Podcasts about Pinewood Studios

What $25m's worth of prosthetics and glitter looks like SUPPORT THE SHOW: PATREONSHOP THE SHOW: TEE PUBLICFOLLOW THE SHOW: INSTAGRAM // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com    

In this unique episode, in honor of Mental Health Awareness Month and the celebration of our 5th Podversary. One of the most challenging things about being neurodivergent is learning to accept ourselves in a world where being different often marks you as an outsider. Using my obsession with Wicked and exploring four of Stephen Schwartz's iconic songs —from the hopeful longing of "The Wizard and I" to the defiant liberation of "Defying Gravity"—my goal in this episode is to connect them to the distinct stages of our ADHD journey in learning to embrace our differentness. So, grab your broomstick and let's go on an adventure to Oz. Episode Highlights:Did you ever find yourself thinking: “If I just find the right planner /medication/ job/coach, I'll finally feel normal”? That's what I call the “fix me” phase — and it's just the first chapter in a powerful process. In this episode, I walk you through four major songs from “Wicked” that map out the ADHD journey to self-acceptance:“The Wizard and I”: The bittersweet hope that someone or something outside of us will finally fix what feels broken.“Popular”: The pressure to fit into neurotypical molds, no matter how unnatural it feels, and why those “helpful tips” so rarely work.“Defying Gravity”: The exhilarating breakthrough of embracing your true self and rejecting systems that were never built for your brain.“For Good”: Honoring everyone who contributed to your journey, finding peace with imperfection, and stepping into deeper self-acceptance.Whether you're still searching for that magic fix, trying to fit into neurotypical norms, or learning to soar with your own brand of brilliance, this episode is an invitation to recognize the real magic within yourself. Join me as I encourage us all to “keep defying gravity together”—and celebrate just how far we've come, thanks to a little help from our friends in Oz.Inspired by this episode? Click this link to share it with a friend. Complete song lyrics for “The Wizard and I”, “Popular,” “Defying Gravity,” and “For Good” can be accessed here for reference. Used with permission by Scribd. All songs from “Wicked” were written by Stephen Schwartz and the clips used in this podcast recording were performed by various artists from The Studio Allstars Used with permission from One Media PublishingDigital distribution label based in Pinewood Studios, UK ©2008 © 2025 ADHD-ish Podcast

I decided to do something special for this episode, because this week is our 5th podcast anniversary (and it's also Mental Health Awareness Month.) One of the most challenging things about being neurodivergent is learning to accept ourselves in a world where being different often marks you as an outsider. Using my obsession with Wicked and exploring four of Stephen Schwartz's iconic songs —from the hopeful longing of "The Wizard and I" to the defiant liberation of "Defying Gravity"—my goal in this episode is to connect them to the distinct stages of our ADHD journey in learning to embrace our differentness. So, grab your broomstick and let's go on an adventure to Oz. Episode Highlights:Let's take a trip through four major songs from “Wicked” that map out the ADHD journey to self-acceptance:“The Wizard and I”: The bittersweet hope that someone or something outside of us will finally fix what feels broken.“Popular”: The pressure to fit into neurotypical molds, no matter how unnatural it feels, and why those “helpful tips” so rarely work.“Defying Gravity”: The exhilarating breakthrough of embracing your true self and rejecting systems that were never built for your brain.“For Good”: Honoring everyone who contributed to your journey, finding peace with imperfection, and stepping into deeper self-acceptance.Whether you're still searching for that magic fix, trying to fit into neurotypical norms, or learning to soar with your own brand of brilliance, this episode is an invitation to recognize the real magic within yourself. Join me as I encourage us all to “keep defying gravity together”—and celebrate just how far we've come, thanks to a little help from our friends in Oz.Inspired by this episode? Click this link to share it with a friend. Complete song lyrics for “The Wizard and I”, “Popular,” “Defying Gravity,” and “For Good” can be accessed here for reference. Used with permission by Scribd. All songs from “Wicked” were written by Stephen Schwartz and the clips used in this podcast recording were performed by various artists from The Studio Allstars Used with permission from One Media PublishingDigital distribution label based in Pinewood Studios, UK ©2008 © 2025 ADHD-ish Podcast

pWotD Episode 2934: Andor (TV series) Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 214,198 views on Wednesday, 14 May 2025 our article of the day is Andor (TV series).Andor, also known as Star Wars: Andor and Andor: A Star Wars Story for its second season, is an American science fiction political spy thriller television series created by Tony Gilroy for the streaming service Disney+. It is part of the Star Wars franchise and a prequel to the film Rogue One (2016), which itself is a prequel to the original Star Wars film (1977). The series follows thief-turned-rebel spy Cassian Andor during the five years that lead to the events of the two films, exploring how he becomes radicalized against the Galactic Empire and how the wider Rebel Alliance is formed.Diego Luna reprises his role as Cassian Andor from Rogue One and serves as an executive producer. The series also stars Kyle Soller, Adria Arjona, Stellan Skarsgård, Fiona Shaw, Genevieve O'Reilly, Denise Gough, Faye Marsay, Varada Sethu, Elizabeth Dulau, Ben Mendelsohn, Benjamin Bratt, and Alan Tudyk. Lucasfilm announced a series focused on Andor in November 2018, with Luna attached and Stephen Schiff hired as showrunner. Schiff was replaced by Rogue One co-writer Gilroy as creator and showrunner in April 2020. Filming took place at Pinewood Studios in London and on location around the United Kingdom, with Neal Scanlan returning from Rogue One to provide practical effects. The first season, which tells a year of Andor's story when he first becomes a revolutionary, was filmed from November 2020 to September 2021 during the COVID-19 pandemic. The second season covers the next four years leading up to Rogue One, and was filmed from November 2022 to February 2024 with breaks and delays due to the 2023 Hollywood labor disputes. Nicholas Britell composed the series' original score for the first season, while Brandon Roberts composed for the second season. Andor premiered on September 21, 2022, with the first three episodes of the first season. The other nine episodes of the season were released weekly through November 23. The second and final season premiered on April 22, 2025, with three episodes releasing weekly until May 13. The series has received widespread critical acclaim for its writing, performances, cinematography, production values, themes, and its darker, more mature and grounded tone compared to other Star Wars properties. The first season was nominated for three Primetime Emmy Awards including Outstanding Drama Series.This recording reflects the Wikipedia text as of 01:52 UTC on Thursday, 15 May 2025.For the full current version of the article, see Andor (TV series) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm long-form Danielle.

Welcome to Trilith Institute Talks!     In this episode of Trilith Institute Talks, host Hunter Barcroft chats with Colleen Russell, Vice President of Production Support at Trilith Studios. Colleen shares her extensive journey in the film industry, starting from answering phones at a production rental house to her current role at Trilith Studios. The conversation dives into her experiences at Turner Broadcasting and the evolution of Trilith Studios from its early days as Pinewood Studios to becoming one of the largest studio complexes in North America. Joined by film students Jane and Josh, they discuss the intricacies of production support, the importance of time management, and the unique community at Trilith. The episode also touches on memorable moments on set, the challenges of coordinating large-scale productions, and the continuous growth of the Trilith community.       Episode Timestamps     00:00 Welcome to Trilith: A Magical Community 00:25 Introduction to Trilith Institute Talks 00:57 Meet Colleen Russell: A Journey in Film 01:50 Colleen's Early Career and Turner Broadcasting 02:55 Transition to Trilith Studios 03:55 The Evolution of Trilith Studios 05:28 Student Experiences at Trilith 11:07 The Importance of Relationships in Film 12:49 Balancing Multiple Productions 18:52 Colleen's Communication Skills and Personal Growth 22:18 Overcoming Public Speaking Fears 22:43 Sibling Comparisons and Self-Confidence 23:20 The Importance of Time Management 27:29 The Unique Community at Trilith 30:30 Growth and Expansion of Trilith Studios 35:25 Memorable Moments on Set 40:05 Navigating Production Challenges 43:22 Conclusion and Podcast Information     About Trilith Institute Support The Next Generation of Storytellers Take A Professional Education Course Get Involved With Trilith Institute Contact Us Follow Us On Social Media! Trilith Institute Talks Instagram Trilith Institute Instagram Trilith Institute Facebook Trilith Institute LinkedIn

“Another glorious day in the Corps…” 1986's Aliens blasted its way into theaters and began it's quick ascent to the top of everybody's “best sequels ever” lists. But the wild thing is, Aliens almost didn't happen thanks to Hollywood's famous accounting skills. Clint, Cal and Nick talk about Sigourney Weaver's legacy on the cutting edge of mid-80s action stardom, the Pinewood Studios crew's daily tea time walk outs and James Cameron's super power for knowing the limits of what to show on screen and for how long. Meanwhile, Dan's Algorithm mostly comes out at night. Mostly… CineFix Top 100 was created by Clint Gage and Dan Parkhurst and is produced by Tayo Oyekan, with Technical Producers, Marhyan Franzen and Amir Rakib. Our Executive Producers are Clint Gage and Corrado Caretto. Logo and graphic design by Eric Sapp and title animations by Casey Redmon. Follow us on Letterboxd - https://letterboxd.com/CineFixTop100/ - and find us on all your podcast networks including: Spotify https://open.spotify.com/show/02lznfKZ2gCnBwFoTgKlYr Apple Podcasts https://podcasts.apple.com/us/podcast/cinefix-top-100/id1693413490 Amazon Music https://music.amazon.com/podcasts/80256cff-2174-4d69-a9c7-8b565e96e39b Learn more about your ad choices. Visit megaphone.fm/adchoices

Nos visitó la directora Brenda Taubin para conversar sobre su maravillosa película "227 lunas". También hubo efémerides: Emma Thompson y para cerrar tuvimos un recorrido por los Pinewood Studios.

Zeit für ein Interview mit dem Visual Effects-Veteranen Peter Field. Peter sammelte seine ersten Erfahrungen bei Optical Film Effects Ltd in den Pinewood Studios in England, bevor er sich einen hervorragenden Ruf als gefragter Haupt- und Zweitkameramann in der internationalen Film- und Fernsehbranche erarbeitete. Als Assistent seines Vaters, des Oscarpreisträgers Roy Field, arbeitete Peter an „Little Shop of Horrors“ mit und erinnert sich für uns an die 80er-Jahre zurück.

End of Eternity. Season 1, Episode 12. First broadcast Thursday 20 November 1975. This month, Peter Bowles drops Jonty and Charlotte off at school before heading over to Pinewood Studios to spend the day throwing security guards at each other and threatening to torture and kill everyone on the base. While wearing a surprisingly lovely outfit.

Join us for Hammer's Hands of the Ripper, a 1971 British horror film released as the second half of a double feature with Twins of Evil. Directed by Peter Sasdy, produced by Aida Young, and written by L.W. Davidson from a story by Edward Spencer Shew. Making good use of the large Baker Street set at Pinewood Studios—left over from The Private Life of Sherlock Holmes—the production was denied permission to film its final scenes at St. Paul's Cathedral, so a replica was constructed instead. If the Pritchards' home and staircase look familiar, it's because Hammer's ever-resourceful set designers reused elements from The Curse of Frankenstein years earlier (see episode 2 of our podcast for more on that classic). Director Peter Sasdy, who cited Hands of the Ripper as his favourite film, also directed the original Adrian Mole TV series (both The Secret Diary and The Growing Pains), three episodes of Hammer House of Horror, and two other Hammer features: Countess Dracula and Taste the Blood of Dracula (the latter coming to the podcast later this year, hopefully). Most monumentally, he directed the legendary BBC sci-fi thriller The Stone Tape (definitely check General Witchfinders number 5—our third most popular episode to date!). Eric Porter stars as Doctor Pritchard. Renowned for his work in film, television, and theatre, he famously played Professor Moriarty opposite Jeremy Brett's Sherlock Holmes and Soames Forsyte in The Forsyte Saga. Angharad Rees plays Anna, the daughter of the Ripper. She appeared in Boon (take a drink), starred as Demelza in 28 episodes of Poldark, and, the year after Hands of the Ripper, featured in Under Milk Wood alongside Richard Burton, Peter O'Toole, and Elizabeth Taylor. She was made a Fellow of the Royal Welsh College of Music & Drama, had a pub named after her in Pontypridd (sadly now a card shop), and founded a Knightsbridge jewellery company, Angharad. Pieces she designed were featured in Elizabeth: The Golden Age. Wikipedia also notes she was once in a relationship with Alan Bates, which we mention only to plug episode 35, where we talked about The Shout.Lynda "Nurse Gladys Emmanuel" Baron appears as Long Liz—a curious name choice considering Long Liz was an actual canonical Ripper victim. Here, she's depicted alive and well (at least initially), years after Saucy Jack's supposed demise. Baron appeared as a recurring character in both Coronation Street and EastEnders, and played three different characters in Doctor Who across three Doctors.Dora Bryan turns up as Mrs Golding, one of two clairvoyants in the film. You may know her from 50 episodes of Last of the Summer Wine, Boon (drink), or as Helen in A Taste of Honey (written by Jon's mum's mate Shelagh Delaney). She (Dora, not Shelagh) also appeared in both a Carry On and a St Trinian's.Lastly, Norman Bird pops up as the Police Inspector. If he looks familiar, it's because he had over 200 TV and 60 film roles. He was in Spywatch (as Mr Jenkins), Boon (drink), Woof!, Whack-O!, and Help! (with Stephen Mangan). He also did a stint in Jim Davidson's Up the Elephant and Round the Castle—only mentioned because Ross was convinced it was alongside Marina Sirtis, but IMDb says she was in just one episode?Anyway, back to Norman Bird. He appeared in The Adventure Game, Whistle Down the Wind, Steptoe and Son, Fawlty Towers, Please Sir!, and The Medusa Touch (on our long list since day one). He was Mr Braithwaite, the farmer, in Worzel Gummidge and voiced Bilbo in the 1978 Ralph Bakshi Lord of the Rings. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

AntiTrash comes to a close this week as we return to the States (via Pinewood Studios). To cap off the month, we check in to the Overlook Hotel to test our longterm isolation stamina. That's right, it's the horror movie we've most talked about without actually talking about it — The Shining. Kubrick's classic has informed the last 45 years of filmmaking, especially the horror genre. We talk about it as best we can, including its oblique nature, and all of the theories that have risen in its wake. Tune in now to hear our discussion of The Shining. If you would like to support the show or check out our ongoing limited series over Twin Peaks: The Return, visit us at Patreon.com/GTM.

Send me a DM here (it doesn't let me respond), OR email me: imagineabetterworld2020@gmail.comToday I'm honored to introduce you all to: Masonic and satanic ritual abuse, MK ULTRA and child trafficking survivor, overcomer and whistleblower, qualified Survival Instructor, Instructor for Hostile Environment Awareness Training, alpine climber, Tibetan medicine practitioner, adventure sport instructor, outdoor lover, my new friend, and all around badass and inspiration, LouLou was born into a multi-generational incest-based, bloodline family and is a survivor of the highest levels of Masonic and satanic ritual abuse and mind control and was the daughter of a channeler and healer mother and a father who was former Merchant Navy, worked at Shirley Oaks Children's home as a maintenance worker and builder, and who was a former model with celebrity friends like David Prowse who played Darth Vader in Star Wars. In early childhood, Lou was accepted into special school called Pilgrims as a child after testing off the charts for her IQ. Pilgrims was a school for children like her that had eczema, asthma and other conditions who were often used in medical research and experimentation among other types of child abuse. She realized at age 9 she had forgotten her past when on a live talk show she was asked a question about a childhood event and couldn't remember anything at all. Her mother's decades long friendship with a Grand Master Knight of Malta named Andrew Bertie led to further Lou's abuse and programming. She also was used for covert missions in her late teens and twenties - going to places like Lake Erie and the ecovillage of Canada where she was taught by people who had come up from a CIA training base. She also attended events as a child at Westminster Abbey with the Duchess of Kent and Pinewood Studios. After Lou's father died when she was 30, she discovered photos and exploitation material he had taken of her as a child, and it was then she discovered she had dissociation. Lou has done extensive healing and learning over the past few years to better understand what happened to her as a child and is still on her healing journey. Today is the first time Lou is publicly speaking out about what happened to her as a child and it's a great honor we get to learn about and hear her testimony for the first time. Lou believes its important people know the truth about the Grandmaster and Masonic orders practicing old Babylonian magic and every tradition - especially the left-hand path. There is such a veil over the eyes of society that such heinous abuse, crime and corruption could be at the highest levels of these secret societies and it's testimonies like Lou's that will help lift that veil from everyone's eyes. Lou is so brave and courageous for coming forth to share her testimony and I ask you all to please put away whatever you are doing give her your full attention as we shine a light on some dark topics and expose what's been hidden for far too long. It's time to make the world a better place for the children of the present and future and it's heroes like Lou who are going to make this dream a reality.CONNECT WITH LOU: Twitter: https://x.com/LouiseBrookes8CONNECT WITH THE IMAGINATION:EMAIL: imagineabetterworld2020@gmail.com OR standbysurvivors@protonmail.comMy Substack: https://emmakatherine.substack.com/BUY ME A COFFEE: https://www.buymeacoffee.com/theimaginationAll Links: https://direct.me/theimaginationpodcastSupport the show

Keir Starmer delivered his ‘plan for change' in a key speech at Pinewood Studios, Buckinghamshire, setting out what he called 'milestones' for his government. It comes after a challenging five months in office for Labour, but they denied that it was an emergency relaunch, despite their plummeting approval rates.Camilla and Ben Riley-Smith are at Pinewood to react to the Government's new plans and ask the current Cabinet (including Lisa Nandy, Yvette Cooper, and Ed Miliband) what it all means.And as France falls into political turmoil after their Prime Minister resigns following a vote of no confidence, Kamal speaks to our Europe Editor James Crisp about what this means for the country's future and its role within Europe.ReadCrisis for France and Germany comes at terrible moment for EU, James CrispWe want to hear from you! Email us at TheDailyT@telegraph.co.uk or find us on X, Instagram and TikTok @dailytpodcastProducers: Lilian Fawcett and Georgia CoanSenior Producer: John CadiganPlanning Editor: Venetia RaineyExecutive Producer: Louisa WellsVideo Editor: Aaron WheelerSocial Media Producer: Niamh WalshCamera Operator: Lilian FawcettEditor: Camilla TomineyOriginal music by Goss Studio Hosted on Acast. See acast.com/privacy for more information.

When Alex Garland's latest film, Civil War, was released earlier this year, there was a lot of talk about the sound design of the film and its ultra-realistic take on the sound of battle. I was invited by the sound team to come to Pinewood Studios, near London, to hear the film in the room it was mixed in. We talk about the decision process they went through to land on the innovative mix of the film. Glenn Freemantle, (Supervising Sound Editor/Sound Designer), Gillian Dodders (Supervising Dialogue/ADR Editor) and Ben Barker, (co-supervising sound editor) discuss how the sound design evolved on the mix stage, building up chaos with loop group, and their creative use of silence.

SEASON 2 - EPISODE 115 - Dominic Tuohy - Special Effects Supervisor Special effects supervisor Dominic Tuohy (THE BATMAN, 1917, EDGE OF TOMORROW) joins us in this episode of the Team Deakins Podcast to discuss the craft of special effects. With a father active in the film industry, Dom was taken in by the special effects team at Pinewood Studios at an early age, and he's been working in the department for the past 40 years. Throughout the episode, we discuss the invaluable verisimilitude of special effects, and Dom muses over the magic inherent to filmmaking's smoke and mirrors. He later unmasks the secrets behind pulling off the Batmobile chase in THE BATMAN, and we learn how stunt coordinator Rob Alonzo creatively spent his time during the pandemic induced pause in production to pre-visualize the sequence. Dom also reveals the painstaking (and sometimes painful) work that he and his team endure to push the envelope and make an effect even better. Towards the end of the conversation, Dom reveals how he advises any young person interested in making a life out of making movies, and we reflect on the high price (and deep pleasure) of working in the industry. - This episode is sponsored by Aputure

This week on Inspire Change...Gunter is back and ready to dive back into some insightful conversations on masculinity, making good men great and inspiring change. First,  shout out thanks to Gilles Marini for joining the show on Sept. 11th and Andrew Flores for joining our guest co-host, producer/showrunner Miranda  for last week's episode. A mention of our Showrunner/Exec Producer Miranda's film on female reproductive rights, What It Means won Best Documentary over the weekend at The Best Shorts Social Audiovisual Film Festival in Los Angeles. This weeks episode is titled The Buddhist Creation Myth and Making Good Men Great where dicusses the philosophical wisdom and further insights on buddhist thought and how it crititques patriarchial structures.We discussed inspiring Change and what it means to Andrew as a man to inspire change and promote positive masculinity. We also mentioned to join the Changemaker's Collective at the link below  supporters Club to get exclusive access to more perks and benefits of the movement and how you can be a Changemaker.You may also still  watch and vote on the film in the Lift-Off Filmmaker Sessions Film Festival by Pinewood Studios through Oct. 6th, please visit this link for a festival pass and make sure you choose the category TRAILBLAZER SHORTS at check out as that is our category: https://liftoff.network/lift-off-sessions-october-2024/And we won Best Documentary in Best Shorts Audiovisual Film Festival, Los Angeles: https://bestshortsocialaudiovisualfest.com                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                Become a supporter of this podcast by signing up here for early episode releases of special guest episodes before the public gets it and other special content and perks by becoming a supporter in the Changemaker Collective of this podcast. Sign up here, its only $12 per month to join the Changemaker Colletctive of Inspire Change with Gunter Podcast: : https://www.spreaker.com/podcast/inspire-change-with-gunter--3633478/support By joining the Changemaker Collective for just $12 a month, you'll not only get access to valuable resources and experiences but also contribute to a movement that's making a real impact. Let's keep inspiring change together! Charitable Contributions: A portion of your membership will go toward causes we support, like mental health initiatives or youth empowerment programs. Changemaker Impact Stories: We'll share updates on how the Changemaker Collective is contributing to social change, whether through donations, volunteerism, or collective projects driven by our members.International Psychologist, Author, Speaker and Producer Gunter Swoboda continues to Inspire Change and enlighten and educate on Masculinities and Male Empowerment. After 35 years of working with adolescent boys and men, Gunter founded Making Good Men Great. It focuses on helping men recognize how to evolve as a Man in all the spheres of his life. We continue with our regular of broadcasts of 20-30 minute episodes hosted by Gunter every week and then we will have special guests lined up during each season for special 50-1 hour episodes. We also will take requests from past guests or friends of the podcasts to fill in as a guest host. For more information on becoming a guest or guest hosting, email creative@bonfirecinema.com- www.GunterSwoboda.com & www.GoodMenGreat.com -Inspire Change with Gunter is Produced in Los Angeles by Miranda Spigener-Sapon by Noirtainment Productions. Thank you for listening!Executive Producer/Showrunner: Miranda Spigener-SaponCo-Exec. Producer: DeVonna PrinziProducer/Creator/Host: Gunter SwobodaShowrunner's Assistant/Guest Booker: Corey Lee Corey.Lee@BonfireCinema.comJr. Publicist: Dessie Bien Dessie.Bien@lavendersagepr.comSr. Publicist: Nate MunozAnnouncer: Grayson ArndtInspire Change with Gunter Podcast Theme Music score: Irad Eshel

pWotD Episode 2640: Deadpool & Wolverine Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 459,808 views on Wednesday, 24 July 2024 our article of the day is Deadpool & Wolverine.Deadpool & Wolverine is a 2024 American superhero film based on Marvel Comics featuring the characters Deadpool and Wolverine, produced by Marvel Studios, Maximum Effort, and 21 Laps Entertainment, and distributed by Walt Disney Studios Motion Pictures. It is the 34th film in the Marvel Cinematic Universe (MCU) and the sequel to Deadpool (2016) and Deadpool 2 (2018). The film is directed by Shawn Levy from a screenplay he wrote with Ryan Reynolds, Rhett Reese, Paul Wernick, and Zeb Wells. Reynolds and Hugh Jackman star as Deadpool and Wolverine, respectively, alongside Emma Corrin and Matthew Macfadyen. In the film, the Time Variance Authority (TVA) pulls Deadpool from his quiet life and sets him on a mission with Wolverine that will change the history of the MCU.Development on a third Deadpool film began at 20th Century Fox by November 2016, but was placed on hold after the studio was acquired by Disney in March 2019. Control of the character was transferred to Marvel Studios, which began developing a new film with Reynolds. It integrates Deadpool with the MCU and retains the R rating of the previous films, making it the first MCU film to have such a rating. Wendy Molyneux and Lizzie Molyneux-Logelin joined in November 2020 as writers. Reese and Wernick returned from the previous films for rewrites by March 2022, when Levy was hired as director. They, along with Reynolds and Wells, had difficulty figuring out the film's story until Jackman decided to reprise his role as Wolverine from Fox's X-Men film series in August 2022. Filming began in May 2023 at Pinewood Studios in England, with additional filming in Norfolk and at Bovingdon Film Studios. Production was suspended in July due to the 2023 SAG-AFTRA strike, but resumed in November and wrapped in January 2024. The film's title was revealed a month later.Deadpool & Wolverine premiered on July 22, 2024, at the David H. Koch Theater in New York City, and is scheduled to be released in the United States on July 26, 2024, as part of Phase Five of the MCU. It received positive reviews.This recording reflects the Wikipedia text as of 05:54 UTC on Thursday, 25 July 2024.For the full current version of the article, see Deadpool & Wolverine on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Russell.

SEASON 2 - EPISODE 96 - GEORGE COTTLE - STUNT COORDINATOR / 2ND UNIT DIRECTOR Stunt coordinator and 2nd unit director George Cottle (BARBIE, OPPENHEIMER, TENET) joins us on this episode of the Team Deakins Podcast. At 16, George spent a summer assisting stunt coordinator Greg Powell at Pinewood Studios, and his life has been dedicated to stunts ever since. George shares how he met the requirements for the British Stunt Register (while explaining what the organization actually does) and how the structure of the stunt department encourages the gradual but meaningful development of skills in its members. We also question George about his recent expansion into 2nd unit directing and learn how he coordinated the car chase in BARBIE using his daughter's walkie-talkies. We later learn how new technologies and advances in visual effects have assisted the stunt department in safely executing elaborate stunts, and George reflects on the department's modern pivot away from its historically machismo culture. George also reveals how he determines whether an actor can (or should) participate in a stunt, and we learn how he builds out his team when hired for a job. We also get George to reflect on the unique challenges of designing stunts for TENET amidst its many locales and its time-defying script. - This episode is sponsored by Aputure

It is the height of the cold war and the Soviets have developed a fighter that defies radar detection and responds to its pilots thoughts! Naturally, the best man for the job of stealing this lethal next-gen weapon is a burned-out Vietnam war veteran who is prone to debilitating flashbacks! This week Paul, Javi, and - naturally - Producer Brad take the wayback machine to June 18, 1982, a simpler time when we as a nation knew who the bad guys were, we know where they were, and only Clint Eastwood could get in there to steal their most valuable weapon.

Ever wondered where the plants on film and TV sets come from? In this episode @mr_plantgeek and @ellenmarygardening chat with Justin and Gabor from Greens Team. Based in Pinewood Studios, they provide natural set dressing for many TV shows and films that you're probablty enjoying right now - from Star Wars to Barbie and many more. Hear how things come together on set, how accuracy is important but not always as much as you'd think plus what happens to the plants afterwards.   Proud to announce Hydria as the series 15 sponsors! Hydria™ is the world's first all-in-one water fountain kit that fits any planter or pot. Perfect for patios, balconies and even indoors as a water feature with a difference. Not only can the water sound soothe you and look wonderful in your garden but the fountain is available with various colours, attachments and tiles so you can truly personalise your fountain to your own space. Find out more about Hydria when you listen to the podcast and via their website: https://www.hydrialife.com Also check them out on socials:  Instagram: @hydria_fountain Facebook: @hydriafountain

Sometimes it's just a pleasure to sit back and listen.  This is one of those moments - for me, certainly, but hopefully for you too.  I had the pleasure of sitting and chatting with two icons of the industry - Sean Conboy and the inimatable nonagenarian, Stuart Clark who is not only still shooting at the age of 97 but is a considerable racontour (you can hear me and Sean laughing in the background throughout!) Stuart started his career in 1941, so his stories are not only entertaining but are fascinating as they cover every photography development from glass plate through to the state of the art digital wizardry we're facing today. This interview is worth listening to every one of its 90 or so minutes! Enjoy!   Cheers P. If you enjoy this podcast, please head over to Mastering Portrait Photography, for more articles and videos about this beautiful industry. You can also read a full transcript of this episode. PLEASE also subscribe and leave us a review - we'd love to hear what you think! If there are any topics, you would like to hear, have questions we could answer or would like to come and be interviewed on the podcast, please contact me at paul@paulwilkinsonphotography.co.uk.    Transcript [00:00:00] Paul: So there are so, so many things I love about being in this industry, the things we get to do, and in particular, this podcast, and one of the many things is having these moments that you're about to hear, where I get to sit and chat with someone I've known for a very long time, Sean Conboy, fantastic photographer, and just a wonderful human being. [00:00:20] And someone he introduced me to, a guy called Stuart Clark.  [00:00:23] Now Stuart is 98 years old in July this year. Self proclaimed as one of the oldest working photographers in the country, and I'm not sure that anyone's going to argue with that. He started training as a photographer in 1940. That makes this, he's been working as a photographer for 84 years. [00:00:46] And the whole of this interview is taking place in what was, his photography studio in a little town just outside Leeds. It's his front living room, but it's huge. It's got a high ceiling and you can imagine how the lighting would have been hot, continuous lights and families just having the best time with someone who I learned very quickly, is a storyteller and a raconteur, uh, just a wonderful, a wonderful human being. There are lots of things to listen out for in the following interview, and let me draw your attention to just a few. Uh, listen out for the flash powder story. It's very funny. Uh, the story of, uh, People retouching, lots of retouching stories from the 1940s and billiard ball complexions. [00:01:31] . Doing multiple jobs in a day. He used to do three or four jobs in a day, and have the timing so accurate that could include photographing a wedding. He learned his craft. He's great. [00:01:42] He's spent time creating images for press, looking for alternative, alternative images and looking for PR images that no matter how much a sub editor crops them, the brand or at least the story is still very much intact. He talks about the utter love of the job and appreciating what a privileged position photographers like ourselves are in every day of the week. [00:02:07] He talks a little about the role of agencies and how they now manage messages from companies in a way that probably they never did. He talks about relationships and he talks about being positive and persistence. He also talks about the role of the Institute. [00:02:24] Finally, he talks a little bit about photographers always being the fag end of everything, but in the end, what he talks about really, It's the love of his job and the love of his clients.  [00:02:35] Why am I telling you all of this upfront? Well, this is a long interview, but the sound of Stuart's voice and the history that it represents, as well as the fact that he's more current than an awful lot of photographers who I know right now who are much younger, uh, but just, there's something in his, his entire manner that is captivating and enthralling, informative and useful. And so, although it's a long interview, I thought I'd just explain a little bit about why I found it so appealing and why I've left the edit almost entirely intact. I've removed a few lumps and bumps where we all managed to hit a microphone as we're gesticulating. [00:03:16] So picture the scene, there's myself, Sean and Stuart sitting, in armchairs and on couches. [00:03:27] And if you're wondering why it took me quite so long, this interview is actually, it goes back to February of this year, and why it took me quite so long to get it out, it was partly because there was a lot of of lumps to remove and partly because it was this trip, this interview, this podcast that I was returning home from when the Land Rover blew up. [00:03:46] And frankly, I think there's a little bit of trauma there with a six and a half thousand pound bill to re, to replace and repair piston number two. I think my heart just, I needed a minute just to not recall it every single time I try to edit this particular podcast down. It's a wonderful interview. Please enjoy. [00:04:06] I know it's quite long, um, but what an absolute legend. I'm Paul and this is the Mastering Portrait Photography Podcast.  [00:04:32] So, firstly, Stuart, thank you for welcoming us into your home. We've driven quite a long way, uh, to come and see you. Sean, uh, recommended we speak to you, because the number of stories you have make even his collection of stories look Insignificant. [00:04:48] And as we all know, Sean, The Footnote Conboy has more stories than any man I've ever met up until probably this, this moment in time. So to kick the conversation off, how did you become a photographer? [00:05:05] Stuart: It was an unfortunate or fortunate chain of events because, um, I was at the Leeds College of Art in 1940, 41, and I had the desire and intention of being a commercial artist, which is now referred as graphic designer and at that time, being wartime, there was little advertising being done, and so, uh, perhaps I was not sufficiently talented, but I finished up working for a firm who were essentially photoengravers, but they had a commercial photography studio as well, and they were short of somebody to join them, and I went in there and became virtually an apprentice photographer. This was very interesting because at that time, again, there was very little commercial photography advertising being done, and so all our efforts, or most of our efforts, were centred on war work, which involved going round the factories and, uh, Photographing for record purposes, the input of the particular company. And in those days, I can tell you that that was not a very comfortable proposition because we were on total blackout, and therefore, all the fumes in the factory, whatever they were, had very little chance of escaping, so you've got the fumes and the heat, and then of course we were only Illuminating scenes with flash powder, which was an added hazard, and, and so Photography outside in the factories was not very pleasant, but inside the factory, or in the studio, we were also doing war work, and that was to photograph silhouettes, scale models of all aircraft of both the enemy and, uh, and, uh, Home, uh, Aircraft for identification purposes, so that the air gunners were not shooting our own planes down in action. And another very interesting thing which I have always remembered was that the four, or the eight cannons In the Spitfire, that was four in each wing, were harmonized to converge at a point away from the Spitfire so that the Fire, the maximum fire point was when those two lots of cannons converged. [00:08:34] The only reference that the pilots had was a silhouette which we had photographed, so that he could visualize that silhouette in the, aiming sight of his  [00:08:50] guns.  [00:08:51] Paul: a very early heads up display.  [00:08:53] Stuart: Indeed.  [00:08:54] Paul: Yeah. [00:08:55] Stuart: And, so, that was quite an important element, I think, of our war work for the Air Ministry. [00:09:03] The main factory was engraving the, conical, rangefinder cones for 25 pound howitzers. [00:09:14] Paul: Right. [00:09:15] Stuart: And at the time of leaving school, everybody had to be doing war work.  [00:09:21] And so I went to the company on the pretext of doing war work of that nature, rather than going round snapping. [00:09:31] Paul: Right. [00:09:32] Sean: Stuart, could you also, um, I mean you've told me many great tales about your time actually in the, uh, armed services film unit, i think that might be quite interesting,  [00:09:42] Stuart: Well, I was called up and because of my interest in mechanical things and gadgetry and so forth, I finished up in the Royal Army Service Corps. But a friend of my mother's husband suggested that I applied for a trade test in photography. And one day I was called up to the orderly room and they said, We've got the movement order here for you. Um, to go to Pinewood Studios, of all places. I don't know what this is about, but anyway, here's your movement order. So, I went down to Pinewood, and we had a trade test, and I think I finished up, uh, top of the, the, uh, examination. But then I was returned to unit at Catterick, and I was up there for another few months, and then I was posted. And eventually, after about six weeks of the posting, I got another movement order to go back to Pinewood Studios, where I started my course in cinephotography, [00:11:06] and still photography. Now, this was the last course. before Pinewood closed down and the unit closed down. I'm talking about Pinewood closing down, Pinewood was the headquarters of the Army Film and Photographic Unit from when it was formed in October 41. [00:11:35] The course included preparation for action photography, essentially. when the course started, the war was still on in Central Europe. but before the course finished, it, uh, the war finished. [00:11:58] And The Japanese War was still going on until September of the same year, which was 45. But we were still being trained, and when the course finished, we had very little to do but just wait to see what happened. And so from September to, um, December of that year, we were just hanging about in the studios. [00:12:30] We were then posted to the Far East, in fact to Malaya, where the No. 9 unit was formed. Having been moved by Batten's headquarters, Mountbatten's headquarters, from Ceylon to Singapore, thought that it would be probably much more congenial there than in Ceylon, India. [00:12:57] So number nine was there and it's interesting to note that right at this moment an exhibition is being produced for the photographer's gallery on Bert Hardy's life and Bert Hardy at the time that I there was, in fact, the stills captain in charge of all the still photography in Malay Command. Or the, not Malay Command, the Far East Command, because we had outstations in Java and Hong Kong, and even, uh, one guy, uh, was in, um, in Hiroshima. So that was the formation of the, the, uh, Far East, Southeast Asia Command photographic, uh, outfit. until it closed down, uh, in September, August September of 46, and we are then dispersed Some went to the Imperial War Museum, the Imperial, uh, war, graves Commission, et cetera, and six of us went back to Vienna, where we joined number 9, Public Relations, because unit had been disbanded completely. So, there in, uh, in Austria, we were doing what they call Local Boy Stories, and we made a couple of films on the Irish regiments and also the East Yorkshire, not the East Yorkshire, the Yorkshire regiments who were guarding and on guard duties at the palace, Shurnbran Palace, which everybody has heard of, and um, and so that carried on until, uh, the Until I was demobbed in 1947, December. came home and went back to the company I originally started with because they were compelled to take people for 12 months. And at the end of that time, I decided to leave I had a bit of a a difference of opinion with the studio manager, who was RAF, and I was Army, and I was a sergeant as well, and I don't think he was quite that when he was in the RAF photographic section, but there was a resentment anyway. [00:16:02] of my presence.  [00:16:03] So, I went to the firm called C. R. H. Pickards, who were one of the finest industrial, uh, and leading industrial photographic units, companies, in the north of England. [00:16:24] It was there, then, that I began to learn industrial photography. And we photographed all sorts of various things, from factory engineering, factories, products and so forth, lathes, milling machines, railway engines, all manner of things. And that's where I cut my teeth on industrial photography. [00:16:56] Sean: And, and Stuart, what sort of, um, equipment would you be using in those days? not  [00:17:01] Stuart: so ha!  [00:17:02] Sean: but how  [00:17:03] would you be lighting these spaces in those days  [00:17:05] Stuart: um The equipment that we were using was always, almost always, whole plate, six a half, eight by, eight and a half, six a half, uh, folding field cameras. when I started, we [00:17:29] were on glass plates. But then the advent of film came in. And this was obviously much lighter stuff to carry around. And every, exposure had to count. Now in today's terms, where you press the button and pick the best out of however many, all we used to do was a duplicate at the most. So we used to There was a variation in the exposure or the aperture setting, and that was the only difference the two exposures. [00:18:19] So what we used to do was develop one side of the, uh, the double dark slides, see what they were like, if they wanted a little bit more or a bit less development, that was applied to second side. And, don't know whether you've ever heard of the expression of, um, developing by, uh, vision. But we used to have a very dim green light, and the sensitive film. [00:18:59] was not, uh, sensitive to the green light.  [00:19:03] Paul: All right.  [00:19:04] Stuart: But you had to be in the darkroom for ten minutes for your eyes to become adjusted, and you could then see absolutely every detail of the, the development process. And when the highlights started to you, to, To show a dark mark through the back of the antihalation backing, then the development was just about right, if but if you wanted a little bit more contrast, then you just pushed it on. If it had been a dull day, a dull, miserable day, then you pushed the development on a little bit further. [00:19:49] Sean: And  [00:19:49] Stuart: you've asked  [00:19:50] Sean: be, how would you be lighting some of these scenes? I'm very intrigued at that  [00:19:53] Stuart: I  [00:19:53] Sean: that  [00:19:53] Stuart: about to say that. [00:19:54] Um, for big areas, we used to use flash powder. And a little bit of flash powder goes a long way, believe me. But it was pretty dangerous stuff. And um, I remember we photographed a wedding on one occasion at the Majestic Hotel Harrogate. And there were 450 people. at the reception and they wanted a photograph to show as many of the people as possible. So we put the whole plate camera on a table stood up there with tray into which I poured flash powder. [00:20:38] Now then, this was actuated. with a percussion cap, like we used to have in little [00:20:46] hand pistols for toys. and when you pulled the release catch, that ignited the cap, [00:20:56] that ignited the flash powder. [00:21:00] So, the exposure was only going to be once. One exposure. [00:21:07] And so, the photographer I was with, he said, right everybody. Look this way, and I want to be making sure that everybody keeps still. [00:21:21] I'm going to count five for you, but don't move until I've finished counting. [00:21:29] So the idea was to take the sheath out of the slide. With having put a cap over the lens, shutter, just an open lens with a cap or a lid on the front. [00:21:46] And the technique was to take the cap off hold it in front of the lens, so that that allowed the vibration or any vibration in the camera to settle down and then take the exposure. the idea was count 1, 2, 3, 4, then take the cup off. And on four I ignited the flash gun and then the cup went on and the guy that I was worth put the sheath back and said, right, let's get out of here quick. The reason for that was that you got the brightness, got the, the buildup of the available lights. then it's just topped off, illuminated with the flash, not a very big one, I hasten to add. But the significance of flash powder was that there was a flame which simply went upwards.  [00:23:00] And that was it, that was all there was to be seen. But, it produced smoke, which used to go into, onto the ceiling, and it would roll across the ceiling, carrying with it the grains of the flash powder, which had obviously changed colour from [00:23:24] silver [00:23:25] To yellow, that was okay. But when the waiters came to move the, uh, soup plates, what they found was a white circle on a yellow  [00:23:47] cloth. [00:23:51] And you can also visualize the fact that a lot of people had a lot of. Little flash powder grains in their hair  [00:24:01] as well. well. By the time that [00:24:04] By the time that this happened, we were halfway back to Leeds.  [00:24:08] Sean: Very good.  [00:24:09] Stuart: But this this was the scourge of flash powder because you could only take one shot. Because the place used to, the whole of the place, the factory, if you using a large amount of powder, made a lot of smoke, and it just collected on the ceiling and it obscured it, the vision. So, we used to use photo floods, these were overrun pearl lamps, we used to have six on a button. And if the subject was still, we could go around on a long lead and paint scene with light. And that was, and that became established, So flash balder started to go, [00:25:08] Paul: Right. [00:25:10] Stuart: but you see, at this time, flash bulbs hadn't really got going. [00:25:17] The GEC flash bulbs, which were foil filled, were about the only thing that was available. Um, in this, in this country. And they were sympathetic. [00:25:31] And the GEC Warehouse in Leeds on one occasion, uh, a consignment of, um, bulbs came, [00:25:43] Uh, [00:25:44] in a, in a case, and, uh, one of the attendants decided that he would test them to see whether they were all alright. [00:25:54] So [00:25:54] he fired one. [00:25:57] and 50 flashbulbs, because [00:26:01] they had to be in contact with each other. If they were separate, it didn't work, but when you put them side by side, they were sympathetic. [00:26:11] Paul: What [00:26:11] happens?  [00:26:13] Stuart: Well, the whole lot  [00:26:14] went  [00:26:14] off. A whole box full of, um, flashbulbs, and they weren't cheap at that time.  [00:26:22] So  [00:26:23] really,  [00:26:23] that was, that was the basic equipment which we used to [00:26:29] use. [00:26:31] And [00:26:32] it was all, [00:26:33] it [00:26:34] was all, uh, 8x6. [00:26:37] Sometimes it was 10x8. [00:26:41] The, uh, the railway engines, which we used to photograph for the Hunsley's Engine Company [00:26:47] and hudderswell Clark's in Leeds, we always used to use 10x8 for those. Now it was interesting there because we used to have a particular date for going to photograph them. And [00:27:04] they were all finished up in black, white and grey paint. Because that served the cost of retouching the finished print. [00:27:15] There was very little photography done at that time. Apart from views and so forth. But anything that meant a machine, a lathe the, or whatever, it always had to go to the process retoucher who airbrushed the reflections or put one or two, put a shadow in or whatever it is. It was a highly skilled, uh, process. Uh, process, retoucher with white lines and so forth. But the interesting thing about these two railway engine companies was. that they only painted them on one side, the side that was being photographed. [00:27:59] Paul: And [00:28:01] Stuart: we used to go back to the studio, develop them straight away, yes, the negatives are alright, as soon as that happened, then they would strip all the black, white, and grey paint off and finish up in the customer's required, required colours. [00:28:23] Paul: Wow. [00:28:25] So, so the bit that strikes me is retouching has been part of this art  [00:28:30] Sean: a long time. Well,  [00:28:33] Paul: I mean, think about [00:28:33] it, right? Because we, there's a lot of debate about retouching and post production. That rages. Even now, but when you think about a manufacturer only painting one side of a train, they're painting it colours that repro well, and then it's being handed on to a retoucher, retouching's been going on for a very long time.  [00:28:51] Stuart: Well of course, everything at that time was, was, um, retouched, and most portraits finish up with complexions like billiard balls. There were no shadows, etc.  [00:29:03] Paul: haha, It's like nothing's changed!  [00:29:07] Stuart: Indeed. Indeed, and, and when people speak now in condemnation of, oh well you can see the retouching and so forth, well the only thing that you have to do now is to make sure that it doesn't show. But, it was, really when Photoshop and the like came in on the scene, this was manna from heaven. [00:29:32] Paul: Yeah. [00:29:33] Stuart: Because it cut out the need to do the work on the actual print. To retouch transparencies was a rather different process altogether. [00:29:48] And it was  [00:29:49] Sean: difficult process to be [00:29:50] Stuart: Oh yes, and very highly skilled. And the firm that I worked for, Giltrous Brothers, who were the photo engravers, they used to retouch twenty, twenty [00:30:02] four, twenty glass plates. Whereby, when you talk about printing today, and I think the, uh, top of the range, uh, Epson, Uh, printer works in, uh, we're printing 11 colors, but the, limited edition photolitho, uh, illustrations were, uh, certainly on, on 13 colors [00:30:36] And from 13 separate plates. All of which were retouched. [00:30:42] Paul: So [00:30:42] the plates were retouched separately?  [00:30:45] Stuart: correct?  [00:30:45] Oh yes.  [00:30:46] Paul: Wow. [00:30:48] Stuart: So [00:30:48] Paul: each of these plates is a black and [00:30:49] white plate that's going to take one color ink? [00:30:52] Sean: Correct. I understood the [00:30:52] Paul: the process right? [00:30:53] Sean: Yeah.  [00:30:54] Stuart: process, right? Retouches were earning more than photographers at any time.  [00:31:01] Sean: It's most interesting to hear this, Stuart, because you come into my era when I was learning photography and the discipline of the transparency, the 4x5 and 8 inch transparency, and of course there, retouching was an anathema because if we retouched the transparency, we started to lose some quality. [00:31:17] Stuart: Yes. we to, it was a period of photography, I think, more than ever, when we had to get everything right in the camera because the client demanded the transparency. Whereas the processes you were using enabled this retouching method, which is very, very interesting. [00:31:29] There are certain elements, as you well know, with your, even with your skills, whereby there are elements which cannot be lit out or exposed out or  [00:31:43] whatever. And there has to be some artwork, or whatever you call it, retouching done. And at the end of the day, most of the photography which, which I was taking and involved with, was going to be reproduced. And so if it was retouched at source, before it got to the retouchers on the reproduction, uh, side. [00:32:11] of the plate making, then that was, it was as we wanted it rather than what they thought it should be.  [00:32:20] Paul: As ever photographers being control freaks.  [00:32:24] Stuart: Well, after something like two to three years at Picards, by which time I got a fair amount of idea of what's going on.  [00:32:37] Um, I decided that, um, I ought to seek pastures new and became a staff photographer for the 600 Group Of Companies just on the west side of Leeds. And there I photographed secondhand machinery, which they used to recondition and I photographed the, lathes and milling machines, drilling machines and that sort of thing, and they were then printed on and they, all these were taken on the half plate camera, which is half the size of a whole plate camera, obviously, um, and, um. they were made on 6x4 glossy prints, and these were distributed by the appropriate department to potential buyers. And I was there for three and a half years. But I'd got to the stage where I'd photographed everything that didn't move, and I was becoming rather dissatisfied with life. So I  [00:33:49] Paul: Do you mind if I ask how old are you at this point? [00:33:53] Stuart: this point? Well, let me see, I would be about, twenty, twenty four, twenty, what, twenty five. Right. Twenty five, six.  [00:34:03] Paul: Right. [00:34:04] Stuart: I was dissatisfied because I didn't think I was getting anywhere. [00:34:09] Sean: So you were, you were ambitious, really, to take your photography on to another level and, and have more control, would you say, over what you were doing [00:34:16] Stuart: you could say that, yes. just say to work for yourself, Stuart?  [00:34:20] Sean: The Thing is that the, the company that I worked for. was part of the A. H. Leach corporate, uh, company at Brighouse, which was, uh, a very big organization with studios in Cambridge, Manchester, Glasgow. Um, and the prospects of moving to any one of those places was stalemate because they were well staffed was no flexibility for moving, and so I thought, well the only way to see whether I am a capable photographer was to make it on my own, see if I could make it on my own. And in fact started the business in some premises now occupied by the local library. down at the bottom end of the village. [00:35:19] Stuart: But this was going on for some time, two or three years, and then the question of getting married. [00:35:27] came into the reckoning, and this house in which we're sitting now became available, and very suitable because the front room lounge in which we now sit became my portrait studio. [00:35:46] And across the top of the window, which is facing opposite you, was a bank of Kodak, um, lighting with five, four 500 watt lamps in each for general illumination. [00:36:04] And So then I had a spotlight which is, was behind you for lighting the hair and then a fill in light on this side. And by this time, we'd moved on to two and a quarter square, real film cameras, 12 on 120. [00:36:22] I hadn't really at that stage got into, back into the industrial scene because I was doing social photography, weddings and portraits, to build up a reserve of capital to move on to buying more advanced equipment. [00:36:44] And the changes at that time were considerable. 5x4 were on the, on the fringe. At the time that I'm speaking of, German 9x12 plate cameras were still being used for press photography. And there they were, on the touchline at Heddingley, these, the local press photographers, with box of 9x12 single shot plates freezing to death, and um, and that's it, one off shots. [00:37:26] But I missed the point earlier on, I think, of saying that uh, every shot had to count. And, over the years, that has influenced me considerably, because I've always made sure that everything was right before I took the exposure. [00:37:48] And whatever the, whatever the occasion was, whether it was an industrial scene or a social scene, you look at the subject before you, to begin with, and then start looking round and see what's happening in the background. Because, if you do that, it saves retouching, and that's an absolute classical instance of today, where people, when Photoshop came, what about so and so? [00:38:22] Oh, don't bother about that, I'll take it out. I can take it out in Photoshop, and I've heard speakers come to the Institute and talk about, Oh, I do this and do that, and I've said, well, how long does it take you to do that? Oh, well, a couple of hours or so, like that. It could have all been addressed in the taking, and that would have been eliminated. [00:38:51] And when you talk about 2 or 3 hours retouching, well how much do you charge for, oh well I'll throw it all in. [00:39:00] And the number of people who I've heard say that, oh well I'll just include it. I think they've got a bit wise to it now because Uh, any extramural activities are chargeable by the hour, and, uh, and it's certainly in need of that, but what I would say to any in, up and coming photographer, they need to sure of what it is that they're taking to avoid having to retouch it afterwards, albeit that in today's terms, [00:39:40] With the relaxation of dress and disciplines and so forth, Um, I don't think it quite matters. And so, I think as far as today is concerned, I would find it difficult to go back to being a photographer in today's terms. Because, I can sit in a restaurant or in a room, somebody's room or whatever, and I'm looking at the, the vertical lines of the structure to, to see whether that line lines up with that, and it's surprising how often I can see lines that are out, even buildings. [00:40:27] I could see buildings that, that were not, um, vertical. completely vertical and line up with the I sit there looking at the streets and doors and windows and it's very, it's very difficult to get out of that discipline into the much more free and relaxed attitude towards photography today. [00:40:56] I don't know whether I, whether you would agree with that or not. [00:41:00] Sean: Stuart, I would agree with what you're saying and it's like the photographer's eye, your whole life has been trained by your eye viewing scenes and viewing situations and it's quite impossible to turn that off really. [00:41:10] That's part of you and how you see things, so no, I couldn't agree with you more. So Stuart, tell me, you obviously, the room we're in now was your studio, and you're in here, you're now married, you're doing more social photography, as you said, and obviously starting to make money. Where did the business go from there? [00:41:29] What was your sort of next stage really? Because I believe you had another studio then in the village, is that correct?  [00:41:35] Stuart: The children grew up and we were running out of room space, [00:41:40] So an opportunity came in the main street down the road to take over a building, um, which I was able to use the ground floor and turn it into a studio, a reception studio and darkroom. And, uh, during that time, I was doing, um, mainly social photography, but also, I had got associated with the local newspaper which circulated in this area, and I virtually, without being on the strength, I virtually became the staff photographer for the whole of the circulation area. [00:42:32] So on a Saturday in the summer, it was not unknown for me to do perhaps 11 cover 11 eventualities such as garden parties, a flower show, etc. and also fit in a complete wedding. So, [00:43:00] Paul: So,  [00:43:00] Stuart: so [00:43:01] my time, my, my mind used to work like a, like [00:43:07] a clock, uh, a precision clock, because it was, it was timed to the nth degree. Um, what time is the, uh, what time is the wedding? How long will the service be? Where's the reception? And I had a mental, uh, mental, uh, memo of the distance from here to there, and the length of time it takes to get from, from there to there. [00:43:36] And, as far as the, as the newspaper is concerned, I tried to take a different picture. at each occasion, so that we don't want the same picture of women serving tea, uh, for the WI, the church of this and that and the other. Um, I tried to make a different picture. So that training and experience fitted me in good stead for when the industrial scene tailed off. [00:44:15] Sean: I've just, uh, I've just, um, picked a photograph up here. [00:44:18] Stuart's got quite a number of his photographs in the room with us here. It's a very nice PR, press type shot here of Harry Ramsden's Fish and Chips shop, and it's got a very 1980s mobile phone and the world famous in this part of the world, Nora Batty which some of you may know from a famous last of the summer wine tv show and i think this is to do with the flotation of Harry Ramsden because it became quite a successful company didn't it so talk a little bit about this photograph Stuart it's very captivating and i think very very well executed [00:44:50] Stuart: Well, the story as you've already identified, I'm surprised that you have, because that was when they went public. And, uh, the, story was the Harry Ramsden fish restaurant, which, it was the center of all activities, just on the outskirts of Leeds, and they, as you said, they got Nora Batty there, who was a very leading personality at the time, and, of course, telephones, you can see the size of that, that mobile telephone, which is about the size of a half of a brick. Um, this was the, um, the story. And the essential thing was to locate the seed of the picture with the name of the, the company. across the top of the, the print or the format. [00:45:46] Sean: And if I could just butt in there Stuart just to say sorry to do this but I think it's important to get this across that I've just picked this image up and the story has come straight across to me. We've got the mobile phone. You've got the Financial Times, which is holding the fish and chips. You've got the sort of banker type chap behind her. [00:46:02] It just shows the skill that's gone into that picture, that an image is telling that story to me all these years later. Because I presume this photograph is 30 or 40 years old, Stuart. Am I correct there?  [00:46:12] Stuart: It's quite a long time. And the essential thing about that picture, uh, Sean, is that however much a sub editor chops it down. There was always be something of the story there, because the nearest or the furthest down that they could chop it would be across the top of the bloke's head, but it would still say Harry on the left hand side. [00:46:42] And, and, that was the, the art of, at that time, of getting the story across for public relations. Include the company's name or the brand in the background somewhere so that it had to be seen and it couldn't be taken out.  [00:47:03] Paul: I ask you a question? Have you always loved being a [00:47:06] Stuart: being a photographer? Oh, absolutely.  [00:47:09] I wouldn't do anything else. Um, had a very enjoyable life in every aspect of it. And I'll tell you one thing about it, and Sean will agree with me on this. Photography, photographers are in a very privileged position, and they don't realize how much so. Because so often, they are in, at the ground floor of activity. A conference, a confidential conference projecting the aims of the company. [00:47:46] I was in a company when I was in the conference actually, when the whole of the regional bank managers were in a conference at Harrogate, and they were told then, that we were going to dispose of the buildings, our assets, and I photographed several banks which were up for sale and they were simply being sold off. The managers didn't know. What's the photograph for? Oh, it's just for the estate. I knew what they were, why they were selling it. It was going on the market. [00:48:25] You know all these little convenience grocery shops and so on, on filling stations, I was in the conference there for all the ESSO managers in the region, when the the project was put to them that we're going to put these little kiosks, or whatever it is, and, and, and there I was. Um, and we were privy to information that was light years ahead of the actual official announcement. [00:48:59] Paul: Yeah. [00:48:59] Stuart: Metahall, for instance, um, I was in the conference when they were talking about what their footprint was needed to be to make that viable. And there are several instances such as that. And you do get it to a more personal level, where we've got, uh, injuries, personal injuries to photograph. [00:49:26] Oh well, what about Snow? [00:49:29] Well, [00:49:29] And you just can't get involved with passing that or repeating that information. [00:49:35] Paul: Yeah. [00:49:36] Stuart: It's confidential. And as I said, photographers are so often right in the heart of things. And I'm sure, Sean, that in today's terms, you'll be more exposed to it than I was with them. [00:49:51] Sean: Well, very much so Stuart. [00:49:52] Very much so. Yeah. I mean, it's, I can't tell you how many NDAs I've signed in my career, so, yeah, absolutely. Absolutely.  [00:50:00] So Stuart, so you've now got the studio, the, the biggest studio now on in the, in the, in the village here. And you're obviously doing your social, your weddings, you're obviously doing a lot of PR. [00:50:11] Did you start to do, did the industrial photography come back a little bit more as well? [00:50:15] Stuart: Yes But I was, I was extremely fortunate and the odd thing about it was that the connection came through the, uh, the work of the local paper because three miles from here was the control room for the Central Electricity Generating Board and they were having an open night and the local paper was invited to to cover the, the event. So I went along and took a few photographs of whatever was going on and had a bit of a look around the place and subsequently then I was approached by their, their public relations department for the northeast region. Would I take a photograph of something else?  [00:51:13] From that stemmed the work, which really became the mainstay of my activities with the Central Electricity Generating Board. [00:51:26] Again, I wasn't on the staff, but I was vir, virtually became the staff photographer for the Northeast Region. And the amazing thing is that here I was, photographing power stations, the grand openings of power stations, starting with Thorpe Marsh, which was the, down in Doncaster, which had two 400 megawatt sets, which were the f The Forerunner, they Thorpe Marsh was really the testbed for the, um, the 400 megawatt stations which followed. [00:52:13] And there again, this was being in on the ground floor whenever there was a fault down there or whatever. or a problem, um, I was called in to, to, to take the photographs.  [00:52:27] Sean: So [00:52:28] Stuart, would you say that, um, he's very interesting listening to this about how your business built. Would you say that networking was a great part of building your business? [00:52:37] Stuart: Networking, well they call it networking now, and it's, it's contacts really. And I think, I'm sure that you'll agree that being in the right place at the right time, and that really applies to anything, the theatrical world, et cetera, and, not necessarily knowing the people, the right people, but getting on with them, and being able to mix with people, and behave in a way that people expect you to. So  [00:53:10] Sean: Would you have any sort of advice or tips for a young photographer or somebodnew breaking into photography and how to. build a business? Have you anything to add there at all?  [00:53:22] Stuart: I think that in today's terms, it is extremely difficult for photographers. And I'll tell you why, because I think that the opportunities which I just mentioned are remote, probably remote in the extreme. Social photography is something else, and the, the website, and all the various media opportunities, with which I am unfamiliar and have no knowledge of because I've not had the need to do it. But I am aware because I look at what people are doing. And that's another instance of success. Of keeping an eye on what other people are doing. If you admire anybody's particular work, then that sets the example and the criteria to work to. But as far as going back to contact is concerned, I have the distinct impression now that not only photography, but everything now stems from public Relations and I don't know whether you've noticed it or not, but if there's, if there are any problems, on the one hand, of people's behavior or their activities, or whatever it may be, adversely or favorably, and the promotion of brands and industries and business, it all seems to stem now very much from the agencies.  [00:55:12] If you read question of the so and so company are going to introduce this product or [00:55:22] service or whatever it is, or they've taken over a business. the [00:55:27] statements attributed to the managing director or chief executive or accountant or whatever it is, right across the board, a great many of the people that are being quoted, I would suggest, are not capable of speaking and thinking the way that the statement appears in print. And it raises sometimes, a lot of suspicion as to just what is behind this thing. This business with the post office. It's full of it. And so the point that I'm making is that advertising agencies, that's another one, the advertising agencies are in direct contact with the, um, with the brand or the company. [00:56:24] And so the opportunities of the photographers, in my judgment, are minimized because of the hold. that the advertising agencies have on the job.  [00:56:43] And  [00:56:43] they,  [00:56:45] they will say who they want and who should be employed. They may think them best or otherwise. And it also then comes down to, rights, and I bet you are right in the thick of this, that, uh, you are the, the favorite bloke on the, on the block, and whilst ever that person is engaged in that company, your situation is secure. But suddenly, if he goes to pastures new, and they've already got their established photographers, as far as you're concerned, you've lost that company. [00:57:28] Sean: Very  [00:57:28] Stuart: company.  [00:57:29] Sean: very true. Yeah, yeah.  [00:57:30] Stuart: Is it true? [00:57:31] Paul: But there's always opportunities with these things, I mean, in the end, there are more photographs being created today than ever historically, I think you're right about the structures of advertising agencies, though this isn't my world, when someone moves on, there's an opportunity, and there's always the opportunity to stay as well, there is risk, of course there's risk, but equally, you could be the guy he takes with you. [00:57:54] So how do you make that happen? [00:57:56] Sean: Well, I think it's very apt because I've had two or three key clients in my career that have moved numerous times, you know, seriously big companies and they've taken me with them, yeah. And not only that, in some cases, they've taken me to their new company. And it's gone well. They've then moved on to another company and taken me with them, but the company they've left still retains me. [00:58:19] So there's a benefit that way. But I think it's really, I greatly believe in the, in the networking, keeping in touch with people, making an effort at all times. And I think, I know we've got today's digital world and there's lots of advantages to that, but also personal contact I think is still really, really important. [00:58:38] Relationships and personal contact. [00:58:40] Stuart: What you are saying is, is correct. And I remember an uncle of mine who was a milkman and, had a, a big dairy, and he once said to my mum, oh, well, it's so and so, he's come again, a rep has come. It's been three times, so really it deserves an order. [00:59:03] There's a  [00:59:04] lot  [00:59:05] Paul: in [00:59:05] Stuart: a lot in [00:59:06] truth in that, backs and it backs up what you were just saying, of keeping in contact, and, of course as far as advertising is concerned, or mail shots. the first one they take no notice of and throw away. The second one, oh well, there's another one from this so and so. The third one, it is usually reckoned that the person will be activated by that And so, as you said, keeping in contact is very important. [00:59:42] But I'm bound to say that breaking in a lot of it is by accident, but certainly the persistence of contact is very important. [00:59:56] And when you consider, you see, over the years we have thought of Only the Institute, or I have, and I've done, I've put a lot of time and work into it, as other people have, without which we might have been a lot more better off or a lot wealthier than we in fact are. [01:00:20] Sean: Stuart, did, did, when we say the institute, it's the British Institute Professional Photography we're talking about here. And I, I'm a member too, and that's how I met Stuart through the institute. Through your long career as a photographer, how important did you find the, The Institute and the ability to mix and talk and, and, and work, you know, get information from other photographers, I suppose. [01:00:41] How important did you find that  [01:00:44] Stuart: Photographers, um, are, as you know, very, very much individualists. they work a lot on their own, and when you consider that there are probably 7 or 10, 000 practicing photographers in this country, and so few of them belong to anything.  [01:01:10] It makes you wonder how all those people survive. but, it really comes back to, to, uh, what we were saying earlier, of contact, those people must be in contact with other people. [01:01:29] Their reputation goes before them, obviously, and when you consider the situation with the Royals, for instance, who, from time to time, have official photographs taken, um, by names that I've never heard of, where you would perhaps expect that they are members of the, this organization, the Royal Photographic Society, as a case in point. Um, these people are not members of them and so how they I'm not talking about the Litchfields, I'm talking about the other people who officially, officially photograph, uh, in recent times, the, um, William and Kate's family, the, their birthday or whatever anniversary it was. So, those people, um, are plowing their own furrow. [01:02:33] But going back to the the meaning of the institute, whereby people are individual, the opportunity over the past years was for all these individuals to rub shoulders with each other and the networking that went on then. For instance, you go to a meeting and you're chatting away, and a couple of blokes have a common, common interest, uh, uh, or they're equal practitioners, but suddenly, one of them comes up with a problem that he can't answer, and so he's able to phone this guy in Nottingham, or wherever, because he is not in competition down the street. He can't ask the guy down the street how to tackle the question, but the man in Nottingham will willingly bare his soul for you, and keeping in contact with, um, with other people to solve problems where they have them is incredibly useful, in my judgment.    NOTE: to see the rest of the transcript, head over to https://masteringportraitphotography.com (it exceed the normal limit for podcast texts!)

Toby Campen, a mastering engineer based in Brighton, UK, is dedicated to helping artists elevate their music. With a focus on delivering exceptional mastering services, Toby aims to enhance creative visions and foster deeper connections with audiences. Toby's professional journey began as a mixing engineer in various domains, spanning music, film, and television. He has garnered experience at renowned facilities such as Pinewood Studios, Technicolor, and Grand Central Recording Studios. Additionally, Toby has a background in music performance, notably as a guitarist and producer for Searching Alaska, a band recognized for their appearance at Download Festival 2013 and winning the Red Bull Prize. In 2006, Toby initiated his venture into recording, and mastering records for both personal and collaborative projects. This hands-on experience sparked a deep fascination with the mastering process, leading Toby to offer mastering services professionally, ultimately specializing solely in this field. IN THIS EPISODE, YOU'LL LEARN ABOUT: Working in audio post-production Following your passions The crossover skills that working in audio post-production can bring to mastering Audio restoration Knowing when to work in or out of the box How volume can influence your mixing decisions Knowing how far to go with processing tracks Mastering on headphones Learning to trust your headphones The two tools Toby can't live without for mastering on headphones Why tools like CanOpener Studio are better than Slate VSX Common mix problems to pay attention to To learn more about Toby Campen, visit: https://www.tobycampen.com/ Notable gear mentioned in this episode: DT 990: https://sweetwater.sjv.io/DKxBXy Sonarworks: https://sweetwater.sjv.io/75gd23 For tips on how to improve your mixes, visit https://masteryourmix.com/ Looking for 1-on-1 feedback and training to help you create pro-quality mixes? Check out my new coaching program Amplitude and apply to join: https://masteryourmix.com/amplitude/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books: The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Join the FREE MasterYourMix Facebook community: https://links.masteryourmix.com/community To make sure that you don't miss an episode, make sure to subscribe to the podcast on iTunes or on Android. Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review on iTunes!

It's back to the 1980s in this episode of the Film Stories podcast, kicking off with one last James Bond 007 adventure for Roger Moore.A View To A Kill - teased at the end of 1983's Octopussy as From A View To A Kill - came together initially with little fuss for a James Bond movie. Roger Moore was quickly invited back. John Glen was asked to direct even before he'd finished the last film. Pinewood Studios was booked. And then the problems: question marks over whether Roger Moore was too old for the role, announcing someone for the villain who turned the part down - and then the 007 stage at Pinewood burning down.1988's Buster by comparison was a fairly smooth shoot. Phil Collins agreed to take his first lead role, Julie Walters was in the USA for the Oscars when she got the script. But the story of one of the Great Train Robbers came with questions, not least should such a movie be with such a light tone about such a serious subject. Still, it got to the Oscars...Stories of both - and their respective royal premieres too - are told in this episode... Hosted on Acast. See acast.com/privacy for more information.

Take-off on a whirlwind of nostalgia and insider tales with Episode 51 of The Caped Wonder Superman Podcast! Jay Towers & Jim Bowers sit down with Chris Richardson, who takes us on a journey behind the scenes of cinematic magic. From the breathtaking landscapes of Krypton and the Fortress of Solitude to ensuring Christopher Reeve soared as the iconic Man of Steel, Chris's experiences as a Pinewood Studios apprentice are simply awe-inspiring. But that's not all! Join Jay & Jim as they share their exhilarating DC debut in Superman '78: The Metal Curtain. Brace yourselves for an epic lineup at the Hall of Heroes Con, featuring the menacing Ursa, the formidable Non, and the unforgettable Nuclear Man. And mark your calendars for Superman in Concert as the Caped Wonder Team heads to California and prepares to serenade fans with symphonic superhero bliss.With excitement buzzing in the air, Jay & Jim are back and feeling "swell" about what promises to be another SUPER year of adventures and revelations.

THE BILLIONAIRESS AT THE OPERA - that was our next stop after Pinewood Studios, as The Adventure of the Red-Headed League continued to warp my understanding of just about everything. Not so much Sherlock's understanding though. For ad-free, early access to adventures in full go to www.patreon.com/sherlockandco Follow me @DocJWatsonMD or get in touch via email docjwatsonmd@gmail.com Listener discretion is advised. This podcast is property of Goalhanger Podcasts. Copyright 2024. ------- SHERLOCK AND CO. Based on the works of Sir Arthur Conan Doyle Paul Waggott as Dr. John Watson Harry Attwell as Sherlock Holmes Kelly Burke as Amanda Merryweather Thomas Mitchells as Vince Callaghan Jemma Revell as Zoe Additional Voices: Adam Jarrell Matthew Malthouse Written by Joel Emery Directed by Adam Jarrell Editing and Sound Design by Holy Smokes Audio Produced by Neil Fearn and Jon Gill Executive Producer Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Join Jedi News' James Burns for a special episode of RADIO 1138 recorded at Pinewood Studios' Futures Festival with Steve Galloway, the UK Garrison's Gary Hailes & Paddy Kempshall, and Brian Muir, discussing Dave Filoni's appointment as Lucasfilm's Chief Creative Officer and more. Plus, we head to Wales Comic Con Telford Takeover to catch up with Jay Manchard & Paul Shipper. Email us at podcast@jedinews.com with your comments, views and opinions to be a part of the show. Recorded at Wales Comic Con on November 18th and at Pinewood Studios on November 24th and 25th. Show Notes: – Brian Muir Vader Sculptor The Ultimate Star Wars Quiz Book by Paddy Kempshall – available at Amazon.co.uk  

Host Detlef Schlich explores the depths of creativity with John Adams in Cobh, Ireland, at his Gallery house.John shares his journey, starting with his expulsion from four art colleges and his subsequent disillusionment with art. He recounts his move to London in 1985, where he pursued a career in rock music as a drummer and formed a successful band called the Crawdaddies. During this time, John grappled with personal loss and a dark state of mind, often resorting to alcohol and drugs.Despite the challenges, John's time in London was marked by transformation. He bluffed his way into carpentry, learning the trade through a series of firings, earning him the nickname "Down the Road Johnny." His persistence eventually led him to his desired job in theatre set painting, where he worked on significant projects for London's biggest theatres, Pinewood Studios, and even Disneyland Paris.John's artistic reawakening occurred when he joined a group of artists squatting in an old suntan lotion factory, which they transformed into a thriving art centre. Despite its eventual shutdown, John continued his community work by squatting and renovating the old Dole office in Brixton, turning it into a gallery and community space funded by parties and supported by the local police.However, the roughness of London took its toll, with John experiencing multiple assaults over the years. A traumatic event in 1996, where a young boy died in his arms, compelled John to leave London and return to Cork. Back in Cork, he was commissioned to create a significant painting, which facilitated his move and integration into the local art scene.In Cork, John joined the Backwater Artist Studios and, recognizing the lack of exhibition spaces, opened his studio to the public, inadvertently starting a tradition that involved the entire studio community.John's paintings are in many prominent collections such as the Crawford Municipal Gallery, Cork City Council, The Royal College of Surgeons, Cork City Library, President Michael D Higgins and many more private and public collections.ArTEEtude is a podcast created and produced by Detlef Schlich that explores the intersection of art, digital culture, and true stories in West Cork. Schlich, a multi-disciplinary artist, operates his podcast with a cross-sectoral approach, believing that a visual artist should think beyond being just an antagonist and instead strive to be a protagonist. Through this podcast, he dives into the unknown depths of the creative mind to uncover new perspectives and ideas.Detlef Schlich is a podcaster, visual artist, filmmaker, ritual designer, and media archaeologist based in West Cork. He is recognized for his seminal work, including a scholarly examination of the intersections between shamanism, art, and digital culture, as well as his acclaimed video installation, Transodin's Tragedy. He primarily works in performance, photography, painting, sound, installations, and film. In his work, he reflects on the human condition and uses the digital shaman's methodology as an alter ego to create artwork. His media archaeology is a conceptual and practical exercise in uncovering the unique aesthetic, cultural and political aspects of media in culture.WEBSITE LINKS John AdamsWebsitehttps://www.johnadamsartist.ie/Instagramhttps://www.instagram.com/johnadamspaintings/Facebookhttps://www.facebook.com/profile.php?id=100063634172616Detlef SchlichInstagramDetlef Schlich ArTEEtude I love West Cork Artists FacebookDetlef Schlich I love West Cork Artists Group ArTEEtudeYouTube Channelsvisual PodcastArTEEtudeCute Alien TV official WebsiteArTEEtude Detlef Schlich Det Design Tribal Loop Download here for free Detlef Schlich´s Essay about the Cause and Effect of Shamanism, Art and Digital Culturehttps://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_EffectSupport this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

pWotD Episode 2383: Loki (season 2).Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 221,996 views on Friday, 10 November 2023 our article of the day is Loki (season 2).The second season of the American television series Loki, based on Marvel Comics featuring the character of the same name, sees Loki working with Mobius M. Mobius, Hunter B-15, and other members of the Time Variance Authority (TVA) to navigate the multiverse in order to find Sylvie, Ravonna Renslayer, and Miss Minutes. It is set in the Marvel Cinematic Universe (MCU), sharing continuity with the films of the franchise. The season is produced by Marvel Studios, with Eric Martin serving as head writer and Justin Benson and Aaron Moorhead leading the directing team.Tom Hiddleston reprises his role as Loki from the film series, starring alongside Sophia Di Martino (Sylvie), Wunmi Mosaku (Hunter B-15), Eugene Cordero, Neil Ellice, Owen Wilson (Mobius), Gugu Mbatha-Raw (Renslayer), Tara Strong (Miss Minutes), and Jonathan Majors, all of whom reprising their roles from the first season. New additions to the cast include Rafael Casal, Kate Dickie, Liz Carr, Ke Huy Quan, and Richard Dixon. Development on a second season had begun by November 2020, and was confirmed in July 2021, with Martin, Benson, and Moorhead all hired by late February 2022. Filming began in June 2022 at Pinewood Studios and concluded in October. Dan DeLeeuw and Kasra Farahani were revealed as additional directors for the season in June 2023.The second season debuted on Disney+ on October 5, 2023, and ran for six episodes until November 9, as part of Phase Five of the MCU.This recording reflects the Wikipedia text as of 02:45 UTC on Saturday, 11 November 2023.For the full current version of the article, see Loki (season 2) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Arthur Neural.

pWotD Episode 2381: The Marvels.Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 249,945 views on Wednesday, 8 November 2023 our article of the day is The Marvels.The Marvels is a 2023 American superhero film based on Marvel Comics featuring the characters Carol Danvers / Captain Marvel, Monica Rambeau, and Kamala Khan / Ms. Marvel. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the sequel to the film Captain Marvel (2019), a continuation of the television miniseries Ms. Marvel (2022), and the 33rd film in the Marvel Cinematic Universe (MCU). The film is directed by Nia DaCosta, who co-wrote the screenplay with Megan McDonnell and Elissa Karasik. It stars Brie Larson as Carol Danvers, Teyonah Parris as Monica Rambeau, and Iman Vellani as Kamala Khan, alongside Zawe Ashton, Gary Lewis, Park Seo-joon, Zenobia Shroff, Mohan Kapur, Saagar Shaikh, and Samuel L. Jackson. In the film, Danvers, Rambeau, and Khan team up after they begin swapping places with each other every time they use their powers.Marvel Studios confirmed plans to make a sequel to Captain Marvel in July 2019. Development began in January 2020 with McDonnell hired after working on the television miniseries WandaVision (2021). Larson was set to return from the first film as Danvers, and DaCosta was hired to direct that August. In December, Parris was revealed to be reprising her role as Rambeau from WandaVision alongside Vellani returning as Kamala from Ms. Marvel. Second unit filming began in mid-April 2021 in New Jersey, and the title—referring to the three characters and their similar abilities—was revealed in early May. Principal photography began in July 2021 and concluded by mid-May 2022, taking place at Pinewood Studios in Buckinghamshire and Longcross Studios in Surrey, England, as well as in Los Angeles and Tropea, Italy. Karasik's involvement was revealed during post-production.The Marvels premiered in Las Vegas on November 7, 2023, and is scheduled to be released in the United States on November 10, 2023, as part of Phase Five of the MCU. The film has received mixed reviews from critics.This recording reflects the Wikipedia text as of 02:02 UTC on Thursday, 9 November 2023.For the full current version of the article, see The Marvels on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Olivia Neural.

Antony and David reflect on another busy month which included David introducing a special screening of Casino Royale and interviewing six Bond authors at Pinewood Studios for Bondstars. They also discuss the Doctor Who connections with Bond (Doctor Who is celebrating its 60th anniversary), Halloween-related articles on the LTQ website, the Roger Moore auction and David receiving a very special item that once belonged to Roger Moore.

It's not so much a hat-trick of amazing guests on this week's Empire Podcast, more a hat-treat as our bumper-sized Halloween edition brings you, tucked away at the episode's end (should you wish to skip there immediately), Ben Travis' warm and wonderful chat with Greta Gerwig, director of the year's biggest movie, Barbie, just in time to mark its release on home entertainment. Plus, Alex Godfrey catches up with Matt Johnson, director of the brilliant Blackberry, and Chris Hewitt talks Hammer and breaking into Pinewood Studios (hopefully not with a hammer) with the newly-revived studio's first title star, Eddie Izzard, star of Doctor Jekyll. Then, in the podbooth, Chris is joined by Helen O'Hara, James Dyer, and John Nugent for a spooktacular episode in which they reveal their greatest horror movie set visit experiences, talk about their ultimate monster mashes, discuss the week's movie news, and review David Fincher's The Killer, Five Nights At Freddy's, Liam Neeson's Retribution, and Cat Person. Enjoy!TIMESTAMPS! (all approx.)Eddie Izzard: 28:39.00 - 45:12.00Matt Johnson: 1:05:28.00 - 1:25:07.00Greta Gerwig: 1:46:55.00 - 2:04:56.00

Tina Newman is the CCO of 'Peace in a Pod Productions' and creator of the “Vivi the Supervegan” brand. Her books are endorsed by Vegan Trader and Vegan Founded networks and in 2022 Tina was the recipient of the Vegan Choice Award. She is an ambassador for the Animal Justice Project and has previously been a topical journalist for The Vegan Review. She has an HND in Stage & Screen with a background in media production, having worked with the BBC, Pinewood Studios and on numerous television commercials. With an interest in early childhood education, she is an expert contributor to The Vegan Society Educational Network and has helped develop “A Vegan Inclusive Education Resource - Supporting Veganism in Education: A Guide for Educators” which is available to educational settings across the UK. With a passion for inspiring and supporting others, Tina has launched and led local community groups. She is a super-mum and believes anything is possible if you put your mind to it! www.vivithesupervegan.co.uk Tina is currently looking for investors to support her in bringing to life Vivi and the Planet Protectors, the TV series. If you can help or know someone who can please get in touch at info@vivithesupervegan.co.uk

Tara Nicole Hughes has worked for 26 years with "Uber brilliant" director/choreographer, Rob Marshall on some of the biggest contemporary movie musicals including, Mary Poppins Returns, Chicago, Nine, and for two years she was a part of the entire pre-production, production and post-production process of Disney's live action, The Little Mermaid. With long sinewy legs and pure line, Tara was always a standout both on Broadway stages and film/TV sound stages. She has a reputation for a strong work ethic and elegance as a performer. The day of this interview, the movie, The Little Mermaid, based on the animated musical Disney film, opened to $10.3 million in ticket sales. Tara worked in London at Pinewood Studios and other UK sound stage interiors, and on location in Sardinia, Italy for all the actual real water coverage. She was instrumental in creating the movements for the actors on rigs, working also with Stunt Coordinator, Adam Curley to create the underwater illusions and she co- choreographed with Joey Pizzi -all the dance segments - some with the Alvin Ailey company dancers who were flown into England. "I hope Disney shares," says Tara about the creative pre-production and process- "it's amazing." The biggest production number is "Under the Sea" and like the earlier, "Fantasia" film -they were inspired to create movement for the fish

The Little Mermaid was released in 1989. It is a captivating animated musical that continues to enchant audiences of all ages. Directed by Ron Clements and John Musker, this Disney masterpiece marked the renaissance of the studio's animated films, ushering in a new era of storytelling and unforgettable characters. The film takes us on a magical underwater journey to the depths of the ocean, where we meet Ariel, a curious and spirited young mermaid with an insatiable longing for life on land. Voiced by the talented Jodi Benson, Ariel's character embodies innocence, independence, and a yearning for adventure that resonates with viewers even today. The storyline is based on the timeless fairy tale by Hans Christian Andersen and successfully infuses it with Disney's signature charm and whimsy. The narrative strikes a perfect balance between lightheartedness and emotional depth, exploring themes of sacrifice, self-discovery, and the power of true love. It captivates the audience from the opening scene and holds their attention until the very end. Plans for a remake of 1989's The Little Mermaid were confirmed in May 2016. In December 2017, Disney announced Marshall was being courted to direct the film. Bailey, Tremblay, Awkwafina, and the rest of the cast signed on between July to November 2019. After a delay by the COVID-19 pandemic, the filming ultimately took place primarily at Pinewood Studios in England and on the island of Sardinia, Italy, from January to July 2021. Composer Alan Menken, who worked on the original film's soundtrack, returned to compose the score and write new songs alongside Lin-Manuel Miranda, who serves as a producer with Platt, John DeLuca and Marshall. The film was released in the United States on May 26. Critics praised the performances of the cast and the musical sequences but criticized the visual effects and character designs. But which one is the best? This is the subject that Rachel and Jeremiah tackle on this week's episode of Mouse House Weekly. They compare plots, characters and music, giving each subject a score. At the end they tally up and find out which film is best.   Connect with Mouse House Weekly: Facebook community Twitter Instagram Golden Spiral Media Feedback Page

Based on a 1902 novel of the same name, this 80's flick brought together two of the 80's greatest funnymen and an established director who wasn't prone to making comedies.  Despite primarily negative reviews, it still did well at the box office and was a mainstay on cable television over the years, making it beloved by those who were watching basic cable channels in the late 80s and early 90s.  So break out the calculators, get ready to spend some cash, and watch out for the oncoming train in the back of the baseball field as Tim Williams and guest co-hosts Nicholas Pepin and Chad Sheppard discuss “Brewster's Millions” from 1985 on this episode of the 80's Flick Flashback Podcast! Here are some additional behind-the-scenes trivia we were unable to cover in this episode: Anne, Princess Royal, only daughter of Queen Elizabeth II and Prince Philip, was in Los Angeles and paid a visit to the set of Brewster's Millions as part of her itinerary. She was greeted by Candy and producer Joel Silver; Candy and the princess discussed a fire that had recently broken out at Pinewood Studios in England. She was scheduled to visit a scene involving Richard Pryor, but it was shot a day earlier, as Hill had production ahead of schedule. "I don't think she even knows Richard Pryor," an observer was quoted as saying. "I'm sure she was more excited at meeting John Candy, who's a Canadian citizen." Walter Hill, director of The Warriors and 48 Hrs., admitted in 1988 that at the time the only film he didn't make out of passion was Brewster's Millions. Hill made the movie to "improve his bank account and success quotient." Sources: Wikipedia, IMDB, Rotten Tomatoes, Box Office Mojo https://www.mentalfloss.com/article/80146/10-rich-facts-about-brewsters-millions Send us an email or reach out to us on social media to let us know what you liked, what you loved, what we may have missed, or what 80's movie we should discuss next! You can also support the podcast by becoming a subsrciption member through "Buy Me A Coffee".  Click on the following linktree link for more details and other great extensions of the podcast. https://linktr.ee/80sFlickFlashback --- Send in a voice message: https://podcasters.spotify.com/pod/show/moviviews80sff/message

Welcome to Dev Game Club, where this week we insert a bonus interview into the middle of our series on GoldenEye 007. We speak with Grant Kirkhope, one of two composers on the title. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Podcast breakdown: 0:58 Interview 1:03:57 Break 1:04:32 Outro Issues covered: starting at Rare in '95, composing in hex, the imposing approach to programming, fitting in 1 Mb, making a clarinet from one note, limiting your palette, looping your cymbal decay, working within your limits, downsampling from 44.1 kKz and using the EQ, working from good tunes rather than a huge palette, getting a degree in trumpet and living the musician life, the dole and mom's house, sending in casette tapes, having a meg of memory to play with, going to Disneyland, a farm in the middle of nowhere with teams in stables, a family affair, GameBoy in the morning and GoldenEye in the afternoon, limiting who could be in what building, a culture of friendly rivalry, taking ideas and building on them, brilliant bosses, being into the Bond films, the best film releases of every year, not knowing what you're doing, working on the multiplayer in secret, "not pleasing anyone a lot but pleasing a lot of people a little bit" these days, coming up with the idea in the morning and doing it in the afternoon, the indie spirit, small teams, making the engine you need and no extraneous bits, building games like Nintendo, working from two or three sentences, how does this thing sound (spiky things vs forest things), messing around until you hear what you like, instinctual, developing from an emotional sense, delving into Statue Park, trying to find the John Barry magic, being afraid you're going to get fired and instead moving on to another project, getting a chance to film all the sets, having the magic destroyed, a game that just kept selling and selling, the godfather of trap music, pause music becoming the soundtrack of the game, falling into games without training, music living on when the games don't necessarily, things that get into your head as a child, remembering what you've done, making someone's favorite game, having quite a journey, games as not a destination for composers, having a scene. Games, people, and influences mentioned or discussed: Donkey Kong, Graeme Norgate, Rare, Banjo-Kazooie, Perfect Dark, Viva Pinata, Kingdoms of Amalur, Civilization: Beyond Earth, Mario + Rabbids, The King's Daughter, Pierce Brosnan, Edinburgh, Nintendo, Blast Corps, Ken Griffey Baseball, Dave Wise, Robin Beanland, Bon Jovi, Billy Idol, Van Halen, Killer Instinct, Keybase, Atari ST, Tim and Chris Stamper, Donkey Kong Country, Microsoft, Mortal Kombat, Faith No More, Duran Duran, Martin Hollis, Shigeru Miyamoto, Captain America, Monty Norman, John Barry, Gregg Mayles, Pinewood Studios, The World Is Not Enough/Tomorrow Never Dies, Sea of Thieves, Thunderbirds, Sting Ray, Tim Schafer, Psychonauts 2, Chris Woods, David Byrne, How Music Works, Velvet Underground, DOOM, Dark Forces, Neill Harrison, Kirk Hamilton, Aaron Evers, Mark Garcia. Next time: Multiplayer and takeaways Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @timlongojr and @devgameclub DevGameClub@gmail.com Discord Invite

Here's another one of our panels from Star Wars Celebration! Melissa welcomes creatives who have worked on the movies and TV shows to share their insights and wonderful stories. Hear from Fon Davis (ILM model maker for the special editions, prequels, and The Mandalorian), Jake Lunt Davies (concept and creature designer from everything from The Force Awakens to Andor), Brian Herring (puppeteer for BB-8 and many other favorite characters), and Lee Towersey (droid wrangler at Pinewood Studios). Make sure to check out the images below and watch via YouTube to see all the amazing behind the scenes photos the panelists shared.  Check out the video version of this podcast! In Star Warsologies, hosts James Floyd and Melissa Miller combine their love of Star Wars with their keen interest in all things academic by asking experts about how their field is represented in a galaxy far, far away. It's a monthly podcast about science and Star Wars! Follow our panelists and their research on social media! Fon Davis on Twitter and Instagram. Brian Herring on Twitter. Jake Lunt Davies on Twitter and Instagram. Lee Towersey on Twitter. Got follow up questions for us or a suggestion for an -ology or expert? Email us at starwarsologies@gmail.com Subscribe and never miss an episode of Star Warsologies on Apple Podcasts, Spotify, or wherever you get podcasts. Follow the podcast on Instagram and Twitter. Join our Facebook fan group! Did you miss an earlier episode? Catch up here!

The Shout is a 1978 British horror film directed by Jerzy Skolimowski (who is also an Actor was in Mars Attacks and played a General in Marvels The Avengers). It was based on a short story by Robert Graves (author of I, Claudius and great friend of Spike Milligan, with whom, from the 1960s until his death, he frequently exchanged letters, Many of which are collected in the book ‘Dear Robert, Dear Spike') Grave's short story was adapted for the screen by Skolimowski and Michael Austin screenwriter of Greystoke: The Legend of Tarzan, Lord of the Apes. The film was the first to be produced by Jeremy Thomas under his ‘Recorded Picture Company' banner. Thomas went on to produce and exec-produce 70 more films (to date) including Naked Lunch, The last Emperor, Crash, The Great Rock 'n' Roll Swindle, Sexy Beast and High-rise.Interiors were shot at Pinewood Studios, the film's sets were designed by the art director Simon Holland (Quadrophenia, Buster, Nuns on the Run and King Ralph). The North Devon coastline, specifically Saunton Sands and Braunton Burrows, were used for the bulk of the location shooting. The church of St Peter in Westleigh was used for the church scenes. The soundtrack is by Michael Rutherford and Tony Banks of the rock band Genesis (After the original first choice of David Bowie turned it down). When heard in theatres in Dolby Stereo, it was aurally separating and distorting. Reportedly, forty different music tracks were used for the sound, when it was usual for films of this era to use just 4.The film was nominated for the Palme d'Or at the 1978 Cannes Film Festival and received the Grand Prize of the Jury, in a tie with Bye Bye Monkey (A film staring Gérard Depardieu about a man who finds the corpse of King Kong and Kong's orphaned son, and takes it to a friend who lives in the city, and they decide to raise it.) Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

Ant-Man and the Wasp: Quantumania is a 2023 American superhero film based on Marvel Comics featuring the characters Scott Lang / Ant-Man and Hope Pym / Wasp. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the sequel to Ant-Man (2015) and Ant-Man and the Wasp (2018) and the 31st film of the Marvel Cinematic Universe (MCU). The film was directed by Peyton Reed, written by Jeff Loveness, and stars Paul Rudd as Scott Lang and Evangeline Lilly as Hope van Dyne, alongside Jonathan Majors, Kathryn Newton, David Dastmalchian, Katy O'Brian, William Jackson Harper, Bill Murray, Michelle Pfeiffer, Corey Stoll, and Michael Douglas. In the film, Lang and Van Dyne are transported to the Quantum Realm along with their family and face Kang the Conqueror (Majors). Plans for a third Ant-Man film were confirmed in November 2019, with Reed and Rudd returning. Loveness was hired by April 2020, with development on the film beginning during the COVID-19 pandemic. The film's title and new cast members were announced in December 2020. Filming in Turkey began in early February 2021, while additional filming occurred in San Francisco in mid-June, ahead of principal photography starting at the end of July at Pinewood Studios in Buckinghamshire and ending in November. Ant-Man and the Wasp: Quantumania premiered in Los Angeles on February 6, 2023, and was released in the United States on February 17, 2023, as the first film in Phase Five of the MCU. It received mixed reviews from critics, who praised the performances (particularly those of Rudd, Majors, and Pfeiffer) and visuals, but criticized the writing and inconsistent tone. The film has grossed over $303 million worldwide, becoming the third highest-grossing film of 2023. --- Send in a voice message: https://podcasters.spotify.com/pod/show/popcorn-junkies/message

Episode 179!? This week we are switching things up and giving our thoughts on Ant-Man and the Wasp: Quantumania! We are also reviewing Kang the Conqueror: Only Myself Left to Conquer Ant-Man and the Wasp: Quantumania is a 2023 American superhero film based on Marvel Comics featuring the characters Scott Lang / Ant-Man and Hope Pym / Wasp. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the sequel to Ant-Man (2015) and Ant-Man and the Wasp (2018) and the 31st film of the Marvel Cinematic Universe (MCU). The film was directed by Peyton Reed, written by Jeff Loveness, and stars Paul Rudd as Scott Lang and Evangeline Lilly as Hope van Dyne, alongside Jonathan Majors, Kathryn Newton, David Dastmalchian, Katy O'Brian, William Jackson Harper, Bill Murray, Michelle Pfeiffer, Corey Stoll, and Michael Douglas. In the film, Lang and Van Dyne are transported to the Quantum Realm along with their family and face Kang the Conqueror (Majors). Plans for a third Ant-Man film were confirmed in November 2019, with Reed and Rudd returning. Loveness was hired by April 2020, with development on the film beginning during the COVID-19 pandemic. The film's title and new cast members were announced in December 2020. Filming in Turkey began in early February 2021, while additional filming occurred in San Francisco in mid-June, ahead of principal photography starting at the end of July at Pinewood Studios in Buckinghamshire and ending in November. Ant-Man and the Wasp: Quantumania premiered in Los Angeles on February 6, 2023, and was released in the United States on February 17, 2023, as the first film in Phase Five of the MCU. It received mixed reviews from critics, with the screenplay and storyline receiving criticism, while the performances (especially those of Rudd, Majors, and Pfeiffer) and visuals were praised. The film has grossed over $284 million worldwide, becoming the third highest-grossing film of 2023. Kang the Conqueror: Only Myself Left to Conquer The time traveler known as Kang the Conqueror has led many lives across many eras. He has been a pharaoh, a villain, a warlord of the spaceways — and even, on rare occasions, a hero. Across all timelines, one fact seemed absolute: Time means nothing to Kang. But the truth about the Conqueror is much more complex! Kang is caught in an endless cycle of creation and destruction, dictated by time and previously unseen by any but the Conqueror himself. A cycle that, once revealed, could finally explain the enigma that is Kang. And a cycle that begins and ends with an old and broken Kang sending his younger self down a dark path… COLLECTING: Kang The Conqueror (2021) 1-5 These sort of reviews usually go on our Patreon page so join up! The link is below! Join our discord and help us build the community! https://discord.gg/EUtHXHjJWF Support The Wednesday Pull List! https://www.patreon.com/wednesdaypull Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode 129 of The Force Geeks: A Star Wars Podcast, Nate, Jake and Chris break down the first and second episodes of the second season of The Bad Batch TV series in this spoiler special. They break down all the action and delve into the overarching themes of protecting Omega and the call to do more and eventually link up with the early days of the Rebellion. Plus, the Geeks discuss the recent the recent rumors regarding what is next for Star Wars movies, with production said to be ready to start at Pinewood Studios in the spring of 2023, possible roles for cast members of the Ahsoka series, and some much deserved love for the Andor Series being named to a top 10 shows of 2022 list by The Hollywood Reporter.  Check it all out in this episode of The Force Geeks podcast!

In this week's episode of SIDEBOOB CINEMA the gang review the Carry On film "Carry On Spying" [1964]---ARTICLES AND LINKS DISCUSSEDCarry On Spying [1964] Trailer:https://www.youtube.com/watch?v=5IlI2Myf1J8---FOLLOW THE CONVERSATION ON reddit:https://www.reddit.com/r/sideboobcinema/---SUPPORT THE NEW FLESHBuy Me A Coffee:https://www.buymeacoffee.com/thenewflesh---Instagram: @thenewfleshpodcast---Twitter: @TheNewFleshpod---Follow Ricky: @ricky_allpike on InstagramFollow Jon: @thejonastro on InstagramFollow AJ: @_aj_1985---SIDEBOOB CINEMA produced by Sheila EhksLogo Design by Made To Move: @made.tomoveTheme Song: Dreamdrive "Good In Red"

Join James Burns with Gary Hailes, Commanding Office of the 501st UK Garrison, as they discuss this past weekend's Futures Festival event at Pinewood Studios, which was attended by the UK Garrison, Rebel Legion and R2 Droidbuilders UK. Email us at podcast@jedinews.com with your comments, views and opinions to be a part of the show. 

Traditional illustrator Rikin chats about working as a storyboard artist, his time at Pinewood Studios, collaborating with a range of authors and juggling life and work.

In this episode of Film Stories with Simon Brew, a sequel that was a beast to make, and a British book adaptation that Tom Hanks sort-of-unlocked.Aliens remains the template for how to make an excellent sequel - but heck, was it beset by problems. Not least that writer/director James Cameron and the crew at Pinewood Studios making the film were not exactly on each other's Christmas card lists.Starter For Ten was a bit more straightforward, but even then, it took American money to bring a very British book to the screen. All in a film that had a hand in launching a lot of big name careers...Stories of both are told in this episode.Find Simon on Twitter at @simonbrew, and the podcast can be found at @filmstoriespod.Support this podcast: www.patreon.com/simonbrew. Hosted on Acast. See acast.com/privacy for more information.

SEPTEMBER 2020Hello!  This is the month I've been waiting for!  It's all about acting.  It's a Masterclass in Screen Acting at the iconic Pinewood Studios!  Thanks for listening!In this episode:Masterclass in Screen Acting (1 month)Pinewood Studios in LondonShuttle from Uxbridge to Pinewood StudiosMemorizing lines every nightFeeling like a movie starGetting ready to leave LondonWebsite  I  Instagram  I  Twitter  I  LinkedIn  I  YouTubeEmail: actorbobtapper@gmail.comSupport the podcast: patreon.com/bobtapperAirbnbBook your stayActor's Studio UKMasterclass in Screen Acting Support the Show.

Batman (1989) ​   Tim Burton's take on the Batman pathos would be a ground-breaking and box office winner which would take the world by storm.  The film would divert from the Red Hood storyline as an origin story for the Joker but would give him a different story as Jack Napier, local gangster, falling into chemical acid to become the psychotic Joker.  The film would be shot in England at Pinewood Studios with an inflated budget of $48million and would earn $400million at the box office.  The film would take its inspiration between Alan Moore's and Ryan Bolland's The Killing Joke and Frank Miller's The Dark Knight Returns. ​     Batman Begins (2005)   Batman Begins is a reimaging of the Batman with Christopher Nolan giving the film a darker and more realistic tone.  The campiness would be laid to rest, and we would have a more serious tone.  The film would give a retelling of the origin story with more complex themes.  It would use three sources which includes The Man Who Falls, Batman: Year One and Batman: The Long Halloween.  The film would be a box office success and would be the start of the trilogy now known as The Dark Knight Trilogy.   Opening Credits; Introduction (.38); Amazing Design Ad (11.18); Introduction Part 2 (12.30); Background History (34.54); Batman (1989) Film Trailer (36.15); The Original (38.04); Introducing a Remake (1:34.42); Batman Begins Film Trailer (1:36.25); The Remake (1:38.44); Preference Original or Remake (2:29.18); End Credits (2:38.09); Closing Credits (2:40.25)   Opening Credits– Epidemic Sound – copyright 2021. All rights reserved   Closing Credits:  The Man Inside by David Fionix (single) Copyright 2020 EO Records.  https://davidfionix.com/about-me/ ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used with Kind Permission.   All songs available through Amazon Music.

4X4: MIKE NICHOLS PT. 3: THE DESIGNATED MOURNER In 1996 Mike Nichols did something extraordinary after a friendly table reading of Wallace Shawn's new play, THE DESIGNATED MOURNER, he agreed to play the main part of JACK for a theatrical run in London. Previously Nichols' only acting credit was an abbreviated run of WHO'S AFRAID OF VIRGINIA WOOLF with Elaine May in 1980, (he was also a savvy stage veteran due to his legendary comedy career, also with May). Working with noted playwright and director (theater and film) David Hare along with co-stars MIRANDA RICHARDSON (who will always be Queenie from Blackadder II to us), and David de Keyser, the run had critics and actors looking for words to describe Nichols' one-of-a-kind performance. Luckily, at the end of the run they decided to commemorate this run and went to Pinewood Studios to shoot a film version in three days. A harrowing series of monologues details the slow crumbling of an unnamed nation. Is the government cracking down or are rebels taking over? Yes? The result is a culling of what the play calls "high brow" culture. The three characters are either talking as ghosts or as the last person remaining to remember what things used to be (A Designated Mourner). We came across this oddity in our research and the praise Nichols received in his performance, and our general love of all things Wallace Shawn, made us hunt down a copy of this criminally unavailable film. Nichols quite simply gives one of the most seductive, brutal and impossibly off-the-cuff-seeming performance that it is too late once he has you sucked in.  We have seen hundreds of movies during thus podcast and his performance may be the greatest of them all. Seriously. It sneaks up to you with a smile and leads you along until it crushes your heart.So why is it so damn hard to find? We bought an original DVD from its initial release in 1997 off of ebay. The BBC owns it and the story of why it is so difficult to find, despite its legendary status among those who know, is a mystery we try to unravel. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1566193505340313600 It's Birthday Rituals Week on Pod Sematary! Chris & Kelsey watch some birthday-themed horror centered around sinister rituals for Chris' special day! The Classic Film: Alison's Birthday (1981) "A young girl is subjected to a reign of terror so that her soul can be transferred to the body of an old crone” (IMDb.com). Alison's Birthday is an Australian mash-up of concepts from other, better movies, but don't miss the charming forest for the trees. The Modern Film: Book of Monsters (2018) "Sophie's 18th birthday becomes a bloodbath when monsters descend upon her house and start to devour the party guests” (Epic Pictures). Book of Monsters is a Kickstarter flick full of nods to horror cliché, but—unlike Alison's Birthday—with none of the charm. Audio Sources: "Alison's Birthday" produced by The Australian Film Commission, et al. "Birthday" written by Lennon–McCartney and performed by The Beatles "Book of Monsters" produced by Dark Rift Films "The Fifth Element" produced by Gaumont & Pinewood Studios "Judge Reinhold/10,000 Maniacs" (Saturday Night Live S13E13) produced by Broadway Video & NBC Productions "Mad Max" (1979) produced by Kennedy Miller Productions & Mad Max Films "Math and King Solomon" (from The Top Part) written and performed by John Mulaney "Rosemary's Baby" (1968) produced by William Castle Productions "Skorpio" (Archer S01E06) produced by Radical Axis "Stonehenge" written by Christopher Guest, et al., and performed by Spinal Tap