Podcast appearances and mentions of Rob Cohen

Things get real wild in this week's Say Whats Reel as Dom, ILL, and Q break down the 2015 psychological thriller The Boy Next Door, starring Jennifer Lopez and Ryan Guzman. What starts as a steamy one-night stand turns into a full-blown nightmare when a 19-year-old develops a terrifying obsession with his teacher — and trust us, it goes off the rails quick.

“It's being proactive rather than reactive, which physicians or others didn't get compensated for previously. It's doing the things that keep people healthy such that they are on the right path to get better, rather than this endless cycle of treatment and temporary relief.” In this episode, we sit down with Rob Cohen, CEO of Livara Health, to explore how a tech-enabled, value-based approach to musculoskeletal (MSK) care is driving better patient outcomes while reducing costs. Key insights include: Improving access to MSK care, even for underserved populations Boosting quality while reducing cost through holistic solutions The power of combining machine learning and traditional analytics How predictive models help steer patients to the right care Find Rob's work at: livarahealth.com Subscribe and stay at the forefront of the digital healthcare revolution. Watch the full video on YouTube @TheDigitalHealthcareExperience The Digital Healthcare Experience is a hub to connect healthcare leaders and tech enthusiasts. Powered by Taylor Healthcare, this podcast is your gateway to the latest trends and breakthroughs in digital health. Learn more at taylor.com/digital-healthcare About Us: Taylor Healthcare empowers healthcare organizations to thrive in the digital world. Our technology streamlines critical workflows such as procedural & surgical informed consent with patented mobile signature capture, ransomware downtime mitigation, patient engagement and more. For more information, please visit imedhealth.com   The Digital Healthcare Experience Podcast: Powered by Taylor Healthcare Produced by Naomi Schwimmer  Hosted by Chris Civitarese Edited by Eli Banks Music by Nicholas Bach  

There is less than one week until City Council votes on a $70 million plan to support the proposed NWSL stadium at the site of the old Gates Rubber Factory, and the debate is finally heating up! After we shared CU Denver professor Geoff Propheter's critical take on the podcast last week, we heard from the owners, the mayor's office, city council members, and both supporters and detractors of the project. So producer Paul Karolyi dug into the details, and he's on with host Bree Davies to share more info you need to know before the vote. Plus, we discuss a couple of recent highs and lows from the local music world and hear some of your ideas to revamp the 16th St. Mall.  We also have one further clarification on the specific source of the proposed $70 million expenditure. A spokesperson for the Dept. of Finance told us that, “Because the interest earnings on the 2017 Elevate Denver Bond can offset $60 million of the total $70 million cost of the Santa Fe Yards project, only approximately $10 million would come out of the city's capital improvement fund. This $10 million would be split over 2026 and 2027, so about $4-6 million each year.” What do you think about the proposal to spend $70 million on the NWSL stadium development project? Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418 Also, we have been thinking a lot lately about the possibility of a recession, and we want your help! Do you have any Denver hacks or tricks for squeezing the most out of every dollar? Help us make a Denver recession survival guide with a voicemail or a text: 720-500-5418 Bree mentioned DéCollage, whose new album you can stream/buy now and who you can see live at UMS this summer! She also talked about the passing of singer-songwriter Jill Sobule — Emily Ferguson at Westword wrote a nice tribute to the former Denverite. Paul shared NWSL co-owner Rob Cohen's quote from this Denverite article about the stadium proposal, discussed Councilmember Sarah Parady's line of questioning in this council meeting last week, and alluded to the fact that Denver voters already approved a $975 million bond to, among other things, install air conditioning at the 29 DPS schools without it. For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Support City Cast Denver by becoming a member: membership.citycast.fm Learn more about the sponsors of this May 6th episode: Aura Frames - Get $35-off plus free shipping on the Carver Mat frame with Promo Code CITYCAST Regional Air Quality Council Colfax BID Cozy Earth - Use code COZYDENVER for 40% off best-selling sheets, towels, pajamas, and more. Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Sam Nicholson is a building surveyor based in the North East. He worked with Maersk Training in offshore wind, and has extensive past experience volunteering with the Royal National Lifeboat Institution. Recognised as Mentor of the Year 2023, Sam has previously served as Matrics Chair, actively supporting young professionals in the industry with a surveying APC community. We talk about Sam's involvement with the APC study group, his current role in Wakefields Chartered Building Surveyors, his past experience working on a lifeboat and in emergency management training, as well as discuss the importance of soft skills and mentoring for the development of competent and skilled surveyors. What is Covered: (00:00) Sam's career journey (07:40) Working with Maersk Training (12:00) Mark's work on the lifeboat (16:49) From onshore training to supporting APC candidates (20:40) How Sam started on the building surveying pathway (23:23) What the APC study group is about (29:43) How Sam's work changed post qualification (33:00) What Matrics is and how it supports surveyors (37:30) Networking advice and recommendations (43:00) Mentor of the Year nomination and application process (49:50) Why Sam is passionate about surveying (55:45) The importance of role models for life and career Resources: Wakefields Chartered Building Surveyors https://www.wakefieldscbs.co.uk/ Connect with Sam Nicholson on LinkedIn https://www.linkedin.com/in/sam-nicholson-frics-4148a1a8/ Maersk Training https://maersktraining.com/ RNLI - Royal National Lifeboat Institution https://rnli.org/ RICS Matrics UK https://www.rics.org/networking/matrics RICS Matrics Surveyor Awards https://www.rics.org/training-events/rics-awards/matrics-surveyor-awards Ryan Parke - The Science of Men's Mental Health https://www.lovesurveying.com/podcasts/the-surveyor-hub-podcast/episodes/2148287598 Super Prime UK News and The Property Valuation Podcast with Rob Cohen and James Wild https://podcasts.apple.com/gb/podcast/super-prime-uk/id1566847536 Buy me a Coffee https://www.buymeacoffee.com/thesurveyorhub The Surveyor Hub Community - Facebook https://www.facebook.com/groups/the.surveyor.hub.love.surveying/

In this episode of Detoxicity, I welcome Rob Cohen back to the pod for a crossover episode. Rob first appeared in Episode 153, at which time Rob was promoting his podcast Two Bi Guys and his book Bisexual Married Men. The main impetus behind us recording together again was to discuss our recent experiences with alternative therapies, including ketamine and ayahuasca, and how these experiences relate to our journeys with masculinity and mental health. While these therapies aren't necessarily everyone's cup of tea, I'd say we both gained some interesting insights on account of these experiences. Alternative medicines aside, we also discuss the importance of surrendering to emotions, the fluidity of change, and the need for safe spaces for men to explore vulnerability and masculinity more than ever in society. Our dialogue also touches on redefining personal goals and ambitions in light of newfound insights and connections with the universe. A slightly different edit of this same episode appears on Rob's podcast as well, making this a rare multi-podcast crossover. Hope you enjoy!

Denver has officially been announced as the NWSL's 16th expansion team. But how did this ownership group win the bid?This week on Full Time, Meg Linehan and Theo Lloyd-Hughes focus on understanding what made Denver special.To help do that, NWSL commissioner Jess Berman joins the show to give the inside scoop on how the league evaluated the bids.Then, Athletic staff writer Melanie Anzidei discusses her report on the bidding process, the latest news on a stadium, and anecdotes from talking to lead investor Rob Cohen.Finally, Full Time catches up with For Denver FC co-founder, broadcaster, and Colorado native Jordan Angeli to talk about the community aspect and what NWSL fans can expect as Denver joins the chaos.There's even time to contemplate who could be Denver's first-ever player.PLUS: The latest transfer news from around the NWSL, Crystal Dunn and Jenna Nighswonger leave Gotham FC, and plenty of stars extend their contracts, too._______________Articles mentioned on the show:Inside Denver's winning NWSL bid: How grassroots and confidence beat stadium plans and Caitlin ClarkAfter Naomi Girma's record-breaking transfer, who will be the next major-money move?Alyssa and Gisele Thompson agree new Angel City contract extensionsUSWNT's Crystal Dunn, Gotham FC agree to mutually part waysArsenal and Gotham FC agree to $100,000 transfer of USWNT defender Jenna NighswongerChelsea's unveiling of USWNT star Naomi Girma, the support act to main event of stamping authority on WSLPortland Thorns, Sophia Smith agree to contract extension: ‘I'm in the prime years of my career'_______________HOSTS: Meg Linehan, Theo Lloyd-HughesGUESTS: Jessica Berman, Melanie Anzidei, Jordan AngeliPRODUCER: Theo Lloyd-HughesVIDEO PRODUCER: Lia GriffinEXECUTIVE PRODUCER: Emily Olsen_______________Get in touch: fulltime@theathletic.comFollow on Instagram and TikTok: @tafulltimeSubscribe to the Full Time newsletter hereVisit the Yahoo Women's Sports hub here Hosted on Acast. See acast.com/privacy for more information.

Denver has officially been announced as the NWSL's 16th expansion team. But how did this ownership group win the bid? This week on Full Time, Meg Linehan and Theo Lloyd-Hughes focus on understanding what made Denver special. To help do that, NWSL commissioner Jess Berman joins the show to give the inside scoop on how the league evaluated the bids. Then, Athletic staff writer Melanie Anzidei discusses her report on the bidding process, the latest news on a stadium, and anecdotes from talking to lead investor Rob Cohen. Finally, Full Time catches up with For Denver FC co-founder, broadcaster, and Colorado native Jordan Angeli to talk about the community aspect and what NWSL fans can expect as Denver joins the chaos. There's even time to contemplate who could be Denver's first-ever player. PLUS: The latest transfer news from around the NWSL, Crystal Dunn and Jenna Nighswonger leave Gotham FC, and plenty of stars extend their contracts, too. _______________ Articles mentioned on the show: After Naomi Girma's record-breaking transfer, who will be the next major-money move? Alyssa and Gisele Thompson agree new Angel City contract extensions USWNT's Crystal Dunn, Gotham FC agree to mutually part ways Arsenal and Gotham FC agree to $100,000 transfer of USWNT defender Jenna Nighswonger Chelsea's unveiling of USWNT star Naomi Girma, the support act to main event of stamping authority on WSL Portland Thorns, Sophia Smith agree to contract extension: ‘I'm in the prime years of my career' _______________ HOSTS: Meg Linehan, Theo Lloyd-Hughes GUESTS: Jessica Berman, Melanie Anzidei, Jordan Angeli PRODUCER: Theo Lloyd-Hughes VIDEO PRODUCER: Lia Griffin EXECUTIVE PRODUCER: Emily Olsen _______________ Get in touch: fulltime@theathletic.com Follow on Instagram and TikTok: @tafulltime Subscribe to the Full Time newsletter here Visit the Yahoo Women's Sports hub here Learn more about your ad choices. Visit megaphone.fm/adchoices

It's time for another installment of Life in the Fast Lane, and babe wake up, Vin Diesel just posted. We kick things off with the sixth minute of Tokyo Drift, which gets some car racing action! (And also creepy sexualization.) We try to make sense of Andy Tudor's intriguing posts on X, Vin's sly "Dwayne" at the Golden Globes, and the mystery behind some recent "Fast and Furious footage." We Run the Vin to find many posts, including one that shows how Vin is giving Los Angeles what it needs the most right now: Fast & Furious. We discuss Gen Z stars in the Fastiverse, the best "carty" in the franchise, and Jerry's interesting idea about Rob Cohen as Pizza Boy. Joe recaps his trip to LA and visiting Cosm, while Joey talks about CES 2025 and Grand Theft Hamlet. Email us: family@cageclub.me Visit our Patreon page at patreon.com/2fast2forever.  Show your support at the 2 Fast 2 Forever shop! Extra special shout-out to Alex Elonen, Nick Burris, Brian Rodriguez (High School Slumber Party), Michael McGahon, Lane Middleton, Jason Rainey, Wes Hampton, Mike Gallier, Josh Buckley (Whole Lotta Wolves), Michael Moser, Christian Larson, Terra New One, Aaron Woloszyn, and Randy Carter for joining at the “Interpol's Most Wanted” level or above! Intro music by Nico Vasilo. Interlude and outro music by Wes Hampton.

#1 ACS #1665 (feat. Rob Cohen, Phil Rosenthal, David Wild, Gina Grad and Bryan Bishop) Recorded 09-22-2015 – Release Date 09-23-2015 #2 ACS #3453 (feat Gina Grad and Bryan Bishop) Recorded 12-14-2022 – Release Date 12-15-2022 Hosted by Superfan Giovanni Request clips: Classics@adamcarolla.com Subscribe and Watch Clips on YouTube: https://www.youtube.com/@AdamCarollaCorner

#1 ACS #1665 (feat. Rob Cohen, Phil Rosenthal, David Wild Gina Grad and Bryan Bishop) Recorded 09-22-2015 – Release Date 09-23-2015 #2 ACS #3453 (feat Gina Grad and Bryan Bishop) Recorded 12-14-2022 – Release Date 12-15-2022 Hosted by Superfan Giovanni Request clips: Classics@adamcarolla.com Subscribe and Watch Clips on YouTube: https://www.youtube.com/@AdamCarollaCorner

Just in time for Black Friday, Erik Childress and Peter Sobczynski takes you through a swath of new physical media and collections. They include two of the best films in the careers of Peter Bogdanovich and Guillermo Del Toro (and yes the best from Rob Cohen too.) There's a pair of underrated films from the great William Friedkin and martial arts collections from Stephen Chow and the Shaw Brothers. Go on the road with Hope and Crosby and take a journey with an underseen adventure story. Not to mention dancing, the Thin Man, a whole bunch of Looney Tunes and one of the most infamous box office tales ever. 0:00 - Intro 1:08 - Criterion (Paper Moon 4K, The Shape of Water 4K) 16:33 - Vinegar Syndrome (The Tenant 4K, Fear Dot Com) 27:48 - MVD (Zyzzyx Road 4K) 39:43 - Arrow (Shawscope V. 3) 44:52 - Shout (Stephen Chow Collection, Dragon 4K, Bones and All 4K) 59:04 - Kino (Revenge of the Zombies, The Martian Chronicles, Mountains of the Moon, The Hunted 4K, Bug 4K, On the Road with Hope and Crosby) 1:33:51 - Warner Archive (The Complete Thin Man, Looney Tunes Collectors Choice Vol 1-4, That's Entertainment) 1:50:57 – New Blu-ray Announcements

La Cosa Nostra Radio, here you are family Our community is filled with inspiration, and we respect individuality....Join Poets and Musicians Rob Cohen and Mrslilboo to discuss and read allpoetrys top rated Front Page Picks,   Best Poetry Podcast Welcome to La Cosa Nostra Radio, here you're family... Our artistic community is filled with inspiration, and we respect your individuality.. Here, a variety of poets from around the world come together to share our love of verse...stop by and read your poetic masterpiece live on the air with us! We can be found on At allpoetry.com you can take part in chats interactively, and post your work so others can read alon Call in # 929-477-3951 Join Us on the Clubhouse App available for IOS & Android! https://clubhouse.com/house/4577503482075693294 Our Poetry Group Located on allpoetry.com https://allpoetry.com/group/show/33906-La_Costra_Nostra Apple  https://podcasts.apple.com/gb/podcast/la-cosa-nostra-radio/id1536013866 Amazon Music https://www.amazon.com/La-Cosa-Nostra-Radio/dp/B0B2LKCBN7/ref=sr_1_2?keywords=La+Cosa+Nostra+Radio+La+Cosa+Nostra+Radio&qid=1693809077&sr=8-2

In this episode of subscriber episode of EGB Brian with a B and Amferny talk about the 2001 NOS fueled dumpster fire, The Fast and the Furious. This movie is directed by Rob Cohen and stars Vin Diesel, Paul Walker, Michelle Rodriguez, Jordana Brewster and Rick Yune. Enjoy the story of a police detective infiltrating a street racing gang attempting to take down a group of big rig robbers. This movie is available on Peacock, Prime Video, Apple TV, Vudu, Google Play, YouTube and AMC. Instagram Links: Follow Vin Diesel @vindiesel Follow Michelle Rodriguez @mrodofficial Follow Jordana Brewster @jordanabrewster Follow Rick Yune @rickyune The podcast art is by @delasernaxtattoos on Instagram and has been revised by rodrick_booker on Fiverr. If you like what you're hearing subscribe and comment on our Instagram @berated_b_rated_movies, Facebook @Berated B RatedMovies and Tik Tok @berated_b_rated_movies. Check out our website at Beratedbratedmovies.com. If you have any comments or movie suggestions please send them to beratedbratedmovies@gmail.com

This episode's Community Champion Sponsor is Ossur. To learn more about their ‘Responsible for Tomorrow' Sustainability Campaign, and how you can get involved: CLICK HERE---Episode Overview: How can we transform musculoskeletal care to improve outcomes and reduce costs? Our next guest, Rob Cohen, is tackling this challenge and more as CEO of Livara Health. With over two decades of healthcare leadership experience, Rob brings a unique perspective on value-based care and population health management. Previously leading companies like Bamboo Health and Evolent Health, Rob witnessed firsthand the transformative impact of innovative healthcare solutions. While together, Rob shares why he is driven by a passion to make healthcare more connected and sustainable and his vision to reimagine musculoskeletal management through comprehensive care planning, delivery, and navigation. Join us to discover how Livara's purpose-built solutions are enhancing patient experiences, optimizing clinical outcomes, and driving down costs for health plans and providers. Let's go! Episode Highlights:Emphasizes improving healthcare by building on existing strengths rather than total disruptionAddresses musculoskeletal (MSK) spend challenge: $400 billion annually, growing twice as fast as general healthcareOffers comprehensive MSK care: planning, navigation, and delivery to reduce unnecessary proceduresReports significant outcomes: 45% cost reduction, 35% fewer surgeries, 60% less opioid usePredicts future trend: integration of specialty value-based care programs for cohesive patient careAbout our Guest: Rob Cohen is the CEO of Livara Health, a value-based musculoskeletal (MSK) management company providing care planning, care delivery and care navigation to improve outcomes and lower costs for people with MSK conditions.Prior to joining Livara, Rob was the CEO at Bamboo Health, where he led the company's national expansion from 25 states to 45 states and was responsible for rapid revenue growth in new product lines and new market segments. Prior to Bamboo, Rob served as Market President at Evolent Health where he was responsible for market growth and managed the P&L and operations for partnerships with health systems. Prior to Evolent, Rob held leadership roles with Healthways, Wellpoint, The Walt Disney Company, and McKinsey & Company.He is a firm believer in the power of healthcare as a catalyst for positive change and is committed to making a meaningful difference in the lives of others.Links Supporting This Episode:Livara Health Website: CLICK HERERob Cohen LinkedIn page: CLICK HERELivara Health LinkedIn page: CLICK HERE Mike Biselli LinkedIn page: CLICK HEREMike Biselli Twitter page: CLICK HEREVisit our website: CLICK HERESubscribe to newsletter: CLICK HEREGuest nomination form:

It's Die Hard in a tunnel! This week, Phil and Liam dig in, around, and underneath DAYLIGHT, Rob Cohen's 1996 disaster movie starring Sylvester Stallone, Amy Brenneman, Jay O. Sanders, Dan Hedaya, Stan Shaw and Viggo Mortensen!When a freak accident causes both ends of an underground tunnel in New York to collapse, a group of random strangers find themselves trapped below the Hudson River. The only person seemingly capable of helping them is Kit Latura (Sylvester Stallone), a disgraced former EMS Chief seeking redemption for his role in a past tragedy. The guys start by discussing the disaster movie genre in general, placing this throwback film in a wider context, as part of a grand tradition of similar motion pictures that date back to their 1970s heyday. The original DIE HARD has its roots in the disaster movie genre, having been directly inspired by THE TOWERING INFERNO, one of several such films discussed (unflinchingly) in the ‘Die Hard DNA' section, along with the AIRPORT franchise that influenced DIE HARD 2: DIE HARDER.After analyzing the film's premise, hero, and quirky cast of supporting characters (that includes a billionaire rock-climber, an Al Powell-esque uniform cop and a playwright with terrible taste in musicals), Liam presents his Earth-shattering theory that this entire film is in fact a Jesus allegory! The boys bust into ‘Die Hard Oscars' to hand out some action movie awards and cap things off with a mind-boggling edition of the ‘Double Jeopardy' trivia quiz!DAYLIGHT trailer:https://www.youtube.com/watch?v=tRWIfCpxNK4 At the time of release, DAYLIGHT is streaming on Starz in the US, and is available to rent or buy on Prime Video, YouTube, Apple/iTunes, Fandango, and all the usual platforms! Support this podcast at — https://redcircle.com/die-hard-on-a-blank/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Welcome to another insightful episode of The Healthcare Grind! This week, we're thrilled to bring you an in-depth conversation with the leadership of Livara Health, a purpose-built musculoskeletal management solution revolutionizing healthcare. In this episode, we sit down with Rob Cohen, CEO, and Dr. Kam Raiszadeh, co-founder and CMO of Livara Health. With an impressive 17 years of experience, Livara has been at the forefront of driving superior outcomes for patients by integrating care planning, delivery, and navigation. Rob and Dr. Kam share their insights on the challenges and opportunities in musculoskeletal management, the impact of their work on the healthcare system, and their vision for the future. Join us as they delve into how Livara's unique solution is setting new standards in patient care and transforming the way healthcare is delivered.

We review Daylight (1996) on movie podcast The Collector's Cut. Daylight is directed by Rob Cohen and stars Sylvester Stallone, Amy Brenneman, Viggo Mortensen, Dan Hedaya patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight all links: https://linktr.ee/mildfuzz Audio version: https://the-collectors-cut.pinecast.co/

Michael, Rob, and Pax begin a new series of episodes covering the Fast and Furious movies, starting of course with the introduction of Brian, Dom, Mia, and Letty (and alright, Vince) in Rob Cohen's The Fast and the Furious. And because it's just the way we are, we also talk a little about John Ireland and Edward Sampson's 1954 film of the same name that also stars Ireland and Dorothy Malone.

Over a 40-year career, Joel Hynek has helped bring some incredible VFX to life, beginning with optical effects for Xanadu, then making the Predator a terrifying opponent for Arnie, and moving onto a range of movies, including xXx, Judge Dredd, Stealth, plus blockbusters from India and China. He picked up a sci-tech Oscar for the design and development of an optical printer, and a VFX Oscar for his quietly revolutionary work on What Dreams May Come. Joel shares incredible stories from the world of VFX, including how he developed the Predator's invisibility cloak and night vision, the scrapes and near-misses he got into while filming Stealth, and reveals some interesting trivia about The Matrix and The Bourne Identity. He also talks about working with industry luminaries including Doug Trumbull, Rob Cohen, Doug Liman, and reveals his impressive lineage.

The Stephen Summer barrels on with the final entry of the Mummy Trilogy (so far, at least) with a movie that wasn't directed by Stephen Sommers! This time, the Monstie Men are joined by Asa Waggoner, from the Californian ska band For the Record. Rob Cohen's entry into the Mummyverse has been derided in the 16 years since the movie's release, and while Asa definitely agrees with the masses, what do the Monstie Men think? Follow Asa on his Instagram, make sure to check out For the Record's music out on Spotify, and check out all their links here. Follow us on Instagram @monsterrallypod Buy some merch at our Teepublic store, where there are two new designs for you to get on any number of pieces of goods and/or apparel! The Monster Rally Podcast is a proud member of the Geekscape Network Make sure to give us a follow & leave a like and 5-star review! Learn more about your ad choices. Visit megaphone.fm/adchoices

#1 ACS #1784 (feat. Jamie Kennedy, Matt Atchity, Gina Grad and Bryan Bishop) Recorded 03-22-2016 – Release Date 03-23-2016 #2 ACS #1665 (feat. Rob Cohen, Phil Rosenthal, David Wild, Gina Grad and Bryan Bishop Recorded 09-22-2015 – Release Date 09-23-2015 #3 ACS #2066 (feat. Jeff Cesario, Dave Dameshek, Gina Grad and Bryan Bishop) Recorded 05-03-2017 – Release Date 05-04-2017 #4 ACS #1005 (feat. Domenick Lombardozzi, Ray Oldhafer, Alison Rosen and Bryan Bishop Recorded – 01-31-2013 - Release Date – 02-01-2013 #5 ACS #2472 (feat. Jo Koy, Chris Horwedel, Gina Grad and Bryan Bishop) Recorded 12-11-2018 – Release Date 12-12-2018 Hosted by Superfan Giovanni Request clips: Classics@adamcarolla.com Subscribe and Watch Clips on YouTube: https://www.youtube.com/@AdamCarollaCorner

#1 ACS #1784 (feat. Jamie Kennedy, Matt Atchity, Gina Grad and Bryan Bishop) Recorded 03-22-2016 – Release Date 03-23-2016 #2 ACS #1665 (feat. Rob Cohen, Phil Rosenthal, David Wild, Gina Grad and Bryan Bishop Recorded 09-22-2015 – Release Date 09-23-2015 #3 ACS #2066 (feat. Jeff Cesario, Dave Dameshek, Gina Grad and Bryan Bishop) Recorded 05-03-2017 – Release Date 05-04-2017 #4 ACS #1005 (feat. Domenick Lombardozzi, Ray Oldhafer, Alison Rosen and Bryan Bishop Recorded – 01-31-2013 - Release Date – 02-01-2013 #5 ACS #2472 (feat. Jo Koy, Chris Horwedel, Gina Grad and Bryan Bishop) Recorded 12-11-2018 – Release Date 12-12-2018 Hosted by Superfan Giovanni Request clips: Classics@adamcarolla.com Subscribe and Watch Clips on YouTube: https://www.youtube.com/@AdamCarollaCorner

The Filmlosophers race towards the finishline, not just to review a film, but to blame Intern Amy on messing up this week's schedule as we take an “anniversary” look at 2001's The Fast and the Furious.

We are wrapping up The Mummy franchise with the third installment: Tomb of the Dragon Emperor! Released only 9 years after the original, but taking place 20 years later, this film takes the O'Connells to China where Alex has awakened the Dragon Emperor and his terracotta army. Missing from the cast is Rachel Weisz (replaced by Maria Bello) and Rob Cohen replaces Stephen Sommers in the director's chair. How does this film hold up and stand against the other two Mummy movies? Check out what the guys think and let us know what you think of The Mummy: Tomb of the Dragon Emperor! Cinema Heroes YouTube Instagram

Connor & Jon bring on the final sibling, one Dima Skinner, to discuss the not-so-humble beginnings of the Fast and the Furious franchise. Jon's opinion wavers back and forth as to whether it is a rip-off of Point Break, Dima can't stand the nonsense car lingo, and Connor brings forth a defense for Keanu Reeves.WARNING: Major spoilers for The Fast and the Furious and Point BreakFollow us:Facebook: https://www.facebook.com/rulesoftheframe/  Instagram: https://www.instagram.com/rulesoftheframe  Twitter: https://twitter.com/RulesOfTheFrame  YouTube: https://www.youtube.com/channel/UCII7_Fevn8na1ZkXyfUeTQA/featured Films mentioned in this episode:--------------------------------The Fast and the Furious (2001) | Dir. Rob CohenPoint Break (1991) | Dir. Kathryn BigelowMission: Impossible (1996) | Dir. Brian DePalmaThe Chronicles of Riddick (2004) | Dir. David TwohyThe Pacifier (2005) | Dir. Adam ShankmanThe Iron Giant (1999) | Dir. Brad BirdGuardians of the Galaxy (2014) | Dir. James GunnEndless Summer (1966) | Dir. Bruce BrownK-19: The Widowmaker (2002) | Dir. Kathryn BigelowThe Hurt Locker (2008) | Dir. Kathryn BigelowGone in 60 Seconds (2000) | Dir. Dominic SenaRoad House (1989) | Dir. Rowdy HerringtonFast X (2023) | Dir. Louis Leterrier & Justin LinEscape from New York (1981) | Dir. John CarpenterRocky IV (1985) | Dir. Sylvester StalloneHeat (1995) | Dir. Michael MannThe Italian Job (2003) | Dir. F. Gary GrayBaby Driver (2017) | Dir. Edgar WrightSmokey and the Bandit (1977) | Dir. Hal NeedhamBullitt (1968) | Dir. Peter YatesHerbie Fully Loaded (2005) | Dir. Angela RobinsonCars 2 (2011) | Dir. John Lasseter & Bradford LewisCars 3 (2017) | Dir. Brian FeePlanes (2013) | Dir. Klay HallFlight (2012) | Dir. Robert ZemeckisA Fistful of Dollars (1964) | Dir. Sergio LeoneYojimbo (1961) | Dir. Akira KurosawaLockout (2012) | Dir. James Mather & Steve Saint LegerJoker (2019) | Dir. Todd PhillipsThe King of Comedy (1982) | Dir. Martin ScorseseTaxi Driver (1976) | Dir. Martin Scorsese

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! [El chiste del porno ya nos lo han hecho en redes varias veces XD] Ahora, en este podcast un repaso a XXX la película de Rob Cohen protagonizada por Vin Diesel. Su argumento, curiosidades, babas y mucho más. Con Javier Iborra, Pablo Uría y Luis Martínez Vallés Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

In this insightful episode, Dr. Hoven and Rob Cohen delve into the world of bankruptcy – demystifying the process, exploring the reasons behind financial challenges, and providing valuable insights for a brighter financial future.

“Community engagement is really looking to the future… what do I want my city and community to be and how can I help that happen?” Rob Cohen, Chairman and CEO, IMA Financial

On this episode of Bad Dates, Jameela welcomes Maria Bamford, Paul Greenberg, and Bad Dates series creator Rob Cohen to discuss their most iconic dating fiascos. Rob goes on a blind date but leaves in a blind rage, Maria meets a dream guy who taps out when she needs a ride, and Paul swallows when he should have split. If you've had a bad date you'd like to tell us about, our number is 984-265-3283, and our email is baddatespod@gmail.com, we can't wait to hear all about it.Maria Bamford: NYT Bestseller Sure, I'll Join Your Cult, tour dates at mariabamford.comPaul Greenberg: Hangin' With Doctor Z on YouTubeSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

How do you perfect the premise of NYC street racers who are all in it together? You add Ja Rule and the world's least charismatic white cop. Red Scott and Maggie Tokuda-Hall slide into a black Honda S2000 to talk Kenneth Li's 1998 Vibe Article, Racer X, and the 2001 Rob Cohen film, The Fast and the Furious. You can read Racer X, by Kenneth Li, here. Order Maggie's newest book, The Siren, the Song, and the Spy If you like us, you'll also enjoy: Following the pod on instagram: https://www.instagram.com/failuretoadaptpodcast/ Following the pod on X: https://x.com/FailureAdapt Supporting Failure to Adapt on Patreon: https://www.patreon.com/FailureToAdaptPodcast

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Episode Notes In HR, there's something unsettling about the pairing of the words “talent automation.” And yet the term is one of many representing the current paradigm shift that talent acquisition and management teams currently face — extending far beyond mere application processing.  On this episode of Talent Experience Live, Philip Morris International's Rob Cohen, Manager Process Owner, Talent Acquisition will discuss talent automation as a multifaceted solution to meet growing hiring and retention demands efficiently and at scale. By expanding the scope of AI applications beyond the conventional, learn how organizations can optimize their talent processes and cultivate a candidate and employee centric approach that values the human touch. Get notified for all upcoming TXL episodes here: https://www.phenom.com/talent-experience-live

On this episode of Bad Dates, Jameela welcomes Aya Cash, Rob Cohen, and Allison Raskin to discuss their most iconic dating fiascos. Aya tells how dressing like an elf led to trouble on a very high shelf, Rob goes on patrol with trouble, and Allison is forced to watch the original DVD. If you've had a bad date you'd like to tell us about, our number is 984-265-3283, and our email is baddatespod@gmail.com, we can't wait to hear all about it.Aya Cash: @maybeayacash on InstagramRob Cohen: https://therobertcohen.com/Allison Raskin: https://www.allisonraskin.com/This episode was recorded prior to the SAG-AFTRA strike on July 14th.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In July, I hosted a webinar called "How To Get Past Hollywood Gatekeepers" where I shared my thoughts on creative things you can do now with the strikes happening, as well as what you shouldn't be doing. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:You shouldn't. You should not try to work. I mean, you don't go on any guild SAG projects or guild projects, but you could do, if it's a non SAG project, like a student film or something, you can do that. You're not violating anything. You're not getting paid, but you can build your network. Exactly. Or make your own stuff. If you write your own mini scene or movie or whatever and you shoot it on your phone, you're not breaking any strikes. You're not selling it, you're just shooting it. You're listening to screenwriters. Need to hear this with Michael. Hey everybody, welcome back. It's Michael Jamin. I'm here with Phil Hudson and we are going to answer some questions. So as you may or may not know, we host a webinar, a free webinar every three weeks usually, and I try to answer a different topic. And the last topic we did was called How to Get Past Industry Gatekeepers. And we did an exclusive v i P room afterwards where people could ask questions. This is where the questions are coming from, Phil, right?Phil Hudson:No, these are actually the ones from the webinar. We didn'tMichael Jamin:Oh, these are from the webinar. Okay.Phil Hudson:Yeah, because we shifted things up and for people who, dunno, you were spending a lot of time, we were staying on for an hour doing q and a with everybody, and so we just decided to give everyone an opportunity to hop in and get FaceTime with you. It's limited seats of V I P Q and A, and this is for the people who ask questions during the webinar who didn't get their questions answered rightMichael Jamin:Now I'm confused. Okay. Yeah, so to be clear, the webinar is free, but we also did a little bonus thing afterwards that people can buy in so I can answer more questions. So these are questions. I didn't get it. We didn't have time to answer and Phil's going to cue me. What is it? Yeah,Phil Hudson:No, I was going to say we're going to dive in and I think it's just two things. If you want to have a question answered by Michael, there's two ways to get that done and you're very, very open with your time. One is to join the webinar. We typically have one, sometimes two a month depending on the month, and it's a different topic typically every time. But we have a couple that people really like, so we might be focusing on those. But if you can't get your question answered there, the v i P is an opportunity for them to hop in with you and really just spend that time, time you turn your camera on. You ask myMichael Jamin:Question. Well, it's not one-on-one. A small group of people.Phil Hudson:So it's not one-on-one in the sense that you sit there and you get to talk to Michael. You don't have to. It's not, yeah. Thank you for clarifying. Yeah. So yeah, let's dive in. And we've done previous episodes. I've broken these into subjects. So there are a couple key categories. This is heavily weighted towards breaking into Hollywood because that was the topic,Michael Jamin:ButPhil Hudson:I think the craft questions are always good. So starting there, Norville, scs, if a character changes for the better over the course of a story, is there initial likability, something to focus on?Michael Jamin:Well, likability is a complicated thing. Sometimes people, you'll get a note from the studio saying these need to be likable. And that's not the same thing as the audience needs to the characters, which is a different, okay, so Tony Soprano is not a likable person. You don't want to spend 10 minutes with the guy, he might kill you, okay? But the audience likes to watch him because he's interesting. But often you'll get a note from the studio saying, these characters, they're too unlikable. I don't have an answer to that. It depends if you're doing a drama or a comedy, but generally the note you're going to get is these need to be likable characters, especially if you're doing a comedy. We're spending time with them, we're spending a lot of time with them. So even in Cheers, I'm sure one of the notes was Carla's too unlikable, so they probably softened her up so she wasn't, because you're spending time with him, this is your family, I guess. I dunno if that answers the question. It's the best I can do. Well,Phil Hudson:I think the question comes from Save the Cat, which you've admittedly never read and you've never read, but it definitely talks about how your character should do something to make us like them in the first three to five pages because we'll want to root for them and it's a redeeming factor and there's plenty of evidence as to why that's not necessarilyMichael Jamin:Accurate. I don't subscribe to that. I don't subscribe to that. So yeah,Phil Hudson:As good as it gets. You recommended, I read that for a script. I was writing one point. Is that it? Where is that? Not Jack Nicholson.Michael Jamin:Yeah, I mean I love that, but I don't rememberPhil Hudson:Telling you, but he throws the dog down the garbage shoot.Michael Jamin:Oh yeah, it was the first time we seen him. He throws the dog down the garbage shoot.Phil Hudson:It's the opposite of saving the cat.Michael Jamin:And it'sPhil Hudson:A classic, it's incredible film.Michael Jamin:And that's a film, right? So that's not a sitcom. So again, I don't subscribe to this thing. The character has to do something likable. What is that? I mean, I think they have to do something interesting. Engaging and throwing a dog on a shoot is kind of interesting for sure. SoPhil Hudson:Yeah, what kind of person would do that? Use his questions. Jackie Smite. What if you have a script for a very specific franchise? Is it simply foolish if you are an inexperienced or is it a bad idea in general?Michael Jamin:Bad idea in general. And it's foolish. You got 'em both write. You can't write for a franchise. You don't own the ip, it's not yours, let it go. You don't write a Marvel movie, don't write a Disney movie with the princesses. It's not yours, so let it go. Don't write anything with a franchise.Phil Hudson:This is a very common one. I mean, most people have an idea for a story and it's based off of existing ip. I remember talking to a friend in 2008, a couple months after I really started studying screenwriting. She's like, oh, I have this enemy franchise. I want to adapt for tv. And I was like, okay, I don't think you could do that. And yeah,Michael Jamin:Reach out to, if you get the rights from them, then do it, but you don't have the rights, so don't do it.Phil Hudson:And that is a process and we'll probably circle back on that because there's a question about attorneys, which we'll get to in a minute.Michael Jamin:Oh, okay.Phil Hudson:Cliff Johnson ii. I write drama features to half hour comedy and also differing genres. Is it limiting to spread myself thin or should I keep building a diverse portfolio?Michael Jamin:You don't need a diverse portfolio. I'd say specialize in whatever it is you enjoy the most. Focus on that, get really good at it, and then market yourself as the best damn thriller writer there is. Or the best broad comedy writer there is. You don't need a broad portfolio. You need to have a specific portfolio that really showcases your excellence in this one area.Phil Hudson:Yeah. You've given advice as well in the past that let's say you're a sitcom writer, well get really good at writing half hour single camera sitcoms that do multi, then do animated. So you stay in that genre, but you can build a portfolio within that genre to show your base. But it's different than writing violent westerns and Taylor Sheridan style.Michael Jamin:Yes. Right. I'm glad you pointed at that. So if you want to be a comedy writer, you might want a Yes. A broad you should have, should have a grounded single camera comedy, but it's all comedy. Yeah.Phil Hudson:Yeah. Awesome. Andrew James jokes, do you see everything from a certain comedic viewpoint when thinking of content or writing a script,Michael Jamin:A certain comedic viewpoint? I don't remember. Not sure what that means. There's things that strike me as funny. I'm not sure if I have. I thinkPhil Hudson:For me, I think I understand this question, but I don't want to interrupt you if you have something.Michael Jamin:No, what do you think?Phil Hudson:I think what's being asked is when I was told once that I have a particular view of the world and it often is a comical view of the world. I look at the ridiculousness of bureaucracy or rules and rather than get upset, I just make fun of them or I find ways to poke holes at them. To me it's really that question. Do you have that point of view to say, this is my Mike. Judge has, I would say, has a really clear point of view and the way he does his things. Do you look at things through a certain lens?Michael Jamin:I don't know if I do. I mean, I'm sure I have a voice. I'm always interested, I guess how do I like finding things, thinking of things that are funny, but I'm not sure if I have a specific I tact that I take, sorry, I can't help them more. I got to think about that more. Do I have a point of view? I tend to think silly and stupid, but I think I'm smart. I mean, I went to college and everything, but I don't think I'm dumb, but I think my voice is sometimes of a dumb person.Phil Hudson:When I think of your voice, I think of a lot of the things you share about the way you kid with your daughters,Michael Jamin:The way I kid with my daughters.Phil Hudson:Yeah, just like you've done a couple of social media posts where you're like, it's like dad jokes, but at a different level. It's an elevated dad joke almost.Michael Jamin:Well, I'm their dad.Phil Hudson:I know, but it's like dad jokes very punny. And then yours is one step further and you've done several of these quick bites on social media that are related to your conversations with your daughters. To me, that's Michael Jamin and Comedy.Michael Jamin:Oh yeah. I love having fun with my kids. They're so funny. Yeah.Phil Hudson:Cool. And then Phyllis Hill, Phyllis was pretty active, so we got a bunch of questions from her, but they were very good. I sorted through a bunch of 'em. And this is a little bit tied to something I know we've talked about before and I just thought it was good to put on the podcast. Have streaming platforms changed story structure, the same story structure that might've been used back during the day of network TV shows?Michael Jamin:Great question. Not in a hugely significant way. The biggest thing is probably, well, there's no commercial breaks, but so what? We still break the story still the same. We just don't go to commercial. But when we break it on the whiteboard, same thing. It doesn't matter. The only difference is streamers sometimes want you to have serialized stories. So the end, they want to end on a pregnant moment where, so it's continued. So the next story picks up where the last one ended. That's sometimes what they want so that you binge, but that's kind of easy. Often you can, if you go back and watch Weeds, the show Weeds, they did that really well see, they tell a full story and then at the end the story's over. They just do a weird little thing at the end of that story. And then that story would be the beginning. That beat would be the beginning of the next story. So it's super easy in terms of breaking it. It actually makes it kind of easy. It doesn't make, it's the same kind of storytelling. You're just adding one more beat at the end.Phil Hudson:Yeah, that's awesome. I think that's a very concise answer, Michael.Michael Jamin:I get paid by Word.Phil Hudson:I love that. I was going to say Charles Duma is Alexander Duma. I don't know who Charlie Duma is, but he's probably Alexander Dumas's cousin twice divorced. Some questions about your course which come up because during the webinar you're often, one of the things, people have a chance to win your course, you get lifetime access to the course. One person wins every time, but also you give a discount to the course.Michael Jamin:Yeah, if you're listening to this, come to these free webinars that I div, we give a good discount to anyone who attendsPhil Hudson:And that opens registration for that block of enrollment. Leonard h wanted to know, will the course do anything for someone working on documentaries?Michael Jamin:Yeah, I don't know. I mean personally I think yes, but I'm not a documentary filmmaker, but I have watched documentary films where I thought this would've been better if they went through my course. They would've dove into the emotional moments that I feel. But having never made a documentary, what the hell do I know? But I have watched documentaries where I thought this was good, but it wasn't great. It didn't really move me emotionally or I should. I think that's when documentaries really work is when or anything works when you finish watching it and you're still thinking about it, you're still feeling it the next day. So I don't want to promise, but I would think it would help. ButPhil Hudson:I have taken a documentary film class as part of my film school stuff. It's honestly one of the better classes I took. It was taught by a guy named Hank who was a Sundance fellow in the documentary labs and he done multiple documentaries. That's literally, he teaches and then he and his wife shoot documentaries and manage those tons of stuff in South by Southwest, the film fest, Sundance Film Festival, all that stuff. And absolutely story structure is a very vital part of that. And you get into the cinema verte and how you're doing your documentary and the influence of structure and story, but the story structure had to be there, or no one wants to watch what you're doing,Michael Jamin:Nobody cares. So the hard part is you can't invent that. You have to hopefully capture that and then know, oh, I captured this moment. This would be a good first act break.Phil Hudson:But they're scripted there. They're scripted. You need to understand what things you need to get, what beats you want to get as you tell the story. And then it evolves out of that. You often are surprised by what you get, but then there's the paper edit you do when you go into editing where you have transcripts of all the footage and you're looking for things. And it was a little bit uncomfortable for me then and still is now. He even encouraged that it's your job to tell the best version of that story as you can. And there is no such thing as cinema verite, truth of the camera, right? Truth of the lens. You can't because the moment you're there observing it, it changes. And that's a law of physics. You observe an Adam behaves different. And so he says at the end of the day, let's say that you filmed something out of order and there's a clip that you shot two months from now, but it helps tell the story that you need to tell. He had no problem rearranging things or cutting people out of order to get the story that he needed at the end of it.Michael Jamin:So your point is the story, our course would help. That'sPhil Hudson:Your point. Absolutely. Yeah, I absolutely would help.Michael Jamin:Alright,Phil Hudson:There you go. There you go. A couple of questions from Phyllis. Please compare your class to screenwriting classes like the ones offered on Masterclass.Michael Jamin:Well, again, I haven't gone through all the ones in Masterclass. I've watched a few videos of some of the speakers. I don't know, I mean I didn't watch all of it. I don't know. I really can't say having not watched all of it. I think mine is, I would expect mine is a little more hands-on in the sense that I'm teaching you literally how we break a story in the room. I don't fill you with a lot of terms that we don't use, but Phil, have you gone through Masterclass? Yeah. Maybe you'll know better than I do.Phil Hudson:Active subscriber to Masterclass for a long time and most of them I can't get through on Masterclass including, and look, I think Aaron Sorkin's one of the most prolific author writers of our time and I love everything he puts out. ButMichael Jamin:Yeah, he's Shakespeare. He's the Shakespeare of our time.Phil Hudson:Couldn't get through it, couldn't get through his course,Michael Jamin:Couldn't get throughPhil Hudson:It. No, a lot of, and actually I can tell you this because in my agency we have a client who is getting their own masterclass right now. So I've got a little view through the window of what that platform is. And I'm not saying all platforms are like this and I don't want to be saying anything disparaging against Masterclass. I really enjoy masterclass, but the amount of content they shoot versus what you get, it's like 20% of what that person did and they're not editing it. So Masterclass does this stuff, they're in Sorkin and then what you get on the back end of that or Shonda Rogers or whoever, you get to the end of that and it's like 20% of what they talked about. It's good, but it's not the meat. It's not the meat of what you want.Michael Jamin:I've watched some, not theirs, but I felt, and I love masterclass too, I felt you got a taste of everything. You can really learn a lot about cars and cooking and it's a really great, but I felt like from what I watched, it didn't go deep enough. That's not what it is. It's a sampling. And I thought it was interesting but not helpful for some of the ones I saw. Interesting but not helpful.Phil Hudson:The most practical one was Aaron Franklin's barbecue cooking class. And I put that one to good use with my smoker because it is very much, here's how you do it, here's how you tip things, here's how you wrap meat. It's just actionable. SoMichael Jamin:If I ate meat, I'd come over and make me a nice smoked dinner, but I don't,Phil Hudson:You'd be very happy.Michael Jamin:I'd probably start sweating.Phil Hudson:I'll meat sweats. Yeah, I'll make you some nice broccolini. How about that?Michael Jamin:Yeah, that'd be nice.Phil Hudson:Alright, and then just another question from Phyllis, and I think this is more broad about you and what you're doing for people online in the webinars with the course, everything. What is your motivation to offer this assistance other than money?Michael Jamin:Oh, well, when I broke into the business, this is back in the nineties, this was before the internet and I was living in New York. I knew nothing about the industry. I knew nothing. I knew no one, how would I know anything? So I just got in my car and I drove to LA thinking well get close. But now because the internet, social media, you can talk to people like me and get so much information for free and what a gift. And so I know people say it's impossible to break into Hollywood. Yeah, yes, it's hard, but it's even harder if you don't even know where to begin if you don't have these resources. But now I started building my social media profile back a little over two years ago as a way of building my platform so that I have a book that's coming out so that I could platform my agents has platform drives acquisition. I need a following to sell my book to perform and do all these things that I wanted to do. And so the way to build this platform was by just talking about what I know and giving 90% of it away for free. The other 10% is in this course that we have and that'sPhil Hudson:It. I a call from Michael and I was doing runs for Tacoma FD like season two or something. And you called me and you're like, Hey man, can you come over? I want run some stuff by you. I know many people know this, but some people don't. I know you through working at a digital marketing agency where I assisted your wife's e-commerce website and just worked for her for a couple of years doing whatever I could to take care of her. She'd been ripped off by the sales guy who sold her some stuff that we couldn't do and I had no idea who you were or what you guys did. And then one day you were going to join and it kind of put it together and you guys were just very kind and have always been kind to share your knowledge with me, but well,Michael Jamin:You started it. You started it by being kind first. Let's be clear.Phil Hudson:It was the right thing to do, right? It's a principle thing, which is very important. And at the end of the day, you called me over because I have that experience, that skillset, and we just had a sit down in your garage and you broke your Adirondack chair and then you told me that it wasMichael Jamin:Already broken. Broken, it was already broken,Phil Hudson:Was a big guy. I was sweating that once. I had to buy you a director's chair to replaceMichael Jamin:It.Phil Hudson:But anyway, we talked about this, what do you need to do? And I was like, finally, because I've been begging you for years to do this course and to put your stuff out there just because the private email lessons and the conversations we had were so incredibly valuable to me. And I was in flu school at the time and getting more value out of an email you'd send me over a weekend than I was getting in a week of lectures at that school.This is how you do what you need to do to sell your book and here's how you give. And the mantra of any good digital marketing platform is give, give, give, right, give, give, give. And there's an ask. There's always a right for an ask in there as well, because you are giving, and we talked about the course and you were very clear, I don't want to, you feel sleazy selling things. You don't want to do that you're, you're a writer, you're not a guy who does this. You're not pretending to be the answer to all things. And I said, but people will value what you have and they have to pay for it to value it. So I'm the one who pushed it. I'm the one who pushed the price and you've reduced the price over and over again because you just want to make sure that it's getting as many people as it can.You do, A lot of people don't know this. You offer basically free financing through yourself. People can sign up for the course on a three month plan, a six month plan, or pay in full and you don't bill 'em any interest. And there are plenty of ways for us to get interest off of people or get people to pay interest and that's just from my perspective, it's 100% honestly. How can I serve as many people as possible so that I can get this passion project of my book speaking as you to as many people as I can.Michael Jamin:Yeah, there you go. You answered it. Well, Phil, I think you said it better than I did.Phil Hudson:I'm growing long-winded in my as I wax old.Michael Jamin:Wax old.Phil Hudson:Yeah. Alright, cool. Now to the meat of the episode for the webinar was about breaking in and so there's some really good stuff here and so I know we'll be quick on some of this, but if you want, this full webinar broadcast is available for purchase as well on your website. It's like 29 bucks and it's lifetime access and they can watch the whole episode of this webinar.Michael Jamin:Yeah, go get it.Phil Hudson:Yeah, but Valerie Taylor, so once the script is done, what does it mean to build the mountain? What does the work have to do? And that's reference to a podcast episode we did recently that a lot of people really liked, which is Build Your Mountain.Michael Jamin:There are people doing this. I didn't come up with this idea. There are people on social media, content creators who are just putting their out there and because it's really good they're building a following. I dunno if that was their intention in the beginning, but that's what they've done. One I always mention is Sarah Cooper, I wish she would do my podcast. So have you reachedPhil Hudson:Interesting?Michael Jamin:I tagged her on something, but she's busy. She's busy, but I'm a huge fan of hers. So she's this vicious woman, young actress who as far as I can tell she couldn't get arrested in New York City. She just started during the pandemic posting kind of funny lip syncs of Donald Trump, but she wasn't just lip-syncing, was plusing it. She was adding her own comedy to it and her own reactions and it was really, she was great and she's just doing this and she wants to be an actor and a writer, but she's doing this and she was so great at it. She built a giant following and because this following people discovered her and because of that she gets, I think she got a Netflix special. She got a pilot out of it and where the pilot, she can write her own stuff now. I think some of the projects never went to air, but she sold it. She made a name for herself and she will continue making a name for herself because she built it first. She wasn't begging people for opportunities. It's the other way around. She started doing it and then because she was so good at it, people came after her. People started begging her.And you don't have to, and I think maybe Phil, we might even do a whole, I may save some of this information from our next webinar. I want talk. Yeah, I'm going to save, but I have more thoughts to this I I'll put in our next free webinar. Write. Write. Yeah.Phil Hudson:Can't wait. Oh, by the way, Michael puts a month worth of effort into writing every webinar. I see the revisions and I'm always like, Michael, I need this so I can make the workbook. Michael, I need this. And he's still editing. So Hayden, Sears, earlier you said to bring more to the table of an agency than a script. What else should I bring to the table?Michael Jamin:You could do what I just said with Sarah Cooper. She brought a huge following. She brought, you could bring talent, you could bring a movie that you launched, finance that you did yourself at Sundance that got accolades and now you're this hot new director or writer or whatever. That's bringing more to the table than saying, Hey, pick me. You're doing it already. You are already doing it. You're proving that you know how to do it. And people don't do it because it's work or they think it's too expensive. But I have to say, it's not the money that's holding you back. The money. You can raise $10,000 or $15,000. I know it's not nothing but it. We're not talking about a million dollars, we're talking about 10,000. You can raise it on a Kickstarter, you can raise it on a bake sale and you can shoot the damn thing on your phone and you can edit it on your phone.You just need good sound. That's what I recommend. But you don't need great locations. You can shoot the thing one, I always mention this, Phil is the whale, the movie The Whale, which is based on a play that was shot in an apartment. So don't tell me you need to have great locations to make something amazing. It was shot in a dumpy apartment and one of the most, it was a beautiful story. Beautiful. It was all because the writing, the writing was excellent and because the writing was X, it was able to attract great actors and the acting rose to the writing. If the writing was no good, who cares what the acting is?Phil Hudson:Yep. Cynthia always said that in our classes with Jill, your interacting classes, the writers put it on the page. Everything in actor needs to know is on the page. That's where the performance comes from.Michael Jamin:If it's a good script, yeah.Phil Hudson:Awesome. The cinema magician with the strike going on from both the writers and the actors now it feels like it wouldn't be fair trying to come get work this moment. How can I try to try for work and support the union?Michael Jamin:You shouldn't. You should not try to work. I mean, you don't go on any guild sag projects or guild projects, but you could do, if it's a non sag project, like a student film or something, you can do that. You're not violating anything. You're not getting paid. SoPhil Hudson:Build your network.Michael Jamin:Build your network. Exactly. Or make your own stuff. If you write your own mini scene or movie or whatever and you shoot it on your phone, you're not breaking any strikes. You're not selling it. You're just shooting it.Phil Hudson:Yep. Awesome. Love Leanne. Who is a member of your course, how should we speak to writers and other filmmakers on the picket lines? I've seen others not doing it very well and I'm kind of afraid to speak.Michael Jamin:Oh, well that's hard. I mean, all you got to do is don't act like you want something from them. Just act like you want to learn from them. Hey, tell me about your story. Tell me how did you start? How did you break in? What kind of shows do you like to write? What inspires you? Pretend like they're a guest on your radio show or your podcast. Interview them. We don't want anything from them. You're just curious to get their story. People will talk.Phil Hudson:Yeah, they definitely will. And when I've gone out and done picketing, it's really interesting. I don't talk to people, I'm just, who are you? Tell me about you. What are you doing here? Why are you here? What are you doing out on the picket line? Cool. Are you in industry? Breaking in the industry? Oh great. Oh, cool. You worked on that show. I love that show. Awesome. And then they ask you questions too, because walking in circles for hoursMichael Jamin:And you're a human being and they're going to make conversation. The conversation will eventually turn around to you and then you can talk about yourself.Phil Hudson:Have you noticed the people who put up their YouTube channel and stuff on flyers on the poles and stuff in the corners?Michael Jamin:No. I have not seen that. I have promoting their own channel.Phil Hudson:It feels a little skeezy to me. Personal. I'mMichael Jamin:Not. The problem is no one's looking at him anyway, so Yeah.Phil Hudson:Yeah, you haven't noticed. And when I see 'em, I'm just like, ah, man's. I don't know. That's the way to do that. You're basically saying, look at me. Look at me. Instead of being there, walking on the picket lines, talking to people and putting in effort to fight for the same things they're fightingMichael Jamin:For. Yeah. You don't have to promote yourself.Phil Hudson:Alright, Norville, scss. Does the strike lead to an increasing demand for scripts?Michael Jamin:Well, when the strike is over, there will be, everyone will flood the market with their scripts and that's just the way it is. SoPhil Hudson:Yeah. Demand, but also supply because all of these writers have time to write.Michael Jamin:Yeah, right.Phil Hudson:Antonia, Roman. Hey, Michael, met you yesterday on the picket. I appreciate your insight. How many script feedback reads should someone actually pay for? Sometimes the feedbacks contradict each other.Michael Jamin:Thanks. Oh, Phil, IPhil Hudson:Know.Michael Jamin:Here we go.Phil Hudson:My purpose. Yeah,Michael Jamin:Many. If you're paying in one of these services and maybe it's like 150 bucks for one of these services, you're going to get who you get who's reading the script other than it's someone who works at the service, they don't know more than you do. They just work there and they're making whatever, 20 bucks an hour or maybe less to read script after script. What's their qualifications beats the hell out of me. Other than the fact that they're working there and they're not industry deciders. They're not like they don't have jobs in SC screenwriting. If they did, they would be doing that. So a service, I'd pay nothing, because that's why you're going to get contradictory feedback. What do they know? They don't know more than you. If you can find a writer with experience, and there are writers who will do this as a freelance thing, check out their credits, go on their I M D B, what have they written? Ask to see their work. What have they read their work? Do you like their work? And if you do, then yes, then your feedback could be valuable. But I would never go through a service.Phil Hudson:Yep. We did talk about this where I sent Michael, I paid for feedback from some of these services on your behalf, listener to the podcast. And then I shared the emails back and forth from them, the reviews as well as when I questioned the validity of the feedback I received from them. I sent Michael those. And I think the feedback from the service was way more infuriatingMichael Jamin:Than the Yeah, it just made you mad. It made you feel like you got ripped off. Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creativeTypes. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:Awesome. Ruth W should emerging rider approach breaking in differently than before, given the strike, are there any new approaches that should be considered? Thanks?Michael Jamin:I don't think, wait for the strike to end before you think about breaking in, but the landscape has changed so much with social media that you don't need anyone's permission. I just talked about this. You don't need anyone's permission to write and build up your brand. I'm not doing it. I'm not waiting for anyone's permission. I don't know why anybody else would. I have a good podcast guest this week? Well, I dunno when you're going to hear this Mike Sacks, go listen to him. See, he's an author and he talks about that himself. He has sold books to publishers and he's also indie published it himself and he makes a really strong case for just doing it yourself. And he's done both. And he's an editor at Vanity Fair. So the guy knows how to write.Phil Hudson:Yeah, yeah. Also, definitely don't try breaking him right now. They're very clear rules that the writer's guilds come out and said, if you even have meetings with producers, that is an act of crossing a picket line.Michael Jamin:No, I'm not talking to my agent, I'm not talking to producers. I'm not doing any of this. YouPhil Hudson:Mean they will literally forbid you from joining the guild. So any short term win now is basically a nail in the coffin of your career later and as it should be, Susan Mark, when you get the low paying non-union screenwriting gigs over and over, how do you move from that into network shows with four question marks?Michael Jamin:The fact that you're getting these jobs to begin with are great, even if they're non-union. So good for you. I mean, this is where if these movies are doing or shows are doing well and if they're well received and if they're written well, and this is what you show to an agent and you say, here's my body of work and here's a movie I did that it cost 10,000 to make, and the return on it was a hundred thousand. That's impressive. So that's how you can parlay that into bigger opportunities. But the problem is, if you're doing this work and the work isn't coming out good, it still has to be good. It has to be good. And people have, it has to have be one or the other critically well-received or makes a lot of money. It has to be a financial success. One or both. One or the other or both.Phil Hudson:Awesome. Roxanna Black Sea. How do you get over feeling guilty asking a friend or a mentor for a referral and how do you know you're ready and not wasting their time? This is a good one. I might as well wrote this, Michael.Michael Jamin:Well, if you have a friend who's in the industry, I dunno if they're in the industry or not, but you only have one chance to impress them. And if you give them something that's not great, it's a big ask. Hey, sit down and read this. It's going to take them an hour and a half or whatever. And if it's not great, they're not going to want to do it again. They'll do a favor once, but they won't do it again. So there's that. The get over the guilt. Well, if you've giving them a giant gift, you shouldn't feel guilty If it's giving 'em a piece of shit, well, you're going to feel guilty, but you just need to know what it is you're giving them.Phil Hudson:That takes a lot of introspection and a lot of self-analysis. I would also say it takes a lot of practice and study of existing high quality works to compare yourself.Michael Jamin:Yeah, high quality. That's the thing, Phil, if you're watching some crappy TV show and you go, well, I can write a crappy TV show that's not the barPhil Hudson:Crap. Plus one that's been around for since the a o l days crap plus one is I can do one better than that. It's not good enough. Yeah,Michael Jamin:Not good enough.Phil Hudson:Alright, Ruth w again, if you know an established riders working on a new project that you have happen to have particular rare knowledge on, is it appropriate to contact that rider even to work for free? And then there's a follow-up to this.Michael Jamin:Well, if they're on a show and you have particular knowledge, they're not going to let you work for free. You can't work for free. But you can share your knowledge and I don't know, it always, you can share your knowledge, but no one's, you're not allowed to work for free. So I don't know what if they're going to offer you a job or not,Phil Hudson:But is it okay to reach out to them?Michael Jamin:Why not? What's the harm? Yeah.Phil Hudson:I think the benefit of that is you are going in to say, Hey, I saw you're doing this. I happen to be a subject matter expert on that. Anything you want to ask me, I'm happy to go over with you and bring out any insights you want. You are now serving that person. You're not coming in and say, give me a job, give me a job. And you might hop on a zoom with them and have an intro. Now you've got a foot in the door to have an extended conversation as someone, and you've provided value to that person.Michael Jamin:Right. Then you're right. You're not asking for anything in return, but people tend to give things back when people give first.Phil Hudson:Yep. And the follow up question, is it okay to contact an agent to get the contact information for that rider that you would like to help for free?Michael Jamin:So you don't know this person. Yeah, you, the agent's not going to do anything with it. I would doubt they're going to do anything with it. You could reach out to them on LinkedIn, maybe you could tweet that.Phil Hudson:This might be a good time to slide into the dms. Right. And because you're not asking, you're providing valueMichael Jamin:AndPhil Hudson:Expect them not to reply.Michael Jamin:Right. Expect 'em not to reply. And it's because you, maybe they get too many solicitations or maybe it's just they find it weird. It's worth a shot.Phil Hudson:It also might just be that they don't have time to look at their social media, which is very real. Don't read into it. Just shoot your shot. Move on.Michael Jamin:Yeah, right. Don't wait. Don't hold your breath. Shoot your shot and keep shooting your shot. Keep working on yourself. Yep.Phil Hudson:Genova, is there anything we need to be wary of when approaching smaller agencies with our scripts so we don't get screwed?Michael Jamin:Well, the agencies, first of all, don't approach any agency that's going to charge you for to represent you. That's no legit agents work on commission. Now the big ones are not going to represent you. You have to reach out to smaller ones who are soliciting clients. I wouldn't expect an agent to, I wouldn't expect them to rip you off. That's not what they do. They're going to represent you and try to sell you. The agents are not producers, they're not screenwriters. So to me it's safe. But again, I don't give legal advice if you have to do what's comfortable for you personally, I don't worry about that. That's not something I worry about.Phil Hudson:And you started at a smaller agency that some could say screwed you, but I don't know that you see it that way, right? Because you got hip pocketed basically as a baby writer.Michael Jamin:They didn't screw me, they just didn't do anything.Phil Hudson:That's saying they didn't screw you. But some people might say they screwed you because they didn't do anything.Michael Jamin:Oh yeah. But they didn't steal anything from me. They just didn't help my career any.Phil Hudson:Yeah, and we talked about that in some of the early podcasts. If you want to go back and listen to those. I think it was the agents and manager episode is like episode five or something.Michael Jamin:SoPhil Hudson:95 something episodes ago. It'sMichael Jamin:Great. Yeah. You remember this stuff.Phil Hudson:Shem L. Do you think New York and LA are still the places to make it?Michael Jamin:No. I think LA is the place to make it. Take New York off the list. Where is Hollywood? This is a trivia question. Find it on the map. Hint, it's in Los Angeles. I understand that some television production or film production is done in New York. Some Where's the writing done? The writing's done in la. Same thing with Georgia or New Mexico. Sometimes they shoot things there for tax breaks, but the writing is almost always done in LA and even if some writing is done in these smaller cities, okay, fine, maybe you'll get incredibly lucky, but you're not going to be able to sustain a career there. The career's here, that's how I feel.Phil Hudson:All right. And Jill Hargrave. I'm a senior writer, 76 years old, transition from decades as a documentary producer to screenwriter. I have an agent and I'm in the news division with the W G A East. Any advice on how to get read by execs?Michael Jamin:I'm looking for, so she's a news writer.Phil Hudson:Sounds like she's a writer in the news division for the W G A East. She has decades of experience being a producer in documentary film. She has an agent advice on how to get executives to read your stuff.Michael Jamin:Sorry. Yeah, so you're in the same boat as everyone else. I don't think you got a leg up. You sound like you're very competent news producer, but you might as well be an orthodontist. It's a different kind of writing, but shePhil Hudson:Has an agent.Michael Jamin:Ask your agent. I suspect your agent's not going to give a crap. Your agent is able to get you news jobs. That's what you are and that's what you bring value to them. But they're not interested in you starting your career over from zero. My friend Rob Cohen talked about this in one of our podcasts. He was a very successful sitcom writer, wrote on a bunch of shows including The Simpsons, including Just Shoot Me where I was on maybe 20 or so years into his career as a TV writer, very successful TV writer. I ran into him and he's like, I want to be a director now. I want to direct TV and film. I thought, well, how are you going to do that? He goes, I don't know, but I'm going to make it happen. I said, well, is your agent helping you at all?No, the agent's not going to help me one bit, even though he's a successful TV writer because it's a different thing. It's directing. They don't want to sell 'em as that. They can sell 'em as a TV writer, but not as a director. So unfortunately, you're going to have to start over. You milk whatever context you have. Maybe your agent can set you up with a referral with another agent at their agency that they should be able to do. But at the end of the day, you unfortunately have to make your career. They're not going to make your career for youPhil Hudson:If they have an agent because they have some screenplay sample that they've submitted. My guess would be that that's when your agent would show those. When we're not on a strike, they'd take your samples and try to sell those things to people that get you staffed and they're going to do that job for you. But it sounds like through the question that you're right, Michael, that's not a writing agent in this space. It's documented or a new set,Michael Jamin:But talk to them, maybe get some tips. I mean, again, I've tried to do the same thing myself. My agents, I have big agents and manager. They don't give a crap unless I can make money for them today in my field. They don't really care.Phil Hudson:Yeah. Awesome. Ruth w this is miscellaneous. I've got three more questions here. Excuse me for, is there any value in getting an entertainment lawyer? Does this confer any legitimacy when trying to get people to read your script? Or is it just a waste of money and Yeah, there's some follow-up to this. We'll get to that.Michael Jamin:So no, an entertainment attorney is the best money I spend. My attorney takes 5% of all the deals that I make and they help negotiate these deals. Money well spent, but it's only when I'm negotiating a deal, that's when they get paid. They get a commission. I would never pay an entertainment attorney upfront. It doesn't help you make a deal. It doesn't help you look more important. You're just going to pay them a lot of money out of pocket for no reason. Attorneys are there to help you negotiate the deal and read the fine print so you don't get screwed. That's what they help you do, but you don't pay one upfront for any. As far as I know, I would never pay one upfront.Phil Hudson:I've had two in my career and the first one didn't do a lot. This one, and we worked with him on some stuff today, actually. You and I were going over some tree mark stuff with him. But anyway, he is great and he comes at it from the perspective of that, which is, my job is to protect you and I can be the bad guy. I can go fight the fight for you to get you what you want. And you can say, Hey man, that's just what my lawyer does. You're going to have to take that up with my attorney. And we talked in the podcast about this recent experience I had where he wrote this contract and the guy signed it and he ended up protecting my butt because he put a clause in that said nothing was executable until it was paid. Money was delivered.And so because this guy never exchanged money, he only talked about exchanging money. I'm not obligated to do anything for this guy. And had I walked into that, I probably would've just signed something and not had the foresight to have that. He also had it paid in steps. So above and beyond the WJ minimums, he structured it. So I'd get paid more money upfront like you want money in your pocket? And he deals with Sony and major country musicians. He's a real proper entertainment attorney. Incredibly valuable. And it looks like he answered honestly the question, what's the difference between an agent who's going to get 10%? What's a lawyer do? What's the difference? And the answer is the agent basically books the deal. The attorney gets you the most money they can out of that deal,Michael Jamin:And the agent's not going to read the contract. They don't read contract. They're not lawyers. They don't deal with that. So you need an attorney.Phil Hudson:Love it. Goddard Fin, any insight on getting a preliminary budget done by someone or a company like Mike Binder's, budget company? I'm assuming is this for an indie project?Michael Jamin:I never heard of that and I wouldn't know.Phil Hudson:Or it's a preliminary budget on a script.Michael Jamin:I thought he was an actor. Michael Binder. I thought he was an actor. I don't even know. I've never even heard of this, so I can't even answer.Phil Hudson:My feeling is, from what I understand from this question is there's zero value added to your script when you go to pitch your story by telling them, this is the budget I got for thisMichael Jamin:For somebody. No, they'll tell you the budget if that's what that is. It's interesting. Yeah. I thought maybe this is for indies. No, when you saw the MoVI, they'll tell you what the budget is. It is their money. You don't tell them what the budget is. They tell you.Phil Hudson:And the answer is in the indie film, if it is, that is you're going to scrounge with every dollar you can get, and then you're going to make what you can with the budget you got. And that's what a line producer does for you. And they basically manage the contracts and make sure your people get paid. And you don't go over budget and you can finish your project and they'll tell you, Hey, you can't do that. You don't have the money to do that.Michael Jamin:Right.Phil Hudson:Cool. Ruth w with another, one of the reasons I am reticent to fill my own stuff is because I don't have any money to pay actors. Is it okay to ask them to work for free?Michael Jamin:You can often, actors will do this just to have tape so that they can submit themselves. But the work has to be good. You're not going to, the better the script is, the easier it is to attract actors and better actors. And if it's a great script, they'll fall over themselves for to do this. So you ask them to do it for free. Definitely. You don't want to abuse them. You want to make sure, buy them pizza, buy them lunch, make sure there's water on set. Take care of them. That's the least you can do.Phil Hudson:Yeah. And people will absolutely do that. There's also, if you're a student, you can also look into sag, SAG after student agreements, which probably you might even still be able to do that during the strike. It's not really a paid project, but they have agreements that you can work with SAG qualified actors and you have to abide by those terms if they are a SAG actor. But you can get them in your projects I did in film school.Michael Jamin:Right. Okay.Phil Hudson:Last question. As a showrunner, do you direct episodes two or just focus on running the showMichael Jamin:As a showrunner? I have, but I'm not in animation. I direct the actors for sure to get the performances out of them. But in live action, I've only directed one. That's not my job. But my job is to be on set and to make sure I'm getting the shots that I want and to get the performances that I want. Ultimately in film, I'm sorry, tv, the director works for the showrunner. So on tv, the showrunner's in charge, in film the other way around, it's the director's in charge. The writer is nothing. So does that answer your question? I think it does. Yeah.Phil Hudson:I think it just for you specifically, what do you do? But I do know showrunners who do direct on Taco fd. Yeah, Kevin. Kevin and Steve. They split 'em up and they direct certain episodes. They also,Michael Jamin:Those guys are tireless.Phil Hudson:Tireless. Yeah. I dunno how they do. I toured with them for a press tour and I was exhausted and they were just still going and happy to go. And I get emails from 'em at two, three in the morning and they're just going, ohMichael Jamin:God.Phil Hudson:Oh God. But that's how they made their career. I mean, this just ties it all together for Michael. Make it happen. Put in the effort. Those guys made their own things happen. They have shows their names and you know 'em because they put in the work. Had they not done that, they wouldn't be anywhere.Michael Jamin:Yeah.Phil Hudson:Cool. Michael, anything else you want to add?Michael Jamin:That's it. We did it, Phil. Yeah, we did it.Phil Hudson:So things people need to know. Michael, you got tons of free stuff. You talked about free samples of work, of writing.Michael Jamin:Yeah, I do free work too. I do free work here. We got a lot of free stuff we give away anyway on my website. If you go to michaeljamin.com, you can get sample scripts that I've written. You can get a free lesson that I've planned about story. You can sign up for my free webinars, which are every three weeks, which Phil helps me out with. You can come see me tour on one of my book drops, a paper orchestra. You can sign up for all of that and much, much more. And also, of course we have a course but that you got to pay for. But you know what it's worth. Every penny.Phil Hudson:Yeah, that's right. And again, get a discount when you come to the webinar.Michael Jamin:Nice. Nice discount. Don't tell anyone.Phil Hudson:And you could win a free access.Michael Jamin:Oh, you can win it. Yeah, you can win it.Phil Hudson:Yeah. Yeah. Awesome. Michael, thank you so much. Oh,Michael Jamin:And my newsletter. Phil, you can get on my free newsletter. I got that. Always forgetPhil Hudson:That. We also forget that that list is 30,000 deep or something like that right now. That's a good lists of people. That and industry, double industry open rates. People really like that list, that content.Michael Jamin:Yeah. The people like that. So sign up for my list.Phil Hudson:Be like the masses, be sheep. People join us.Michael Jamin:Okay, everyone, thank you so much. Until next week. Keep writing, right, Phil, fill that up.Phil Hudson:That is Wright, w r i t e. Right.Michael Jamin:Okay. Alright. Thanks guys.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar@michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @Michael Jaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music, by Ken Joseph. Until next time, keep writing.

The amount of technology available to TA teams has exploded, and innovation is moving so rapidly that it is almost impossible to keep up. In a world driven by shiny objects syndrome taking a long-term strategic view when it comes to TA technologies is crucial. However, the challenges around this are considerable and are not just about the amount of choice. TA leaders need access to specialist skills to help them make the right decisions and, simultaneously, need to ensure their voice is heard within the business around tech procurement. My guest this week is Rob Cohen, TA Ecosystem Manager at Philip Morris International. Rob has the kind of role I can see becoming more common in TA Teams in the future. He is a genuine technology expert who sits outside the IT function and is responsible for all the technology that touches candidates and helps recruiters do their job. Rob has some fascinating insights on technology strategy, TA tech stacks, and the AI-driven future, making this an absolute must-listen interview. In the interview, we discuss: The importance of Talent Acquisition owning its own tech Skills and stakeholders Translating business needs into tech requirements. Being strategic with technology, not tactical Dealing knowledgeably with vendors Open AIs Using systems for what they are designed for Platforms versus point solutions The complexities of operating globally Is there such a thing as a perfect TA tech stack? The current and future role of AI Personalized recruiting automation The future role of the TA team Listen to this podcast on Apple Podcasts.

Today's episode Matthew and Nort review the movie The Fast & The Furious. Which is a 2001 action film directed by Rob Cohen from a screenplay by Gary Scott Thompson, Erik Bergquist, and David Ayer, based on the Vibe magazine article "Racer X" by Ken Li. Grab some popcorn, crack open a sody pop, and sit down for some movie talk every other Thursday on The Encounter Co Network. We are a comedy movie review podcast where Matthew & Nort take turns watching and reviewing a movie the other host has not seen. They go over the entire plot with spoilers and discuss how they feel about the film. They also talk about fun facts, box office, actors, and how the movie impacted us. Join our Patreon to support the show and get ad-free podcast episodes, get access to a secret podcast called Flight School where we watch and review the pilots of TV shows! The TV shows are voted on by the Patrons. You get all of that for the low price of $5! Sources for So, You Finally Watched Support the lovely people who created stuff for the show: Art by: Meraki2019 Deep Voice by: Marlar Intro music by: Ozeyzin We are a part of The Encounter Co. network! Check out all the other awesome shows on the network! Check it out here!   Follow us on Twitter at: Show: @SYFWPod Nort's Twitter: @NortSauwce Other Socials: Instagram: Soyoufinallywatchedpod Tik Tok: Syfwpodcast YouTube: So, You Finally Watched Podcast If you liked the show be sure to leave a 5 star review on Apple Podcasts & Spotify so we can get the word out about our show! Also tell a friend or two! Thanks for listening!  Nort has another podcast with his co-host and wife Anna called Reading isn't for Kids! The pair review and discuss children chapter books, YA books, and sometimes comics. Check it out here! If you want to check out Nort's actual play podcast click this link! The show is called Grim Encounters and it is a campy horror actual play podcast using the Chill 3rd Edition ruleset. Best place to start is Season 1 or Season 2. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on Scene Stealers we live our lives a quarter mile at a time. Whatever that means. But seriously, we are talking about Rob Cohen's 2001 foreign film The Fast and the Furious. We say foreign because it started what would become the biggest heist movie franchise of all time but it looks nothing like what we get in the future. This is a damn good movie. For the vault, Leo talks about Guy Ritchies 2023 war film The Covenant and Charles takes a spin with Jan de Bont's 1996 movie Twister. But yes the big one this week is The Fast and the Furious and we debate if it's a Point Break rip-off, if Vin Deisel is a good actor, and how the first installment holds up today. If you listen now, we just might get you a 10-second car. 

SummaryBack in episode 77 we talked to Rob Cohen of Vizio imaging about how his company came to be and how they leverage technology and automation to deliver quality product images to their customers. In this episode we catch up with Rob, who recently has moved his company to a completely 3D based workflow.CreditsProduced by: Creative Force - creativeforce.ioEdited by: Calvin Lanz Sound - clsound.netHosted by: Daniel Jester - danieltjester.com

Steve Baldikoski is an Emmy nominated Showrunner known for Fuller House. He's also worked on Last Man Standing, Glenn Martin D.D.S., Wilfred, and Kristie. Join Michael Jamin and Steve Baldikoski for a conversation about how Steve broke in and what it takes to make it in HollywoodShow NotesSteve Baldikoski on IMDB - https://www.imdb.com/name/nm0049747/Steve Baldikoski on Twitter - https://twitter.com/finchbot2000Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptSteve Baldikoski:I mean, you're, you are sort of clued in to, to what your boss likes. Mm-Hmm. , you also have your own tastes. You, you kind of know what the project is supposed to be. I, I, yeah, I don't know. There, there's no formal executive school on how to give notes. That's why it's kind, it's kind of a weird job because there's no training for it. I don't really necessarily know what makes you good or not good.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin. Hey everyone, it's Michael Jamin. Welcome to another episode of Screenwriters. Need to hear this. I got another great guest today. This is my old buddy, Steve Bobowski. Steve has written on some of the, some of your favorite shows, as long as your show's favorite shows are ,Steve Baldikoski:As long as they're, as long as you have Terrible Taste and only watch shows that are gone after 13 episodes, andMichael Jamin:Then, then these are your favorite shows. But I'm gonna start, I'm gonna, in no particular order of, of, I think I'm going in order Teenager Working. Remember that show Dag with David Allen Greer Baby Bob. Oh, we're gonna talk about Baby Bob. Okay. Yeah. A U s A. Andy Richter controls the universe. People like that show a lot. I, I'm with her or I'm with her. I'm with her. I'm with her.Steve Baldikoski:I'm withMichael Jamin:Her. I'm with her . Eight. Eight Simple Rules. The New Adventures of Old Christine. That was a good show. The Jake Effect. Big Shots. True. Jackson, I forgot you worked that out. Wilfred. Which you could thank me for Glenn Martin d s, which you could thank me for Kirsty, which I can thank you for. Last Man Standing, whatever, .Steve Baldikoski:Yeah. They don't have anyone to thank for that.Michael Jamin:Thank for that.Steve Baldikoski:Save Me.Michael Jamin:Jennifer Falls, Ned and Stacy. And then of course, you were the executive producer and showrunner of Fuller House, the Full House remake. Steve, welcome to the big show,Steve Baldikoski:. Thank, thank you for having me. It's very exciting to be here.Michael Jamin:Wasn't it exciting, man? Oh man. Oh, and I have to say, so yeah, so we started out my partner and I hired Steve and his partner Brian, on, on Glenn Martin dds. And we were always very grateful. These guys turned in great drafts and we were always extremely grateful. Yeah, thank you. And then we would just shovel more work as, as for gratitude, we would just shovel more scripts in your face. Write this one now,Steve Baldikoski:, that was one of the highlights of my career. That was some of the best times I've ever had.Michael Jamin:We had some, you know, it's funny, I asked Andy Gordon in in a, in a previous episode, I said, and I'll ask you the same question. If you had, if you could go back in time and either remake any of the shows you did worked on, or like rebooted or just work on it again, what, what would they be? Any,Steve Baldikoski:I thought you were gonna tell me. Andy's answer . AndyMichael Jamin:Said if you want, Andy said, just shoot me. And true. JacksonSteve Baldikoski:Uhhuh . I, I, Glen Martin was a highlight, and and I think it was an underappreciated show,Michael Jamin:Certainly was. AndSteve Baldikoski:If, if it weren't in Claymation, maybe someone would've watched it.Michael Jamin:You know, we went on the internet, Seabert and I, my partner and I, we went on the internet and we found some guy talking about Glen Martin. And it was as if he was in the writer's room. It was as if he was, because he, he was right on the money . Like he knew what was good about it, what was bad about it. He had theories as to why ,Steve Baldikoski:I think you, you talking about Alex Berger, the creator,Michael Jamin:, it wasn't Alex. It was something like, it was something like Whacko on the internet, but boy, he was dead on. He was like, he knew exactly what he was talking about.Steve Baldikoski:. Well, one, one weird thing that that happened to me, this is slightly related. When, when Brian, my old writing partner and I took over for house in the last couple of seasons, it was right before the final season, and it was after Lori Locklin had her collegeIssues, legal issues with varsity Blues. On April Fool's Day, there was this article in some Likee News or something where someone did a whole, it was a fake interview with me, but it seemed like it was real. And the reasonings that they were talking about getting rid of Lori's character and what would happen after, you know, she was divorced from Uncle Jesse on Fuller House. W it was so well thought out that it, I thought it had to be written by also someone in the room, Uhhuh, because they actually knew like, specific arguments that specific writers had in getting rid of this person. And then it turns out, only if you clicked the very bottom did it say April Fools. And it was all phony interview with me,Michael Jamin:But still they got it. Right. But itSteve Baldikoski:Was, it, it was so eerie that it was, it was probably probably had better reasons to include her or not include her than we did. So there are a lot of fans out there who understand the shows just as well as the writers Do.Michael Jamin:I, I think so. I, I think even on, people talk about King of the Hill and they remember episodes. I'm like, I don't remember that one. And then they look it up and go, I, I worked on it. I don't tell me what happened. It's like, I don't remember it. You know, it's from, you know, very important to some of these people. And you know, they, they, they watch it all the time. And I haven't watched it in 20 years. ButSteve Baldikoski:But did you, there was a moment where when on Wilfrid where David Zuckerman, the creator didn't even know that he had a logic fallacy in the first episode. Do you know the story? No. I think he was at Comic-Con and he, he was, he, it it was about the pilot of Wilfred where Wilfred is trying to get through the fence and a regular dog would crawl through the fence, but instead Wilfred has an ax.Michael Jamin:Right. AndSteve Baldikoski:And then they said, well, shouldn't I take the ax from Wilf Fred because it's dangerous? And then David said, wisely said, no, you can't grab the ax cuz that means the ax is real. And the second he said that someone in the audience held their hand up and said, well, what about the Bong? Yeah,Michael Jamin:What about the Bong? Yeah.Steve Baldikoski:And David had never considered that.Michael Jamin:Well,Steve Baldikoski:But Jar, that was fascinating that, that he, they had never thought of it on set, but out there. Got him instantlyMichael Jamin:Etro gave a headache to write and remember, like, what, who, and then, and then your part of Brian's likeSteve Baldikoski:That, that anecdote gave me a headache to mention.Michael Jamin:Yeah, it was, I remember he just like, don't you think people just wanna see the dog danceSteve Baldikoski:?Michael Jamin:See the dog dance? That was his pitch. . Oh man. Oh my God, what a show. But did you ever,Steve Baldikoski:This whole section is even inside Wilf Fred.Michael Jamin:Yeah, it is inside Wilfred.Steve Baldikoski:I don't think anyone would appreciate that. But did youMichael Jamin:Ever, even when you were running Fuller house, did you, did you ever turn to the, what do the fans want? Did you turn to the, because there's a lot of pressureSteve Baldikoski:On that actually, I have to say. That was a huge part of Fuller House and it was one of the things I think that the audience loved. And it was a unique situation for me because I had, still, to this day, I've seen two and a half episodes of the original full House.Michael Jamin:Uhhuh .Steve Baldikoski:So I didn't know anything about Full House, but other people did. And so if we would want to throw in, we call them Easter eggs, right? Throw in little Easter eggs and bring back, you know, some character that was in an, in a single episode 30 years ago, we would bring those actors back and the audience would go bananas. Yeah.Michael Jamin:But how, how can, you didn't watch any old episodes or, you know, there's so much,Steve Baldikoski:Why, why didn't I, orMichael Jamin:Yeah, why didn't you?Steve Baldikoski:Well part of it is I, I didn't want to actually be beholden to any of the other of the old stories.Michael Jamin:Right.Steve Baldikoski:Because I mean, even, you know, like Fuller House is a little bit of an old fashioned show, but we didn't wanna make it just like completely stuck in the past and, and a show that is only about, that's referencing the original show. And that was more helpful to just have a perspective of like, what's it like raising, you know, three kids in, you know, modern day California.Michael Jamin:But did you feel a, a strong, I guess, obligation to make sure the fans were happy? Cuz I'm show the writers are writing for themselves.Steve Baldikoski:Oh, oh, for sure. We were doing that constantly and you know, we, we knew it. There were certain things that were like, you know, throwing red meat to the audience.Michael Jamin:Oh.Steve Baldikoski:You know, kind of like, like, like if you're doing the show Fuller House, no. You know, no matter what the story you're doing is, or whatever, if you have to, you bring in a dog wearing sunglasses and the audience goes bananas. And then how do you talk? And a, a baby runs in wearing the same sunglasses.Michael Jamin:Mm-Hmm.Steve Baldikoski: and then just the, the audience like tears of joy in the audienceMichael Jamin:Because that's, that, that was an old staple in the original show, stuff like that.Steve Baldikoski:Yeah. I mean, that's just the kind of thing that they would stoop to, you know, . And so, no, but it was, but it was this, it was this, the Four House is a show that like, you know, it really, it really affected me as a writer cuz it was really that time when every week there were 200 fans in the audience. Super fans who knew every single episode of Full House and Fuller House. And so you would get this amazing instant recognition from the audience that you're writing for them.Michael Jamin:Right.Steve Baldikoski:Especially when you would have those little Easter eggs and you don't get that on a lot of shows.Michael Jamin:Right. YouSteve Baldikoski:Know, like I, you know, may maybe on your Just Shoot Me you would have just shoot me fans, but every seat every week was a super fan.Michael Jamin:No. The weird thing about Just Shoot Me, you know, cause we was, we were there the first four years and the, the first season, probably the first two seasons that the audience, they weren't fans, they were hostages. There was people who came from Free Pizza, , you can tell they wouldn't wanna be there. . And they know the showSteve Baldikoski:Prisoners,Michael Jamin:Prison Prisoners,Steve Baldikoski:You're sailors in for Fleet Week.Michael Jamin:It's basically that. I mean, people listening, it's like you show up on Hollywood Boulevard and they hand out tickets, Hey, who wants to see a taping of the show? And then anyone would show up and they would stay warm, cause anybody to get outta the rain. ButSteve Baldikoski:These, no, these were people who came from not just around the country, but from literally around the world to see the show. Yeah. And they would th these people would center their vacation on coming to the show. And, and so, you know, I I mean I, it was also amazing to be able to, like, after the show, you know, if you knew who the people were you would bring them down and, and they would just get a kick out of walking around the set. Mm-Hmm. . And that was another kind of highlight every week was, you know, having these people, you know, have this awesome experience that they've grown up with these characters in this set. And then they're running around on the set, you know, now that they're grown up and they've got kids who, who like the shows.Michael Jamin:Now this set was a repeat that wasn't,Steve Baldikoski:That was kind of amazing cuz you would, it it wasn't just, it wasn't just fans, it was two generations of fans. Right. You know, it was like people who are sort of our age and then they're kids. Right. And, and so, you know, when network people talk about family co-viewing, it really was that it was, you know, parents who still love the show,Michael Jamin:But it wasn't the set was a remake. Right. It wasn't the actually,Steve Baldikoski:It, it was a remake. But I'll I'll tell you, and this is also part of the weird experience coming onto the show, cuz neither, you know, I had no appreciation really for a full house at the time. So before the first show, and this was the entire first season before it aired on Netflix there was a curtain covering the set. And before they would announce the actors, they would, they would lift the curtain like it, like it was like at the theater. Right. And the first time for the shooting the pilot, when they revealed that to the audience, people burst into tears.Michael Jamin:Wow.Steve Baldikoski:Just seeing the set and the couch looking just like it did in the eighties. And the way they really, really mimicked the original set, you know, to the Inch cuz they had the original plans. It was amazing to see people moved by a set.Michael Jamin:Yeah, I bet. ISteve Baldikoski:Bet. And yeah. And so, so that was pretty unusual. And then any line would get, even a mediocre line would get an aureus laugh from the audience cuz they were all, they've been waiting for 25 years to see this moment.Michael Jamin:Now, I imagine you had some of the writers in the show who grew up with watching the original Fall House, who knew more about the show than, than you did? Who?Steve Baldikoski:Oh, oh yeah. Yeah. For sure. And that's why also I felt I didn't need to see the show that much. I'm not recommending people shouldn't do homework .Michael Jamin:Now, one of the things that shocked me when we, when we were working with you, this is long, many years ago, and maybe it was only a season one or something. You shocked me when you said that you, at one point you were, you started as a network executive. I was like, you what? WhatSteve Baldikoski:Well, yeah, Stu, a studio, executiveMichael Jamin:Studio. SoSteve Baldikoski:Sorry. Yeah. Yeah. I was, I was I was like a director of comedy development at Universal.Michael Jamin:And so tell tell us what, what that means. WhatSteve Baldikoski:Do, should I go back further? Could goMichael Jamin:Back to where you wanna startSteve Baldikoski:To that point. I mean, I never, I never set out to be a writer. I don't even know if you know any of my origin story about this stuff. Oh. I never really set out to be a writer. I always loved TV, but I also love music in, in movies. But didn't even know I was gonna get into the entertainment business until I was trying to blow a year or two before I would get a little bit of work experience and then back to go to law school. You were gonna law school get an mba and I was never gonna be a part of the entertainment industry, but I just lucked into what turned out to be a great job in the mail room at United Talent Agency, uta. And it was like this moment that U t A was on the rise and I, yeah, I was in the mail room where I'm literally working 80 hours a week delivering mail and reading scripts for free and writing coverage, doing that for five months. Then I got on a desk, I worked for Nancy Jones and Jay Surs.Michael Jamin:Oh boy.Steve Baldikoski:I was their first assistants at United Talent, I believe. And then and then I knew it wasn't for me cuz it was really cutthroat. Yes. I, I was learning what I didn't want to do. And working a traditional office that led to I got a job in development. I worked at Aaron Spelling Productions, and then that job got me wait, howMichael Jamin:Did you get a job in development? Cause it's, it is hard to make the transition from being an assistant at a desk to having a non-a job anywhere.Steve Baldikoski:Oh, oh. I, I was still an assistant for Oh, okay. Years. I was an assistant for spelling for one year. Mm-Hmm. , then I was an assistant. I worked for Jamie Tarsus at b c. Right. And that's, and that was kind of the, the, the pivotal moment in my career. Cuz kind of anyone who was Jamie Tarsus assistant moved on to become the next executive. Right. And so that kind of became my path. I was, I, I never set out to do this, but I just kept at getting a job that was just better than the last one. Mm-Hmm. . So I never had the reason to go back to law school. Right. And it was just like they kept on dragging me back in with a slightly better job. So this one year I spent as Jamie's assistant at N B C Frazier had been bought, but not shot.And then Jamie bought friends that year. I can't remember the names of the other shows, but but like, you know, being on set at the pilot of Friends was really that pivotal moment for me where I thought, oh, th this is, you know, really what I wanna do. Like, and I was on the path to be an executive, but I really would look over and the writers seemed to be having a lot more fun. And that's where I, I didn't really even know it, but that was, that was my path to be to being a writer was just kind of hanging out at N B C and, and seeing how things, you know, being a part of. But evenMichael Jamin:When you were an executive development exec, were you thinking, I want to be a writer? Or were you thinking No, no,Steve Baldikoski:Not really. I, I knew like, the executive path was like, was fine and I did that. And on the executive path, when you're no longer an assistant, you get bumped up and you get the office and it was very kind of, there were a lot of fancy trappings. I would wear a suit and I'd drive around all the networks trying to sell co half hour comedies to the networks. And it was it was a good job. But there was just something I still kept on looking at, you know, the writers who were on the floor and thought they were having more fun.Michael Jamin:But Do you, and you were giving notes to writers Yes. As executive. Do you at any point feel like, I don't really, how might, who might I be giving notes to a writer when theySteve Baldikoski:Oh, I, I, I felt that all the time. And because I felt that, cuz I kind of had so much respect for what the writers did. Yeah. That it was, it was hard for me to give as many notes. Cuz I thought the writer probably already had thought these things throughMichael Jamin:Uhhuh .Steve Baldikoski:But where were youMichael Jamin:Getting your notes from then?Steve Baldikoski:What's that?Michael Jamin:Where were you getting your notes from? Where were you getting your opinions from?Steve Baldikoski:Well, I, I have opinions just like, IMichael Jamin:Wouldn't have, I wouldn't have when I was starting it out, I go, I don't know. That's fine to me.Steve Baldikoski:I mean, you're, you're sort of clued in to, to what your boss likes. Mm-Hmm. , you also have your own tastes. You, you kind of know what the project is supposed to be. I, yeah, I don't know. There, there's no formal executive school on how to give notes. That's why it's kind, it's kind of a weird job because there's no training for it. I don't really necessarily know what makes you good or not good.Michael Jamin:And some, a lot of it is just opinion. But I I sometimes you'll get the same notes and which are fair, which is a, you know, start the story journal, whatever. That's a great note that you're always, this is totally valid note. But sometimes I, you know, I've been in meetings and you're like, you get a note, you're like, but that's just your opinion. This doesn't make it better or worse.Steve Baldikoski:Yes. And, and I mean, obviously, you know, that's something you, you will struggle with till the end of time. Yeah. But, but I also always go back to, you know, I, I think there's a, there's a cartoon about this at, at some point, but, but like, if Shakespeare handed an Hamlet, his agent would give him notes. Yeah. And he would say, Hamlet is inactive. Yeah. And then you would make him Mae swashbuckling hero.Michael Jamin:Yeah. Right. Yes.Steve Baldikoski:And that would ruin Hamlet. So, so like, you know, and, and the problem is that like, the, that agent's note would be a well, well-guided note.Michael Jamin:Yeah. Hamlet, that isSteve Baldikoski:A mm-hmm. is a valid thing for him to say, but it also ruins the inherent art of the piece. Yeah.Michael Jamin:You know? Yeah. Had a kick. ButSteve Baldikoski:Then not that writing Glen Martin was the equivalent of ShakespeareMichael Jamin:In many ways. But it wasSteve Baldikoski:Pretty close.Michael Jamin:It was a little higherSteve Baldikoski:. But ,Michael Jamin:We had some fun on that show. But and then when, when you wanted to make the transition, I don't know how, how, how do you do, how did you do that?Steve Baldikoski:So, so, and once, like, and this is just my case, it was shockingly not that hard. My who became my writing partner was one of my best friends in college. And Brian had always wanted to be a sitcom writer. And just kind of had, kind of flamed out a couple of times. And then he was living in San Francisco and having a really excellent career as a, as an advertising copywriter. And I called him up and I told him I wanted to write sitcom with him. And he said no. And then he say he changed his mind.Michael Jamin:Why did he say no?Steve Baldikoski:Cuz I said, fine, I'm, if you don't write it with me, I'm gonna write it with Sue Ale .Michael Jamin:Oh,Steve Baldikoski:Funny. That's a true story. She wasn't,Michael Jamin:Sue wasn't an Sue Nagle who later went on to run H B O and then and Ana and you know, she, she's big, but she, at the time she was, she was, sheSteve Baldikoski:Was not yet an agent or she was a very young one. And we, butMichael Jamin:She didn't wanna write,Steve Baldikoski:Did she? So then we got together and to go to a coffee place to brainstorm. And we got into a, we didn't even make it to the coffee place before we got into a huge argumentMichael Jamin:Over what?Steve Baldikoski:Oh, I don't, I don't rememberMichael Jamin:. This partnership's not going well,Steve Baldikoski:. No, he was, he was not. But, but if you can't make it to the place where you're supposed to think , then it's probably a doom partnership. So anyway, Brian said yes. Mm-Hmm. . And then so over the phone we wrote a spec news radio back when people still did that. Yep. And News Radio had just been on the air. So we wanted to write a show that we loved and also that there weren't a ton of samples of other specs like that. Right. So we, this news radio early on and I gave it to Sue Nagle, she liked it. She gave it to Michael Whitehorn at Ned and Stacy. And we had one meeting Brian flew in from San Francisco. I showed up in my suit from being in an executive. I had to sneak out from Universal and not tell him where I was going. DidMichael Jamin:Michael White hard know you were an executive at the time? Yes, he did. HeSteve Baldikoski:Didn't think, but, but, but that was actually kind of a good thing because Brian was an ad executive. Mm-Hmm. and Ned of Ned and Stacy Right. Was an ad executive. And then also cuz I had, you know, funny corporate stories I think Michael liked that as well. And the fact he gets two people for a staff writer's salary.Michael Jamin:Were you afraid to leave your cushy job?Steve Baldikoski:Less so than Brian. I, if, if I flamed out, I could always go back to being an executive and, you know, that would be fine. Right. And, and in hindsight, that probably would've been the best thing that happened, everyone.Michael Jamin:But Yeah. I mean, itSteve Baldikoski:Wouldn't be here talking to you. I, I, I'd be living in Bermuda by now, .Michael Jamin:Oh, well, you know, learn.Steve Baldikoski:Yes. So, but unfortunately I made it through that year and then made it through the next like 25 years. And so, so that was my, that was my path. And, and it kind of happened really fast that I, so then Michael hired us after that meeting, and then I had to go tell my boss at Universal that not only was I looking for a job, but I had one and it was as a writer.Michael Jamin:Yeah.Steve Baldikoski:And then, and so their business affairs made this big stink that they owned my half of my spec script.Michael Jamin:And what, what are they planning on doing with it?Steve Baldikoski:I, well, that, well, I, I asked them that and I think they were all gonna take my spot in the writer's room.Michael Jamin:Yeah. What you're, they have they own ha you're half of a worthless SPAC script that just got you a job. I don't know,Steve Baldikoski:Value it. It was a weird thing. But they,Michael Jamin:But businessSteve Baldikoski:Affairs won't hesitate toMichael Jamin:Sink a deal whenever possible. . Yes. We remove the joy out of a writer . We have a three hour phone call toSteve Baldikoski:Figure this out. And they, yes, they effectively did steal my joy of that moment,Michael Jamin:. Oh my God. And then, yeah. Then the rest was just one show after another, basically. AndSteve Baldikoski:Then, yeah. And yeah, it started out we got in, at the time there used to be the WB in, in U p n, the Paramount Network. I think like in that, in that time period, this is like 97, 98, there was like the peak of the sitcom. I think there were over 60 half hour sitcoms on the air. And then Brian and I rode that rollercoaster.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.So tell me about developing your last project.Steve Baldikoski:Okay, so the, the last project that I just developed I sold it to a ABC with 20th. Mm-Hmm. came to me because it was so personal to what I'm going through as a dad. Mm-Hmm. , my youngest kid is non-binary.Michael Jamin:Okay.Steve Baldikoski:And she she was born a girl, Vivian. And then around time, she was about the second grade, she came to us and said that she, she felt that she was a boy. Right. And so that led us down on this journey. You know, finding out, you know, like having a trans kid and non-binary kid and never knowing anything about it. Right. and that kind of led me to want to write about it after I broke up with my writing partner right at the start of Covid. And I was gonna have to write my first thing. So I was gonna write at first I was actually gonna develop step by step BA based on the same concept. I was unable to sell that to H B O Max mm-hmm. . so instead I redeveloped the idea of me being this like hapless dad sort of middle class working class guy in rural Wisconsin, which is where my mom's family is from.And then having this tomboy kid that he just loves more than anything. Hi. Her, his Maisie all of a sudden informs him that no her name is, she's now Hunter. And you're thinking this as a single camera comedy or what? This was a single camera comedy. Yeah. Yeah. I mean, it was structured like a multicam, but, but really that was from, anyway, that was my speck. And what that led me to, to, to, to do is it got me the attention of other people who were in the non-binary trans world. So then ultimately I partnered just through meeting lots of people this woman named Billy Lee, who some people know because Billy Lee was on early seasons of Vander Pump Rules. Okay. and so it was kind of a, like a well-known person in, in the trans community.And then, so Billy Lee and her friend Priscilla had this idea about her own life, which is kind of almost too hard to believe is true. Billy Lee grew up in rural Indiana as a boy. Left home in 18, found out that he wasn't gay, he was actually a, she Right. And went through the surgeries and then, you know, a a lot of turmoil, but then returns back home and fell in love with her best male friend from junior high. And now they're together as an on and off couple. And so it was, how, how do I take that and turn that into a half hour comedy? I know it's a long wind up, but it's a great story that is almost hard to believe. Yeah. AndMichael Jamin:Was her best friend growing up.Steve Baldikoski:Yes. And so we pitched it really as a Netflix H b o Showtime show that would, would show that magic relationship and also have sex and, you know, things that I think would be hard, you know, relatively hard for a, you know, a regular network audience.Michael Jamin:And it's sold,Steve Baldikoski:But it sold to a b ABC because they wanted, there's this great, her relationship with her father is also really what it's about. Right. And it's, it, it is a fa is also a family show about how it took a trans woman to fix this broken Midwestern family.Michael Jamin:Right. AndSteve Baldikoski:Right in ABC's wheelhouse, youMichael Jamin:Know, where where is that now? At likeSteve Baldikoski:A, like a Connor's but with a strong trans element.Michael Jamin:And where is that right now?Steve Baldikoski:It's dead. Oh,Michael Jamin:Steve Baldikoski:Michael Jamin:With every other pilot.Steve Baldikoski:Yeah. yeah. I, I, you know, I can't, I I can't entirely blame them. Like, it, it would be very amazing to see a, b, c put on a show about a trans woman and not have it be one of the peripheral characters.Michael Jamin:Yeah.Steve Baldikoski:I, I, I think that's just a hard sell. Maybe if I was, you know, a more powerful writer, could, could you, you know, jam that down their throat? But I, I don't think, I think the subject matter was exactly their wheelhouse, but also maybe too, too on the bleeding edge for them.Michael Jamin:It, it feels a little like, you know, some somebody somewhere at that H B O show. I love that show. No. Oh yeah. It's a little sim it's it, and there's not trans, but it's, it's similar that, I don't know, that just remind me of It's great. It's a great show. Our friend Rob Cohen directs a bunch of those. Oh yeah.Steve Baldikoski:Oh, I'll have to check that out.Michael Jamin:Yeah. Great show. But, so then, okay, so then what, what else? Like, you, I mean, it's been a while since, you know, since Fuller House, but what was that like? I always ask this, what's it like working with the cuz a lot has changed since you and I broke in. Yes. What is it working on with like the, the new generation of writers?Steve Baldikoski:Well luckily at Four House I was still the new generation of writers . What wasn't thatMichael Jamin:Mean, wasn't that long ago.Steve Baldikoski:I, I still felt young on the show Uhhuh. Cause Cause we had people No, we, we had people who were older and Oh right. And you know, were around the early, theMichael Jamin:Original show.Steve Baldikoski:And so, so it was kind of great to feel like I was on the young side for once. Yeah. but I, I understand what you're, I understand what you're, what you're getting to are like in terms of how the room has changed from started to now, evenMichael Jamin:In terms of preparation because, you know, you can answer any way you want. But it, like, basically there was more when we were coming up, you were on a show for longer. There were more senior writers and you were constantly learning and you were never, I never, you were never like thrown into the hot wa hot water yet. But now I feel like these kids come in and there's no really training ground. There's no, there's even, you know, I think there's an article a couple days ago, there's no mentorship anymore becauseSteve Baldikoski:No, no, no, no, no. There, there isn't. And you know, that's too sad. I think that, I think content in general is as good as it's ever been. Mm-Hmm. . And yet that training system doesn't seem to exist. And I wish it did. When, when we first got in around the Ned and Stacy era, like there still was that you would still feel that like a showrunner would take someone mm-hmm. Under his wing, like Michael Whitehorn did with David Lit. Yep. And Shepherd that person cuz they would have multiple years of Ned and Stacy. And then luckily that turned into King of Queens. Mm-Hmm. and, and you know, soMichael Jamin:There were schools.Steve Baldikoski:Mike were together for a long time. That's the old model. I don't see that anymore. I wish it was there. Because to to be honest with you, like when Brian and I made the jump from co-executive producers of Fuller House to executive producers, it, it was like, we are being thrown to the wolves after 25 years. Yes. Because because of jumping from show to show, to show like younger writers do now all the time. I, I didn't learn those skills mm-hmm. . And so we didn't really know that much about editing, you know, sweetening like it, how's our camera coverage. Right. you know, all all of those little things that, you know, I had to, I had to learn them very, very quickly. And so luckily I had a, a great, you know, you know, crew that all wanted to help us as, you know, learn as well. But yeah, there is no system. I wish there wasMichael Jamin:Like, I even think like multi-camera, like you, back in the day, you'd come out of a school like we basically . We, we kind of came out of the Frazier school cause Levitan came outta Frazier, which came outta the cheer school. And it was like that kind of pedigree that you had and you're just learning from all those people. And then now, like, there's so few multi cams. Like if they were to bring back multi cams, well who's gonna do it? Who knows how to do it? Because it's different than doing a single camera.Steve Baldikoski:It's funny, it's funny you say that because that's why I'm calling onto the business. Yeah. that I'm hoping, I'm hoping that that we can stick around long enough that it will come back at some point. UhhuhMichael Jamin:. Yeah.Steve Baldikoski:I, I love the format. Like, I mean that's, that's one of the things that like really me about Fuller House is you know, I was able to be there for like five years mm-hmm. . and I never really had to worry about, you know, job security and it, it was this amazing place and we, and there were fans of the show and, and it was just great to write for them. And so that spoiled me, you know, now that that kind of is, you know, has gone away now that Fuller house is no longer on the air. Friday night was my drug, you know, cuz you know, Friday night I love putting on a show every week and I miss that.Michael Jamin:Here's my pitch Fullest house. Pay me. That's,Steve Baldikoski:That's, that's a great idea. That's a great, I wonder, I wonder if anyone pitched that to me, before the day I started.Michael Jamin:I wonder if anybody pitched that to me. Your shitty joke. .Steve Baldikoski:So was it one of my low IQ children?Michael Jamin:. Well then, so then what do you do? So what do you do now? I mean you're obviously you're developing and, andSteve Baldikoski:So, so now I I'm, I'm working on a, a, a new multi-camera idea. I'm very excited aboutMichael Jamin:And Gone Steve Baldikoski:Haven'tMichael Jamin:Taken it out yet.Steve Baldikoski:Yeah. no, I'm just, I I I, I think I finally ha I have the pilot story. I'm just trying to populate it with all the other, all the other things.Michael Jamin:Okay. And then, and thenSteve Baldikoski:With all the other characters cuz I basically started with the central character, Uhhuh . It is kind of high concept, but I don't wanna give it away. I I'll talk to you off camera about it. Okay. with the central character and then that led to a bigger world. Then populate that world kind of how to, how I want to, how I wanna fit tonally into that world. Like it's, it's, it's an idea that would, to me, it feels a little in the vein of what we do in the shadows.Michael Jamin:Oh, okay. Yeah.Steve Baldikoski:In terms of like a high concept comedy idea. And because I never worked for him, but like, my hero as a sitcom writer is Paul Sims.Michael Jamin:Okay.Steve Baldikoski:And it, you know, my first spec was Ned and Stacy. I mean, I, I was news Radio. Radio. Yeah. And which was run by Paul Sims, created by Paul Sims. And now he runs mm-hmm. . you know, what we do in the Shadows, which I just think is a brilliant, brilliant show.Michael Jamin:So then what do you have, what advice do you have for people? Do you have any advice for people trying to get into the business now? Well,Steve Baldikoski: that's why I'm here. I thought I was seeking advice from you. Yeah.Michael Jamin:You thought you were a, a job.Steve Baldikoski:I thought people were gonna, I thought people were gonna call in and tell me what to do with my life.Michael Jamin:Yeah, exactly.Steve Baldikoski:I, I mean the, the number one thing is like, if you want to be a writer, I think you probably have to move to LA maybe New York. But if you want to be in TV comedy, I think you have to be in LA Yeah. That's the first thing you have to do is move here and then write all, you can write things that make you laugh. Right. That abuse you, because no one else will probably enjoy it. So you might as well, you might as well . And, and also, and also I think you, you, you have to get creative, you know I think social media is a great way to get noticed.Michael Jamin:Mm-Hmm. ,Steve Baldikoski:My wife happens to be an executive on the TV side, and she bought the Twitter feed shit, my dad says when she wasMichael Jamin:Wild. And that was gotta be 10 years ago now.Steve Baldikoski:And Yes. And I, and I think that was like the first thing that a network executive or that a network has like, bought something on, like no one was buying a Twitter feed at the time. Right. And, and I thought that was pretty clever that Wendy started looking at things like that. And I, I think that's a great place to get noticed. Yeah,Michael Jamin:I agree.Steve Baldikoski:Especially for young comedy writers. Does sheMichael Jamin:Still do that? Does she still actively, does she look on social media for other people like that?Steve Baldikoski:She does that. She also she flips through, they get they get proposals of books that are coming out. Not even books that have been written, but just titles of book proposals sometimes.Michael Jamin:Really. AndSteve Baldikoski:She has scanned through that and bought a series based on one of the blurbs that she read aboutMichael Jamin:That I'veSteve Baldikoski:Never heard that. That was, that that was actually the show Atory.Michael Jamin:I Okay. Cuz that's a good title. ISteve Baldikoski:Never heard thatMichael Jamin:Before. So I would, I would, I've always, cause my advice to given people is, well, it's gotta be a bestselling book, but you're sayingSteve Baldikoski:Oh, oh, oh. I'm not, oh, I'm not suggesting that's a way to get noticed,Michael Jamin:Right.Steve Baldikoski:To, to write a book. Although it's not a bad idea. If you have a great life story, write a book or put it on TikTok.Michael Jamin:Right.Steve Baldikoski:I think, I think just if you have a comic voice, there are a million ways to get it out there. Yeah. and my dear friend, a guy named David Arnold was a writer on Filler House and just started showing, you know, doing TikTok videos of, of him and his wife and kids. And then he, like, I think Ellen DeGeneres was the first to share one of his videos, and then that blew up for him. And then he ended up, he was getting sponsored and he was a, he was a standup comic and it was helping out with his standup business. Yeah. And so at the age of, you know, 53, he was discovered on new media, you know, andMichael Jamin:And what would hasSteve Baldikoski:Become little tiny sketches about his family.Michael Jamin:Oh, I, let's talk about Kirsty, which was you, you were, to me, that was a lot of fun. So that was a Kirsty Alley show. Yeah. And you guys brought us in. They needed a a freelance. I don't know why they, but they wanted to have somebody freelance even though you got a, a great writing staff. Oh,Steve Baldikoski:.Michael Jamin:And I like, we're like, we'll do it. And thenSteve Baldikoski:I think, I think our, I think I think your agent said that your teeth were falling out and if you didn't write a script for the medical Oh,Michael Jamin:Not at all. Honestly,Steve Baldikoski:That show,Michael Jamin:Because that was a bunch of heavy hitters on that show. Yeah. I really enjoyed it. We were only sat, we only sat in for a couple days. We walked you guys, we walked in and then you guys said, okay, here's the story. We, we broke it, kind of go write it. We're like, okay. And but it was a, itSteve Baldikoski:Was to start Ted Damson. Sson.Michael Jamin:Yeah. And, and then, and Marco punted it for se the next season thinking it was gonna be a season two Marco, there's no season two . You don't punt that. You shoot it today before, before they pull the plug. Steve Baldikoski:The old, we will use this we'll use scripts season two. Yeah.Michael Jamin:The old season twoSteve Baldikoski:Trick. I don't know if that was him being tricked or you being tricked.Michael Jamin:Honestly, we had a great time. It wasSteve Baldikoski:A great script. It was a greatMichael Jamin:Script. It was fun. It was just fun sitting in with a bunch of people. Yeah, well, a bunch of writers that I respected. SoSteve Baldikoski:No, that was an amazing, that was an amazing experience. I, I, we like Claris Leachman did the show. Mm-Hmm. like some really, you know we, we wrote an episode for John Travolta. Yeah.Michael Jamin:And was it Michael Richards and Ria Pearlman. And it was like, these are good, these are heavy hitters, these are great actors. So, andSteve Baldikoski:The, the night that Claris Leachman did the show, we went out for drinks afterwards, Uhhuh with her. And I ended up sitting next to Kirsty Allie's assistant. And it wasn't until about 10 minutes into my conversation when she mentioned reincarnation, that I realized that I was talking to a high level Scientologist. And then I, and then I noticed she was doing all these Scientology tricks with me, like deep deeply staring into my eyes and not blinking until I blink. It was, it was, it was very bizarre.Michael Jamin:Wow. I I think we can,Steve Baldikoski:That's, that, that's, that's a good enough reason to become a sitcom writer is Yeah. To have someone do Scientology mind tricks on you. ThoseMichael Jamin:Are, that those are all these, those are always good stories when you Yeah. Can you go hang out on the past? Hang out. Yeah. And then what aboutSteve Baldikoski:When, when Clarus Leachman is far from the craziest person at the table? .Michael Jamin:She was, she was pretty wild. Yeah.Steve Baldikoski:Michael Jamin:Did I ever work? I'm trying to remember if I ever worked with her on something. I think I did, but I can't remember what it was.Steve Baldikoski:Gotta be. Just, just shoot me.Michael Jamin:It might have been. I don't remember. I, I, you know, but Okay. Well let's get to baby, let's get to the, what everyone wants to talk about Baby Bob.Steve Baldikoski:Oh,Michael Jamin:, let's go. YouSteve Baldikoski:Saved the best for last.Michael Jamin:I saved the best for last. Let's talk about baby. Well,Steve Baldikoski:I, I believe that Baby Bob was the highest rated show that I've ever been on,Michael Jamin:But they canceled it so fast.Steve Baldikoski:They canceled it. Yes. I think that was a, that was a disconnect where the high, high ups meaning like Les Moon vest when he was running CBSs, I think he wanted Baby Bob to be on the air. Oh. And so that he developed it like two or three times with multiple casts.Michael Jamin:Right. We gotta have a talking baby.Steve Baldikoski:And it was, and, but the, but the Talking baby always stayed the same based on these commercials. Was it Geico? Yes. I think his Geico commercials with the baby Ba with Baby Bob interviewing Shaq Yeah. Is, it's the concept that got everyone all hot and bothered. And so, so Les Moonves bought the show. This is my version of the story, I'm sure it's only partially accurate. But he didn't really include the lower level executives who absolutely hated the show. And so, as Brian and I got hired on the show, we thought, Hey, it's a c b s show. They must like the show. But the reaction from the executives after every table read was basically, how dare you,Michael Jamin:How dare how dare you have the baby talk? How dare you. WhatSteve Baldikoski:Like, just everything about the show seemed to offend the, the c bs executives incivility who were in charge of the show.Michael Jamin:Were, were there anything advertised guys in it? Were they involved at all?Steve Baldikoski:No, not, I don't think so. Kenny Kenny Campbell is the voice and mouth of the baby. Uhhuh . And then actually I didn't know much about babies when I was on the show, but then now when I look back, I realize how creepy it is that a baby has a full set of adult teeth. Yeah. Yeah. That are prominent. If I saw a baby like that in real life, I would run.Michael Jamin:Do you think that was the problem with the show? Steve Baldikoski:, this is the baby's teeth? Well, well the Mike Saltzman, my dear friend who Yeah. Saltman created the show, described it as Frazier, and they happened to have a talking baby.Michael Jamin:The other, so the other Oh, Freeman was Frazier had, okay. Frazier. All right.Steve Baldikoski:And they just happened to have a talking baby. IMichael Jamin:SaltmanSteve Baldikoski:That was, that was Mike'sMichael Jamin:And what, what were the writers do? Did, yeah.Steve Baldikoski:I don't have a lot of memories. . Okay.Michael Jamin:SoSteve Baldikoski:There were a lot of late nights and one night, I think it was about midnight, that I got into a shouting match with one of the other writers about whether or not Baby Bob was a genius.Michael Jamin:Right.Steve Baldikoski:And the other writer was taking the stance of he's not a genius, he's only talking at six months. Mozart was writing symphonies at, at five or seven, and I was shouting and I was yelling about the other side that Mozart was not talking at sick at six months.Michael Jamin:And was everyone looking at you both outta your mind? ?Steve Baldikoski:Yes. Like, it's midnight. Can I go home?Michael Jamin:Can I go home? How get the baby to dance? That's all.Steve Baldikoski:But, but, but, but, but I mean, part of the lesson there is even a show that you think is so, so simple or terrible that you could write it in it, in its in your sleep. Uhhuh . It's not that way. No. No. Because even a show like that is very hard to write. Yes.Michael Jamin:Yes. BecauseSteve Baldikoski:You have so many layers of people to Please,Michael Jamin:Yes. People ask me is they say is a, is a, is a great show. Hard to write than a bad show. No, they're all, they're all kind of hard to write for different reasons. Yeah.Steve Baldikoski:And that, that was, I mean, definitely a lesson. And then another lesson was despite what we felt like, I like it, it is sort of embarrassing to be on a show like Baby Bob when you're on the Paramount lot and then the Frazier Golf Cart drives by and you're in the same business, but you're not in the same business. But when it came to the ratings, baby Bob did huge in the ratings. Yeah. Yeah. And it was like one of the top, I think it's one of the top new comedies that year.Michael Jamin:And that's so interesting. And, and that's, that's the thing people don't realize as well, is that you, you may be a great writer, but if you're in this lane, it's hard to get out of that lane cuz that's how people see you. Yes. And if you're in a great, even if you're even a bad writer on a great show, now you're in that lane. You're in a great ri you're, you know, you, you're inflated. So Yeah. Yeah. yeah. People don't quite realize that.Steve Baldikoski:Yeah.Michael Jamin:And you take, you gotta take the job, you gotta get you, but you take the job you get, you know, so Yeah. And,Steve Baldikoski:And, and you really, and you really don't know if it's gonna pan out.Michael Jamin:No.Steve Baldikoski:Like I remember talking to Al Jane and Mike Reese mm-hmm. when we worked with them and asking them when they got started, they started on the, started on The Simpsons I think coming off of Gary Shaline show and when they were pitched coming on to do this cartoon on Fox.Michael Jamin:Right.Steve Baldikoski:They thought, I think that they thought it was, it was not good for their career.Michael Jamin:It would kill their career. Yeah. And, and now it would make no difference, honestly. Now you what? You take a job, you know, whatever job you can get, you take a job, you know? Yeah. But back then you could make decisions. You could make choices.Steve Baldikoski:Yes. Yeah. I, yeah. And, and interestingly, like back when Brian and I were making lists of shows, we would wanna be on Uhhuh, Simpsons was like a C-level list at the time.Michael Jamin:Uhhuh Really? CauseSteve Baldikoski:We liked it, but we thought it was imminently. We, we didn't, no one still knew it was gonna be on the airMichael Jamin:40 years later.Steve Baldikoski:Yeah. And you know, cuz cuz being on The Simpsons, I think it was like uncool. Then it became cool, then it was uncool.Michael Jamin:Well, in a way it's a little bit of, it's almost golden handcuffs if you're on the Cho. That that's if you're on the Simpsons now, you you're not gonna leave. Yeah. Cause it's job security and get ready to, for writing Bart jokes for the rest of your career, you know. Yeah.Steve Baldikoski:But the crazy thing is that there are writers who are still there, who were there when I was in the mail room at United Town. Sure.Michael Jamin:Yeah. SoSteve Baldikoski:Th there are peopleMichael Jamin:Who, they've made a career at it who,Steve Baldikoski:Yes. So I was in the, I was on the business side of the business. I became an executive and then I was a writer for 25 years. Yeah. And they're still doing the job from the day I got into the business.Michael Jamin:It's so interesting. It's just so, yeah. It's, and I would think creatively it's hard, but you know, you, but the money will make, will make you feel better. You know,Steve Baldikoski:Money makes a lot of things feel better.Michael Jamin:You crying for your 50? Is there a 50 bill? . I wouldn't know what a 50 bill looks like. Fascinating. Dude, thank you so much. We have a good chat. We had a good time.Steve Baldikoski:Steve. Thanks for having me.Michael Jamin:Thank you so much. This is, I, I don't know, I'm always fascinating in, in learning people's journeys and how they got there and so thank you so much for, for being on my little show.Steve Baldikoski:Thank you. And hopefully you have stuff that you don't have to cut.Michael Jamin:Oh, , sorry folks. If you heard the version that, the edited version, we had a trash, a lot of stuff. ,Steve Baldikoski:.Michael Jamin:All right everyone, thank you so much. Remember, we offer, we got a lot of great stuff for you on my website. You can get on my newsletter, you get my free all that stuff. Go to michaeljamin.com and find out what we got there. And I got another webinar coming up. All right everyone, thanks so much. Until next, next week, keep writing.Phil Hudson:This has been an episode where screenwriters need to hear this with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

Vroom vroom from the streets to out of this world with family, heists and top tier anime. Take a pit stop in our hearts with the Fast & Furious franchise this week. Website | Rotten Tomatoes | Apple | Patreon | Twitter | Instagram

The Meddling Kids hung out with Dom Toretto and Brian O'Conner this week by revisiting the movie that started it all, The Fast and the Furious. When trucks start getting robbed by a roving street gang, the LAPD and FBI must figure out who is behind it. Their best bet is to send one of their best and brightest into the world of underground street racing. The Fast and the Furious, directed by Rob Cohen, is the movie that started the entire Fast and Furious franchise. Hang with your pals, the 2 Meddling Kids, and guest, as we see how well it holds up 22 years later.

Book Vs. Movie: Dragon: The Bruce Lee StoryThe Shannon Lee Book/Memoir Vs. the 1993 Biopic Bruce Lee is one of the biggest martial artists of all time and created the style Jeet Kune Do, which caused controversy within the martial arts community. As a Chinese-American, he wanted to spread the word to anyone eager to learn and not keep secrets. He also believed in pushing himself to the limit in everything he did, which caused friction in Hollywood and Hong Kong film communities. Born Lee Jun-fan November 27, 1940, in San Francisco and raised in Hong Kong by parents who tried to keep their smart, energetic son who would get into street fights in the 1950s. After being sent back to America to get his act together, Lee became more interested in school (mainly history and philosophy) and brought his new martial arts ideas to eager Bay Area students to Seattle. After demonstrating his new brand of Kung Fu in a 1964 championship in Long Beach, California, Hollywood came calling for Lee. His early years as a child movie actor in Hong Kong came in handy with his series The Green Hornet, playing sidekick Kato. Though it only lasted one season, it helped gain a worldwide fan base. Heading back to his childhood home, Lee produced, wrote, and acted in several films that are now considered Kung Fu classics, including The Big Boss & Fists of Fury. When he passed mysteriously on July 20, 1973, he was still producing what would become his biggest film, Enter the Dragon. His death at the age of 32 by Cerebral Edema has been explored dozens of times over the last fifty years, with the latest theory being he had too much water in his system, and his kidneys could not function properly. The irony is that we are pairing the 1993 movie Dragon: The Bruce Lee Story (starring Jason Scott Lee and Lauren Holly) with Shannon Lee's 2020 book Be Water My Friend: The Teachings of Bruce Lee. One of his key philosophies was to “be like water” in dealing with all aspects of life. Linda Lee wrote her account of Lee's life in 1989's The Bruce Lee Story, co-written with her ex-husband. (We have thoughts about his later Lee books and claims!) Shannon helped produce the excellent documentary “30 For 30: Be Water” and How Bruce Lee Changed the World. So between the book and movie--which did the Margos like better? In this ep, the Margos discuss:The life of Bruce LeeWhy 50 years after his death, and why is he still a superstar all this time later?Quentin Tarantino's use of Lee in Once Upon a Time in HollywoodThe cast of the 1993 film: Jason Scott Lee (Bruce Lee,) Lauren Holly (Linda Lee,) Robert Wagner (Bill Krieger,) Luoyong Wang (Yip Man,) Michael Learned (Viven Emery,) Nancy Kawn (Gussie Yang,) Lim Kay-tong (Phillip Tan,) Ric Yong (Bruce's father,) Sterling Macer (Jerome Sprout,) Van Williams (The Geen Hornet,) and Rob Cohen as the director.Clips used:“Conquer your fears”Dragon: The Bruce Lee Story (1993 trailer) Bruce fights sailors in Hong KongBruce fights students in SeattleLinda's mother is not happy about this romanceBruce defeats his demon"Be Water My Friend"Music: Randy EdelmanBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie: Dragon: The Bruce Lee StoryThe Shannon Lee Book/Memoir Vs. the 1993 Biopic Bruce Lee is one of the biggest martial artists of all time and created the style Jeet Kune Do, which caused controversy within the martial arts community. As a Chinese-American, he wanted to spread the word to anyone eager to learn and not keep secrets. He also believed in pushing himself to the limit in everything he did, which caused friction in Hollywood and Hong Kong film communities. Born Lee Jun-fan November 27, 1940, in San Francisco and raised in Hong Kong by parents who tried to keep their smart, energetic son who would get into street fights in the 1950s. After being sent back to America to get his act together, Lee became more interested in school (mainly history and philosophy) and brought his new martial arts ideas to eager Bay Area students to Seattle. After demonstrating his new brand of Kung Fu in a 1964 championship in Long Beach, California, Hollywood came calling for Lee. His early years as a child movie actor in Hong Kong came in handy with his series The Green Hornet, playing sidekick Kato. Though it only lasted one season, it helped gain a worldwide fan base. Heading back to his childhood home, Lee produced, wrote, and acted in several films that are now considered Kung Fu classics, including The Big Boss & Fists of Fury. When he passed mysteriously on July 20, 1973, he was still producing what would become his biggest film, Enter the Dragon. His death at the age of 32 by Cerebral Edema has been explored dozens of times over the last fifty years, with the latest theory being he had too much water in his system, and his kidneys could not function properly. The irony is that we are pairing the 1993 movie Dragon: The Bruce Lee Story (starring Jason Scott Lee and Lauren Holly) with Shannon Lee's 2020 book Be Water My Friend: The Teachings of Bruce Lee. One of his key philosophies was to “be like water” in dealing with all aspects of life. Linda Lee wrote her account of Lee's life in 1989's The Bruce Lee Story, co-written with her ex-husband. (We have thoughts about his later Lee books and claims!) Shannon helped produce the excellent documentary “30 For 30: Be Water” and How Bruce Lee Changed the World. So between the book and movie--which did the Margos like better? In this ep, the Margos discuss:The life of Bruce LeeWhy 50 years after his death, and why is he still a superstar all this time later?Quentin Tarantino's use of Lee in Once Upon a Time in HollywoodThe cast of the 1993 film: Jason Scott Lee (Bruce Lee,) Lauren Holly (Linda Lee,) Robert Wagner (Bill Krieger,) Luoyong Wang (Yip Man,) Michael Learned (Viven Emery,) Nancy Kawn (Gussie Yang,) Lim Kay-tong (Phillip Tan,) Ric Yong (Bruce's father,) Sterling Macer (Jerome Sprout,) Van Williams (The Geen Hornet,) and Rob Cohen as the director.Clips used:“Conquer your fears”Dragon: The Bruce Lee Story (1993 trailer) Bruce fights sailors in Hong KongBruce fights students in SeattleLinda's mother is not happy about this romanceBruce defeats his demon"Be Water My Friend"Music: Randy EdelmanBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

linktr.ee/CatchingUpOnCinema February was “Guilty Pleasures” month at Catching Up On Cinema, but we had so much fun we decided to keep it going for one more week. In this special bonus “Guilty Pleasure” episode, Trevor is joined by his buddy Brad from the Cinema Speak podcast to review Rob Cohen's, The Hurricane Heist (2018)! Check out Brad's podcast, Cinema Speak on Libsyn at Cinema Speak, or on Twitter and Instagram. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema Like, share, subscribe, and we'll catch you next time!

This week, we apologize for discussing STEALTH, an extended Incubus music video/ American military propaganda directed by Rob Cohen. Join us as we discuss the exploits of Ben "Big" Gannon (Talon 1, Josh "George" Lucas), Kara "Caraway" Wade (Talon 2, Jessica Biel), and Oscar-winner Jamie Foxx (Talon 3, "Henry"), as they face the threat of global terrorism and technological job precarity at the hands of EDI (Extreme Deep Invader), a VLO (Very Low Observable) UCAV (Unmanned Combat Aerial Vehicle), call sign Tin Man. If that isn't enough names for you, please listen to us talk about this quasi-post-western of the GWOT era and wrestle with the moral conundrums surrounding the question of who, when, and where to drop bombs and "get these bastards." The answers may surprise you! (They are "the bad guys," "always," and "over there.") Email us at maroonedonmarspodcast@gmail.com Follow us on Twitter @podcastonmars Leave us a voicemail on the Anchor.fm app Rate and review us on iTunes or wherever you listen to your podcasts! Music by Spirit of Space --- Send in a voice message: https://anchor.fm/marooned-on-mars/message

Happy season 5 finale! We finally got to chat with Maz Hedgehog (they/them), a UK-based bisexual writer, poet, and performer working in the spaces between real and unreal, poetry and theatre, self and other. We chatted about Maz's bisexual journey, how they realized they were agender and what that means for them, why Maz identifies as a “bisexual dyke” (like Shiri Eisner!), and how their gender and sexuality inform their artistic work, like their recent solo show, “Let Me Count the Ways”. We also discussed the challenges of getting queer art published & produced, how to deal with rejection and failure, how fashion is a form of speech that communicates who we are, and the value of collaboration and imperfection. Also fairies!Thanks for listening to season 5! Rob will be taking an extended hiatus before season 6 to work on his oral history book, “Bisexual Married Men: Stories of Relationships, Acceptance, and Authenticity”, to be published by Routledge. Stay tuned for info and updates as well as some bonus content and surprises. And please take a moment to rate and review this podcast, and tell your friends -- thanks!Visit Maz's website: https://www.mazhedgehog.com/Buy Maz's books: https://www.mazhedgehog.com/shopFollow Maz on Twitter: https://twitter.com/MazHedgehogFollow Maz on IG: https://www.instagram.com/mazhedgehog/“Fat, Black, and Myself: Fashion in the Pandemic”: https://azmagazine.co.uk/fat-black-and-myself-fashion-in-the-pandemic/“Let Me Count the Ways” music composed by Alpha Twang. Follow them on IG: https://www.instagram.com/alpha_twang/Two Bi Guys is produced and edited by Rob CohenCreated by Rob Cohen and Alex BoydLogo art by Kaitlin WeinmanMusic by Ross MintzerWe are supported by The GothamMade on Zencastr #MadeOnZencastrUse my special link zen.ai/twobiguys1 and use twobiguys1 to save 30% off your first three months of Zencastr professional. #madeonzencastrWe're going on a Bi+ trip to Maine in June 2023! Join the email list to get all the info: https://my.trovatrip.com/public/l/survey/rob-cohenGo to blendjet.com and use code twobiguys12 to save 12% off your order OR use my special link and the discount will be applied at checkout zen.ai/twobiguys12

This week we're talking bisexual play parties with the founder and “Chief Conspirator” of the New Society For Wellness (aka NSFW), Daniel Saynt! We chatted about Daniel's early awareness of his bisexuality, keeping it hidden throughout his conservative religious upbringing, and how entering the world of fashion both exposed him to more sexual fluidity but also convinced him that more openness and transparency was needed. We then focused on the club he founded, NSFW, and how & why it's specifically geared toward the bisexual community. We discussed play party etiquette and enthusiastic consent, how to overcome anxiety about attending sex parties (and performance anxiety during them), the differences between play parties and kink parties, how norms in sexual spaces can change depending on the gender identity of those involved, why bisexual men seem to love NSFW's “Frat”-themed party so much (which includes consensual “forced” hazing and bi play), and how queer parties can set themselves apart from “swinger” events. We also talked about weed! Don't miss it.The New Society For Wellness: https://www.ns-fw.com/Follow Daniel on IG: https://www.instagram.com/danielsaynt/Follow Daniel on Twitter: https://twitter.com/danielsayntFollow NS-FW on IG: https://www.instagram.com/wearethensfw/Follow NS-FW on Twitter: https://twitter.com/wearensfwBuy the FirmTech Tech Ring or Performance Ring: https://myfirmtech.com/collections/firmtechTwo Bi Guys is produced and edited by Rob CohenCreated by Rob Cohen and Alex BoydLogo art by Kaitlin WeinmanMusic by Ross MintzerWe are supported by The GothamMade on Zencastr #MadeOnZencastrUse my special link zen.ai/twobiguys1 and use twobiguys1 to save 30% off your first three months of Zencastr professional. #madeonzencastrWe're going on a Bi+ trip to Maine in June 2023! Join the email list to get all the info: https://my.trovatrip.com/public/l/survey/rob-cohenGo to blendjet.com and use code twobiguys12 to save 12% off your order OR use my special link and the discount will be applied at checkout zen.ai/twobiguys12

Continuing our UK-themed season, this week we sat down with Lois Shearing, a bi activist, freelance journalist and writer based in London. We chatted about their journey along the sexuality and gender spectrums, the many Bi+ groups they've been part of and helped organize (including the Bisexual Survivors' Network, the London Bi Pandas, and an LGBT+ knitting club), and their popular writing about bisexuality that's been published by The Independent, The Advocate, INTO, Openly, and more.We then chatted about Lois' book, “Bi The Way: The Bisexual Guide to Life”, which was published in 2021, highlighting topics such as being “really bi”, bisexuality as freedom, the bi v. pan “debate”, the challenges of coming out, how to find Bi+ community (and why it's so important), and how sexuality and gender can be interrelated and interdependent. We also covered quite a few next-level Bi 2.0 topics, as I like to call them – check out the episode for some spicy takes!Buy “Bi The Way: The Bisexual Guide to Life”: https://www.hachette.co.uk/titles/lois-shearing/bi-the-way/9781787752900/Follow Lois on Twitter: https://twitter.com/LoShearingFollow Lois in Instagram: https://www.instagram.com/loisfaith95/Follow Lois on Medium: https://medium.com/@lois.shearingLois' Website: https://faithfullwords.wordpress.com/“Why Bisexuality is a Threat to Terf Politics”: https://medium.com/@lois.shearing/why-bisexuality-is-a-threat-to-terf-politics-5f2b40563e11Two Bi Guys is produced and edited by Rob CohenCreated by Rob Cohen and Alex BoydLogo art by Kaitlin WeinmanMusic by Ross MintzerWe are supported by The GothamMade on Zencastr #MadeOnZencastrUse my special link zen.ai/twobiguys1 and use twobiguys1 to save 30% off your first three months of Zencastr professional. #madeonzencastrTry MagicMind and get 20% off your order or 40% off a subscription with promo code BIGUYS20: www.magicmind.co/biguysThis podcast is sponsored by BetterHelp. Visit betterhelp.com/twobiguys to get 10% off your first month.We're going on a Bi+ trip to Maine in June 2023! Join the email list to get all the info: https://my.trovatrip.com/public/l/survey/rob-cohen

It's almost election day, so we sat down with a civil rights attorney, recent candidate for Justice of the Peace in Texas, writer, activist, proud bisexual man of faith, and mega-fan of this podcast, Andrew Reginald Hairston! We chatted about voting and why it's so important for queer people to get out the vote and protect our communities (GO VOTE PLEASE!), the freedom Andrew has experienced since coming out, how this podcast appeared at the right moment to help him on his bisexual journey, how his sexuality has impacted his work as a civil rights lawyer and prison abolitionist, and also how it has intersected with his faith community, and his newfound “limitless capacity for love” since embracing his whole identity.We also talked about the highs and lows of dating, how our bisexuality has come into play in negative and abusive relationships we've had, and how to cultivate self-worth not just despite a complicated, sometimes-confusing identity but BECAUSE of it – and why we should not just ask for but demand the recognition and respect we deserve. Andrew eloquently reminds us that no matter what happens in the 2022 mid-terms, hope is a discipline, this is just one moment in a long struggle, we are building on the efforts of those who came before, and the future is bright if we work together to take the next step.Follow Andrew on Instagram: https://www.instagram.com/andrewrhairston/Follow Andrew on Twitter: https://twitter.com/AndrewRHairstonVisit Andrew's Website: https://andrewrhairston.com/Two Bi Guys is produced and edited by Rob CohenCreated by Rob Cohen and Alex BoydLogo art by Kaitlin WeinmanMusic by Ross MintzerWe are supported by The GothamMade on Zencastr #MadeOnZencastrTry MagicMind and get 20% off your order or 40% off a subscription with promo code BIGUYS20: www.magicmind.co/biguysBuy the FirmTech Tech Ring or Performance Ring: https://myfirmtech.com/collections/firmtechWe're going on a Bi+ trip to Maine in June 2023! Join the email list to get all the info: https://my.trovatrip.com/public/l/survey/rob-cohen

We're all aware of the unfortunate statistics showing that the bisexual community receives a tiny minority of LGBT+ charity resources despite making up a majority of the community itself. But how does that play out and what does it actually mean for Bi+ people?We chatted about that and more with Dominic Arnall, CEO of “Just Like Us” (an LGBT+ young people's charity) and the only out bisexual man running a queer charity in the UK. He explained what happens when the “B” is neglected in the non-profit space, why we need resources that are dedicated specifically to the Bi+/fluid community (and for kids especially), and what those programs might look like if they were properly funded and prioritized.We also discussed the current political climate and the targeting of trans kids, why the “B” & “T” communities are intertwined and benefit by standing up for each other, and how queerness and gender are evolving and being viewed by young people today. We also touched on Dominic's own bisexual journey, how his marriage and child have intersected with his queerness, and things to consider when coming out as Bi+ in the workplace.Follow Dominic on Twitter: https://twitter.com/DominicarnallFollow Just Like Us on Twitter: https://twitter.com/justlikeusUKSupport Just Like Us: www.justlikeus.orgTwo Bi Guys is produced and edited by Rob CohenCreated by Rob Cohen and Alex BoydLogo art by Kaitlin WeinmanMusic by Ross MintzerWe are supported by The GothamMade on Zencastr #MadeOnZencastrUse my special link zen.ai/twobiguys1 and use twobiguys1 to save 30% off your first three months of Zencastr professional. #madeonzencastrThis podcast is sponsored by BetterHelp. Visit betterhelp.com/twobiguys to get 10% off your first month.We're going on a Bi+ trip to Maine in June 2023! Join the email list to get all the info: https://my.trovatrip.com/public/l/survey/rob-cohen