proposed Carmichael coal mine, in Queensland, is the latest episode in a history of faltering engagement. How can Australia and India develop closer ties to their mutual benefit? Panelists: Professor Ian Hall (International Relations, Griffith University) Dr Ruth Gamble (David Myers Research Fellow, La Trobe University) Mr Shabbir Wahid (Director at VFS Global Services) Moderator: Ms Ali Moore (Journalist and Vice-Chancellor's Fellow, The University of Melbourne) A La Trobe Asia event in partnership with Asialink. This event was held on the 19th March 2019 at the Australian Centre for the Moving Image (ACMI), Melbourne.

Seb Chan is Chief Experience Officer at the Australian Centre for the Moving Image (ACMI) in Melbourne, a museum that over 1.5M people visit every year. Seb has also led digital efforts at the Powerhouse Museum in Sydney and the Cooper Hewitt Smithsonian Design Museum in New York and is one of the world's most renowned experts on getting museums to open up - to get their collections online, to get people using the museums in new ways. And he was a well-respected DJ, radio host, zine maker, music and video game writer, and we hosted radio shows back to back for five years. We discuss: - The early years of museums getting onto the Internet - How an IT guy ends up a Digital Head - What is a museum? How have museums changed? - What is the business model of a museum? - The metrics that matter to museums - Career paths one just... falls into You can find Seb in many corners of the Internet, especially http://www.twitter.com/sebchan For more Internet: http://www.twitter.com/markpollard http://www.instagram.com/markpollard http://www.sweathead.co

Film Director Kosai Sekine's debut feature film, "Love At Least" was screened as part of Japanese Film Festival 2018 on 24th November at Australian Centre for Moving Image (ACMI) in Melbourne. Kosai was invited specifically to this screening in Melbourne and held Q&A afterwards. - 関根光才脚本・監督の初の長編映画「生きてるだけで、愛」が、日本映画祭2018で上映されました。関根監督は今回メルボルンに招かれ、11月24日、Australian Centre for Moving Image(ACMI) でQ&Aセッションを行いました。

This event included a screening of works by Melbourne-based Mexican artist Diego Ramirez followed by a conversation between Ramirez and Anabelle Lacroix, ACCA’s Curator of Public Programs at the Australian Centre for the Moving Image (ACMI) at Federation Square, Melbourne. The screening included My superstar (2015), aXolotl’s Happiness (2014) and Postcard eXotica (2016). This event is presented in partnership the Australian Centre for the Moving Image as part of their ART+FILM program, as a parallel program to ACCA’s exhibition Dwelling Poetically: Mexico, a case study. ABOUT DIEGO RAMIREZ: Diego Ramirez is a Mexican-born, Melbourne-based multidisciplinary artist and writer, working primarily with video and pictures to develop installations for gallery contexts. His research based practise explores the legacies of colonialism in visual culture; the rhetoric of the image and concept of terror as a response to the ‘other’. Ramirez Often seeks to reconfigure vernacular archives and popular images that embody these themes. Ramirez completed a Bachelor of Fine Art at RMIT University and an Honours Degree of Fine Art at Monash University. He has held solo exhibitions at MARS Gallery; The Substation; Seventh Gallery and the Perth Institute for Contemporary Art. In addition, his work has been included in group exhibitions at Art Central, Hong King; 17th Media Art Biennale WRO, Wroclaw; Torrance Art Museum, Los Angles and the Hong-Gah Museum, Taipei. In 2016, he was awarded a City of Melbourne Arts Grant for Postcard eXotica. Ramirez is currently represented by MARS Gallery, Melbourne. Recorded on Monday 7 May 2018

This Must Be The Place In this installment of This Must Be the Place Elizabeth and David give a post-film review, along with Rebecca Clements (and also a bit of help from Trent and Casper), of the Jane Jacobs documentary “Citizen Jane: Battle for the City”. As is discussed, the film features a fantastic variety of archival footage and also has very high production values. It tells the iconic mid-20th century story of battles over freeways, slum clearances, high rise housing towers, the ‘cancer’ analogy that propelled urban renewal projects, and the frontlines between grassroots activism and top-down planning orthodoxy more broadly. Perhaps for planners there isn’t so much to learn from the film – Elizabeth and David to this end use the word “undergraduate” in the same sniffy way that chilled Elizabeth long ago (hearing Virigina Woolf describing James Joyce’s Ulysses, and wondering how hard someone would have to work to be so far up themselves). But there are several interesting insights into Jacobs’ background as a journalist, and it’s also worth revisiting her ideas afresh rather than tending to rely on what these ideas have been distilled into over the ensuing decades. The film celebrates – sometimes with a heavy, sappy hand – the inherent value of people and community, and makes a strong case for political engagement. To quote Jacobs, “I think it’s wicked, in a way, to be a victim” Also discussed in the review: pre-war Robert Moses as ‘bully for the people’; issues with looking at public and high-rise houses only from the outside; OTT choices of music; the Pruitt Igoe myth; gentrification (not, notably, discussed in the film); differences between preservation and life; Jacob’s glasses (I think – well we should have); and the challenge of accommodating nuance in a film while still making it compelling. Also some other stuff – part of which is set to the slightly distracting “ears on the street” soundtrack of Federation Square of a Friday evening. “Citizen Jane” was shown at Australian Centre for the Moving Image (ACMI) in Melbourne. It’s great to watch and also an excellent curiosity builder for a general audience. And if you’re a planner, you’ll no doubt see several people you know in the audience.

Wallace & Gromit and Friends and their talented creators have just arrived at the Australian Centre for the Moving Image (ACMI) to celebrate the 40th anniversary of Aardman Animations. Running until October 29 this latest of the Melbourne Winter Masterpieces is a virtually exhaustive exhibition of the company's entire body of work, including their next feature film, Early Man, coming out early next year. Visiting Aardman founders and co-curators, Peter Lord and David Sproxton, working very closely with ACMI head curator Fiona Trigg and the Art Ludique museum in Paris, have delivered a generous serving of early sketches, concept art, original models, plasticine sets and, of course, the plasticine characters themselves! I was fortunate enough to hear Peter and David's brilliant introduction to the exhibition and to chat to Fiona about what it was like to put it all together. All the favourites are there of course: there’s plenty to see of the famous bumbling inventor and his long-suffering dog, some very cute scenes from Shaun the Sheep and a few memorable set pieces from Chicken Run, but many visitors are likely to be surprised by just how many “friends” Wallace & Gromit actually have at Aardman, a company who also did scores of other shorts, commercials, music videos, and even other features films that never got quite as much attention as their first two. It’s easy to forget that their first Academy Award was for Nick Park’s Creature Comforts, the delightful zoo mockumentary that actually beat A Grand Day Out for Best Animated Short in 1989. Just as they’ve been making children’s films that adults can also get into, they’ve also produced some more adult-oriented works that kids are still drawn to because of the animation. As Fiona said during the launch of the exhibition, Claymation has a particular playful and tactile feel to it, a warmth that comes from its refreshing simplicity. Its animators basically get to play around with their favourite toys in front of a camera and make their little creations feel as real to the audience as they to do them. At the media preview I attended, I was very happy, but not really surprised, to see the adults having just as much fun as the tiny kids who also got to go. The wide-eyed children were thrilled to see things like Wallace's vegetable garden, the flying machine from Chicken Run and the massive pirate ship in the back room, right there in the flesh, while the adults were marvelling at the witty details the Aardman animators sneak into these worlds they create. I suppose that Aardman, like Disney, is usually associated with light, cheerful family entertainment, mostly because their animation style is colourful, quirky and humorous, the characters are likeable and most of their films have happy endings. For adults, this might be the overall impression, but certainly for a child these films really make you work for those moments of happiness. Many of their iconic darker scenes feature in the exhibition as well, including the chicken pie machine, Gromit's heartbreaking night in jail, and of course, Feathers McGraw, the evil penguin from A Close Shave.   It was also great to see some of the best comic characters from Curse of the Were-Rabbit, the CGI-animated Flushed Away and their most recent feature, ThePirates! Band of Misfits, who’ve been voiced by such British stars as Hugh Grant and Kate Winslet, actors that any directors would be thrilled to work with, although it looks like they were even more excited to be lending their voices to such classic stories and characters. Wallace & Gromit and Friends is a wondrous exploration of all of Aardman’s many creations and the breadth of talent behind them, bringing its visitors into the worlds of the fan favourites, introducing them to some of their more obscure works and getting them extra excited for the next adventure.   By Christian Tsoutsouvas

Wallace & Gromit and Friends and their talented creators have just arrived at the Australian Centre for the Moving Image (ACMI) to celebrate the 40th anniversary of Aardman Animations. Running until October 29 this latest of the Melbourne Winter Masterpieces is a virtually exhaustive exhibition of the company's entire body of work, including their next feature film, Early Man, coming out early next year. Visiting Aardman founders and co-curators, Peter Lord and David Sproxton, working very closely with ACMI head curator Fiona Trigg and the Art Ludique museum in Paris, have delivered a generous serving of early sketches, concept art, original models, plasticine sets and, of course, the plasticine characters themselves! I was fortunate enough to hear Peter and David's brilliant introduction to the exhibition and to chat to Fiona about what it was like to put it all together. All the favourites are there of course: there’s plenty to see of the famous bumbling inventor and his long-suffering dog, some very cute scenes from Shaun the Sheep and a few memorable set pieces from Chicken Run, but many visitors are likely to be surprised by just how many “friends” Wallace & Gromit actually have at Aardman, a company who also did scores of other shorts, commercials, music videos, and even other features films that never got quite as much attention as their first two. It’s easy to forget that their first Academy Award was for Nick Park’s Creature Comforts, the delightful zoo mockumentary that actually beat A Grand Day Out for Best Animated Short in 1989. Just as they’ve been making children’s films that adults can also get into, they’ve also produced some more adult-oriented works that kids are still drawn to because of the animation. As Fiona said during the launch of the exhibition, Claymation has a particular playful and tactile feel to it, a warmth that comes from its refreshing simplicity. Its animators basically get to play around with their favourite toys in front of a camera and make their little creations feel as real to the audience as they to do them. At the media preview I attended, I was very happy, but not really surprised, to see the adults having just as much fun as the tiny kids who also got to go. The wide-eyed children were thrilled to see things like Wallace's vegetable garden, the flying machine from Chicken Run and the massive pirate ship in the back room, right there in the flesh, while the adults were marvelling at the witty details the Aardman animators sneak into these worlds they create. I suppose that Aardman, like Disney, is usually associated with light, cheerful family entertainment, mostly because their animation style is colourful, quirky and humorous, the characters are likeable and most of their films have happy endings. For adults, this might be the overall impression, but certainly for a child these films really make you work for those moments of happiness. Many of their iconic darker scenes feature in the exhibition as well, including the chicken pie machine, Gromit's heartbreaking night in jail, and of course, Feathers McGraw, the evil penguin from A Close Shave. It was also great to see some of the best comic characters from Curse of the Were-Rabbit, the CGI-animated Flushed Away and their most recent feature, The Pirates! Band of Misfits, who’ve been voiced by such British stars as Hugh Grant and Kate Winslet, actors that any directors would be thrilled to work with, although it looks like they were even more excited to be lending their voices to such classic stories and characters. Wallace & Gromit and Friends is a wondrous exploration of all of Aardman’s many creations and the breadth of talent behind them, bringing its visitors into the worlds of the fan favourites, introducing them to some of their more obscure works and getting them extra excited for the next adventure. By Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

Superheroes are pervasive in popular culture. As one of our core folkloric traditions, these costume-clad characters have become a means to negotiate and articulate collective and individual identities, past and present. Amongst a multiplicity of cultural and communicational functions, superhero identities can symbolise a nation, sustain on-line  communities that use cosplay to challenge gender roles, and bring people together for special events under the banner of a specific caped crusader.In early December, 2016, the Australian Centre for the Moving Image (ACMI) in Melbourne, in conjunction with the Superheroes and Me research project, held a two day symposium to explore "Superhero Identities". This week, Communication Mixdown spoke to Liam Burke (Swinburne University of Technology) and Angela Ndalianis (University of Melbourne), two of the symposium's key organizers. 

Australia's largest and longest-running queer film festival, MQFF presents more than 100 films from across the world, showcasing the best in LGBTI features, shorts and documentaries over 12 days each March at Melbourne's world-class Australian Centre for the Moving Image (ACMI) located in Federation Square. Executive Director Dillan Golightly joins Adam and Tex in the studio to discuss the festival's history and what we can expect to see this year.

It's episode eleven of ONE HEAT MINUTE, the podcast examining Michael Mann's 1995 crime opus HEAT, one minute at a time.  It takes an all-star crew and the efficiency of Bill Belichick & Tom Brady to unpack the perfect execution of Neil McCauley and his team. Host Blake Howard is joined by the Guardian and The Daily Review's Luke Buckmaster, Geek of Oz's Stu Coote and Dark Horizon's Garth Franklin to talk professionalism, action geography and face massage.   GUEST BIOLuke Buckmaster is a writer, film and TV critic and public speaker.He is currently writer and film critic for The Guardian Australia, writer and film critic for Daily Review and a contributor to publications such as BBC online and the website of the Australian Centre of the Moving Image (ACMI). Luke has contributed to a wide range of other publications including VICE, The Age, The Sydney Morning Herald, Senses of Cinema, Arts Hub, Screen Hub, Filmink and The Big Issue. Luke has lectured about cinema for LaTrobe University and in 2010 won an Australian Film Critics Association writing award for his review of I'm Still Here. In 2014 and 2015 he presented digital literacy workshops on the topic of film and TV in social media for the Australian Broadcasting Corporation.  Find him on Twitter here.Garth Franklin - Editor-in-Chief, Darkhorizons.comOne of the very first online entertainment journalists, Sydney-based Garth Franklin has clocked up more hours, stories and experience in this field than the entire staff of various other sites combined. Respected and well-regarded amongst his peers, Franklin created and designed the very first Dark Horizons® incarnation on geocities.com back in April 1996 and has steered it through at least four major re-designs, two recessions, hundreds of interviews, thousands of screenings, and tens of thousands of articles. Garth's work over the past nearly twenty years has taken him all over the globe to places like Auckland, Albuquerque, Atlanta, Bangkok, Baton Rouge, Berlin, Calgary, Chicago, Dallas, Edmonton, Harare, Hwange, Honolulu, Istanbul, Johannesburg, Las Vegas, London, Los Angeles, Melbourne, Nadi, Naples, New York City, Paris, Perth, Prague, Rome, Rotorua, San Diego, San Francisco, Siem Reap, Singapore, Surfer's Paradise, Suva, Toronto, Vancouver, Venice and Wellington. He has regular consulted with and/or worked alongside publicists, managers, producers, studio VPs, agents, filmmakers and celebrities in the US, UK, Europe and Australia. Franklin, who is also a 'Top Critic' on Rotten Tomatoes and member of the Australian Film Critics Association, has also contributed columns for several outlets including Empire Magazine Australia, Cinescape Magazine and AOL, served as a film critic on both Foxtel's Channel V and ABC Radio 702 with Angela Catterns, contributed content or towards pieces for numerous outlets ranging from IGN to USA Today to the U.S. Armed Forces Radio and Television Service, and guested on several podcasts including The Leaky Cauldron, Smodcast's Team Jack, Pod Save Our Screen and Hell is for Hyphenates.Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations

The opening heist to end all opening heists is finally over. It's the fourteenth episode of ONE HEAT MINUTE, the podcast examining Michael Mann's 1995 crime epic HEAT minute by minute. Host Blake Howard, the Guardian and The Daily Review's Luke Buckmaster, Geek of Oz and The Sinner Files' Stu Coote and Dark Horizon's Garth Franklin cast themselves as characters from McCauley's crew, asking about how the 'Console T.V Man' gets his power, and the criminal code of honour.  GUEST BIOSTU COOTEFilm Critic at Geek of Oz and Co-Host of The Sinner Files podcast. LUKE BUCKMASTER IS A WRITER, FILM AND TV CRITIC AND PUBLIC SPEAKER.He is currently writer and film critic for The Guardian Australia, writer and film critic for Daily Review and a contributor to publications such as BBC online and the website of the Australian Centre of the Moving Image (ACMI). Luke has contributed to a wide range of other publications including VICE, The Age, The Sydney Morning Herald, Senses of Cinema, Arts Hub, Screen Hub, Filmink and The Big Issue. Luke has lectured about cinema for LaTrobe University and in 2010 won an Australian Film Critics Association writing award for his review of I'm Still Here. In 2014 and 2015 he presented digital literacy workshops on the topic of film and TV in social media for the Australian Broadcasting Corporation.  Find him on Twitter here.GARTH FRANKLIN - EDITOR-IN-CHIEF, DARKHORIZONS.COMOne of the very first online entertainment journalists, Sydney-based Garth Franklin has clocked up more hours, stories and experience in this field than the entire staff of various other sites combined. Respected and well-regarded amongst his peers, Franklin created and designed the very first Dark Horizons® incarnation on geocities.com back in April 1996 and has steered it through at least four major re-designs, two recessions, hundreds of interviews, thousands of screenings, and tens of thousands of articles. Garth's work over the past nearly twenty years has taken him all over the globe to places like Auckland, Albuquerque, Atlanta, Bangkok, Baton Rouge, Berlin, Calgary, Chicago, Dallas, Edmonton, Harare, Hwange, Honolulu, Istanbul, Johannesburg, Las Vegas, London, Los Angeles, Melbourne, Nadi, Naples, New York City, Paris, Perth, Prague, Rome, Rotorua, San Diego, San Francisco, Siem Reap, Singapore, Surfer's Paradise, Suva, Toronto, Vancouver, Venice and Wellington. He has regular consulted with and/or worked alongside publicists, managers, producers, studio VPs, agents, filmmakers and celebrities in the US, UK, Europe and Australia. Franklin, who is also a 'Top Critic' on Rotten Tomatoes and member of the Australian Film Critics Association, has also contributed columns for several outlets including Empire Magazine Australia, Cinescape Magazine and AOL, served as a film critic on both Foxtel's Channel V and ABC Radio 702 with Angela Catterns, contributed content or towards pieces for numerous outlets ranging from IGN to USA Today to the U.S. Armed Forces Radio and Television Service, and guested on several podcasts including The Leaky Cauldron, Smodcast's Team Jack, Pod Save Our Screen and Hell is for Hyphenates.Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations

ONE HEAT MINUTE is the podcast examining Michael Mann’s 1995 crime opus HEAT minute by minute. In this bonus episode of ONE HEAT MINUTE we bring back the original three guests of the show - Luke Buckmaster, Garth Franklin and Stu Coote - to discuss the minutes they’d wished they’d been able to talk about. We discuss Captain Hydration, the ever-present hazards of walking your doggie, and the sit down at Kate Mantilini’s for a second helping of the centrepiece scene of the film (in its entirety).GUEST BIOSLUKE BUCKMASTER IS A WRITER, FILM AND TV CRITIC AND PUBLIC SPEAKER.He is currently writer and film critic for The Guardian Australia, writer and film critic for Daily Review and a contributor to publications such as BBC online and the website of the Australian Centre of the Moving Image (ACMI). Luke has contributed to a wide range of other publications including VICE, The Age, The Sydney Morning Herald, Senses of Cinema, Arts Hub, Screen Hub, Filmink and The Big Issue. Luke has lectured about cinema for LaTrobe University and in 2010 won an Australian Film Critics Association writing award for his review of I’m Still Here. In 2014 and 2015 he presented digital literacy workshops on the topic of film and TV in social media for the Australian Broadcasting Corporation.Find him on Twitter here.GARTH FRANKLIN - EDITOR-IN-CHIEF, DARKHORIZONS.COMOne of the very first online entertainment journalists, Sydney-based Garth Franklin has clocked up more hours, stories and experience in this field than the entire staff of various other sites combined. Respected and well-regarded amongst his peers, Franklin created and designed the very first Dark Horizons® incarnation on geocities.com back in April 1996 and has steered it through at least four major re-designs, two recessions, hundreds of interviews, thousands of screenings, and tens of thousands of articles.Garth’s work over the past nearly twenty years has taken him all over the globe to places like Auckland, Albuquerque, Atlanta, Bangkok, Baton Rouge, Berlin, Calgary, Chicago, Dallas, Edmonton, Harare, Hwange, Honolulu, Istanbul, Johannesburg, Las Vegas, London, Los Angeles, Melbourne, Nadi, Naples, New York City, Paris, Perth, Prague, Rome, Rotorua, San Diego, San Francisco, Siem Reap, Singapore, Surfer’s Paradise, Suva, Toronto, Vancouver, Venice and Wellington. He has regular consulted with and/or worked alongside publicists, managers, producers, studio VPs, agents, filmmakers and celebrities in the US, UK, Europe and Australia.Franklin, who is also a ‘Top Critic’ on Rotten Tomatoes and member of the Australian Film Critics Association, has also contributed columns for several outlets including Empire Magazine Australia, Cinescape Magazine and AOL, served as a film critic on both Foxtel’s Channel V and ABC Radio 702 with Angela Catterns, contributed content or towards pieces for numerous outlets ranging from IGN to USA Today to the U.S. Armed Forces Radio and Television Service, and guested on several podcasts including The Leaky Cauldron, Smodcast’s Team Jack, Pod Save Our Screen and Hell is for Hyphenates.STU COOTEStu is the self-professed primary leg of The Sinner Files Podcast tripod, confessing cinematic sins twice a week with co-hosts Liam and Josh. He is also primary film geek occasionally writing, but mostly podcasting on Australian Geek site Geek Of Oz.Film Critic at Geek of Oz and Co-Host of The Sinner Files podcast. Follow Stu on Twitter here: @stu_watches Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations