Podcast appearances and mentions of patrick haynes

There are multiple sources of capital to fuel growth for providers or to simply de-risk portions of the business. A sale-leaseback is one such vehicle that operates as an alternative to traditional bank debt or private equity. Patrick Haynes, Managing Principal at Wellness Realty, walks us through the pros and cons of the various types of financing and how they can work to provide much-needed capital or accelerate expansion for behavioral health providers.

Our annual year's end tradition returns! Welcome to the awards edition. We've gathered guests old and new to talk about a favorite film from the endless year 2018. These talks are generally spoiler free, but all do contain several basic plot elements, so use the timestamps to avoid anything you're even slightly wary of spoiling. Many thanks to our guests on this episode: Monica Date, Raul Mendoza (https://www.patreon.com/thenerdcorps), Patrick Haynes, and Charlie Mangan (https://muchadoaboutcinema.com/tag/author:charlie/). Be sure to check out their work, as they are smart and good. 02:37 Mission: Impossible - Fallout 11:43 Eighth Grade 21:34 Black Panther 34:40 Roma 49:20 A Star Is Born 59:04 Wildlife Music from Mission: Impossible - Fallout, Black Panther, Sorry To Bother You, A Star Is Born, First Man, Hearts Beat Loud

Sell More Batteries. Training and Testing is the Key. Join Michele Zgola the director of Marketing and Communication at Johnson Controls, Jim Bates the Aftermarket Training Center Manager also at Johnson Controls and Patrick Haynes, Executive Director at the Responsible Battery Coalition. Learn about selling more batteries and how well the industry has rallied to recycle 99% of all batteries. Recycling challenges are coming in the future as lithium-ion batteries will need to be recovered. Pictured above left to right: Patrick Hayes, Jim Bates and Michele Zgola Talking points: There are challenges to teach the motorist about the value of the battery. Batteries are found in many different places in vehicles today which makes The Battery Shop an industry-wide resource. Find out where to locate batteries and how to replace them. Instructors are helping create student educational courseware. AGM (Absorbent Glass Mat) category is growing. Because of the demand on the vehicle, AGM is big today. To sell more batteries you need to test more batteries. New DVI processes will include battery testing as part of their vehicle health check. Lead-acid Batteries are recycled at a 99% level. The 1% that are out there account for about 2,000,000 that are sitting in houses, garages, and basements. A lot of batteries are found in our countries rivers. River clean-up projects are finding them. New technology batteries like lithium-ion will need to be recycled. No one knows yet what the end of like looks like at this time. Because of the commitment to recycling lead-acid batteries, 100% of the battery core is re-purposed. Lead battery recycling is unapparelled in the US with zero emission smelters. The Responsible Battery Coalition is new and everyone who sells batteries is engaged with this organization. They are looking at the future of battery recycling with new technology. Be socially involved and in touch with the show: Speaking (https://remarkableresults.biz/speaking) (http://http://eepurl.com/bhqME9)   This episode is brought to you by Federal-MogulMotorparts and Garage Gurus. With brands like Moog, Felpro, Wagner Brake, Champion, Sealed Power, FP Diesel and more, they’re the parts techs trust.  For serious technical training and support – online, onsite and on-demand – Garage Gurus is everything you need to know. Find out more at fmgaragegurus.com (http://fmgaragegurus.com/) Download the Remarkable Results Radio listening APP for your smart device: (https://itunes.apple.com/app/id1188757689)      

As is tradition, Let The Right Films In is sending off the year by bringing on as many past guests and current friends as possible. The tremendous response to our invitation was very humbling, and we now have to split the podcast into multiple parts for easier consumption. Part 3 is the final entry, as we put a cap on 2016 with its best movie, its most fearsome monster, and its snarkiest star. We spoil very little in this episode, even less than in previous episodes. We want you to watch the movies for yourself, after all. Family friendly Part 1: bit.ly/LTRFI-2016-1 Horror + sci-fi Part 2: http://bit.ly/LTRFI-2016-2 Our 2015 year end episode: bit.ly/LTRFI-2015 3:50 Hail, Caesar! 10:50 Moonlight 22:03 Jackie 34:43 Hell or High Water 46:44 Shin Godzilla 1:02:13 Everybody Wants Some 1:11:29 Deadpool 1:21:10 Teaser Thank you to our guests Phil Nobile Jr. http://birthmoviesdeath.com, https://soundcloud.com/birthmoviesdeath), Patrick Haynes, Zack Parr (http://www.havefunrecords.org), Landon Defever, and Gabriel Aikins (http://substreammagazine.com). Please take some time to check out their projects as well. Music: End Credits Suite - Nicholas Britell (Moonlight) Montage - Andy Hull, Robert McDowell (Swiss Army Man) Ride - Lowell feat. Icona Pop (Nerve) The Ballad of Wiener-Dog - Eric William Morris, Marc Shaiman (Wiener-Dog) I'm So Humble - The Lonely Island (Postar: Never Stop Never Stopping) No Dames - Henry Krieger, Willie Reale (Hail, Caesar!)

Bay Area composer Clark Suprynowicz is CEO/Artistic Director of Future Fires, the new 2017 SF cultural platform uniting art, music, & technology. Artists/creators from around the world produce groundbreaking work using robotics, VR, drones, and much more.TRANSCRIPTSpeaker 1:Method to the madness is next and you're listening to method to the madness, a weekly public affairs show on k a l x, Berkeley Celebrating Bay area innovators. I'm your host, Lisa Keifer, and today I'm interviewing Clark superannuates, award-winning bay area composer, musician and teacher. He is now CEO and artistic director of future fires. He'll be talking to us [00:00:30] today about what that is. Welcome to the show. Clark. Thank you so much. I'm so happy you're on the show to tell us about future fires. First of all, can you explain what it is? Speaker 2:Sure. It's hard to talk about what it is without talking about the origins. So I've noticed that art and technology is an emerging domain that you can trace its roots back to the 60s and even even before that. But I think a lot of people recognize in recent years there just extraordinary things happening with virtual [00:01:00] reality, augmented reality, three d projection mapping, robotics, wearables, even aerial light shows created with drones and what all these things have in common is that they have become tools that artists are working with creatively. And my personal belief is that if you stick around for a couple of years and watch this whole phenomenon, I think we'll, we will recognize these times we're living in now as a time of incredible imagination and people mixing it up and, [00:01:30] and trying to figure out this whole thing. But emerging out of it, I, I think I'm not the only one that sees this. Speaker 2:There's this whole emerging new activity of artistic practice, future fires is just to get to, like that part is, um, a large scale festival of art and technology that I've been putting together with a really great team over the last couple of years. And who are these people on your team? Yeah, well we've got an amazing advisory panel that gets back to the kind of origin story. When I started working on this a few years ago, I spoke to Pam Winfrey [00:02:00] who has been a curator at the exploratorium since 1979 and she said, well, not only do I think this is a great idea, but I'll be on your advisory panel. And people kept saying that. Um, so we've got a really great group of people from the arts side, from the business side, a large event management. I've got a partner in the business, Scott Lipsett who um, started a great media company that you can find online called driver digital. Speaker 2:And so he understands the whole capture and distribution [00:02:30] of media part, which is very important to create a live event these days. Cause that's as much an online phenomenon as it is something that you experienced physically when you show up as to the team that I'm actually working with that are putting on the event. John Mitchell was a producer right here at the Greek theater in your backyard for five years and then moved over and worked with the Superbowl 50 this last year. And his next posting right after that was to come and work with me and a few other people he brought along from a Superbowl 50, which the marketing director [00:03:00] there and the person that's doing our sponsorship management. So there are those folks and we've got a wonderful guy, Patrick Haynes, who Scott, a production company of his own, which gets back to the online media part of this and David brassard as our CFO kind of taking care of the money stuff. Speaker 2:So it's a really great kind of lean mean team and we're starting to work with the midway and pure 70 partners in San Francisco. Those are revenue partners. The location. Yeah, frequency. How often is this going to happen? Where's it going to happen? What is your vision for that? Yeah, I, [00:03:30] we've got some really great stuff brewing for early 2017 with both artists and dates from our venue partners. So serving you definitely pure 70 a and the midway. The midway is actually had really wonderful 2,500 person venue with sort of five rooms that orbit around one large one and they're just getting their permits together and have started doing events there. So those are our partners and we plan to do events at the midway until we move over to pure 70 so will it be completely indoors? Actually both of them in Nice weather provide the opportunity [00:04:00] to do inside and outside. Speaker 2:And is it once a year? How do you envision this? We're, we're looking at doing several events a year with kind of a bump in the middle of the larger one will be in the summer months and probably the way things look now we'll be staying at the midway for the first year and moving over to per 70 when we are drawing large enough crowds first. Right. And then start rolling out these programs. How much will it cost to go to one of these events? Well, we're trying to keep things affordable. I think running [00:04:30] underneath the surface of all of this is the awareness a lot of us have that the arts community has really been under fire here in the bay area for quite a while now with rising rents. And uh, we don't want to put on an event with some astronomical ticket price just to pay for it. Speaker 2:So we are carefully having conversations with sponsors, making people share our vision and helping to pay for it that way, which is a model that should be familiar to anybody that's been to Coachella for instance, or maker fair. So that's part of what's driving [00:05:00] revenue for it. And of course campaigners that still [inaudible] that's closed now and we've, we put some money in the bank from that. And I guess the other thing I would say is we're having some really great conversations with people now and it's taken a while to get here and uh, just sort of spread the word about what we're doing, but talking to some of the people in the bay area that can afford to reach into their pockets and kind of [inaudible] investors funding. That's right. But if there are people listening to this and they've got a lot of money in their checking account [00:05:30] and they think this sounds exciting, please reach out to future fires.com. Speaker 2:Right. So you're looking for you still looking for we, we raised investment, uh, last year and I think we did really well and got to a nice place. And that and it's sort of an ongoing first raise of capital who's paying for all of this and, and it's worth contrasting a bit with the nonprofit model, which I'm very familiar with and I've worked with a lot of great organizations in the bay area and done some grant writing of my own. It just seemed like as we tried [00:06:00] to figure out why there is not right now a large amount of art and technology in the bay area. That part of the answer is that people have been working usually with the nonprofit model coming from the museum and gallery sort of side of things. God bless SF Moma and the Gagosian gallery and all of those people. But it just seemed to us to do a really large festive event and bring in people from around the world with high production values and really do it properly that it was probably better to model it after some of these larger festival. Speaker 3:So like [00:06:30] a for profit model. Yeah, that's okay. You've composed several operas, you, you come from a kind of a classical and jazz background and can you talk about those changes you saw coming some time ago and how that informed your work and in doing this event that combines art and technology? Speaker 2:You're right, I've done a lot of work collaboratively in the bay area and for whatever crazy reason as a composer I tend to gravitate to these large scale projects that take some years to realize and [00:07:00] you wind up doing grant writing and sitting in our whole lot of production meetings and doing a lot of collaboration. I guess I would say I like the collaboration part of it that's always attracted me maybe because it partly gets me out of my room, a lot of artist spend time alone and uh, I enjoy the social part of it. I like hearing people's ideas and helping you know, solve problems together. So to get to this project after doing the operas that you talk about and being involved in these often multidisciplinary projects for [00:07:30] years I was going back and forth between Europe and the u s about three and a half, four years ago and more and more people were sending me this really interesting project in my inbox. Speaker 2:You know, things would show up and I'm sure you've seen things on the creators project or somebody sent you a link from time to time. And what was interesting is every time I looked at these projects and I saw some amazing piece involving projection mapping on the side of a building for example, or I mentioned earlier, an aerial drone based light show or [00:08:00] you know, data monopolies work with no such thing as an example of an amazing melding of the musical world and somebody who's an amazing visual designer and I was seeing these projects and I was noticing every time I would look to see where they were, they were in Tokyo, they were in Paris, they were in Berlin, they were in Italy, they were in London and they were not in the bay area. Now we have an incredible technological community here of course, and a lot of innovation going on. And there are people doing remarkable work in art in tech here, but that doesn't mean they have a large scale platform [00:08:30] for that. Uh, we've got some wonderful colleagues in the gray area foundation and Coda, Mae and projects that occasionally do occur at Swissnex or Dork about San Francisco. One of our advisors is the person that started Dork Bot San Francisco, wonderful meetup group. These are places where you can see some remarkable art in tech projects and they're great. They're in an intimate setting and we're just looking to expand that Speaker 3:and a lot of people talk about um, burning man's influence on these Speaker 2:art and tech installations as well. Yeah, we have an interesting connection [00:09:00] to a number of the people that do large scale sculptures through Jeff Whitmore at the midway, urban new partner that I mentioned and a couple of other people that are kind of orbiting around that are in that community. Yeah, that's been one of the great things about this actually is finding all the overlap and all the excitement that is going on. As we discussed this with different people, it really is much more common than not when we get into a room and talk to people about this, that they're just supportive in every way they can be. Tell me about a few of the artists that you are working with for the future [00:09:30] fires project. Yeah, sure. I'll mention a couple others, a wonderful group called fuse and I would recommend people check them out online. Speaker 2:You could probably find the most easily through the piece that we're looking to bring here next year called Laos, l. J. O, s, w. I think they're just outside Medina in Italy and I actually got to visit them when I was first starting this project. Wonderful Bunch of guys as sometimes happens with the sort of work they're working in architect's offices together because they're kind of brilliance [00:10:00] and creativity and coding talent is appreciated there and it helps them make a living while they're doing this stuff on the side and they have brought that and a whole collection of pieces to festivals all around Europe and this will be their first time coming to the bay area. The piece they're bringing, the one that I mentioned called Laos is a generative piece. It involves real time graphics that are responding to a dancer and aerialist that as part of that piece. Speaker 2:And I'm very interested in that work where you actually have a human element. It's not [00:10:30] just a question of pushing a button and making something run, but there's something really warm and organic and unpredictable and wonderful and complicated about what happens when you get human beings, whether that's musical or whether that's dance or having the audience in some way trigger or influence what's going on. That's really interesting. And one of the, one of your fascinating just things. Who are you working with on that technology piece of that? A, just to speak as someone here in the bay area or a couple of people that have become, uh, good friends of ours and are doing wonderful creative work, future cities, lab [00:11:00] in Dogpatch, South San Francisco. Again, people that have a background in architecture, but people may have seen their work at Yerba Buena Center. They've had two different pieces installed there over the last year and a half. Speaker 2:Their work is interactive and they tend to gravitate toward these large scale exhibits. Sculptural works, and they're starting to do very well and getting a some recognition. They've commissioned in Washington, D C for a new piece. They're working, so that would be an example and another possibly not as well known, but I'm sure he will be. [00:11:30] There's a fellow here on a Fulbright, I think at SFAI and his name is Ken Byock Berber. I'm going to actually spell that in case anybody wants to look up his work. It's B U Y U K B E r B e r by barber, and he's been all over the place. I don't know when that guy sleeps since he got here. He said work presented down in La at a festival there recently. He's working with immersive environments and VR and all sorts of light-based art. We've got a whole family of people that [00:12:00] we're in touch with. Probably the best thing to do is visit our website. Speaker 1:If you're just tuning in, you're listening to method to the madness, a weekly public affairs show on k a l x Berkeley Celebrating Bay area innovators. Today, I'm interviewing Clark [inaudible], the CEO and artistic director of future fires. What is the mission of future fires? Are you trying to reach a new demographic? Speaker 2:[00:12:30] Well, there's two parts to that. Through the people were finding a connection to and people that are interested in what we're doing and there's our mission, which is related. I would say the audience, we're finding this really broad, it's a primarily youth related event that we're putting on. If you talk to our marketing director, she'll tell you that you need to get really specific about who you're reaching out to and the kind of messaging you do. It's not my area of expertise, but she knows what she's talking about. Speaker 1:So you are focusing on a demographic. Speaker 2:Yeah, sure. You kind of have to and [00:13:00] and also it just makes sense because of the niche that we see or the vacuum in the bay area we're looking for primarily people in 20s and thirties and uh, that's, that's the event that we see missing a lot of the people, you know, you referenced a burning man earlier, people that are going to Coachella, people that are going to burning man, people that might make the trip down to Austin to south by southwest. A lot of uh, young people that are very creative and they might be working in the tech industry, they might have a design background, they might be art students. They might [00:13:30] just be incredibly rabid fans of music and large events. It's, it's that younger audience that, that primarily this is geared toward. But there is also, I am told again by people that know marketing, there's a secondary demographic and we're certainly welcoming people in that are forties fifties sixties and had been around the bay area long enough to see all the evolution that's happened Speaker 1:and who have the deep pockets. Speaker 2:Yeah, sure. That doesn't, that doesn't hurt. I guess I would say one other thing on this topic too, which is important, which is, [00:14:00] uh, I mentioned earlier a lot of people being priced out of the bay area that are in the arts. I think it's really a wonderful thing about this project that it's the only place I know of where technology and the arts are really shaking hands and getting along. You've got artists that are embracing code software and hardware, the increasingly intuitive interfaces that make it possible to do creative work. If you're coming from the creative side and people that have, uh, companies and are working with this frontier technology that is more and more emerging, [00:14:30] they're looking for opportunities to show off with the stuff can do their creative people too. They may not be artists by day and that may not be their, their primary skill set, but they're happy to partner with people that can show off what can be done with what they're innovating. An example of that would be the great incubator program that's been going on at autodesk now for a couple of years. And one of the, that's kind of in our family, a nuclear practice, been there several times working on projects that their incubator program. Speaker 3:What's an example of how you're moving music forward [00:15:00] in this tech plus art scenario? Speaker 2:Yeah. Well I don't want, I don't want to come off as someone that's masterminding something that's already going on. I think we're in more than the position of curating and trying to provide a stage for a lot of wonderful stuff, so I can name some people that I admire and that we hope to see on our stages. I'm in Tobin who actually lives right here in Marin of flying Lotus, who's from London. I mentioned no such thing. These are artists that are not only creating some great music, but if you look at what [00:15:30] they've been doing visually, you see 'em that they've been paying a lot of attention to that and they're looking to be innovative and experimental and have a lot of fun too with what their audiences looking at as well as hearing. I guess the band tool would be another example and that's an interesting thing to bring up because the artists from Turkey that I mentioned, Ken [inaudible] who is right now at SFAI, he created a all the visuals for their last touring show. Speaker 2:And if you look at a tool online, I believe the first video that bobs up shows you the visuals that our artists and residents created for their last touring show. [00:16:00] And that was a really delightful discovery for me cause they write, I do come from a music background, but at the time that I started working on this, I was thinking of music as another category that we needed to represent just as we would represent VR or fashion and tech. And I realized that that was all wrong. Actually. If you look at what's going on in the music world, people are more and more embracing the visual design that's possible with these kinds of tools. And why is that? Part of it is that we're looking at a generation that experiences things as much online [00:16:30] as they do live. And if you're a musical performer, even if you're someone that strums in Acoustic Guitar, which is a great thing to, uh, you need to have some visual signifier out there, something that lets people know who you are and, uh, it's only natural, I think that people would be exploring more and more how to tell a story visually and start developing some kind of language there and using that as a creative medium in its own right. Speaker 2:So I think that's part of it. And I also think that these tools have arisen, [00:17:00] projection art for example, or VR and people are naturally eager to see what they could do with that if they're coming from the musical side. You know, I think it's great too, to go to a concert and watch a cellist who's playing sublime music and be able to focus on that one element alone. I hope that that never goes away, but it's just undeniable that there's a whole new generation of musical artists that are embracing the possibility of really creating a visual feast. Speaker 3:I was just reading the transcript of t bone Burnett [00:17:30] keynoted dress at the Americanafest this September. And, and he talks about the challenge that we face with technology and says it has no aesthetics or ethics and he kind of insinuates that Internet technology has a prison. So it was really kind of a contrast when I saw what you were doing and yeah, Speaker 2:and yet I understand there's so many people in the arts, I think that feel under siege and there's a whole phenomenon in our culture of [00:18:00] the arts in general being marginalized. One of the members of our team has made the point and I think it's quite a positive and constructive one that what we can do here, and I hope we do as we build this is provided a different and very positive role model for younger people who are trying to figure out what to do with their lives. And being an artist as it's usually defined, it just doesn't look like a very good option at the moment. But if you see people that are doing things with code and involved in these remarkable collaborations and, and making a [00:18:30] decent paycheck, which is something we hope to enable, you know, through this, this sort of work. Um, that's pretty great. That's pretty interesting. If you're 11, 12, 13 years old and you were thinking, well, I don't know that I really want to go into banking. I don't know that I really want to be a lawyer. Speaker 3:Then there's the issue of arts in the schools today. There's so little of it. Whereas when I was growing up, we had choices of instruments. We had choir, we had plenty of arts for free. Yeah. To go that same path today takes a lot of money and time [00:19:00] that um, most people don't have. That's right. So when you're talking about young people with coding, it's something they can do and they can do it inexpensively. Right. Speaker 2:I really believe too, as I said at the beginning of our time here, that this phenomenon is really emerging too. It's very easy to look at what's happening now in 2016 and, and go, well, that's pretty cool. You know, I, I, I think I see some interesting work going on there, but if you just project forward considering how fast things have moved, how much more powerful processing is now, [00:19:30] how much more intuitive the interfaces are that are available to artists and this kind of body of work and uh, and a practice that has started to emerge. I just think there's huge potential there for anybody young today looking for something creative to do. And again, that's not ever going to take away the beauty of what t bone Burnett does or ry Cooder or any number of wonderful instrumentalists. Speaker 3:Where do you see future fires like in five years? Do you think it's going to evolve into something else? Speaker 2:Well, I can tell you that our [00:20:00] venue partner, the midway is really working hard to make their new venue in south San Francisco, a center for community and for the arts and for innovation. And so I have to kind of put my answer together with what they have in mind. And that's a really nice thing to do. Partnership is a great thing. If it's the right kind of partnership, they would like us to stick around for years and work with them and build up the audience at the, at the midway at, at pier 70, they all serve in public works for people [00:20:30] who have seen shows there. And uh, Jeff has, uh, been working recently with the people that do shows at the mint. So just because those guys have been in event production for a long time in San Francisco, there's a lot of opportunity there to do shows both large, uh, small and medium with, so we want to this, I'm not because we intend to take over the world, but just because we naturally think, uh, interest is there and will emerge more and more as we create a chance for people to come out to a large event. [inaudible] Speaker 3:what will you be doing for [00:21:00] artists? Speaker 2:I hope we do a lot for us. I hope we provide an opportunity for them to do what they do. I'm more than they have now. We'll hope we provide a, a chance for people coming from overseas that until now have not had a chance to, uh, do what they do at a major media arts festival in the bay area because there hasn't been one. Um, but above and beyond that, I would say some thing that's kind of interesting to me and, and uh, I, uh, it really will not cost as much to do this and yet it turns out it would be slightly [00:21:30] revolutionary if you look at some of the online portals where you can go and watch art and tech, let's just say that there are places you can go and watch these projects online. And I happen to know from the artists that they haven't received a dime for the videos that have been produced and put up there. And we would like to change that. I mean, even if you can institute kind of a Pandora model or even do a bit better than that and give a few pennies on the dollar to artists that are partnering with us and giving content. I can tell you as an artist myself, it's great to have a little passive [00:22:00] income showing up in your mailbox every, every month. Speaker 3:I want to talk about your background. Sure. Because I don't know if everybody knows about you, but not only have you written operas, but you're still teaching jazz at the Berkeley Jazz workshop. That's correct. You founded the music theater project at c space. I mean you have, you have an amazing background in music, so that makes it particularly interesting to me that you would get involved in something like this because you really know what you're talking about in terms of [00:22:30] 20th century music and to move forward in the 21st century with that kind of background is really powerful. Speaker 2:Thanks that, that's very flattering. I, I am doing this with some other people and I think I've mentioned some of them already and I, I, it's important to stress I'm, I would be a little crazy to try to do this all on my own and I'm not sure anybody has the skill set to do large event production of something that pulls together these different worlds without a whole lot of help. So I've got some great people around me. But as far as on a personal [00:23:00] level in the jazz education that you mentioned, yeah, the Berkeley jazz workshops go on and on and they're easy to find online. I'm also teaching a class at the jazz school that's coming up for those who are interested in that. Part of what I'm doing, it's now called the California Jazz Academy and they've got great programming happening over there with a lot of remarkable musicians coming through. Speaker 2:And also a, this is a fun month for me. The Oakland symphony is playing a piece of mine as part of their opening concert. They're playing a piece called red states, blue states that I did as part of the under construction series for [00:23:30] the Berkeley symphony about eight years ago. And because of the election season coming up, I think Michael Morgan thought that would be an interesting piece to put on the program. So it, so I'm, I've got sort of a curtain raiser and then it's Elgar and Mauler on that program. Yeah, yeah, yeah, yeah. If you go to Oakland symphony, you can see they're opening concerts coming up. So that's pretty exciting. Speaker 4:[inaudible] Speaker 3:[00:24:30] and you grew up on the east coast and you came here in 1982 what brought you to California and the bay area? Speaker 2:I moved out here. I was just telling somebody this the other day I moved to with a drummer and my bass and his 10 speed bike and his drum set in my Volkswagen beetle. I really don't know how that's possible, but it's true. We did that and I landed here because I was looking for a place to play music professionally and I got pretty [00:25:00] lucky. Um, there was a basis here in the bay area that I got to know who moved back to Belgium about five months after I got here. And he basically gave me all this work and I bought them a box of cigars. So I had a really nice introduction to what was then an extremely vibrant jazz scene in the bay area. And I made a living between that and teaching for the next decade. And, but toward the end of the 1980s I started moving more and more toward composing. And that launched me into a lot of the collaboration that I was talking about earlier, which suits me really well. I like working [00:25:30] with creative minds and groups of people. Speaker 3:Yes. Is it unusual to find jazz composers and jazz performers in the opera world and the more classical world? Is that unusual? Speaker 2:Less so, certainly than it was a few decades. Speaker 3:But when you started, was it unusual for someone to come out of [inaudible] Speaker 2:Morgan? Actually, I think at the time that I was doing that, there was some other composer, Stevens Tookie comes to mind. Paul Dresher here in the bay area as an electric guitar. Originally people that were not coming from a background of classical piano or strictly [00:26:00] conservatory. Great to hear you say here, it might be a little more coming out of America than Europe. Sure. And it only makes sense because if you grew up listening to hip hop or listening to rock or w or world music and that's what you love and then you get interested in theater and you get interested in the vocal tradition, you're going to bring those things with you and you're going to be looking for ways to work with the music you love and the things that are relevant. Speaker 3:Can you think it's really great what you're doing with the future fires because it's allowing people to not get pigeonholed. [00:26:30] You're a cellist or a, you're a dancer or you're a software programmer. It's just an opening. I'm looking forward to it. Yeah. Speaker 2:Well, there are so many remarkable people. You asked me to mention a few of the artists and there are many more of them that are on our website. We're really building what I see as, as a family of people with common interests that are doing just really remarkable inspired work and each one of them individually week by week, month by month is is off working wherever they are. You know, here in the bay area or in London or [00:27:00] in France, and they're thinking about the possibilities that are emerging from this domain of work and pushing the envelope all the time, who's just new great stuff popping up Speaker 3:and, and this kind of innovation. Will this be unlike anything anywhere in the world when it starts up? Speaker 2:No. Again, I, I want to avoid sounding like we're, I'm doing something that's never been done before. I think what's unique about this is that the barrier has not seen a large stage for this kind of work and opportunity with high production does. Yeah, I [00:27:30] think it is time, but there are are great festivals. The Stripe Festival in Eindhoven for instance, which happens in Holland every year is one that comes to mind or the Berlin by an alley. There are plenty of arts electronic. Oh, somebody on our advisory panel is started future lab in 1979 at our select Ronica and I'm, I've mentioned a few times now these drone based area light shows, that's Horst Horner that actually pioneered that with Intel and that's an amazing thing. You can see samples of that work online. Speaker 3:Is this something that's going to be coming up in [00:28:00] future fires next year, Speaker 2:this next year because it's, it's not only financially ambitious but you run into problems in the United States with the FAA. I've talked to Horst about it a lot. We think we might be able to eventually do it at pier 70 because there's such a huge parking area there and also it's under the authority of the port rather than the city of San Francisco and things are just a little bit looser there. So uh, we hope to do that. Speaker 3:Let's say I go to this pier 70 event next year, will I be sitting, walking, participating? What is the Speaker 2:both at the midway [00:28:30] and later when we moved to pure 70, we're going to have, it actually depends on the event. I'll give an example where we are in discussion with the Gerta Institute and a Berlin based artist named Robert Hankie, who has also done work at gray area foundation. He does just remarkable laser light shows. It kind of elevates that whole world that some people know from discos and so on to a whole nother realm. He's just an amazing artist and that will be a seated program. It will be really like a concert. People will come in and experience what he's doing for about 55 so [00:29:00] it will be one thing at a time. Sorry. So we're, we're doing some smaller events and Robert Hankie would be an example. We might present a few other artists that night, but that would be at the midway. A few thousand people relatively contained over a night or two when we moved to pier 70 which was an enormous space for those who haven't seen it. It's just remarkable. That will be largely a standing room and provide the opportunity to present potentially dozens of artists. Speaker 3:That's great. Yeah. If you could just tell us again what your website is for future fires. [00:29:30] Sure. It's future fires.com oh, that's easy. And again, it's the first of its kind of large scale interactive art and technology festival that's coming up in 2017 we're so happy to have you on the program. Thank you so Speaker 1:much for taking the time. You've been listening to method to the madness, a weekly public affairs show on k a l x Berkeley Celebrating Bay area innovators. Speaker 4:Tune in again next Friday at noon. See acast.com/privacy for privacy and opt-out information.

A.K.A. "BAHSTIN" We are rejoined by Patrick Haynes to talk about the Departed, Leo, Matt Damon, and Boston accents. A lot of Boston accents. Should Leo have sought a nomination for this instead of Blood Diamond? Did Mark Wahlberg deserve an Oscar nomination? Was Jack Nicholson even good in this movie? We talk Academy Awards then and now, rank the performances, and more. We did not mention The Departed TV series that's being produced, but perhaps that's for the best. 0:29 Intro 2:30 Recently Watched Patrick: Love (The Netflix one, not Gaspar Noé) Kayla: Tron + The Mahtian 39:18 The Departed Discussion 1:31:10 Recommendations, trivia, stat of the week, outro + bloopers

This week 2 of the boys are joined by Patrick Haynes from the USA and discuss Voltron of Flowers, our exclusive new spoilers and many other things in the world of thrones.

It's 2016, but Kayla and Tyler are still looking back on an incredible year for movies. They each talk about 3 of the movies they loved from 2015 before giving way to six previous guests, each of whom stumps for a favorite cinematic experience from the year. Warning - MILD SPOILERS ahead. Podcast notes at lettherightfilmsin.tumblr.com. Contact us at ltrfipod@gmail.com. 0:29 - Kayla and Tyler 17:01 - Kyle Minton on Girlhood 23:28 - Gabe Aikins on Furious 7 31:02 - Patrick Haynes on Creed 39:58 - Landon Defever on Inside Out 49:58 - Benjamin Rettinhouse on Tangerine 1:01:54 - Phil Meyer on Mad Max: Fury Road

Patrick Haynes from the Sorry, Internet podcast joins the podcast! We talk about Denis Villeneuve's 2013 crime drama Prisoners. We gush about the Oscar-nominated cinematography from Roger Deakins, praise the underrated Gyllenhaal, and get into what keeps this film from reaching the level of a crime film like Zodiac. Before then, though, we have to talk about that Captain America: Civil War trailer, and Kayla relishes the opportunity. Tyler takes the Marvel talk to Jessica Jones, and Pat fights Chris Evan's tyranny with some Ruffalove. Our Prisoners review is spoilery, but nothing in the recently watched section beforehand is. 0:29 Intro + Sorry, Internet 4:45 Pre-Creed hype 6:35 Spotlight 8:40 Crimson Peak blues + prayer hands to Mia Wasikowska 13:15 The... Mark Ruffalo Corner? 13:50 Buffy the Vampire Slayer 17:40 Impromptu network television roundtable (Supernatural, Heroes, Halt and Catch Fire, and more) 22:23 The Captan America: Civil War trailer, code name "Most outrageous Chris Evans Corner yet" 29:52 Jessica Jones - Kilgrave, Luke Cage, Marvel villains and more 37:23 The Night Before 39:15 Prisoners introduction 44:15 Roger Deakins and Prisoners' cinematography 50:30 Our leads, and an angry white man 54:15 Villeneuve's subtlety and characters 58:59 Weak points 1:06:19 The movie's reflection of North America 1:11: 00 Final thoughts 1:16:35 All Gyllenhaal 1:24:46 Recommendations, trivia, stat of the week, and outro 1:39:24 Bloopers