Podcast appearances and mentions of nick dawson

On the latest episode of the Talkhouse Podcast's spin-off series, host Nick Dawson sits down with iconic actress Lili Taylor, who just published her first book, Turning to Birds, a series of thoughtful, beautifully written and deeply human essays about her consuming passion for birdwatching. In an engrossing conversation, the two discuss how recovery and birding intersect, her love of naps, how nature has shifted her relationship to death, Nick getting barked at by a coyote in the Bronx, braving the acting version of the bends after finishing a role, her amazing way of releasing resentment, facing the unknown, how she's finding resilience and playing the long game as this country plunges into crisis, and much more. For more filmmakers talking film and TV, visit Talkhouse at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast.

On the latest episode of this new Talkhouse Podcast spin-off series, host Nick Dawson sits down with visionary writer-director Michel Gondry, whose delightful new film, Maya, Give Me a Title – a hand-drawn 60-minute feature he originally made just for his young daughter – is currently on the festival circuit. In a wide-ranging conversation, the two talk about childhood, him learning a sense of play from cats, the pivotal moment when he decided to work only on his own terms, taking David Lynch's advice for his 2015 movie Microbe and Gasoline, watching that same movie alone a plane, why people's fixation on the Bermuda Triangle is nonsense, and much more. For more filmmakers talking film and TV, visit Talkhouse at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. Find more illuminating podcasts on the Talkhouse Podcast Network. Visit talkhouse.com to read essays, reviews, and more. Follow @talkhouse on Instagram, Bluesky, Twitter (X), Threads, and Facebook.

I hope you've been enjoying the last few weeks of the Talkhouse feed as we've been throwing some new shows your way. If you haven't checked out Summer Album/Winter Album yet, please do, and look out for new episodes of Nobody's Ever Asked Me That, featuring my esteemed colleague Nick Dawson, in the coming months, too. Today's episode of the Talkhouse Podcast features a pair of incredible songwriters in a lovely chat about the thing they love to do the most: make music. We've got Benmont Tench and Taylor Goldsmith. Tench, in case you don't recognize the name, is a founding member of Tom Petty & The Heartbreakers, and a guy who helped shape rock music for decades with the distinctive sound and feel of his piano, organ, and much more. Tench made music with Petty from the time they were 11 years old until Petty's death in 2017, but he's also contributed to songs and albums by a dizzying array of other artists, too, from Roy Orbison to Fiona Apple to U2. As you'll hear in this conversation, Tench is always playing music because he loves it so damn much. He recently released his second-ever solo album, The Melancholy Season, and it includes some playing from his friend Taylor Goldsmith. Check out the title track from The Melancholy Season right here. Goldsmith is best known as the singer of the band Dawes, whose Laurel Canyon-inspired folk-rock has been caressing our ears for the past 15 years or so. Dawes has gone through some personnel changes in the past couple of years, paring back to Goldsmith and his brother Griffin and releasing a new album, the fittingly titled Oh Brother just last year. Both Goldsmith brothers were hit hard by the Los Angeles fires, losing their homes and the majority of their beloved instruments. But Goldsmith, as you'll hear, is taking it in stride. In this conversation, Tench and Goldsmith talk about, again, their love of music: Tench even recalls telling his daughter that he loves her more than he loves music—the highest compliment he can pay. Both of these guys are pretty recent fathers, too, which comes up. And of course they can't get around talking about the genius of Tom Petty—and the accidental genius of Heartbreakers' guitarist Mike Campbell's shirt. Listen and you'll understand. Enjoy. Chapters: 0:00 – Intro 2:24 – Start of the chat Thanks for listening to the Talkhouse Podcast and thanks to Benmont Tench and Taylor Goldsmith for chatting. If you liked what you heard, check out all the great stuff at Talkhouse.com and in the Talkhouse Podcast Network. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by The Range. See you next time! Find more illuminating podcasts on the Talkhouse Podcast Network. Visit talkhouse.com to read essays, reviews, and more. Follow @talkhouse on Instagram, Bluesky, Twitter (X), Threads, and Facebook.

On the latest episode of this new Talkhouse Podcast spin-off series, host Nick Dawson sits down with veteran actor, director, producer and writer Griffin Dunne, who is currently starring in the family drama Ex-Husbands. Deviating from the usual, well-trodden interview path, the two talk about uncertainty, mortality, the complex nature of grief, driving cross country at times of great change, that time Griffin scared the living daylights out of Neil Simon, Nick's idea for a secret eighth day of the week, how Chekhov changed the course of Dunne's life and career, and much more. For more filmmakers talking film and TV, visit Talkhouse at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. Find more illuminating podcasts on the Talkhouse Podcast Network. Visit talkhouse.com to read essays, reviews, and more. Follow @talkhouse on Instagram, Bluesky, Twitter (X), Threads, and Facebook.

In this new spin-off series of the Talkhouse Podcast, host Nick Dawson introduces a new conversation format by setting out to ask questions that his guests have never been asked before in an interview. On the inaugural episode, he talks with Vera Drew, the writer-director-editor-star of The People's Joker, one of the most acclaimed and talked-about films of 2024. In this wide-ranging chat, Vera and Nick talk about dreams, shoplifting, addiction, recovery, first love, self-love, self-care, polyamory, anxiety … as well as horny audiences, toxic yoga instructors and idyllic meetings with Elijah Wood and Lilly Wachowski. For more filmmakers talking film and TV, visit Talkhouse at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. Find more illuminating podcasts on the Talkhouse Podcast Network. Visit talkhouse.com to read essays, reviews, and more. Follow @talkhouse on Instagram, Bluesky, Twitter (X), Threads, and Facebook.

Chatting with Nick and talking music, wrestling and goals for 2024

This week on the blog, a podcast interview with filmmaker Amy Scott, discussing her terrific documentary, “Hal,” which takes a deep dive into the life and films of director Hal Ashby (“Harold and Maude,” “Being There,” Coming Home,” “Shampoo”). LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6 Fast, Cheap Film Website: https://www.fastcheapfilm.com/ Amy Scott Website: https://www.amyelizabethscott.com/ “Hal” Documentary website: https://hal.oscilloscope.net/ “Hal” Trailer: https://youtu.be/GBGfKan2qAg “Harold and Maude Two-Year Anniversary” Documentary: https://youtu.be/unRuCOECvZM Eli Marks Website: https://www.elimarksmysteries.com/ Albert's Bridge Books Website: https://www.albertsbridgebooks.com/ YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastAmy Scott Transcript First, I want to say thank you for making the movie and thank you for making such a great movie because he totally deserved it. I would always wonder why of all the directors of the 70s and 80s, he was never really heralded the way he should have been. I think part of it has to do with that he had no discernible style. So, you couldn't really pick him for something. But before we dive into that, tell me a little bit about your background before you made Hal?Amy Scott: Well, I'm from Oklahoma. I moved to Chicago, out of college and in college, we studied a lot of, I had a great professor at ODU at the University of Oklahoma. I don't think he's there anymore. But he really hipped us to the coolest documentaries. I had no idea that you could be a documentary filmmaker, like from Chris Marker to the 7-Up series to Hands on a Hard Body. It was just a really great, great, well-rounded Film and Media Program. Anyway, I moved to Chicago. I wanted to be a director and a DP, but I fell down, I had gotten a job at the University of Chicago. I think I faked my way into it. I was supposed to start on a Monday, and I fell on the ice and broke my arm on a Friday. So I was like, “I can't shoot. I can't film. I can't use my arm to film and hold the camera. I need to learn how to edit. So I learned how to edit with my right hand, and I loved it. And then I just did that for like 10 years. Well, I mean, I still do it. But it was like this accidental career path.You're an accidental editor.Amy Scott: An accidental editor. That became something that later, I just valued as such an important skill set. I use it now. I have wonderful editors that I work with. But we speak the same language. And I think with the story structure, that you have an eye for things in the edit bay and now it really, really helps my ability to break down a three-act structure or figure out where the narrative arc is, and things like that. I think would have taken me a lot longer, had I not fallen and broken my arm.It was sort of a similar path for Hal Ashby, starting in editing.Amy Scott: Totally. I loved his films and then when I read Nick Dawson's book, and I started to learn more about him, I really, really connected with him. Because of things that he would say about filmmaking and editing and being in the edit bay and being obsessed with every frame. I felt like, being seen and heard. Like, “Oh, this is how I feel about it, too. I don't feel like such a freak of nature, and lots of people feel this way.” I really connected with Hal and he didn't make The Landlord I believe until he was 40 years old. He was up there. Amy Scott: Yeah, up there. For a first-time filmmaker, that's a late start.Amy Scott: And that was about the same age that I made the Hal movie. What was your first experience with a Hal Ashby movie?Amy Scott: The first film that I saw that I can remember was with my friend Jason in college. I was watching Truffaut and Cassavetes and so I thought that I had a very well-rounded understanding of the new Hollywood. And my friend Jason said, “Have you ever seen Harold and Maude?” I had no idea what he was talking about. He was a couple years older, and he was like, “Oh, honey, you're gonna skip school today. We're gonna watch it.” And I swear to God, we watched it. I couldn't believe what it was. I couldn't believe I'd never seen it. It somehow gone past me. As soon as it was over, I was like, “Stop. Start it again.” We have to rewatch it. We where there for like eight hours, watching it on a loop. David Russell compares it to The Catcher in the Rye as a sort of like rite of passage for people at that age. It hit me right straight through the heart. And then from there, I think I saw The Landlord, someone had screen of The Landlord in Oklahoma City. And I was like, oh my god, this is incredible.I live in Minneapolis, where Harold and Maude ran at The Westgate theater for two and a half years. I saw the movie quite a bit there. And then, because I was in a film program, and knew someone who knew the film critic for the local paper, when Ruth and Bud came to town for the two-year anniversary, he sorts of dragged me along with him. So, I had dinner with Bud Cort and hung out a little bit with Ruth Gordon. I made a little documentary on Super 8mm of my perspective on their experiences. I was 15 years old or something and although I knew their itinerary, I couldn't drive. And so I would go to the TV station and shoot some stuff there with them and then they were on to something else. I had to hop on a bus to keep up with them.Amy Scott: That's incredible.Yes, my only regret was on that when I had dinner with Bud that I didn't ask better questions. I was sort of starstruck and there's a lot of question. I would ask him now—that I've tried to ask him—but you know, he's not too communicative.Amy Scott: Yeah. That's incredible that you that you have that footage and I would love to see it.It was really, really fun and interesting. Ruth Gordon was very much Ruth Gordon, very much Maude. She didn't suffer fools. So, you've seen Harold and Maude, seen The Landlord. At what point did you decide that a documentary had to be made?Amy Scott: Well, okay, I was pregnant with my first child, and was finishing up Nick Dawson's book on Hal, you know, on Hal's life. And I thought, I just couldn't believe there was a documentary. But this is before the market became oversaturated with a story about everyone's life. At the time, I just thought, oh my gosh, there's so much here. This guy, his films should be really celebrated. And he should be more known and revered in the canon of American 70s New Hollywood, because he's so influential.And that's why it was important that we include David O Russell and Adam McKay, and Allison Anders, Judd Apatow. They could draw a direct connections, like the film family tree. When you see the wide shots in Harold and Maude, you think of Wes Anderson. Or, you know, the music, you think of David O Russell. I mean, his influence was everywhere. I started to connect the dots and I thought, oh, my gosh, we've got to, we've got to make a film here. But I'd never done anything like that. I had directed smaller documentaries. I tried to make a film about this band called The Red Crayola and that was a hilarious attempt on my part. To try to chase them around the globe and on no money. That was my only experience outside of editing. So, fortunately, I had hooked up with my producing partners that I still work with now. I just met them at the time and they hired me to edit some cat food commercials. So it was editing Friskies or Purina, I don't know what it was. It was just looking at cats all day.And I was about to give birth but I was working trying to lock down the rights And the rights came through one afternoon and I just pulled them (the producers) in and I was like, let's do this together. We didn't know what the hell we were doing, but it was so great and so fun. We approached it, like, all hands-on deck, and we were a little family making this thing. So, that spirit has continued, thank goodness, because of what we put into the Ashby movie.What do you think were his unique qualities as a director?Amy Scott: Gosh, so much. I just think he really had an eye. He could see stories. You said something earlier, that all of his films are not the same and therefore it's hard to go, oh, he's this style of filmmaker. But the thing that they all have in common is that he has a very real and raw approach at looking at humanity. Sort of holding the mirror up and showing us who we are, with all of our faults and complexities and layers of contradictions and failures. So he's able to see that and find the stories of humanity. And that's the connective tissue for me. He also had a sick musical taste; I mean, he sort of found Cat Stevens. The soundtrack to Shampoo—I think that's why it's not in wide release right now, as I can't imagine having to license Hendrix and Janis and the Beach Boys, you know?That's true. But I'll also say he had the wisdom to let Paul Simon do the small musical things he did in Shampoo, which are just as powerful or if not more powerful.Amy Scott: So, powerful. So much restraint. Incredibly powerful. I feel like Hal, because he was not—from all of our research and talking to everyone and girlfriends and collaborators—he wasn't a dictatorial director. He didn't lay down mandates. He was really open to hearing from everybody and making it feel like it was a democratic scene and everyone has an equal voice. If you had an idea, speak up.But at the end of the day, he was like, okay, here's the vision. And once he had that vision, I think that's where he really got into problems with the studio system. Because that was such a different time. The studio guys thought that they were also the director, that they were also the auteur. I cannot imagine a world where you throw your entire life into making a film and then a studio head comes along and tries to seize it from you. I mean, that would give me cancer, you know, from the stress. I can't imagine.It certainly didn't match with his personality at all.Amy Scott: No, not at all. What I thought was so fascinating was how open he was to ideas. I love that about him and it resonates in my microscopic ways of connecting to that now. Man, every time it pops up, I'm like, I feel this little Hal Ashby devil angel on my shoulders. Yes, but it's odd. Because it's not like they didn't know what they were getting. It's not like he hid that part of his personality. You would know, immediately from meeting him that...Amy Scott: Yeah.With Harold and Maude, it was just a weird perfect storm of a crazy executive like Robert Evans saying yes to all these weird things. And then the marketing team at Gulf and Western/Paramount going, “we have no idea what to do.” You know, I had the Harold and Maude poster hanging for years. And it's the most obvious example of a studio that cannot figure out how to market a movie. The Harold and Maude different color name thing. It's just so obviously they didn't know what do.Amy Scott: I know I love when Judd Apatow was talking about that. That's really funny.So, what was the biggest thing that surprised you as you learned more about Hal?Amy Scott: What surprised me was that side of his temperament. He did look like this peace love guy. He was an attractive man but, you know, this long hair and long beard and so cool and I had a really myopic like view of what I thought his personality was. I thought he was a super mellow guy. And then I got in and started reading the letters. My producer, Brian would read the letters in his voice as a temp track that we would use that to edit to cut the film. And we were rolling, dying, laughing, like falling down, like, oh, my God, I cannot believe that Hal would write some of this shit to the head of Paramount or whoever. It was like, wow, this guy is not at all who I thought. These were fiery missives that he was shooting off into space.It wasn't like just getting mad and writing an email. I mean, he had to sit on a typewriter.Amy Scott: Typewriter and they were very, very long. I mean, the sections that we used in the film, were obviously heavily cut. We couldn't show like six pages of vitriol. The best part about the vitriol though, he wasn't just vomiting, anger. It was a very poetic. He had a very poetic way of weaving together his frustration and expletives in a way that I just loved.And then we turned the papers over to Ben Foster. That's why we wanted him to narrate—be the voice of Hal—because he's always struck me as an artist that totally gets it. Not a studio guy and he was all over it. He was right. You can really identify with this sort of, you're either with us or against us artists versus, the David and Goliath. So, that was most fascinating to me. I knew—because of the book, because Nick did such a great job—I knew Hal's story. Leaving his child, leaving Leigh. It's one thing to read about it in a book and it's a completely different thing to go meet that person, to sit with her. She's since become a dear friend to me. I feel like she'd never really spoken about that, about her dad and that time of her of her life. I think revisiting trauma on that level, and working through a lot of those emotions with her, was really heavy and not what I intended. When I set out to make the film, I was thinking about the films of Hal Ashby. I didn't think it would get as heavy as it did. I'm glad that we went there and that she took us with her. I feel really, really thankful. I think she got a lot out of it. We certainly did.It really did show you just how complicated he was, the reality of his life, when you see the child. And she was so eloquent on screen. Amy Scott: So great. He had some generational trauma too and then you put it all together, and you're like, okay, well, this is somebody that's really adept at looking deep into the human condition. He'd been through a lot. He'd made a lot of mistakes and he's been through a lot. So, of course, this checks out. And he's just so talented and creative, that he can make these films that are this really accurate, fun and funny and sad and tragic and beautiful portrayals of humanity.Well, let's just if we can't dive into a couple of my favorites just to see if anything you walked away with.Obviously, Harold and Maude hold a special place in my heart. I've just loved reading Nick's book and reading and hearing in your film and in listening to commentaries about what Hal did to wrestle Harold and Maude into the movie that it is. I forget who it was on one of the commentaries who said there were so many long speeches by Maude that you just ended up hating her. And Hal's editor's ability to go and just trim it and trim it and trim it. I compare what he did there to what Colin Higgins went on to do when he directed and he simply didn't have it. He had the writing skill, obviously, and the directing skills. He didn't have that editor's eye. I don't think there's a Colin Higgins movie made that couldn't be 20 minutes shorter. If Hal had gone into Foul Play and edited it down, it would have been a much stronger comedy. 9 to 5 would have been 20 minutes shorter. Probably a little stronger. Anyway, you don't recognize that. It's all hidden. It's the edit. You don't know what he threw away and that's the beauty of Harold and Maude: within this larger piece he found that movie and found the right way to express it. So, what did you learn about that movie that might have surprised you?Amy Scott: Everything surprise me about it. You know, we were never able to get Bud Cort. You know Bud Curt, he's so special and so elusive and we thought we thought we were gonna get him a couple times and then it was just a real difficult thing. But you have him from the memorial service, and that's a great thing.Amy Scott: Oh, yeah. Anytime he's on camera, he's bewitching. He's incredible. So we went again with the letters. I just didn't realize that Bud and Hal we're so close. I mean, obviously, they were close. But they were very tight. They had a real father son, sort of bond.Charles Mulvehill, the producer, also talked about how difficult it was to make the film. I didn't know that Charles ended up marrying one of the women that is on the dating service that Harold's mom tries to set up. That was interesting, too. It's hard for me, to tell you the truth. We did so much research on all the films, so there's little bits and pieces of all.Jumping away from Harold and Maude—just because my brain is disorganized—Diane Schroeder was with Hal for a number of years and she's in the film. She was sort of a researcher archivists, she wore many hats. I did not realize that on Being There, she really needed to nail down what was on the television Chauncey Gardiner learned everything from TV, so it was really important what was on it. When he's flipping, it's not random. She and Hal would take VHS tapes in or I guess it would have been Beta at the time, whatever the fidelity was, but they would record hundreds of hours of TV and watch it. She got all these TV Guides from that year, 1981. But what was a three year's span, she had all the TV Guides. She had everything figured out. It was like creating the character of Chauncey Gardiner, with Hal and then Peter Sellars got involved, and he had certain thoughts about it, too. I was just so blown away by the fact that that much care and effort and painstaking detail would go into it. When you see it on screen, it's definitely a masterpiece because of those things. Just the defness of editing, of leaving things out, is what makes it good. That is such a such a really hyper detailed behind the scenes thing to know that. When we were going through his storage space. I remember asking Diane, why are there boxes and boxes and boxes of TV. She said, “oh, yeah, that's Chancy Gardener's.” I said, I cannot believe you guys saved this. Really funny. It's interesting because they would have done all that in post now. And they had to get that all figured out, before they were shooting it. That's a lot of pre-production.Amy Scott: Oh, an immense amount of pre-production. Hal set up an edit bay in his bedroom. It's the definition of insanity. I had that going on at one point in my life and it's not good. It's not good thing to roll over and it's like right there like right next to pillows staring at you. You need some distance.When I saw Being There for the first time for some reason I was in Los Angeles/ I saw it and of course loved it. And then came back to Minneapolis and someone had seen it and said, “don't you love the outtakes?” And I said, “What outtakes?” They said, “over the end credits, all those outtakes with Peter Sellars.” And I said, “there were no outtakes.” In the version in LA, they didn't do that.Amy Scott: I wanted to add this, but we just ran out of time. We found all these Western Union telegrams that Peter Sellars wrote to Hal, just pissed, just livid, furious about that. He said, “You broke the spell. You broke the spell. God dammit, you broke the spell.” He was so pissed that they included those outtakes and I agree with them.It's not a real normal Hal move, is it?Amy Scott: No, it's honestly the first time that I'd ever seen blooper outtakes in a film like that. That's such an interesting 80s style, shenanigans and whatnot. But, yeah, no, you want them to walk out on the water after watching him dip umbrella in the water and think about that for the rest of your life. Exactly. I think they left it out of the LA version for Academy purposes, thinking that would help with the awards. But then years later to look at the DVD and see the alternate ending and go, well, that's terrible. I'm glad you guys figured that out. And then apparently, was it on the third take that somebody said, he should put his umbrella down into the water? Amy Scott: That's so smart.It's so smart. Alright. Shampoo is another favorite. I'm curious what you learned about that one, because you had three very strong personalities making that movie with Robert Towne on one side and Warren Beatty on the other and Hal in the middle. It's amazing that it came out as well as it did. Somehow Hal wrangled it and did what he did. What did you learn there that sort of surprised you?Amy Scott: Well, that aspect is what we wanted to really investigate. Because Hal had a pretty singular vision. Hal as a director—at that stage—was becoming a very important filmmaker. So, then how do you balance the styles of Robert Towne and Warren Beatty? These guys are colossal figures in Hollywood, Alpha dogs. I wish that we could have sat with Warren. It was not for lack of trying. I think a lot of these guys that we couldn't get, it's like, yeah, that's what makes him so cool. Bruce Dern. I was trying to chase down Bruce Dern at the Chase Bank, and he got up one day and I was just like, I knew, let it go. But Shampoo, everything we learned, we put in the film. Robert Towne talked to us. And then there was the audio commentary that Hal had from his AFI seminars. Caleb Deschanel spoke pretty eloquently about it being like watching a ping pong match going back and forth between Robert and Warren about what the direction should be. And then the director sitting in a chair probably smoking a joint, waiting for them to finish. It seems like they might have needed a sort of mediator type presence to guide the ship, like have a soft hand with it, you know? You can't have three alphas in the room at the same time. Nothing would get done. You need a neutralizing force and it seems like that's what Hal was it. He just had a really great taste, you know? My favorite element of that movie—besides Julie Christie's backless dress—would be Jack Warden. Anytime Jack Warden comes on screen, I'm like, just want to hang with him for another half hour. I can just watch that man piddle around and be funny.I remember reading an interview with Richard Dreyfus after Duddy Kravitz came out, in which he was blasting the director, saying that they ruined Jack Warden's performance in post-production. And Jack Warden is amazing in Duddy Kravitz. I don't know what they he thinks they did to it, because he's just fantastic.Amy Scott: He must have just been astronomically amazing and funny, which is what I imagined he's was like.I took away two things from Shampoo. One was—having seen Harold and Maude as often as I did—recognizing that the sound effects of the policeman's motorcycle as being the same one as George's motorcycle as he's going up the Hollywood Hills. Exact same ones.But the last shot as he's looking down on Julie Christie's house and the use of high-angle shot, it is one of the saddest things I've ever seen. It's just a guy standing on an empty lot looking down onto the houses below, but it's … I don't know. Given the guys he was dealing with, I don't know how he made that into a Hal Ashby movie, but he did.Amy Scott: He did. Well, it seems like it's moments like that yeah, there's so much melancholy loaded into that moment. Because George is such an interesting character. Now, I'm realizing that you and I have just blown, we've just spoiled the ending shots of both Being There and Shampoo.Anybody listening to this who hasn't seen those movies deserves to be spoiled.Amy Scott: Get on the boat. But yeah, that always got me. I think it's all of those really like, foggy misty Mulholland Drive shot of George on his motorcycle, anytime he's alone. Because he crams his life so full of women to try to fill the hole or the void or whatever he's got going on that's missing in his life. And he's just trying to shove it full of women. So, when he's alone, and he has nothing and no one you're like, oh, my God, this is the saddest thing I've ever seen.It really is. I don't know. Maybe you can fill me in on this. I remember reading somewhere that the scene—his last scene with Goldie Hawn—they went back and they reshot it because somebody said he's standing. He should be sitting. And I'm always interested in directors who hear that and are willing to go back and do it. The other example is Donald Sutherland in Ordinary People in his last scene. Telling Redford, “I did it wrong. I should be done crying. I was crying when I should have been done crying.” and they went back and reshot. His portion of it is no longer crying because the director went, you're right. And that simple notion of Warren Beatty should be sitting down, and she should be standing over him. Amy Scott: She's got the power. Yes. But I'm not sure a lot of directors would have said yes to that. Like, “We don't need to go back and do that. We're overscheduled we got other stuff to do …”Amy Scott: Oh, I don't think Hal cared about the schedule at all. Everything that I read or, you know, even Jeff Bridges talked about, like them being over budget and he's like, “you know, all right, let's figure out a creative solution to this. It's going to take as long as it's going to take.” He never seemed to really get riled onset or let those sorts of parameters hold all the power and guide the filmmaking. He was in complete control of that. Having that sort of attitude about things, that just spreads to the whole set. That spreads everywhere and makes it easier for everybody to work.Amy Scott: It does.Let's do one last one. Coming Home is interesting for me because I had friends who ran a movie theater here in town. It was just a couple of running it and I would come by from time to time if they were busy. I'd go up and run the projector for them. They had one of those flat plate systems, so you only had to turn the projector on. It wasn't that big a deal. But you know, I was young and it's like okay, now I'm going to turn the house lights down … I got to see the first five minutes of Coming Home a lot. Probably more than I saw the rest of the movie. Was there anything you learned about the making of that film that surprised you?Amy Scott: Yeah, I didn't realize how hard it was to get that film made. Jane Fonda is the one that's really responsible for Coming Home even existing. Nancy Dowd had a book and Jane really fought hard to get it made. By the time it got to Hal, it was different, there was a number of rewrites. And it obviously had to be cut down significantly. I never think—it's never my go-to—to think that one of the actors is the one responsible. Usually it comes to you in a different way, and especially if he's working with Robert Towne and the like. But I thought that was really cool and really interesting that Jane spoke about showing what our veterans were going through. This wasn't new, because you had like The Deer Hunter would have been the comparable. And that's a wildly different take on what coming home from the Vietnam War was like. But also, the woman's journey in that film, and the sexuality of all of that was just like, wow. Only Jane Fonda can speak about it eloquently as Jane Fonda does. I also didn't realize— when we were sitting with John Voigt—that he was really method in the way that he didn't get out of his chair, I mean, for days on end. Going into crafty in the chair, learning how to do go up ramps and play basketball and all the things that you see was because he wouldn't get out of the chair, which was wonderful. I really enjoyed talking with Jeff Wexler, and Haskell. That interview that we did with Haskell, I'm so thankful for because, you know, Haskell passed away, not that long after we film. That was one of his last interviews. So, it was really special. He came to the set and Haskell is like, a film God to me and my team. For me, I lived in Chicago so Medium Cool, was one of the coolest things ever. Meeting him and talking with him was so interesting. I loved hearing about the opening. You can just tell it's Haskell Wexler. You know it's a Hal Ashby film, but the way it starts and having seen Medium Cool, and going into that opening scene, where the all the vets are non-professional actors. They were actual vets that had come home and those were their true real stories. Now we would say it's sort of hybrid documentary and scripted, but it was like a really early use of that kind of style. And that's what made it feel so real and then you start in with the Rolling Stones, it's just such a masterly, powerful film.I'm always curious about that sort of thing where he has a lot of footage and he's creating the movie out of it and what would Hal Ashby be like today? How different would his life be if he had everything at his fingertips and it's not hanging out a pin over in a bin and he had to remember where everything was? I don't know if that would have been any made any difference at all?Amy Scott: He was an early pioneer of digital editing. He was building his giant rigs and was convincing everyone that digital is the way to go. Which is so cool and so mind blowing. But I think it was born out of a place of independent film, of democratizing the access and taking the power away from the studios. And knowing that you could do this cheaply in your home. It was so actually tragic to learn that. What could he have done? Because his output was just, he put out so much so many great movies. So, what could he have done if the infrastructure was even more accessible and sped up technologically?Imagine an 8-part streaming series directed by Hal Ashby, what would that be?Amy Scott: Just be incredible. Well, I know that he was wanting to work. He had so many films that we found. And we found script after script. One of them, I was so, “damn, that would have been cool,” was The Hawkline Monster. A Richard Brautigan science fiction Western novel. It's so trippy and so cool. I feel like every couple of years, I hear about some directors says, “we got the rights, we're gonna make it.” And I'm like, when are they gonna make it? It's so long.And imagine what his version of Tootsie would have been.Amy Scott: Oh, I know. Yeah. No joke.Just seeing those test shots. Wow. Amy Scott: I know, it would have been a different film.I read a quote somewhere that one of the producers or maybe it was Sydney Pollack, who said, they took the script to Elaine May. And she said, “yeah, it just needs…” And then she listed like five things: He needs a roommate that he can talk to … the girl on the TV show, she needs a father, so he can become involved with him … there also has to be a co-worker who is interested in him as a woman … the director needs to be an ass, he should probably be dating the woman. It was like five different things. She said the script is fine, but you need these five things. So, what did they have? She just listed the whole movie.Amy Scott: Right. Well, we're talking about Elaine May. She's someone that needs a film. She does. And why aren't you doing that?Amy Scott: Listen, I'm telling you. I've tried. This is another one that I've tried for years. You know, here's a real shocker: It's hard to get a film about a female filmmaker funded. It's a hard sell.She probably wouldn't want to do it anywayAmy Scott: She's so cool. My approach has always been that she has so much to teach us still. So, I would love to get her hot takes on all those films. A New Leaf. I mean, the stories behind that thing getting made.Like the uncut version of A New Leaf.Amy Scott: Exactly. I want to hear it from her. So, yeah, that's high up on my list. I really, really want to make one with Elaine.Was there anyone else you really wanted to get to? You mentioned Warren didn't want to talk to you. Anybody else?Amy Scott: I would have loved Julie Christie or, you know, more women would have been great. Bruce Dern was so great and so funny and I'd seen him a number of times. I saw he was at a screening of one of his movies. He talked for like, an hour and a half before they even screened the film. He was whip smart in his memories. I was so upset that we couldn't work it out because I knew that he would be incredible.Just his knowledge of movie industry, having been in it so long.Amy Scott: My gosh, yeah.He even worked with Bette Davis.Amy Scott: Yeah, he's national treasure. Exactly. I was just staring at a poster. I have framed poster of Family Plot in my kitchen. That's the movie that was going to make him a star, according to Hitchcock. It still has one of the greatest closing shots of all time. I think I read that Barbara Harris improvised the wink, and that's another person who you should make a documentary about.Amy Scott: Oh my gosh. Barbara Harris is something. Do you remember what was the film that she was in with? Dustin Hoffman and Dr. Hook scored it. It's a really long title. Who Is Harry Kellerman And Why Is He Saying These Terrible Things About Me?Amy Scott: That is such a phenomenal Barbara Harris performance. I mean, Dustin Hoffman is incredible. He's always great. But Barbara Harris really shines and I guess I'm like, that's who she was. Yeah, I think she was difficult. Well, I don't know, difficult. She had stuff she was dealing with.Amy Scott: She had issues and Hal had to deal with those on Second Hand Hearts too.From a production standpoint, people are interested in hearing what your Indiegogo process was Any tips you'd have for someone who wants to fund their film via Indiegogo?Amy Scott: Oh, boy. Well, that was a different time, because I really don't know how films are funded at the moment. This came out five years ago, but it took us like six years to make. So, during in that time, you could at least raise enough capital to get through production.The Indiegogo campaign enabled it so that we could even make the movie, because everything past that point, nobody ever got paid at all. But at least that way, we could buy film stock and pay the camera operators and our DPs and stuff. So, that was hugely important.At the time, I remember thinking like, oh, no, how are we ever going to get anybody to because you had to make these—I don't know if this is still the case—but you had to make these commercials for your project or like a trailer to get people's attention. And you had to be all over Facebook and crap like that. So, I was like, oh, no, how am I going to make a thing that shows that Hal Ashby's important to people that want to give money?A friend somehow knew John C. Reilly and mentioned it to him. It was like, we just need a celebrity to come in for like, you know, half a day or one hour. And he said, I'll come on down and do that. And he came. I couldn't believe it. The generosity of this man. He didn't know us at all. But he knew and loved the films of Hal Ashby and wanted to give back and pay it forward. So, he came down and because of him, we have a really funny, awesome little commercial trailer. I have no idea where that thing even is. I'd love to see it because I had to do it with him, which was terrifying, because I am not a front of camera person. I didn't know what to say. And he said, All you have to do is ask for money. I'll all do the rest of the talking.I remember seeing it. Amy Scott: It's been stripped from Indiegogo which probably means that we used a song that we weren't able to. That was back in the early days of crowdfunding, where you could just take images or songs and I'm sure I used the music of Cat Stevens, and then, loaded up with a bunch of photos that we never paid for.Well, that brings up a question of how did you get all the rights to the stuff you got for the finished movie? Was that a huge part of your budget?Amy Scott: No. The most expensive thing always to this day is music. Music is going to get you. Outside of that, thank goodness, there's this little thing called fair use now, which wasn't the case in documentary filmmaking for a very long time. But now you can fair use certain elements, photographs, or news clips, video clips, anything that sort of supports your thesis that you're making about your subject and supports your storyline falls under the category of fair use. So, I think what our money did pay for is the fair use attorneys that that really go over your product. They went over out fine cut, because we couldn't afford to pay for multiple lawyers to look at it. So you give them a fine cut, you hold your breath and hope that they say, oh, you know, you only have to take out a couple things. And you're like, oh, thank God. Okay, and then you change it.I believe, because we never had any money, that we submitted to Sundance and got in on a wing and a prayer. And then had, you know, two weeks to turn the film around and get it, finished. I remember we were like, you know, pulling all these all nighters, trying to change the notes that the legal said XY and Z was not fair use and trying to swap out music with our composer. It was a wild, wild run.Isn't that always the way? You work on it for six years and then suddenly you have two weeks to finish it.Amy Scott: That's how it shook out for us. It was like really, really pretty funny, because you're going on a leisurely pace until you're not. And then it's like, alright, it's real now. I thought for years, I think my friends and casual acquaintances thought that I've lost my mind. Because every year, I'd see people that I would see occasionally and they're like, hey, how's it going? What are you working on? I'm like, I'm just working on this Ashby's movie. And they were like, year after year, like damn. She's like, we need to reel her in and we need to throw her a lifeline. No, really, I really, really am. So, it was pretty funny. We were. We did it.People have no idea how long these things take. Amy Scott: It's unfunded. But you know, then we got lucky after that, because we nearly killed ourselves on Hal. Then we kind of fell into the era of streaming deals and streamers. And then people were like, oh, we want to make biopics and we want to give you money to make a biopic. And that was truly our first rodeo. We're like, oh, my gosh, what? This is incredible. We can get paid for this. Now that's falling away. This streaming industry is, you know, collapsing in on itself as it should, because there's no curation anymore. And it's like, let's return to form a little bit here, guys. So, we're just riding the wave. I say it's like we're riding trying to learn how to ride a mechanical bull this industry. I'm a tomboy. So, every local Oklahomans is up for the ride.Let me ask you one last question. I'll let you go then. So, as a filmmaker, what did you learn doing a deep dive into the work of this director and editor and you are a director and editor? So, that's sort of a scary thing to do anyway, to be the person who's going to edit Hal Ashby. What did you learn in the process that you can still take away today?Amy Scott: Well, listen, we joke about it all the time. My producer, Brian Morrow and I are constantly going, oh, what would Hal do? Everything that he stood for, as a filmmaker. The film will tell you what to do. Get in there, be obsessed be the film, all of those things.I get this man because I feel the same way. So, when we like took a real bath in Hal Ashby's words for years, that sort of that shapes the rest of your life as a filmmaker. You're not like a casual filmmaker after going through like the Ashby's carwash. That stuff's sticks.But I'm proud. I'm proud that that we pulled it off. I'm proud that we were able to make the movie. Somebody would have done it, because Hal is too great and too good, and he just has deserved it for so long.The only thing that we've ever wanted was that we wanted people to go back and watch his films, or to watch him for the first time if they had never seen him. And then to take his creative spirit forward. Be in love with the thing that you make. It's your lifeforce. So, otherwise, what is it all for, you know? So, yeah, that's what I got from him.

The Big 12's blockbuster media deal with ESPN and Fox Sports gets top billing on this week's pod as Andrew Marchand and John Ourand discuss the fallout from the story Ourand broke with Michael Smith over the weekend. The duo goes in-depth with a story Marchand broke earlier this week about Amazon's plans to produce daily sports talk studio shows. They also highlight the NWSL championship game's primetime performance on CBS and offer a quick preview for when they take the podcast live at the Media Innovators conference in New York at the end of this month.   Fox Sports and NFL Network's Peter Schrager joins as this week's Big Get and talks about how he was able to break into the business and how he got his start on the “Good Morning Football” morning show. One of the most plugged-in people on the NFL beat, Schrager talks about how he approaches the beat. A big fan of the sports media business, Schrager offers his thoughts on Sean McVay's media future and identifies the current players he thinks will make the transition to broadcasting.   Mentioned this week: Bob Wischusen, Max Duggan, Kendre Miller, Chris Russo, Sean McVay, Joe Davis, John Lombardo, Nick Dawson, Burke Magnus, Mark Silverman, Brett Yormark, LeBron James, Maverick Carter, Tom Brady, Peyton Manning, Charles Barkley, Michael Jordan, Jimmy Pitaro, Luis Silberwasser, Craig Moffett, Michael Nathanson, Brian Roberts, Sean McManus, Pete Bevacqua, Brad Zager, Cam Rising, Petros Papadakis, Bryson Barnes, Kyle Whittingham, Jeff Levering, Al Michaels, Gus Johnson, Joel Klatt, Michael Smith, Michael Davies, Cari Champion, Madelyn Burke, Master Tesfatsion, Pat McAfee, Stephen A. Smith, Dan Weinberg, Jen Sabatelle, Chris Ripley, Rob Weisbord, Robert Saleh, Paul Rudd, Ken Dorsey, Adam Amin, Bill Simmons, Ralph Wiley, Lou D'Ermilio, Bill Burr, Keith Richards, Jim Nantz, Rey Ordóñez, John Vander Wal, Alex Riethmiller, Kyle Brandt, Kay Adams, Nate Burleson, Pete Radovich, Troy Aikman, Joe Buck, Cris Collinsworth, Mike Tirico, Cam Newton, Ron Rivera, Derek Anderson, Steven Drummond, Brandon Beane, Odell Beckham Jr., Roger Goodell, Adam Schefter, Ian Rapoport, Jay Glazer, Christian McCaffrey, Matthew Stafford, Aaron Donald, Cooper Kupp, Mike Francesa, Kirk Herbstreit, Tom Brady, Aaron Rodgers, Travis Kelce, Rob Gronkowski, Shannon Sharpe, Tony Gonzalez, Greg Olsen, Ryan Fitzpatrick, Mark Sanchez, Chase Daniel, Colt McCoy, Kyler Murray, John Fetterman, Mehmet Oz, Jamie Erdahl, Ian Eagle, Tua Tagovailoa, Joe Burrow, Jalen Hurts, Jason McCourty, Devin McCourty, Bill Belichick, Sean Payton, Charissa Thompson, Charles Woodson, Michael Vick, Jennifer Aniston, Brian Rolapp, Hans Schroeder, Alberto Riveron, Walt Coleman IV, Deshaun Watson, Judy Battista, Daniel Snyder, Jerome from Manhattan, Yao Ming, Bob Weir, Casey Jones, Jacob Ullman, Richard Jefferson, Kyrie Irving, Ryan Ruocco, Alex Jones, Acie Wyatt, Chris Mason Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Don and Professor Ben talk about the risks of trying to cook a chicken in a “hotel” coffeepot. Dr. Don - risky ☣️ Professor Ben - risky ☣️ Nick Dawson on Twitter: “@bugcounter @benjaminchapman from Reddit…chicken cooked in a hotel room coffee carafe

This week we're resurfacing a delightful episode that originally ran in April of 2020, and which features two of our favorite songwriters/performers: Matt Berninger of The National and Aimee Mann. Their chat was inspired by the release of an excellent documentary about Other Music, the revered New York record store that closed in 2016. The conversation veers into many other areas as well, including creativity during the pandemic. The challenges of the past couple of years were no match for these two: Berninger released a solo album called Serpentine Prison last year, and Mann just released Queens of the Summer Hotel, a set of new songs inspired by the book Girl, Interrupted. Enjoy, and we'll be back with a brand new episode next week. —Josh Modell ------- This week on the show, we celebrate the wonderful Other Music documentary with two Grammy-winning artists: singer-songwriter Aimee Mann and the National's Matt Berninger. The two discuss the iconic record store and the creative importance of having physical spaces dedicated to musical community, plus we hear how they're managing to work during the pandemic, and Matt reveals that he's both writing a musical and launching a label imprint. The Other Music doc features many wonderful artists that have appeared on our show — TV on the Radio, the Magnetic Fields, Superchunk, Yeah Yeah Yeahs, Jason Schwartzman, Animal Collective, William Basinski, Frankie Cosmos and more — this is truly a #talkhousecore film! Other Music is currently being screened via a "virtual theatrical release," with more than 200 independent record shops and movie theaters offering it to rent, and splitting the profits 50/50. This is a wonderful chance to support your local purveyor of brilliant art, and catch one of the must-see music films of the year. Click here to find your local favorite store or theater that's screening it! (Our producer Mark Yoshizumi rented it from his alma mater Reckless Records in Chicago; Talkhouse Film's Editor-in-Chief Nick Dawson supported Permanent Records in L.A., and I went with Record Grouch in Brooklyn, where I've spent many and many a happy hour amongst the hallowed racks.) Enjoy today's show, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including upcoming talks like Jarvis Cocker (Pulp) with the Magnetic Fields' Stephin Merritt, and Black Belt Eagle Scout with Sasami. —Elia Einhorn, Talkhouse Podcast host and producer This week's show was recorded by Aimee Mann, Matt Berninger, Nick Dawson, and myself in our respective #stayhome studios. The Talkhouse Podcast's co-producer is Mark Yoshizumi. Our theme song was composed and performed by The Range.

When we say our providers will do anything to help someone in need, we mean it. While COVID struck American Soil, Airforce man and your SHAC provider, Nick Dawson was called to the front lines to help combat the virus. Not only has he fought for your freedom, but also for your safety and your health! Join us to learn more about his journey from college health to a covid nightmare, the reality of COVID, and what he wants you to know moving forward. 

M&M chat with Nick Dawson as he contemplates the next BIG healthcare disruptions and we discuss human-centered design and whether sick care and community health should be decoupled. For more information on Nick Dawson, visit nickdawson.net.

In this episode, Mr. Dawson and I talk about the value of human-centered design and why it is necessary for constructive and cost-effective healthcare innovation. We look at some of the barriers and imperatives for designing solutions that meet the health needs of patients and families while also creating supportive, human-centered work environments for healthcare team members. Finally, Mr. Dawson shares his vision for a more health-centered future that moves beyond the traditional walls of healthcare institutions.

This week's episode is with Nick Dawson. Nick is a leader in health care human centered design. Nick has worked with organizations like Stanford Medicine X and Kaiser Permanente to embed human centered design techniques and philosophies into the health care delivery system. He is also an avid runner and outdoorsman with a huge passion for skiing. Nick and his fiance recently said goodbye to the Bay Area (for now) to explore and find inspiration in the Montana wilderness. Some highlights from our conversation: How running helps us tap into our state of flow and “negative space” that allows for the best design work to happen How human centered design in health care went from being a carve-out, niche thing to something that is now considered essential to any health care organization The nuances between US health care and overall attitudes towards health vs. that of other countries The challenges of tying health insurance to employment, especially for professional athletes What it would mean to become a “Healthist” Finding community in unexpected places and how to design for that The power of organizations who take the time to clearly articulate their values and stand behind them Follow Nick on Twitter @nickdawson, on Instagram @nickpdawson, and follow his training on Strava. You can find us on Instagram and Twitter @Runnersofthebay Check out our website www.runnersofthebay.com and send us an e-mail at runnersofthebay@gmail.com. This week's episode with Nick Dawson is brought to you by UCAN. Visit ucan.co/discount/ROTB/ for 15% off your order! Music is California by The Spectacular Fantastic.

Nick Dawson is the co-organizer of the Emergency Design Collective. In today’s episode, we talk about healthcare innovation labs, how to think about opportunities in healthcare, healthcare versus sick care, and launching the EDC to support the COVID-19 response. Show Host: Dawan Stanford Show Summary Nick Dawson grew up with a father who worked in healthcare and hospitals. As he entered college, he was convinced that he absolutely didn’t want to work in the same field. But the technology used in the local hospital intrigued and interested him enough to accept an internship in the IT department there. While immersed in how hospitals work, Nick discovered his interest in complex systems and their challenges. His internship turned into a lifelong career that led him into design and innovation for healthcare. While working as a healthcare performance improvement consultant for a large healthcare conglomerate, Nick needed to travel frequently by air. During his business travel, he witnessed a failing airline’s poor treatment of its employees; this was the nascence of his interest in the idea of re-designing healthcare’s patient and staff experiences. He realized that experience is something people and organizations must always create with intention and thought, and something that must be centered on those who are living and working in the experience. Experience design, healthcare and the ability to wrestle with complexity drives his work. Examples include designing the Johns Hopkins Sibley Innovation Hub, and his recent co-founding of the Emergency Design Collective, which focuses on re-thinking how we approach healthcare, helping businesses and organizations design their work spaces to support the health and wellbeing of their employees, and on creating a “public health design” core curriculum. Listen in to learn more about: The challenges of designing for innovation in hospital environments Designing the Johns Hopkins Sibley Innovation Hub The unique collaborative aspects of clinical hospital teams Creating a flexible work environment and power dynamic in teams The “product” of healthcare How everything in our life is connected to, and has an influence on, our health The social determinants of health The Emergency Design Collective and its work Ways to rethink how we work and function in order to design for good health Our Guest’s Bio Nick Dawson has been at the forefront of bringing design innovation to healthcare. He started and led the design innovation program at Johns Hopkins before joining Kaiser Permanente to lead innovation nationally. Nick chaired the Medicine X program in the Stanford school of Medicine until 2019 and worked with the Obama White House to bring patient-centered design to policy making and healthcare priorities. In April 2020, Nick left KP to co-found the Emergency Design Collective — a group of doctors, designers and public health experts using design to respond to urgent public health crises. Show Highlights [03:00] Nick’s start in healthcare and design. [04:19] Nick discovers his interest in complex systems problems. [04:28] How a hospital is like a miniature city. [05:23] Nick’s witnessing of an airline’s financial failure leads to a revelation about experience. [09:00] Learning from and listening to patients about what they need and want from their healthcare. [10:57] Why it can be challenging to innovate in healthcare. [11:29] Why healthcare is a risk-averse industry. [12:05] Nick’s focus on re-centering the work from the hospital to the communities, patients, and staff it serves. [12:51] Advice for overcoming people’s resistance to change. [13:31] The dilemma of how to help people embrace change and innovation instead of resisting it. [15:00] How hospital staff reacted to the launching of the Johns Hopkins Sibley Innovation Hub. [17:15] Nick talks about building the Sibley Innovation Hub team and working to create a welcoming space. [18:27] The unique characteristics of teams and teamwork in the clinical hospital environment versus the management side of healthcare. [19:39] How Nick disseminated power among his team members. [21:59] Nick’s thoughts on the “product” of healthcare. [22:50] The concept of a social needs emergency room existing upstream of clinical emergency rooms. [23:05] The interconnectedness of every part of our life with our health. [23:20] The social determinants of health. [24:18] What it means to design “upstream” of healthcare. [27:23] Some opportunities for people who want to act and serve not just in response to the current COVID-19 crisis, but also in the future as systems begin to change. [28:07] The Emergency Design Collective and the “new normal.” [28:27] Nick’s thought on education and how it might change. [29:15] What might happen if every corporation started to think of itself as an H corp and prioritizing health? [29:30] How the current global pandemic is potentially re-shaping the way we think about health. [31:15] Ways the EDC supports purposeful business and space design with a focus on good health and wellbeing. [33:40] Resources Nick recommends on design, innovation, and healthcare. Links Nick on LinkedIn Nick on Twitter Emergency Design Collective Personal Website Innovation as a requirement for success in healthcare An Everyone Included Design Story TEDMED Interview with Nick from 2014 Ward Infinity Book Recommendation: The Experience Economy, by B. Joseph Pine and James H. Gilmore Book Recommendation: The Cluetrain Manifesto, by Rick Levine, Christopher Locke, Doc Searls, David Weinberger, and Jake McKee Book Recommendation: Org Design for Design Orgs, by Peter Merholz and Kristin Skinner Book Recommendation: 101 Design Methods: A Structured Approach for Driving Innovation in Your Organization, by Vijay Kumar Other Design Thinking 101 Episodes You Might Like Adding System Awareness to System Design to Your Innovation Stack with Julie Guinn — DT101 E43 Designing Health Systems + Creating Effective Design Workshops with Sean Molloy — DT101 E44 A Designer’s Journey into Designing for Health and Healthcare with Lorna Ross — DT101 E45 ________________ Thank you for listening to the show and looking at the show notes. Send your questions, suggestions, and guest ideas to Dawan and the Fluid Hive team. Cheers ~ Dawan Free Download — Design Driven Innovation: Avoid Innovation Traps with These 9 Steps Innovation Smart Start Webinar — Take your innovation projects from frantic to focused!

Nick Dawson is the co-organizer of the Emergency Design Collective. In today's episode, we talk about healthcare innovation labs, how to think about opportunities in healthcare, healthcare versus sick care, and launching the EDC to support the COVID-19 response. Show Host: Dawan Stanford Show Summary Nick Dawson grew up with a father who worked in healthcare and hospitals. As he entered college, he was convinced that he absolutely didn't want to work in the same field. But the technology used in the local hospital intrigued and interested him enough to accept an internship in the IT department there. While immersed in how hospitals work, Nick discovered his interest in complex systems and their challenges. His internship turned into a lifelong career that led him into design and innovation for healthcare. While working as a healthcare performance improvement consultant for a large healthcare conglomerate, Nick needed to travel frequently by air. During his business travel, he witnessed a failing airline's poor treatment of its employees; this was the nascence of his interest in the idea of re-designing healthcare's patient and staff experiences. He realized that experience is something people and organizations must always create with intention and thought, and something that must be centered on those who are living and working in the experience. Experience design, healthcare and the ability to wrestle with complexity drives his work. Examples include designing the Johns Hopkins Sibley Innovation Hub, and his recent co-founding of the Emergency Design Collective, which focuses on re-thinking how we approach healthcare, helping businesses and organizations design their work spaces to support the health and wellbeing of their employees, and on creating a “public health design” core curriculum. Listen in to learn more about: The challenges of designing for innovation in hospital environments Designing the Johns Hopkins Sibley Innovation Hub The unique collaborative aspects of clinical hospital teams Creating a flexible work environment and power dynamic in teams The “product” of healthcare How everything in our life is connected to, and has an influence on, our health The social determinants of health The Emergency Design Collective and its work Ways to rethink how we work and function in order to design for good health Our Guest's Bio Nick Dawson has been at the forefront of bringing design innovation to healthcare. He started and led the design innovation program at Johns Hopkins before joining Kaiser Permanente to lead innovation nationally. Nick chaired the Medicine X program in the Stanford school of Medicine until 2019 and worked with the Obama White House to bring patient-centered design to policy making and healthcare priorities. In April 2020, Nick left KP to co-found the Emergency Design Collective — a group of doctors, designers and public health experts using design to respond to urgent public health crises. Show Highlights [03:00] Nick's start in healthcare and design. [04:19] Nick discovers his interest in complex systems problems. [04:28] How a hospital is like a miniature city. [05:23] Nick's witnessing of an airline's financial failure leads to a revelation about experience. [09:00] Learning from and listening to patients about what they need and want from their healthcare. [10:57] Why it can be challenging to innovate in healthcare. [11:29] Why healthcare is a risk-averse industry. [12:05] Nick's focus on re-centering the work from the hospital to the communities, patients, and staff it serves. [12:51] Advice for overcoming people's resistance to change. [13:31] The dilemma of how to help people embrace change and innovation instead of resisting it. [15:00] How hospital staff reacted to the launching of the Johns Hopkins Sibley Innovation Hub. [17:15] Nick talks about building the Sibley Innovation Hub team and working to create a welcoming space. [18:27] The unique characteristics of teams and teamwork in the clinical hospital environment versus the management side of healthcare. [19:39] How Nick disseminated power among his team members. [21:59] Nick's thoughts on the “product” of healthcare. [22:50] The concept of a social needs emergency room existing upstream of clinical emergency rooms. [23:05] The interconnectedness of every part of our life with our health. [23:20] The social determinants of health. [24:18] What it means to design “upstream” of healthcare. [27:23] Some opportunities for people who want to act and serve not just in response to the current COVID-19 crisis, but also in the future as systems begin to change. [28:07] The Emergency Design Collective and the “new normal.” [28:27] Nick's thought on education and how it might change. [29:15] What might happen if every corporation started to think of itself as an H corp and prioritizing health? [29:30] How the current global pandemic is potentially re-shaping the way we think about health. [31:15] Ways the EDC supports purposeful business and space design with a focus on good health and wellbeing. [33:40] Resources Nick recommends on design, innovation, and healthcare. Links Nick on LinkedIn Nick on Twitter Emergency Design Collective Personal Website Innovation as a requirement for success in healthcare An Everyone Included Design Story TEDMED Interview with Nick from 2014 Ward Infinity Book Recommendation: The Experience Economy, by B. Joseph Pine and James H. Gilmore Book Recommendation: The Cluetrain Manifesto, by Rick Levine, Christopher Locke, Doc Searls, David Weinberger, and Jake McKee Book Recommendation: Org Design for Design Orgs, by Peter Merholz and Kristin Skinner Book Recommendation: 101 Design Methods: A Structured Approach for Driving Innovation in Your Organization, by Vijay Kumar Other Design Thinking 101 Episodes You Might Like Adding System Awareness to System Design to Your Innovation Stack with Julie Guinn — DT101 E43 Designing Health Systems + Creating Effective Design Workshops with Sean Molloy — DT101 E44 A Designer's Journey into Designing for Health and Healthcare with Lorna Ross — DT101 E45 ________________ Thank you for listening to the show and looking at the show notes. Send your questions, suggestions, and guest ideas to Dawan and the Fluid Hive team. Cheers ~ Dawan Free Download — Design Driven Innovation: Avoid Innovation Traps with These 9 Steps Innovation Smart Start Webinar — Take your innovation projects from frantic to focused!

This week on the show, we celebrate the wonderful Other Music documentary with two Grammy-winning artists: singer-songwriter Aimee Mann and the National's Matt Berninger. The two discuss the iconic record store and the creative importance of having physical spaces dedicated to musical community, plus we hear how they're managing to work during the pandemic, and Matt reveals that he's both writing a musical and launching a label imprint. The Other Music doc features many wonderful artists that have appeared on our show — TV on the Radio, the Magnetic Fields, Superchunk, Yeah Yeah Yeahs, Jason Schwartzman, Animal Collective, William Basinski, Frankie Cosmos and more — this is truly a #talkhousecore film! Other Music is currently being screened via a "virtual theatrical release," with more than 200 independent record shops and movie theaters offering it to rent, and splitting the profits 50/50. This is a wonderful chance to support your local purveyor of brilliant art, and catch one of the must-see music films of the year. Click here to find your local favorite store or theater that's screening it! (Our producer Mark Yoshizumi rented it from his alma mater Reckless Records in Chicago; Talkhouse Film's Editor-in-Chief Nick Dawson supported Permanent Records in L.A., and I went with Record Grouch in Brooklyn, where I've spent many and many a happy hour amongst the hallowed racks.) Enjoy today's show, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including upcoming talks like Jarvis Cocker (Pulp) with the Magnetic Fields’ Stephin Merritt, and Black Belt Eagle Scout with Sasami. —Elia Einhorn, Talkhouse Podcast host and producer This week’s show was recorded by Aimee Mann, Matt Berninger, Nick Dawson, and myself in our respective #stayhome studios. The Talkhouse Podcast's co-producer is Mark Yoshizumi. Our theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol and compliments to elia@thetalkhouse.com.

Singer-songwriter Katie Crutchfield, aka Waxahatchee, and comedian Whitmer Thomas have each released perhaps the best work of their careers thus far in the past month or so: Waxahatchee with her new LP, Saint Cloud, Whitmer with his HBO comedy special The Golden One. The two are huge fans of each other's emotionally vulnerable work; having recently met, they have, as Katie puts it in this talk, “a weird kismet connection." In their open and honest conversation, Katie and Whitmer take us through their careers, from their beginnings as teenage rockers in Alabama to their current professional successes, and the processes of making their powerful new works. We also hear about the benefits of a slower professional trajectory; pre-album-release shame when you’ve been completely open about your life in your art; and how Katie getting sober changed her music. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including upcoming shows featuring Jarvis Cocker (Pulp) with the Magnetic Fields’ Stephin Merritt; Black Belt Eagle Scout with Sasami; and George Saunders with fellow author Dana Spiotta. —Elia Einhorn, Talkhouse Podcast host and producer  This week's show was recorded by Claire Morison at Bedrock.la and in Brooklyn by Talkhouse Film's Editor-in-chief Nick Dawson and myself in our respective #stayhome studios. The Talkhouse Podcast's co-producer is Mark Yoshizumi. Our theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to elia@thetalkhouse.com.

The Voice of the Jayhawks, Brian Hanni, checks in from Big 12 Football Media Days in Arlington, TX spotlighting each of the four Jayhawk senior representatives. RB Khalil Herbert and OL Hakeem Adeniji share what to expect from the Kansas offense in 2019 and safeties Mike Lee and Bryce Torneden preview the KU defense. Additionally, 2004 Heisman Trophy winner and current Fox Sports analyst, Matt Leinart shares his take on Les Miles at Kansas and ESPN's VP of Programming, Nick Dawson, tells Jayhawk fans what to expect from the new 18-episode ESPN+ series on Les Miles' first year at Kansas. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Voice of the Jayhawks, Brian Hanni, checks in from Big 12 Football Media Days in Arlington, TX spotlighting each of the four Jayhawk senior representatives. RB Khalil Herbert and OL Hakeem Adeniji share what to expect from the Kansas offense in 2019 and safeties Mike Lee and Bryce Torneden preview the KU defense. Additionally, 2004 Heisman Trophy winner and current Fox Sports analyst, Matt Leinart shares his take on Les Miles at Kansas and ESPN’s VP of Programming, Nick Dawson, tells Jayhawk fans what to expect from the new 18-episode ESPN+ series on Les Miles’ first year at Kansas.

Tab curates an episode that's all about sacrifice ... We watched The House of the Devil and Starry Eyes! Sources The House of the Devil (2009) "Ti West, The House of the Devil" by Nick Dawson, Filmmaker Magazine Starry Eyes (2014) "Catching Up With the Makers of Starry Eyes" by Evan Dickson, Bloody Disgusting

On this special episode of The Projection Booth we're looking at Dennis Hopper's The Last Movie. Barely released by Universal Pictures in 1971, the film stars Hopper as Kansas -- a man as middle-American as his name. He's in Peru as a stunt man for a Western. When the cast and crew packs up and goes back to Hollywood, he stays behind where the natives form a sort of cargo cult around movie-making, holding up Kansas as their god, savior, and their sacrifice.Mike talks to Craig Rogers and David Marriott from Arbelos Films who have restored The Last Movie and have re-released the film. He speaks to author Jessica Hundley, editor of Dennis Hopper: Photographs 1961-1967, John Buck Wilkin who performed music on both The Last Movie and Lawrence Schiller & L. M. Kit Carson's The American Dreamer. Finally, he speaks with Nick Ebeling, the director of Along for the Ride and its subject, Satya De La Manitou.Nick Dawson and Ben Buckingham join Mike to discuss the film as well as its fascinating history.Learn more about your ad choices. Visit megaphone.fm/adchoices

On this special episode of The Projection Booth we’re looking at Dennis Hopper’s The Last Movie. Barely released by Universal Pictures in 1971, the film stars Hopper as Kansas -- a man as middle-American as his name. He’s in Peru as a stunt man for a Western. When the cast and crew packs up and goes back to Hollywood, he stays behind where the natives form a sort of cargo cult around movie-making, holding up Kansas as their god, savior, and their sacrifice. Mike talks to Craig Rogers and David Marriott from Arbelos Films who have restored The Last Movie and have re-released the film. He speaks to author Jessica Hundley, editor of Dennis Hopper: Photographs 1961-1967, John Buck Wilkin who performed music on both The Last Movie and Lawrence Schiller & L. M. Kit Carson's The American Dreamer. Finally, he speaks with Nick Ebeling, the director of Along for the Ride and its subject, Satya De La Manitou.Nick Dawson and Ben Buckingham join Mike to discuss the film as well as its fascinating history.

On this special episode of The Projection Booth we’re looking at Dennis Hopper’s The Last Movie. Barely released by Universal Pictures in 1971, the film stars Hopper as Kansas -- a man as middle-American as his name. He’s in Peru as a stunt man for a Western. When the cast and crew packs up and goes back to Hollywood, he stays behind where the natives form a sort of cargo cult around movie-making, holding up Kansas as their god, savior, and their sacrifice. Mike talks to Craig Rogers and David Marriott from Arbelos Films who have restored The Last Movie and have re-released the film. He speaks to author Jessica Hundley, editor of Dennis Hopper: Photographs 1961-1967, John Buck Wilkin who performed music on both The Last Movie and Lawrence Schiller & L. M. Kit Carson's The American Dreamer. Finally, he speaks with Nick Ebeling, the director of Along for the Ride and its subject, Satya De La Manitou.Nick Dawson and Ben Buckingham join Mike to discuss the film as well as its fascinating history.

Imagine overseeing college football, college basketball, NCAA championships, and many other college sports for all of ESPN. This includes deciding which games to broadcast (should the chips fall your way), and guessing where consumers will consume the content you do put out. This is a very real position, and the person fulfilling those daunting responsibilities is Nick Dawson, Vice President for Programming & Acquisitions at ESPN. In this edition of Conversations on College Athletics, Trip Durham visits with Dawson to discuss how the scheduling process between networks mirrors draft day process circa professional sports. The two touch on the College Football playoff relationship, cord cutting, and much more.

This episode is proudly sponsored by IT Web. Cyber security effects businesses of all sizes. Whether you are major corporate or you are running a small enterprise the ability of your business and it's IT infrastructure to protect you from cyber attacks is becoming more and more important in the digitally connected business ecosystem that we find ourselves living in today. Perhaps the biggest consideration to be made in the cyber security space, is the fact that the problem of cyber security isn't one that get's solved, it never goes away because of the evolution of technology and the ever growing demands of remote working and connected employees. On this episode, I chat to Nick Dawson, he is the global Director of Knoxx strategy & Business development for Samsung electronics in Korea - and we explore why cyber security matters for businesses and executives, how to detect and prevent cyber security threats, how to protect your company data and and much, much more. So without further adieu enter Nick Dawson.

On the latest episode of the Talkhouse Film Podcast, Talkhouse podcast producer Elia Einhorn and Talkhouse Film's Editor-in-Chief, Nick Dawson, look back on the some of best moments from episodes recorded in the first quarter of 2017. Highlights include: Portlandia's Fred Armisen and Carrie Brownstein talking Wikipedia errors; Penelope Spheeris looking back on directing Donald Trump in The Little Rascals; Neal Brennan on how he and Seth Meyers thought they had “conquered” Trump through satire; Kirsten Johnson asking Agnès Varda about her favorite colors; and Morgan Spurlock and Louis Theroux discussing porn and Nipplegate. For more filmmakers talking film and TV, visit Talkhouse Film at talkhouse.com/film.

This week on StoryWeb: Colin Higgins and Hal Ashby’s film, Harold and Maude. The 1971 film Harold and Maude is a cult classic, a romantic dark comedy preserved in the Library of Congress’s National Film Registry and ranked number 45 on the American Film Institute’s list of 100 Funniest Movies of All Time. Written by Colin Higgins and directed by Hal Ashby, it deserves every bit of the love its enamored fans have showered on it over the years. It’s an unlikely love story if ever there was one. Nineteen-year-old Harold meets his future paramour, seventy-nine-year-old Maude, at a funeral. You might expect me to say, “And not just any funeral.” But to both Harold and Maude, it is “any” funeral – for their shared joy, it turns out, is to attend funerals. Harold drives a Jaguar he’s converted into a hearse, and Maude quite literally zips around town in any car she can find. The pair hit it off, and before long, they’ve become lovers. Now if you’ve never seen Harold and Maude, you’re thinking, “What a bizarre-sounding film,” or “Why is Linda recommending something so outlandish?” In fact, you’re probably thinking both! But if you’ve seen Harold and Maude, you’re likely to have drunk the Kool-Aid, too. You’ve probably seen it more than once. You likely have fond memories of the whimsical passion Harold and Maude have for one another. And like me, you’re probably humming Cat Stevens’s song “If You Want to Sing Out, Sing Out” right now! Written and recorded for the film, the song perfectly sums up Harold and Maude’s quirky but loving relationship. In short, I love Harold and Maude, and if you’ve seen it, I bet you do, too. Despite the fact that Harold and Maude love to go to funerals and despite the fact that Harold stages elaborate mock-suicides in his attempt to get his mother to notice him, the film is ultimately life-affirming. Though Maude is sixty years older than Harold, she teaches him about love and life – she is such a gift to this young man. And love, we are reminded, is a true gift in our lives, no matter when or where or how we find it. The best way to see this iconic film is to purchase The Criterion Collection’s Blu-ray edition, complete with high-definition digital restoration, a remastered stereo soundtrack, audio commentary by Hal Ashby, Nick Dawson, and Charles B. Mulvehill, audio excerpts of seminars by Hal Ashby and screenwriter Colin Higgins, an interview with songwriter Yusuf Islam (formerly Cat Stevens), and a booklet featuring an essay by critic Michael Wood. For more on this outstanding film, read Mental Floss’s list of ten fun facts about Harold and Maude. The Criterion Collection offers its own list of ten facts about the film as well as a number of other resources. James A. Davidson’s book Hal Ashby and the Making of Harold and Maude provides a behind-the-scenes peak into the filmmaking process. And if you just can’t get enough, check out screenwriter Colin Higgins’s novelization of the film’s script. It will give you even more insight into the couple’s story. If you find you’ve fallen in love with the film, too, and want to fly your own freak flag, consider sporting a Harold and Maude T-shirt or using a Harold and Maude mouse pad! As Cat Stevens sings in the song and as Harold discovers when he meets Maude, there’s a million things to be, you know that there are! Visit thestoryweb.com/haroldmaude for links to all these resources and to watch the original trailer for Harold and Maude. Then watch a video interview with Yusuf Islam about writing the music for the film.

Nick Dawson, Executive Director of Johns Hopkins Sibley Innovation Hub, joins me for a chat about the future of the Affordable Care Act, the continued potential of Stanford Medicine X, his eternal optimism, and tenacious pursuit for patient autonomy and equality in healthcare. There's also a bit about breaking the bowling lanes at the White House. Three different times. Follow Nick on Twitter @nickdawson Run Time - 1:02:07 Send your feedback to feedback@justtalkingpodcast.com.

On the latest episode of the Talkhouse Film Podcast, we look back on the year just past as the Talkhouse's podcast producer, Elia Einhorn, and Talkhouse Film's Editor-in-Chief, Nick Dawson, discuss some of their favorite moments from the Talkhouse Film podcasts of 2016. The highlights featured include Aidy Bryant on stealing Drake's candle and Jessi Klein confessing to calling Live Schreiber while day drunk; Kid Cudi opening up to Paul Reubens about his struggles adapting to fame; Max Landis pitching a found-footage Gremlins movie to Joe Dante; Michel Gondry talking with Terence Nance about his "disaster" of a love life; and Tim Heidecker and Chris Gethard inviting an army of fans to invade the podcast booth. For more filmmakers talking film and TV, visit Talkhouse Film at talkhouse.com/film.

BAM Episode 016, in this episode I talk with Nick Dawson! Nick Dawson is a pipe-fitter turned controls technician. In this episode Nick discusses how he became a controls technician, how you can become a controls technician and how you can help others get into the exciting world of building automation. In today's episode we will cover: How people with non-BAS backgrounds can move into the BAS world How to train and develop your staff to understand BAS systems How to engage your management to invest in BAS Creating an effective training program to develop BAS skills

Nick talks to us about Yorkshire Wagyu and exhibiting at BBC Good Food Show Spring

Nick Dawson, Chief Experience Officer for Frontier Health Consulting is my guest this week talking about the evolution of healthcare. We dig into Nick's background and how a chance internship eventually defined his career path. Nick share's his perspective on how technology has impacted and improved healthcare, the growth, adoption, and influence of social media on healthcare. And we talk about the rise of the fabled "ePatient" and what that means for future generations. Enjoy. You can keep up with Nick on Twitter at @NickDawson and nickdawson.net. Also, you can watch the Medicine X Google Hangout referenced at medicinex.stanford.edu. Run Time - 56:55 Send your feedback to feedback@justtalkingpodcast.com.

From Utah farm boy, to pioneering film editor, to director of some of the 70's and 80's greatest films -- such as Shampoo and Being There, it's all part of Being Hal Ashby, the life chronicle by Nick Dawson.

Dangerously Yours eventually became Matinee Theater.The show was produced by Nick Dawson, directed bgy Richard Sanville and written by Jean Holloway. Music was by The Mark Warnow Orchestra and was sponsored by Vic's nose drops, vapor rubs, and other great products by the Vic Chemical Company, this collection contains all known episodes in existence of the short-run series of 1944, Dangerously Yours. Hollywood star, Victor Jory, was the primary herostarring in story adaptation of pirates, espionage, adventure and romance. The series was later renamed in October 1944 to Matinee Theater.