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The Creativity, Education, and Leadership Podcast with Ben Guest
They put in their cover letter, “Honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.”Rudi Womack is the Director of the Wyoming International Film Festival and the creator of the YouTube channel The Film Festival Guide.In this conversation, Rudi talks about:* What watching thousands of film festival submissions has taught him about good storytelling* The biggest mistake filmmakers make when they submit to festivals* Why transparency matters and why he published all of the submission and acceptance stats for the Wyoming International Film Festival * The importance of a compelling poster and thumbnail* How to write a good description of your movie* The most important questions filmmakers must askHere is a link to Hiike, the new film festival submission platform that Rudi mentioned.If you enjoyed this episode please forward to a friend.Here is an AI-generated transcript of my interview with Rudi. Don't come for me.79. Film Festival Director Rudi WomackBEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. My guest today is Rudy Womack, who is the director of the Wyoming International Film Festival, and also Rudy has a fantastic YouTube page called The Film Festival Guide. So for all my filmmakers out there who are interested in submitting to festivals in this interview and on Rudy's YouTube page, he breaks it down. Enjoy.Rudi, thank you so much for joining us.RUDI: Hey, it's my pleasure to be here. Thank you for having me.BEN: So I always start off with a fun question, and we're entering the holiday season, so very important holiday question. Is Die Hard a Christmas movie?RUDI: Absolutely. A hundred percent. Come on.BEN: I love it. So I, I told you this off Air, I found you through the Rate YouTube channel.You have the Film Festival Guide. Is that the right name? I wanna make sure I get the name right. Yeah. The filmRUDI: festival guide. Yep.BEN: On YouTube Film Festival Guide on YouTube. Please. Any filmmakers out there go and subscribe. The information is so helpful. What, why did you start the this YouTube page?RUDI: I, as a filmmaker have gone through the festival circuit several times and I made a lot of amateur mistakes. I didn't know what I was doing. Definitely fell on my face a couple of times, but I also had some successes. And as I did more film festivals, I started learning more about the circuit.I got invited by a film festival to become a programmer, and so I started reviewing a lot of films and seeing a lot of the submissions. And I think instantly that made me a better filmmaker just because I saw what was working, what wasn't working, and how other filmmakers really brought to, brought their stories to life on the screen.And it, it was truly inspirational. Very long story short, the Wyoming International Film Festival was started by a gentleman named Alan Oi, and he's a, he's a documentarian out of Wyoming, which is where I'm from. I'm from Wyoming. So Alan had the film festival and he had run it for some years and it was going great and everything.But then Alan retired and now he's retiring. He wants to move outta Wyoming and he doesn't wanna run a live event. ‘cause it is a lot of work in his words. And I quote, it's a young man's game. And at the same time, COVID hit and he didn't wanna do the whole online thing and it was just a big mess.So Alan was like, I'm done with the festival, it's done. I'm just gonna let it die. And I was begging him, no, Alan, you can't do it. It's so important for indie filmmakers. And at the time I'm just finding my feet in the festival circuit as well as both a filmmaker and now I'm a programmer.I'm begging him like don't let it die. It's important, maybe I can help out. And he was like, why don't you run it? And I was like, absolutely not, man. What are you talking about? That's crazy. No way. No way. And I was like, I'm going to be your director of programming. That's what I'm going to do.I'm gonna help you get films in so you don't have to do that work. Very long story short, I ended up running it. I ended up taking over the festival from Alan. I did so reluctantly. But when I started working with the festival, working with the community, working with my hometown filmmakers and my home state filmmakers, and just seeing how important a film festival can be for a local community to uplift indie filmmakers to help them along the way I fell in love with it and here I am now, I run the film festival.And your question was, how did I start the YouTube channel? Sorry, I'm getting there. But I got a lot of questions from filmmakers about festivals, like how to navigate ‘em. And there's just so much mystery behind film festivals ‘cause it's so opaque. There's not a lot of transparency from film festivals.Film festivals are sketchy about which films they do select and which they don't. And frankly, there's a lot of misinformation out there about festivals. So I started answering a lot of questions and I started repeatedly answering the same question again and again and again. And I had some friends who told me, you should write a book.But I was like, yeah, but books, there are books, like people have already written books, bluntly, frankly, people far more experienced and knowledgeable than myself have written books. And so if you're not reading those books, then you're probably not gonna read my book. So that's when I decided, you know what, the YouTube channel is a great way to just do very easy outreach.Take one single topic, break it down for 10 minutes, and hopefully help filmmakers along on their film festival journey.BEN: I love it. And you said something for all the filmmakers who are listening. I'm gonna come back to it. Don't worry. You said something about once you started programming and watching so many films, you got a good sense of what works and what doesn't.So I definitely wanna come back to that. I know the filmmakers listening want to hear that. But before that you mentioned 10 minute videos. You strike me as somebody who, does research and takes time to Yes. Before they do something. What did you discover about running a YouTube page?What things work, what things don't work?RUDI: I'm still very early on in my own YouTube development. I'm still trying to learn what does and doesn't work. So I'm probably the worst person on earth to give advice. Definitely that first 32nd hook is so important on YouTube, just like it is on a film that, that intro, how we come into the story, whatever, on YouTube, you can see a massive drop off and apparently it's that way on every channel.Again, I'm not a YouTube guru, so I don't give advice, but that first 32nd hook is a big deal, but also just my presence on camera. I come from the post world. I'm an editor, so I'm not just behind camera. I'm behind, behind the camera. So I'm very much not used to an on-camera presence, so I'm developing that and learning it as well.What kind of energy I can bring. How to make it engaging. But also I don't wanna be zany and too quirky or anything because I am trying to give good guidance to filmmakers, but I also don't want to lecture them and bore them to death. So it's finding that balance of information that's valuable, but also entertaining enough that people don't wanna click off.And it's actually quite a complex thing that I'm still unraveling one video at a time. But the best advice that I saw was some YouTube guru who is just focus on getting 1% better on every single video. So is that little bit better graphics or better delivery, or better audio, or better editing or whatever it is.And after a hundred videos, you're now a hundred percent better. So that's what I've been focusing on. Just very small baby steps.BEN: Yeah, that's such a great way to break it down, right? It just makes it bite-sized, get 1% better.RUDI: I think you can apply that to life in general. There's a lot of things in life just today be 1% better.That's it,BEN: so you mentioned once you start a programming scene, get enough feel for what works, what doesn't, especially with short films, both narrative and docs. What are you seeing that works and doesn't work?RUDI: In the shorts world I'm seeing a couple of things. One, a self-contained story, and this is something that I had a problem with because oftentimes I would go for more of a quote unquote scene instead of a full beginning, middle and in, in a story.So a self-contained story typically is gonna make your short film much more successful. This can be hard for some filmmakers because they're trying to make a proof of concept short film that they're gonna go and get financing for their future. So one of the things that they often do is they just take a scene outta their feature and then just shoot that, which has mixed results.And the problem is the films that have gotten financed and been made from shorts that have done that are the ones that you see. So it's actually a survivor bias, where it's like it, it works for those particular films and therefore everybody thinks it's gonna work for their film. But obviously the films that it doesn't work for, you're never going to see.So you don't understand, actually for the majority of films, it doesn't work. So if you have a proof of concept, I actually say, don't pull a scene outta your feature. I say write its own scene, or sorry, your own short film. That exists in the same world and universe with the same characters as what your feature film is.And I think that's gonna have much more success on the film festival circuit. And that will lean you or lead you to whatever your goal is, financing or distribution or whatever. So that's a big thing with short films that makes ‘em successful is make sure it is actually a self-contained story and it doesn't have any loose ends, so to speak.What doesn't work is something that I myself struggle with, ironically as an editor. And that's things being too long and you need to parse them down. Now a lot of people will say, shorter, the better, which is true, but I actually think that's a result of actually getting to the core of the problem.And that's make your film as concise as possible. Get the idea. The emotion, the story out as concise as you can. And what that does by happenstance is it makes your film shorter. So it's not that shorter is better. I know there's it almost sounds like I'm just splitting hairs here, but I've seen plenty of five minute films that didn't work.I've seen plenty of 10 minute films that board me to death. So shorter isn't necessarily better. It's more concise of your story is better. And sometimes that still manifests as a 20, 30, 40 minute film. But if it's a very interesting 20, 30, 40 minutes, that's not gonna matter.BEN: It's such a great point. And for me, when I get to a certain point in the edit, I like to just bring in a couple friends and have them watch it. And then I just sit there and watch them watch it and whatever feedback they're gonna provide afterwards. 95% of what I need, I can just tell from Body Language as they're watching the film.RUDI: Yep.BEN: You come fromRUDI: theBEN: Go ahead.RUDI: Oh I was just gonna piggyback off that and just say, audience feedback is worth its weight and goal.BEN: Yeah.RUDI: And every filmmaker when you hit that fine cut stage, like you said, get your friends and family together, buy everybody some burgers and fries or whatever.Get ‘em all together. Gather ‘em up in a room, watch them, watch your film. That's gonna tell you more than anything else. We'll be able to about the success of your film and where it's strong, where it's weak, where you can still fix things. And I always suggest do it in your fine cut stage because nothing's locked in and you can still move things around and adjust, or whatever it is you need.BEN: Love it. And I think earlier what you are really getting at is telling a good story. Yes. And I'm amazed at, not amazed, but maybe a little disappointed, especially in today's world, the technical side of filmmaking. Even for an amateur, even for an indie filmmaker that you can, things can be d done so well technically, but there's no story.RUDI: Yes. All the time. So when I get onto Reddit, ‘cause you mentioned Reddit earlier if I go onto our filmmakers, right? Yeah. I don't have to look far to see people just geeking out over the newest Camerons. It's, and it's always cameras. Everybody always talks about. This camera is so fancy and it has so many stops above and this lens can do this and blah, blah, blah, blah, blah, blah, blah.It has this big bit rate, whatever. Everybody gets so excited about cameras and I always say to myself, man, if they got this excited about audio, I wouldn't have to reject half the films that we have to reject because the audio is just blah. So if we're gonna talk tech, if we're gonna talk about the quote unquote quality of the filmmaking, I think what filmmakers need to understand is there are so many films out there we're that is just the foundation.It is the base level, it is the bare minimum that the film looks good. It sounds good. It feels good. So for us, festival guys, we see so many of these films. You're super gorgeous cinematography, you're really fancy, VFX, whatever it is that you think really separates your film from the pack. I don't wanna discourage you, I don't wanna sound jaded or anything, but it's not as impressive to us as you might believe it is, simply because we see hundreds and sometimes thousands of films like that.So for us it constantly falls back to originality and the story. Is the story well done? Is it well told? Is it a new and interesting story that we've never seen before? Is it a story that we've seen before but told in a very unique way, from a specific point of view, that is what is going to move us as festival people.‘cause when I put it into the theater and my audience walks in and they pay a ticket. My audience is used to going down to the theater and seeing a hundred million dollar movies. So for them, quality is just a given. It's just assumed they're not going to be thinking about it for them. They go and watch a movie ‘cause they're interested in, and I think if more filmmakers really dialed in on their story, they're going to find more success.BEN: So many great points there and a hundred percent agree with what you were saying about people get excited about the camera. And so I did my MFA at USC and there were three different times where I was on a set that, that I felt was unsafe. Not that I felt it was unsafe, what they were doing. Geez. And I walked off and it was always to get the cool shot.Like no one's ever hanging off a balcony to get room tone. You know what I mean? It's just, it's always to get the cool shot that, again, if you're not telling a good story, it doesn't matter. And to your point, I've always felt good audio is more important than good video.RUDI: Good image.BEN: Yeah.RUDI: Look at the documentary. Look at the nonfiction world. We see verite stuff all the time. We see stuff people recorded on their phone or, security camera footage or whatever, like at the end of the day in the nonfiction world is a great example of the quality of the shot doesn't necessarily matter so much as the quality of the story and how it's being told and how it's being revealed to us.And the audio is always gonna be very clean, very top notch, even if it's quote unquote found footage or. Veritate footage or whatever, the audio is always peak. I saw that Netflix doc recently, it was super heartbreaking. The perfect neighbor. And most of it is police body cam footage, but the audio is clean so we're able to follow the story so no one sits back and thinks of themselves this isn't a good shot.Of course it's not, it's police potty cam footage. Like it doesn't look good and it's not meant to,BEN: but it sounds good. And so you can follow it.RUDI: Yes.BEN: What what are some tropes that you think you've gotten tired of seeing in, especially in short films?RUDI: So every year it's a little bit different.You would be surprised what things pop up and what don't. The one trope that kind of rubs me the wrong way, I, I don't know how to describe it any other way than filmmaker self therapy. Like they, they're definitely going through something at the moment and they're not focused on creating a good story.They're more focused on using their art form to emotionally process whatever it is they're going through, which fine, you are an artist that makes sense to do, but also I can't sell my audience on that. So while I don't wanna discourage someone from making a film that is very near and dear and personal to them, at the end of the day, it might not be a good fit for film festivals.And so I, I would really think twice about whether or not that is a story that an audience, frankly, needs to see. Filmmaker cell therapy is one that when I get it, I'm always eh I don't know what to do with it. I just, I don't know what to do. Some other tropes that we see very commonly are like.Obviously right now, tech and AI and stuff like that gives a lot of people anxiety. So there's a lot of like evil robot takes over or the big reveal at the end of the movie, they were a robot the whole time, or the whole thing was a simulation or whatever. That's being very well tread right now.For me, I'm I am not a political person and anytime some big thing is in the news, we see tons of films on it. So I understand politics do affect people's day to day and their lives, so I understand that manifest. But man, I probably have a hundred immigration films right now and that's a lot. And I'm not gonna screen that many, so I'm only gonna pick like one, maybe two, so that's a tough one to do.Anything that's like a hot button political issue. We always see a big wave of those come in. And then honestly, romance dramas get tough. It isn't evergreen. We do have an audience for it. We usually do have some kind of a selection of them. Romance dramas have existed since the beginning of time.It's always been a thing. But filmmaker broke up with his girlfriend, so now he has a character who breaks up with his girlfriend. It gets it, it doesn't get very original. I, it just it gets exhausted. So those are some of the kind of general tropes I would avoid. I have heard other festival directors talk about like cancer films and Alzheimer's films and stuff like that.This year I'm not seeing so much of those, but I have seen those in the past. So tho those are some other. Tread stories we'll see.BEN: One of the things that I appreciate about. Your series of videos is your transparency, and you have one video where you literally break down. Here are all the films the number of films, Wyoming International Film Festivals received. Here's how it breaks down, here's how many we, we accepted, et cetera, et cetera.You have another one where you literally show the viewer, this is what we see as a programmer on our film freeway portal. Here's the scoring sheet. I think it's a little bit different from the one you guys use internally, but basically here's what the scoring sheet on film freeway looks like. Why is transparency so important to you?RUDI: Because I'm a filmmaker, because I've been to so many festivals where I have no idea what the hell's going on. I've been to festivals where I think my film is gonna be a good fit. I think based on what I've been able to investigate on my own, digging through their website, digging through their archive.Seen what they've programmed before. I think I'm a good fit, but I don't actually know. And I've submitted to festivals where later on, I see what they programmed or I got rejected or even accepted and then gone to the festival itself and have been a little disappointed when was like I this festival didn't fit my goals the way that I thought it would, or, this festival wasn't going to do the things for me.Or this festival, like really promoted themselves very heavily as this big event. And then you get there and then it's not, and that's a little bothersome. So when I stepped into my role at the Wyoming International Film Festival, I made a whole bunch of changes. But one of the changes that I made was, we are going to be transparent.I don't ever want a filmmaker to submit to our festival, get in, get accepted to the festival, drive all the way out to Wyoming and be disappointed. I don't want them to do that. That's not good for them. It's not good for us. It's not good for the community. It's not good for indie film at large.What's better is if we just be what we are in Wyoming, we're straight shooters. We just say it as it is. So I'm going to tell you exactly how many films were submitted, which films we accepted, what the percentage rates are, how many shorts versus features, how many docs versus narratives, how many music videos, all of this stuff.And we've been releasing the data for the past couple of years. This year, like we went all out with the data it was much more thorough than what we've done in years past. And even me, the director of the festival, I sit back, I look at the data and I can see some weak spots in it. I can see where we need to improve as a festival, where we need to start, bringing in a certain type of film or where other films might be overrepresented or how we can give more of an experience to our filmmakers.Just by boiling it down to numbers and looking at it. I can start seeing some of our weak spots and I want to improve on that ‘cause I want to have a good festival. And I think if more festivals were to do that, I think the filmmaking community at large would be much more appreciative. And I think film festivals need to understand.That if you have fewer submissions, that's not a bad thing because the submissions that you are going to get are filmmakers that really want to be in your festival and that's good for the health of your festival, the community, the filmmakers, everything. So I, I think the only way we get there is by being transparent.And thankfully there are other festivals that are publishing their data, which is great. And that makes me very happy to see. And I hope that trend continues and I hope even more festivals start publishing more of their data and showing how they review films, what their scorecards look like, what they're looking for.‘cause ultimately I genuinely believe that just serves the filmmakers better and ultimately makes everybody have a better experience on the film festival circuit, including the festivals themselves.BEN: When you took over as directorWhat were the biggest challenges?RUDI: So our biggest challenge to this day is our venue.So there's only one movie theater in Cheyenne, Wyoming. It is owned by a company outta Casper, Wyoming. They own pretty much a monopoly of movie theaters across the state, like most of them. And they don't allow anybody into their theaters at all. They don't allow her private screenings or corporate events or, in individuals who wanna screen their film or film festivals.I'm not the only film festival in Wyoming. I talk with other festival directors. They can't get in either. It's funny, the film commissioner of the state can't even get in. You would think the movie theater would at least want to partner with the state film Commission, but no. So for us, the challenge has been a venue and luckily our partners over at Laramie County Community College.Have graciously allowed us to use their facilities for the last couple years. They have a beautiful auditorium that we do some of our screenings in, but we also have screening rooms in a black box theater that they have as well as a conference room. And when I say conference room, most filmmakers like their heart drops a little bit.They're like, oh man, I'm just, I'm going into a conference room. It's not a proper movie theater. And that's fine. We publish that data on our film freeway page on hike. We are transparent about that. So when you submit, you might be in the conference room. But ironically, I think it has some of the best audio and it has some of the best projection.So even though it's the quote unquote least movie theater, like I actually think it has some of the best projection, best color. But venue is probably one of our biggest challenges and we continue to develop that. We continue to. Trying to innovate. We're trying to build our own screening room there on the campus.Like we're trying to use one of their big classrooms for it. And what we wanna do is we wanna turn it into a lounge. We wanna bring in like couches and sofas and comfy chairs where it's like much more of a chill environment in there. And that's the type of film we wanna screen in. There's some you can literally sit back, settle in and relax.So there's things that we're doing to create a better environment for our filmmakers and of course our audience, our guests at the festival.BEN: I love it. What's been the biggest reward?RUDI: The, I get to meet you. That's what the biggest reward is. I get to meet so many filmmakers. I get to hear their stories.I get to be inspired. I get to learn stuff. I was talking with a festival director a couple of days ago. Who asked me about how we do our audience award scores and how we process that and what they do. And I just like I lit up, I'm like, oh my God. It's such a better way, it's more efficient, it's easier on the staff.It's more representative of how the audience actually feels about the film, the way the scores are aggregated and counted. It's so great. I get to meet so many people in this world of film and every single day it's like a new, whole new world is opened up to me and I get to hear so many fantastic points of view.I get to see so many awesome films, like just how many great movies are out there is a cinephile. It's like the most rewarding thing in the world. I'm an addict. I'm totally addicted to it. It's so great.BEN: I love it. I remember I used to coach basketball in my first year as a head coach. I was like, yeah, everybody's gonna be pretty competitive, other coaches and so forth.And they were, and I was. But at the same time, when coaches would get together, it was just so supportive. And people are sharing, this is what I'm doing in practice. I'm looking at this offense, this defense. And I imagine it's the same with other film festival directors and programmers. Oh, yeah. Just a supportive environment comparing notes.RUDI: It is. And the more that I meet, the more I truly do understand. 99% of festival directors out there are programmers, people who work in it. They have some tie to cinema. Most of them are filmmakers. Those who aren't, have a deep passion and love for cinema and for storytelling, and.Everybody's a volunteer. Everybody has a day job. Nobody makes money on this. They do it from the love of their heart. They truly do. And the way that they serve their communities, the way that they serve their filmmakers, some of the cool ideas they come up with there's some really neat festivals out there with like very interesting hooks or events or whatever.And I think it is such an incredible ecosystem and I think I'm truly privileged to be part of it.BEN: What are some lesser known or maybe mid-tier festivals or local festivals that you love to attend?RUDI: Okay, so one of my favorite festivals I guess you said lesser known. This one is not lesser known, but Film Quest over in Provo, Utah, damn man, pe like festival people talk about building community. They're on a different level. They've built a family. Like everybody who goes to that festival is just so tight knit there. There's no other festival like Provo or sorry, film Quest in Provo. It is just, it's on another level. And how well they treat their filmmakers is fantastic.Some years ago I was invited to be a jury member at the Fair Film Festival, which is in Ferazi Kosovo. So that is in southeastern Europe. It's a landlocked country, just a little bit above Greece, a little bit north of Greece and north of Macedonia. And Fari is a small town. And I went to that festival and first off, wow.What a great festival. I strongly suggest you submit your film to fair film. It's so good. But the cool part of being in this European festival, and frankly a small European country, most of the films are international, obviously. And so there's filmmakers coming in from like Jordan and Spain and Germany and Slovakia and Slovenia and like all over the place, Greece, Turkey, you name it.And how interesting it is to have this incredible cross section of languages and cultures and peoples, but we're all united by this one singular thing. And that's our love for storytelling and our love for movies. It had to be one of the most incredible experiences of my life. And the next movie I make, taking it back to cosBEN: Fantastic.Just had a question. What was it? Oh okay. So with the huge caveat of besides making. A good film, a film that tells a story. Besides that, are there any tips or tricks, things on the margins that filmmakers can do when they're applying to festivals to be aware of? Sometimes festivals. Ask for a cover letter orRUDI: Yes.BEN: Press kit, things like that. Okay.RUDI: So with, sorry, my phone is loud. I should turn that down. So obviously with a huge caveat of make a good film or whatever, what's the easiest way to get it? All of the stuff on film Freeway, and I do have a video on this, on my YouTube page if you wanna check it out, where I give you a tour of film, freeway from the festival side of things like what the festival can see and how we see it and how we navigate it.On the festival end of things. We can see your cover letter, your screenings and awards your. Cast and crew information, your director's bio, your director's statement, your photographs, your EPK, that's your electronic press kit your trailer, all of that. All of that. As much of that as you can possibly make, you should make it.It's very important. And you never know which piece is gonna be more important to a particular film festival. For instance, here's something crazy. I was meeting with some of my programmers last night. They had a whole bunch of films that they wanted to recommend to go to the next level programming.And we require films. Tell us where in the world or where in the United States the film was made. And every single one of ‘em was California. California. California. California. California. Which fine, whatever. California has a big film industry. That's, it's a very big state, population wise. Makes sense, right?But I am sitting back thinking, okay. I don't want it just to be a bunch of California movies. We have a big country here. I would like to see something else. And something caught my attention. One of the filmmakers, their address was in Birmingham, Alabama, but the film was shot in California, so I am suspicious.I haven't dug into it myself. I'm suspicious either that filmmaker's from Alabama and they have moved to California, or that filmmaker lives in Alabama and they shot their film in California. So they're answering where it was shot correctly. But for me, I'm like, there you go. When everybody's from California.I want that unique perspective. I wanna see someone's from Alabama and what their perspective is now. I haven't watched the film yet. I don't know if it's what we're looking for. Obviously it's a good film if my programming team has recommended it, there's no doubt in my mind it's good film. Now there's other considerations we're gonna have, but.That alone was something, even my, like I myself did not know that I would be looking for. So filling out all of that data on film, freeway, all of your information that you possibly can, your cover letters your screenings, your awards, whatever it is, the more information you give us as a festival, the more we have to make our selections.And it only benefits you. It only helps you out. So filmmakers don't get lazy. Fill out all of that information. We need it. We use it. It's important. Just do it.BEN: You mentioned a meeting with your programmers last night. Take us inside that conversation. What does that look like? What do you discuss, et cetera.RUDI: So there's. There's a big programming team and it's divided up into two different groups. There's our kind of first round screeners and then there's our senior programmers and the senior programmers pretty much review the films that have gone through that first round of screening that are getting recommended to go onto the next one.So typically when I'm talking with my screeners and everything, it's a very different conversation on the bottom end of it where they're just sorting through all of the submissions versus a different conversation I have with the senior programmers who are on the top end of it. We're now trying to decide how to block films together, how we're gonna organize it, what's the schedule maybe look like, what's the overall tone and vibe of the festival going to be, okay.If we wanna have a sci-fi block, do we even have enough sci-fi films? If we don't. Where else can we find homes for ‘em? Stuff like that. So those conversations are a little bit more high end, if you will. And it tends to be less about the story of the film itself and more about how that film is going to fit into the festival.Whereas when I'm talking with the screeners, it's much more on the story end. Like what about the story did you like or you didn't like? Or what was the unique point of view? Or whatever. So depending on which group I'm talking to it, it's gonna be different. And then of course that divides out further on features and shorts and documentaries and narratives and music videos.So like obviously my conversation with the music video people are gonna be much different than my like short documentary people.BEN: Shout out to short documentary people as a documentarian primarily makes shorts I'll ask a question for us folks. In one of the videos, as I mentioned, you literally show here's what the scoring sheet looks like.Yes. And that was for narrative with, I think one of the categories was acting and so forth. So for a documentary or documentary shorts, what does that scoring sheet look like? What do those discussions entail?RUDI: Film freeway does not allow us to have more than one scoring sheet.So unfortunately, there's just this one scoring sheet that's for everything. What I tell my screening team, and we definitely double check everything, like there's multiple people who look at something. So it's not just one person's opinion. You have at least two, oftentimes three, pretty often four.So for something like documentary they skip over that. That's what they do. So if there's no acting in the film, they skip over that. They don't rate acting if there is no acting. But you'd be surprised. There are documentaries that have acting in ‘em. There are like docudramas or documentaries with recreation In the recreation is like actual scenes and performances and stuff like that.So in those cases, even though it's a nonfiction and a documentary, yeah, we'll still judge it for the acting ‘cause that's what it has. I get the question. I'm gonna hijack your question for a second, but it is applicable. I get the question, do we accept AI in our film festival, we do not have any official policy for or against ai, which scares some filmmakers.But we do rate AI on the same standards as we would anybody else. So when it comes to creativity and originality, guess what, you're getting a nothing. ‘cause AI didn't create it. AI is not original. AI just mashes together a bunch of information from other people. So that's no creativity and originality.Same thing for something like, I don't know, art design. If you have a AI character walking through a scene or whatever you're getting zero on your art design. Nobody built those sets. Nobody costumed that actor. Nobody was the makeup artist or the hair or whatever other art deck or, PD or anything on the set.So we will accept ai. We have accepted one single AI film so far because despite all of its quote unquote handicaps, and it was a music video. It still was successful in other categories that had a good enough score. We as a team sat down, said Yes, that it still is a good film. The audience is still gonna enjoy it.The filmmaker definitely had a vision with it. They wrote out a whole thing on like why they chose to use ai. ‘cause they're also an experimental filmmaker, so it made sense for them and everything. So we were like, you know what? That's legit. Let's put it in. But other AI submissions, like I got an AI children's animation the other day and I'm like they didn't animate it themselves.They didn't voice act it themselves. It's not getting good scores on any of these. So we'll see. We'll see. We'll see if it gets through or not, but already you're shooting yourself in the foot. So don't do ai.BEN: Okay. Couple little. I don't know, around the edges or micro questions. One of the things that you talked about in one of your recent videos was having a good poster and you talked about designing your poster for your film prudence.RUDI: Yeah.BEN: Talk, talk to me about,RUDI: I specifically gave my posters an example, not a great poster,BEN: But talk to me about that.For the no budget or low budget filmmaker that can't afford to hire a a designer to make a poster. Talk to me about poster design and how that impacts the presentation of the film for festivals.RUDI: So I strongly believe that a big part of filmmaking and marketing and packaging your film together, all of that is psychology.And as much as we want to sit back and say, Hey, don't judge a book by its, cover it, that literally goes against human psychology. People are not hardwired to do that. It, it is. In our DNA, it's not just a bad habit, it is literally a survival mechanism. So if you want to stand out, you do need to have everything put together.Your cover letter, your synopsis, your photographs, all of that, and of course all of your key art. That's your poster. That's any banners that you have, that's how you're going to be promoting the film. And you have to understand it's not just about making your film look pretty to get filmmakers to go, or sorry your programmers go, Ooh, and ah, it's a pretty film.We are looking at that as a mechanism for us to advertise the festival. You gotta understand if I have 150 films in the festival, I have to get an audience for those films. And the easiest way for me to do that is through your marketing materials. We don't have the capacity. To design marketing materials for 150 different films.We are relying on the filmmakers to do that so we can go out and promote the festival. So people show up to your screening, which I would presume is what you want if you're going to a film festival. So anything you're trailer, any photographs that you can provide, which some filmmakers only provide BTS photographs, BTS is fine.It's great. Give me some good key art I can also use, please. That's what newspapers, that's what the local news that's what podcasters, whatever, that's what they want to see. So that's what I can provide. And of course, your poster. Now, there are a lot of online tools to help in poster design, frankly, I don't have an excuse for making a bad poster like I did, which is one of the reasons I use it as an example is I am shaming myself being like, this could be better and it should be. But there's a lot of online resources that can help with poster design. And also for filmmakers who are a little bit strapped for cash, you would be surprised what people will do for in kind, service for service.So if you have a friend or if there's someone that you can find that's Hey, they'll design your poster if you can design whatever their website or whatever it is that your skills might be there, there's a lot of exchange that you can do on that part. So yeah your marketing, your packaging, all of that together is actually quite important.BEN: Such a great point. And I've written and published a memoir and through that, I've worked with other authors on, on. Both writing and marketing their books, editing and marketing their books. And I tell people the exact same thing. People judge a book by its cover all the time. And in this day and age, they judge it for listeners, I'm holding my thumb and forefinger part as a thumbnail on a computer screen.Yeah, that's the size. So even for a programmer or a festival director watching it on film freeway through their platform, they're not gonna see the poster like we see it in the movie theater. They're gonna see it as a thumbnail image. Yeah. So it has to work as a thumbnail image. And if you can't read the title as a thumbnail or can't make out what's on the image, what's on the poster as a thumbnail, then you've failed that part of the process.RUDI: One, one of the things that like really clued me into how important a poster is, I went to a film festival, I believe it was Kansas City Film Festival. Some years ago, and they had a bunch of posters of films out, but there was one that was like bright pink. It was like super bright pink and had like very eye popping design and everything on it.And it was like in a whole field of like dark drama posters that are all like gritty and everything. And I'm like that stands out. That really drew my eye to it. And I think that was like my big light bulb moment of like how important this stuff actually is. And one of the things that I've been saying for some years, I've said it on the channel, I think, I don't know, some, sometimes I record things and edit out.So I don't know what I've said on the channel sometimes but one of the things that I say is making a film is half of film making. The other half is marketing, the other half is getting butts in the seats. The other half is getting eyeballs on your movie. The other half is selling your film to an audience or a film festival or a distributor or a programmer or whatever you're trying to do with it.It's getting it out there. So making a film is half a filmmaking. The other half marketing, that's what it is.BEN: I'm just nodding along with everything you're saying and I've always felt both with films and with books, with art in general, you're trying to make an emotional connection from what's in your head and your heart to the audience.And if you don't do your job, getting your film out there and helping an audience come and see your film. Then you're not helping that connection. You're missing sort of the point of making this, unless it's just for yourself. It's for, it's to connect with other people and for other people to connect with your work.And that is marketing.RUDI: It's valid. If you're just making a film for yourself, that's absolutely valid. It's in art form. You can make a film for yourself, but if you're sending it to me at a film festival, you're not you're literally trying to find an audience. So these are the things you need to consider.BEN: I love it. I got two more just in the weeds detail questions.RUDI: Alright, let's do it.BEN: Let's talk description. And what I've seen ‘cause I'm in the middle of applying to festivals. And by the way just for. Listeners, this might interest you. So I discovered Rudi's YouTube page and I was like, this is so helpful.And then I went to the Wyoming International Film Festival page and all the transparency and statistics that, that Rudi puts out, that the festival puts out. And I realized, okay, so the short documentary I have is not a good fit for this festival. Exactly what Rudi's saying. So just for anybody listening, thank you for doing research.RUDI: Thank you. That's good. That's not a bad thing, right? That means it saves you time, it saves you money, it saves you heartbreak. It's so good. Do research before you submit. I'm sorry, but I, it's in, in almost every single one of my videos, I tell filmmakers, do your research before you submit. Find the festivals that gel with your film.And if it, if they don't screen the type of movie that you have, don't submit to ‘em. You're wasting your time, you're wasting your money. And the festival, like the programmer behind the screen, might love your film. They truly might love your film, but they're programming for a very specific audience and they know what that audience's taste is.So that's why they're driving specific films to that audience. So even if they love it, they might not include it, which is why you should always do your homework and do your research before you submit. I'm sorry to interrupt, but it's so importantBEN: And yes. And the flip side of that coin is now I also know what the Wyoming International Film Festival looks for.So in the future, if I have a doc or a film, I'm like, oh, this would be a great fit for this festival.RUDI: Yes.BEN: It helps both ways.RUDI: It does. And it helps you dial in. Which festivals you should target, which festivals are gonna help you with your specific goals. Whatever your goals are with the film it's gonna help you with your budgeting and your travel plans and your own personal calendar.It's gonna help with your mental health. It just, it helps on so many different aspects. And on the film festival side of things, I appreciate it when I hear from filmmakers say, Hey man, I looked into your festival looks good, but you don't have the kind of film that I have. And I'm like, not a problem man.Maybe I can point you in the right direction. Maybe I know some film festival programmers, I can make a recommendation, on your behalf too, that's not a bad thing. We love movies and we want to see them successful, but not every single fest or film and story is going to be successful in every single market.So it's very important to find your audience. And believe me, we are going to be cheering you the whole way.BEN: I want get back to my kind of in the weeds questions, but you've mentioned something that is big picture, that's so important. I feel like I've buried the lead here. And you mentioned this you've mentioned this multiple times in your videos.Is that a Phil, it's key. Maybe the most important part of this process is of the film festival submission process is a filmmaker needs to understand what are their goals in applying to a festival. Yes. So can you just talk a little bit about that?RUDI: So film festivals are a tool. And they can be a tool for many different things, but they are a tool.And just every single tool is not right for every single job, every film festival is not gonna be right for every film and vice versa. So before you go out to film festivals, you just need to ask yourself why? Why am I going out to film festivals? Why am I spending the money, the time, the energy, the effort?What do I want out of film festivals? And that's where you need to identify your goal. And the more specific you can be with the goal, the better it's going to be you going on your film festival journey. So for many filmmakers, a common reason they go out to film festivals is networking. So I'm gonna use that as an example.So let's say your goal is I want to network, I want to meet other. Filmmakers, I wanna meet, directors of photography and producers and other people that I can hire for my projects, or they're gonna hire me for their projects, and I want to build that network and I want to meet more filmmakers.Fantastic. Great. That's your goal. So the first thing that you need to do is you need to be looking at festivals that have networking events. And in this particular instance, you need to ask yourself two things. One, does it have networking? Is there in-person networking parties or networking events?And two, do the types of people that I want to meet actually attend those networking events. So us at the Wyoming International Film Festival, we have a pretty broad spectrum. We have filmmakers that are just beginning their journey. They're totally new, wet behind the ears. They're green they're just starting their journey.That's great. All the way up to every year we have multi Emmy award-winning filmmakers. Like people who do this professionally they're in unions or professional organizations, or they're a member of the academy, motion picture Arts and sciences or the TV Academy or sometimes like the Grammys and stuff like that.I, myself, I'm a professional editor, so there's people like me who professionally work, but they're like below the line. They're cinematographers editors, gaffers, what have you. So if your goal is to meet some like high-end producer that's gonna throw, a million dollars at your movie our festival is not the festival that's gonna help you with your goal.So you should skip over us because we don't have that kind of person in attendance. But if your goal is to meet other filmmakers at your level that you can collaborate with or get hired by or whatever. We're a great festival. We have tons of networking, and we bring in a ton of those filmmakers.We're a great event for you. So when you identify what your goal is and you're very specific about it, it's easier to identify which festivals you should start targeting. I take that one step further, and then once you've narrowed down which festivals are gonna help you with your goal, then you look into their history and see which of them have screened movies like yours in the past.So if you have a, you know I use the example, if you have a seven minute comedy coming of the age film, now you know which festivals have good networking, which festivals have the kinds of people you want to network with. Now you look at which ones have screened short coming of age comedy films in the past, and have a history of doing that.So that's gonna help you filter it even further. And by doing that, you're gonna really start to develop your film festival strategy. Now I do have some exciting news. There is something coming now, it's called Hike, H-I-I-K-E. It's hike with two I. And what Hy is doing, it's a submission platform similar to film Freeway, but among many of the tools that they're giving filmmakers, they're giving filmmakers customized festival strategies and they're scraping all of that data from film festivals, what they've programmed in the past.And when you as a filmmaker, join Hike, you take a little quiz, you tell them what your goals are, what your film is, you know how long it is, what the genre is, tell them about yourself. And they literally have. Data scientist who's built this like machine learning algorithm that pairs the data from the film festival to what the filmmaker provides.That literally gives you a compatibility score. So it's, it comes out and tells you, if you want to network with, professional filmmakers but not mega producers and you have a short comedy coming of age film Wyoming International Film Festival has that crowd screens those types of films and you would have a 90% compatibility.So it actually helps you develop your festival strategy for you.BEN: It's so needed. And Rudi has a great video on how to spot scam film festivals. Yes. That's something that is just prevalent these days. So for filmmakers who are getting ready to submit, I encourage you to watch that video. I'll link to it in the show.I'll link to everything that we're discussing in the show notes. The. So Rudi talked about one goal a filmmaker can have is to network other goals at various points in my, film festival my limited film festival career I've applied to festivals ‘cause I wanted to go to that city, new Orleans Fest, new Orleans Film Festival.TravelingRUDI: is totally legitimate reason to go.BEN: People apply because they want distribute, they wanna meet distributors or financiers for the next film. Although, that's what everybody wants. SoRUDI: you, you would be surprised. So in, in 2018, I had a feature film and my, my goal like most feature films was to land a distribution deal.But I was like, that's not specific enough. There are many steps to land a distribution deal. So what I need is I need good press on my film. So that was a goal. So I wanted to target festivals that had press. I wanted laurels. I wanted to win some awards with it, but I also knew my film was. Small and kind of small scale.So it wasn't gonna win laurels at big festivals. So I was like, okay, I need festivals with press. I need festivals that are legitimate and above board, but also small enough where I'm gonna be competitive. And then I wanted to actually meet distributors. And I know they only go to big festivals, so I actually had to target three different kinds of festivals.‘cause I had three, let's call ‘em conflicting goals with my own film. So that's what I did. I did a split strategy. I targeted festivals where I was gonna be this tiny little fish in a very big pond. And no one's really gonna notice me, but I'm just happy to be there. I targeted festivals where I know that I was going to get very good press and very good reviews on the film.And I targeted festivals that were small, still legitimate, but I was gonna be competitive and maybe bring home some trophies. And so that was my strategy and it worked, and I landed a distribution deal.BEN: That's so great. I, I'd love to do a part two at some point we can talk distribution deals and all of the, yeah.Things like that. But I think for people listening, the big takeaway is even with this multi-pronged goal, three different goals connected to each other. Once you identify what your goals are, then you work backwards and you create your strategy to Yes, to achieve those. Okay. Back to the two in the weeds.Two more in the weeds questions. Yeah. So description, and as I'm looking at other film descriptions, and I saw this at USC all the time as well, and we talked about earlier, filmmakers wanting to sit in emotion or sit in something traumatic and have the audience experience that I notice a lot of times in descriptions of short films.Can so and so come to terms with this? Can, and just as someone who has a little bit of experience marketing stories, where's the action? What's the active what's this person actively trying to accomplish, rather than can they just come to terms with something? Can you talk a little bit about film description, just three or four lines.What pops?RUDI: So just like your poster, just like your marketing and everything, a film description is your way to reach through the screen, grab the audience, grab the programmer, and pull them into your movie. Keep in mind, your whole entire goal is to get people to watch your film, get them excited about your film.And so if you just have a very drab, like description that's just yeah, has to face consequences for a decision they made or come to terms with something when I, that's a good V one, that's a good place to start, but that's not going to get an audience excited about your film.I saw film, I don't know if it was at my festival. It wasn't at my festival. We didn't screen it, but I'm saying, I don't know if it was submitted to my festival or if I saw it at another festival, but I remember one of the descriptions it was great. It was whatever the two character names were, John and Jane, I forget what the characters are, but like John and Jane are on a date, there's a bomb in the other room.I I hope the date goes well, or something like that. Let's hope the date goes well. And I'm like, what is this movie? That gets you really excited for it. You're. It, it creates so much mystery. And also just the cavalier way that it was written immediately tells me this is gonna be a comedy, or it's not taking itself too seriously.It's not some like gritty, dive into the underworld or whatever. Like just how blunt it was about the dis of the film and just that like small little description. I know I'm paraphrasing what it was, but it stuck with me for years at this point. ‘cause I'm like, that is how you write a description for a film.That is how you get someone excited to see what is this movie about? Let's jump in. Piggybacking off a description. Titles are another great way to do that. In, in my own repertoire of films I've had film called Prudence. Okay, fine, whatever. Prudence doesn't really tell you much about that film.I had a film that I'm very proud of. It's artsy, it's a little bit magical realism and it's called in this gray place, and it has that artsy mystique around it in this gray place. And I love that title. I did it, I did a film back in film school. It's terrible, but the title's great.It's called Back to Fort Russell. It was a Western and I, to this day, it's one of my favorite titles that I've ever had. But it tells you something. It clues you into what this film is going to be, what the journey of this movie is going to be. And some films do that better than others. And some films, yeah, it's not necessary.But I, I get more excited when I hear something like the Texas Chainsaw Massacre than I do something that's just like love. Or mom or something.BEN: I think this is the last question. So again, with all these little details, cover letter, talk to me about cover letters.RUDI: It's so interesting you asked me that question ‘cause hearing about four or five days, I'm posting a video on the YouTube channel about cover letters. It's short, it's only four or five minutes long, but cover letters are so important.Should absolutely write a cover letter. And a couple of days ago I was talking with programmers at dances with films, and if you don't know dances with films, look ‘em up. They are an incredible film festival. They are in the big leagues for sure. And I was talking with a couple of programmers and I asked them about covert letters and they said, it's so important it.How the filmmaker is going to put an audience in the theater is very important for their festival. How they're going to get people to attend is very important for them and they're like, a good indication in a cover letter is when they, the filmmaker indicates how they're going to market their film and they use the example of football.Let's say it's a movie about football. They're like, if it's a movie about football and you tell me in the cover letter that you're part of several like football organizations, or you're gonna be reaching out to sports organizations or youth organizations for sports or something like that, to attend the film.That's a very good indication for them in the cover letter. For me, I think a cover letter is very important in that it shows. You're going the extra mile to show the festival you care. You're not just submit and quit. We're not just one festival on a list of 50 that you're submitting to. There is a reason you want to screen with us, and that's a specific reason.Either you feel that your film is good fit for our audience, or there's something that you want to connect with. In Wyoming, I had one cover letter and we did accept this film and it was really funny. They put in their cover letter like their film was a comedy, so their cover letter was also very comedic, but they're like, honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.And I laughed. I laughed so hard at that and I'm like. But that shows me they care. Like they want to be there. And the film was good and it was funny and we screamed it and they were there. So it's a way to show a film festival enthusiasm and it's way to inform the festival about yourself, about your film, and how that's gonna gel with their particular event and their audience.BEN: I love it. And that reminds me, I got one more, I got a bonus question. Yeah. Can you talk about applying early?RUDI: Yes. Statistically, when I look at our own data, statistically, it does seem to be that the earlier you apply, the better chance that you have. And so I don't want to give the impression that if you applied late.You have no chance. I think in the video where I literally broke down the data and the statistics, I think at our festival we had a one in five chance of getting in on the late deadline, which is about a 20% acceptance rate. But it was much higher the earlier it came in. So just with the raw data taking out my opinions, my emotions on it, whatever, just the data itself shows earlier is better.Now, here's where my opinions and my feelings towards it come from. I think it's a couple of things. One, when you get in early, you set the pace for the rest of the festival, you're telling us, okay, it's a drama. We're gonna compare your film against others. Like you have now become the benchmark that we're gonna compare other films to when it comes to like dramas or whatever.What it also does. It's something I'm going to discuss in my video and cover letters, but it also engages something, what's called mere exposure effect in psychology, which is essentially the more that you are exposed to something, the more preference you have towards it. Which means if you get in early, you are exposing yourself, your film, and your story to the programmers more often and more readily than late submissions are.So it's more likely that the programmers form some attachment to your film, and that's just human nature, that's just psychology. There's some practical reasons for it as well. Obviously, earlier submissions, earlier deadlines are cheaper, so it's better to get in. It's just gonna cost you less money to do and then lastly, there are many festivals that are developing their program as they go. So as films are coming in, they're shaping. We got a ton of dramas. Maybe we need two drama blocks, or, we, we don't have enough sci-fi for a sci-fi blocks, we gotta spread it out or whatever. So if you come in late, you're now trying to elbow some other film out of the way in order to find your screening slot.Which don't get me wrong, there are plenty of programmers that are absolutely gonna go to bat for you. They're gonna fight hard to get you in. Doesn't matter if you come in early or late or whatever, but the chances are just better. And the data shows that if you get in early. All that said, a couple of years ago, the very last film that came in with only two hours left in our deadline, we ended up programming it.So it, it is possible.BEN: Rudi, I cannot thank you enough. I can't tell you how helpful this has been. There's so much great information for filmmakers. Filmmakers submitted to festivals, people just interested in going to festivals. So thank you so much for taking the time.RUDI: Hey it's always a pleasure.I always love talking film festivals and for any filmmakers out there, head on over to YouTube hit up the Film Festival Guide. That's my YouTube page. I'm coming out with videos every two or three weeks. That's about what I put ‘em out there for. So if you need any guidance or any, I don't know, insight for film festivals that's where I am.BEN: Film Festival Guide. I'm a subscriber. I can't recommend it enough. Any other social media where people can find you?RUDI: Oh no, I'm terrible on social media. YouTube's enough for me right now.BEN: So Film Fest.RUDI: I will probably expand in the future and I'll probably make some announcement on the YouTube channel.Got it. But for right now, I'm just trying to get good information out there to as many filmmakers as possible.BEN: Thank you so much for doing that. It's such a huge benefit for film.RUDI: Thank you very much for the support and thank you very much for having me on. I enjoyed this. This was a lot of fun.BEN: Me too. This was great. Thank you. And that was my interview with Rudy Womack, director of the Wyoming International Film Festival and creator of the great YouTube page, the Film Festival Guide. Hope you enjoyed this episode. If you did, please forward it to one person. Thank you and have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com
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SOBRE A OXYGEN CHURCH Uma Igreja Irresistível Em obediência a uma palavra especifica do Espírito Santo, depois de um tempo de busca da presença de Deus, nossos pastores receberam uma direção clara. Comece aqui em Marília a Oxygen Church, hoje entregam nas mãos de vocês a chave de algo grandioso que irá acontecer em Marilia. Algo grandioso começará desta cidade para as nações. Foi quando começamos as reuniões em uma casa com apenas 20 pessoas.ENCONTRE-NOS NA MÍDIA SOCIALSite: https://oxygenchurch.com.br/ Facebook: https://www.facebook.com/aoxygenglobal Instagram: https://www.instagram.com/aoxygenglobalTiktok: https://www.tiktok.com/@oxygenglobal
Wat gebeurt er als je Pete Townshend van The Who een DM stuurt?Singer-songwriter en gitarist Inge Lamboo deed het en hij reageerde.In deze aflevering van Gitaarmannen, de podcast praat Ed Struijlaart met Inge over haar liefde voor de gitaar, haar mashups die stuk voor stuk viral gaan, songwriting, gear en wat er gebeurde toen ze contact kreeg met een van de grootste rocklegendes aller tijden.
Creating Safe Spaces for Our Kids: Rudi & Brady’s Vulnerable Conversation In this deeply moving episode of the InPowered Life Podcast, Rudi Riekstins sits down with his 11-year-old son, Brady, to talk openly about parenting, emotions, and the importance of creating a safe space for honesty. Brady courageously shares his personal challenges with self-worth, expectations, and emotional pressure, while Rudi reflects on the lessons and humility that come with fatherhood. Their conversation offers hope, healing, and a powerful reminder that our greatest strength as families lies in listening, love, and vulnerability.
AI is rewriting the rules of how clients find and trust real estate professionals. If you're not being mentioned, cited, or featured online — you're invisible to the next generation of search.In this episode of Icons of Real Estate, host Tomas Fonseca sits down with Rudi Davis, founder of KeyCrew Media, to explore how AEO (Answer Engine Optimization) is replacing SEO, and how agents can use AI-driven visibility to attract leads before their competitors even know what's happening.
This month's episode offers a fresh perspective on an old debate. Jettisoning outdated modes of analysis that emphasize race vs. class, guest Rudi Batzell illuminates the materialist underpinnings of racialized working-class politics in the U.S. and British empires. Employing a transnational approach, Batzell shows, for example, how land reform in Ireland helped set the British labor movement on a trajectory towards more inclusive unionism, while, in the U.S., northern industrialists' ability to recruit landless African Americans from the U.S. south undermined working-class solidarity in the U.S. and lay the foundation for the more narrow craft unionism of the American Federation of Labor (AFL). Later, we discuss the anti-immigrant and whites-only policies of labor unions in the U.S., Australia, and South Africa, wrestling with the white working-class movement to restrict immigration. The history presented here contains some hard truths about the difficulties of organizing across fractured working-classes, while also making the case for reckoning with this history as a necessary precondition for building a more equitable and just world.
Simon Schwarz kennt ihr als Rudi aus den Eberhofer Krimis, aus dem Tatort oder als Kbarattisten. Jetzt ist er auch unter die Buchautoren gegangen und zeigt sich in "Geht´s noch" von einer neuen Seite: als engagierter Aktivist für Umweltschutz. In dieser Bücher sind wie Kekse Podcast Folge spricht Dagmar Hager mit ihm u.a. über seine wichtigste Lebensentscheidung, sein ADHS, warum Sylvester Stallone sein Lebensretter war, er niemals Dancing Star sein wird, und natürlich auch darüber, warum er ein solches Buch geschrieben hat. Mehr Infos auf www.dagmarhager.com
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SOBRE A OXYGEN CHURCH Uma Igreja Irresistível Em obediência a uma palavra especifica do Espírito Santo, depois de um tempo de busca da presença de Deus, nossos pastores receberam uma direção clara. Comece aqui em Marília a Oxygen Church, hoje entregam nas mãos de vocês a chave de algo grandioso que irá acontecer em Marilia. Algo grandioso começará desta cidade para as nações. Foi quando começamos as reuniões em uma casa com apenas 20 pessoas.ENCONTRE-NOS NA MÍDIA SOCIALSite: https://oxygenchurch.com.br/ Facebook: https://www.facebook.com/aoxygenglobal Instagram: https://www.instagram.com/aoxygenglobalTiktok: https://www.tiktok.com/@oxygenglobal
In this episode of The Rainmaking Podcast, Scott Love welcomes back Rudhir “Rudi” Krishtel, former patent litigation partner at Fish & Richardson, former senior patent counsel at Apple, and now executive coach and founder of Krishtel. Rudi discusses “Overcoming Pitfalls to Becoming a Rainmaker” and shares practical insights on how lawyers can shift their mindset to grow their book of business. He explains that business development is 80% mindset and 20% skillset—most lawyers don't need more tools; they need a new way of thinking. By reframing marketing as helping, not selling, attorneys can replace fear and hesitation with purpose and authenticity. Rudi also outlines how to identify your smallest viable market—the eight to ten people or companies most aligned with your expertise—and focus all your efforts on being helpful to that group. Through strategic clarity and mindset realignment, professionals can eliminate fear of rejection, become more consistent in outreach, and build a sustainable business development playbook. Rudi concludes with three action steps: remember you're helping, define your smallest viable market, and take concrete, helpful actions toward that audience over the next 90 days. Visit: https://therainmakingpodcast.com/ YouTube: https://youtu.be/8Zwzm00eb9k ----------------------------------------
Sendung vom 28.10.2025 Besuchen Sie uns gerne auf den anderen Plattformen:https://www.youtube.com/@oe24TV/featuredoe24.tvtiktok.com/@oe24atinstagram.com/oe24.at
SOBRE A OXYGEN CHURCH Uma Igreja Irresistível Em obediência a uma palavra especifica do Espírito Santo, depois de um tempo de busca da presença de Deus, nossos pastores receberam uma direção clara. Comece aqui em Marília a Oxygen Church, hoje entregam nas mãos de vocês a chave de algo grandioso que irá acontecer em Marilia. Algo grandioso começará desta cidade para as nações. Foi quando começamos as reuniões em uma casa com apenas 20 pessoas.ENCONTRE-NOS NA MÍDIA SOCIALSite: https://oxygenchurch.com.br/ Facebook: https://www.facebook.com/aoxygenglobal Instagram: https://www.instagram.com/aoxygenglobalTiktok: https://www.tiktok.com/@oxygenglobal
Jessica reports LIVE from Jakarta while Spencer analysis every detail from GymCastic headquarters on the first day of event finals! World Championships Headquarters Get for all Jakarta Worlds Videos, Interviews, Podcasts, Fantasy, Guides Extended Episode + Live Q&A (Members) +30 extra minutes of analysis, behind-the-scenes secret stories, and answering your questions. Here's how to ask questions live. Can't make it live? Add Club bonus episodes to your favorite podcast player (instructions here). Tip: After logging in, refresh this page and the extended player will appear below. Headlines IOC stops Olympic talks with Indonesia over Israeli athlete ban How to Report Exploitative Photography during a FIG meet Contact the FIG and LOC safeguarding officers on site. They are listed in the work plan, which is accessible on the event page (e.g. Jakarta: https://live.gymnastics.sport/event_detail.php?idevent=17810 They can also be reached by phone or WhatsApp. Anonymous reports can be filed directly to the Gymnastics Ethics Foundation FIG Safeguarding page Chapters 00:00 – Intro & Sponsors — Gymnastics Medicine, Club Gym Nerd 02:00 – Welcome from Jakarta: Jessica & Spencer on Day 1 of Event Finals 03:40 – Headlines: IOC vs. Indonesia, Fujitsu robots & FIG ethics 08:10 – Are the medals light or heavy? 08:35 – Women's Vault Final 09:00 – Melnikova, Fontaine & Josc medal recap 09:45 – Deng's vault crash & DNS rule explained 12:30 – Antwerp flashback & Voinea precedent 14:15 – Valen's “no-pike” Rudi & judging notes 15:40 – Kalmykova, Schönemaier & Fontaine highlights 20:05 – Melnikova's Cheng vs. form deductions 21:30 – Vault wrap-up 22:20 – Women's Uneven Bars Final 22:45 – Hit-a-thon! Skye Blakely sticks 24:20 – Melnikova & McDonald clean hits 26:10 – Yang's no-release issue 27:30 – Zoya's one-leg heroic routine 29:20 – Bars recap 30:00 – Men's Floor Final 30:25 – Jake Jarman's triple-double clinic 32:05 – Luke Whitlock & Yulo analysis 34:10 – Minami's honest fall 35:25 – Milad's Shushunova & artistry talk 37:05 – Floor medal recap 38:00 – Pommel Horse 38:20 – Highlights & scoring notes 41:00 – PH results 41:40 – Rings Final 42:00 – Whittenburg, World Champion at 31 43:20 – Adem celebration & medal reaction 46:00 – Nelson's style points 48:20 – Awards of the Day & BTS Teaser 48:40 – Best routines, surprises & Club Gym Nerd info 52:00 – Live Q&A & upcoming finals preview 54:35 – Show Close 55:00 – Tomorrow's coverage preview & sign-off from Jakarta How Do I Watch the Competition? All sessions of the competition will be streamed on Eurovision Sport. Follow along here! Gymnastics Indonesia's YouTube channel will stream all qualification sessions Live scores from the FIG and Swiss Timing Check out NBC's behind-the-scenes mini-doc on the US Women's World Trials US viewers check out Peacock and NBC broadcast schedlue here. GymCastic Updates Subscribe to our YouTube Channel Coming Up 6 days of LIVE podcasts at World Championships in Jakarta Club members get extended coverage and can join us live to ask questions immediately after the meet Play our World Championships Fantasy Game! Win a Club Gym Nerd Scholarship: Go to our Forum > Show Stuff > GymCastic Scholarship We are matching every new sponsorship If you would like access to the club content, but aren't currently in a position to purchase a membership, all you need to do is fill out the form that's linked in our message board If you would also like to sponsor a scholarship, please email editor@gymcastic.com. Thank you! Support Our Work Club Gym Nerd: Join Here Become a Sponsor: GymCastic is matching all donations Nearly 50 scholarships have been awarded so far Learn More Headstand Game: Play Now Forum: Start Chatting Merch: Shop Now Thank you to our Sponsors Gymnastics Medicine Beam Queen Bootcamp's Overcoming Fear Workshop Huel Daily Greens Ready to Drink - Get 15% off your purchase for New Customers with our exclusive code GYMCASTIC at huel.com/GYMCASTIC. Use our code and fill out the post checkout survey to help support the show! Resources Jakarta schedule & times: See our live podcast times on the Worlds HQ schedule Guides: Download the quick-reference guide on the Jakarta Headquarters page The Balance Beam Situation: Spencer's GIF Code of Points Gymnastics History and Code of Points Archive from Uncle Tim Kensley's men's gymnastics site Neutral Deductions Unlock the Extended Episode Join Club Gym Nerd → Choose a plan Complete checkout — your site account is created. Log in here → /my-account/ Return to this page and refresh. The extended player appears automatically.
Hallo liebe Hobbits und solche, die es werden wollen!In dieser coolen HKF (Halbe-Kapitel-Folge) wird nochmal richtig ein Fart aufgenommen. Eure beiden Rebellen aus Regensburg säubern mit euch gemeinsam komplett das Auenland. Zumindest wird der Widerstand formiert – und das macht Mut und Lust auf ein finale furioso.Also macht euch bereit und legt ein vorletztes Mal die Kampfmonturen an.Viel Spaß!
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SOBRE A OXYGEN CHURCH Uma Igreja Irresistível Em obediência a uma palavra especifica do Espírito Santo, depois de um tempo de busca da presença de Deus, nossos pastores receberam uma direção clara. Comece aqui em Marília a Oxygen Church, hoje entregam nas mãos de vocês a chave de algo grandioso que irá acontecer em Marilia. Algo grandioso começará desta cidade para as nações. Foi quando começamos as reuniões em uma casa com apenas 20 pessoas.ENCONTRE-NOS NA MÍDIA SOCIALSite: https://oxygenchurch.com.br/ Facebook: https://www.facebook.com/aoxygenglobal Instagram: https://www.instagram.com/aoxygenglobalTiktok: https://www.tiktok.com/@oxygenglobal
In dieser Episode bespreche ich das Buch "Follow the Sun" von Helmut Zierl und gebe eine umfassende Rezension zu diesem autobiografischen Werk, das im Jahr 2020 erschienen ist. Das Buch handelt von Zierls Jugend im Jahr 1971, als er im Alter von 16 Jahren mit einem Rucksack und nur 300 Mark in der Tasche auf der Suche nach dem Sinn des Lebens gen Süden aufbricht. Der Klappentext beschreibt bereits eindrucksvoll, dass ihm sowohl die Schule als auch sein Vater den Rücken gekehrt haben, was ihn dazu veranlasst, die Freiheit und die Abenteuer des Lebens in den Vordergrund zu stellen. Ich tauche tief in die Erlebnisse von Helmut Zierl ein, die seine drei Monate voller Liebe, Sex und Drogen prägen. Diese Erlebnisse bilden nicht nur die Grundlage seiner Lebensgeschichte, sondern sind auch besonders prägend für seine spätere Karriere als Schauspieler. Zierl zeigt in seinem Buch, wie er sich durch seine Erfahrungen an seine Grenzen bringt und dabei wichtige Lektionen über das Leben lernt. Im weiteren Verlauf meiner Rezension beleuchte ich die Begegnungen, die Zierl in Brüssel hat, wo er sich eine neue Familie aus Freunden aufbaut. Ich teile meine eigenen Gedanken und Vergleiche mit meiner Jugend, in der auch ich ähnliche Wege gegangen bin, vielleicht nicht mit demselben Ziel, aber mit demselben Drang nach Freiheit und Selbstentdeckung. Zierl beschreibt, wie er bei Claude einzieht und mit neuen Freunden wie Haneke und Rudi eine intensive Zeit verbringt. Ich reflektiere über die verschiedenen Themen, die er anspricht, darunter die Herausforderungen und Höhen und Tiefen von Beziehungen und der Sucht. Eine zentrale Erfahrung des Buches ist die Auseinandersetzung mit dem Verlust und das Heimweh, das Zierl zunehmend empfindet. Ich gebe Einblicke, wie seine Erlebnisse mit Drogen und Freundschaften, die er schließt, ihn dazu bringen, alles zu hinterfragen. Seine Geschichten über Frauen und verlorene Freundschaften sind sowohl schmerzhaft als auch schön und zeigen die vielfältigen Facetten des menschlichen Zusammenlebens. Zierl vermittelt die Lektionen, die er im Leben gelernt hat: Werte wie Respekt, Toleranz und Akzeptanz sind nicht nur wichtig, sondern auch notwendig, um die vielen verschiedenen Facetten des Lebens zu erfassen. Ich betone die Bedeutung von Familie, sei es durch Blut oder durch Freundschaften, die zu einer Familie werden. Als ich meine Rezension schließe, ziehe ich den Schluss, dass Helmut Zierl nicht nur ein talentierter Schauspieler ist, sondern vor allem ein Mensch, von dem wir viel lernen können. "Follow the Sun" ist nicht nur eine Reise durch seine Jugend, sondern auch ein eindringlicher Aufruf zur Reflektion über die eigenen Werte und das, was es bedeutet, wirklich zu leben.
Pedro Elizio, o Rudi Croza e Felipe Elizio, o Willy Wurst, retomam a dupla que marcou uma geração de blumenauenses através dos icônicos personagens.Os alemães mais queridos do Vale do Itajaí conversaram sobre a volta, relembraram esquetes e cantaram o novo Single "Meu Caneco"No final, se emocionaram com a relação bonita entre pai e filho que cultivam.
Ein Interview mit Nathan Knight, Rudi Tissen und Alexander Reindl auf der E21-Regionalkonferenz Österreich 2025.
In this episode of the InPowered Life Podcast, Rudi and Anniston Reikstins welcome Saul Blinkoff, Disney filmmaker and creative powerhouse, for a heartfelt discussion on resilience, faith, and chasing dreams against all odds. From childhood inspiration to the Disney animation studio, Saul shares powerful lessons on embracing failure, working with purpose, and finding strength in faith. His stories — from rejection to redemption — remind us that success isn’t about talent, but tenacity.
Rudi van der Merwe, Portfolio Manager at Adviceworx and Stephen Grootes analyse top business news of the day as well as global and local financial markets. The Money Show is a podcast hosted by well-known journalist and radio presenter, Stephen Grootes. He explores the latest economic trends, business developments, investment opportunities, and personal finance strategies. Each episode features engaging conversations with top newsmakers, industry experts, financial advisors, entrepreneurs, and politicians, offering you thought-provoking insights to navigate the ever-changing financial landscape. Thank you for listening to a podcast from The Money Show Listen live Primedia+ weekdays from 18:00 and 20:00 (SA Time) to The Money Show with Stephen Grootes broadcast on 702 https://buff.ly/gk3y0Kj and CapeTalk https://buff.ly/NnFM3Nk For more from the show, go to https://buff.ly/7QpH0jY or find all the catch-up podcasts here https://buff.ly/PlhvUVe Subscribe to The Money Show Daily Newsletter and the Weekly Business Wrap here https://buff.ly/v5mfetc The Money Show is brought to you by Absa Follow us on social media 702 on Facebook: https://www.facebook.com/TalkRadio702 702 on TikTok: https://www.tiktok.com/@talkradio702 702 on Instagram: https://www.instagram.com/talkradio702/ 702 on X: https://x.com/CapeTalk 702 on YouTube: https://www.youtube.com/@radio702 CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/Radio702 CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.
Reading your diagnosis stories today! Everyones stories and experiences are drastically different and each story can be so helpful in helping others find a proper diagnosis. Podcast Rundown:Favorite GF bite: Rudi's GF Sandos (aka uncrustables) https://www.instagram.com/rudisbakery/Favorite IG account and brand: Sweet Loren's - https://www.instagram.com/sweetlorens/PODCAST SPONSOR: ANTONINA'S GF BAKERYhttps://antoninasglutenfreebakery.com/Order CELIAC CLUB merch today! https://goodglutenfreegrub.com/collections/all
11. oktobra 2025. u Bosanskom kulturnom centru Leppington u Sydneyu, svečanim programom i druženjem zvanično je započela s radom nova asocijacija građana "Bosanska krajina Sydney".
Today's episode is with Angela, creator of Chronically Gluten Free: https://www.instagram.com/chronicallyglutenfree/She herself lives with Celiac but her young daughter was just diagnosed this year as well. She now how to navigate Kindergarden, playdates, field trips, school lunch and teaching her child how to advocate for herself too. It can be a lot. There is much to learn and Angela and I are here to help! Favorites from the week:Rudi's new GF "uncrustable dupes" https://www.instagram.com/rudisbakery/IG account: https://www.instagram.com/philhatesgluten/Fav Brand: https://www.instagram.com/simplemills/PODCAST SPONSOR: THE CELIAC SPACE + THE CELIAC APPDownload the app today!Apple: https://apps.apple.com/us/app/the-celiac-app/id6445896529Google Play Store: https://play.google.com/store/apps/details?id=com.celiac.theceliacspace&pcampaignid=web_share
In this episode of the InPowered Life Podcast, host Rudi Riekstins sit down with Human Design expert Emma Dunwoody to explore how understanding your unique energetic blueprint can transform your life. Emma breaks down the five Human Design types, shares celebrity examples, and explains how Human Design blends science and spirituality. Rudi shares his personal journey of discovering he’s a Projector, and Emma offers practical guidance on using Human Design to embrace authenticity, sovereignty, and self-trust. ✨ Human Design isn’t just theory—it’s a roadmap for living aligned, fulfilled, and empowered. What You’ll Learn: The fundamentals of Human Design & how it works The five Human Design types and their unique traits How Human Design differs from traditional personality tools The role of sovereignty and authenticity in alignment Practical tips for applying Human Design in daily life
Bengals get destroyed by the Broncos 28-3 on Monday Night Football. Kitty Katz, Timmy Turbo, John Ford and Al chat through the game (a bit) and pay tribute to Rudi Johnson.
Luerweg, Susanne www.deutschlandfunk.de, Corso
La cantina Bindella - a Vallocaia - è da anni una delle realtà vitivinicole di riferimento del territorio di Montepulciano, fra le primarie rappresentanti del Vino Nobile di Montepulciano. La Riserva Vallocaia, nell'annata 2021, conquista il titolo di migliore vino per l'estate 2025 oltre ai Cinque Diamanti DiWineTaste. Riconoscimento - quest'ultimo - conquistato anche da altri cinque vini e annate recensite nel corso dell'estate.
The Bindella winery in Vallocaia is a leading winery in the Montepulciano area since many years, among the main representatives of Vino Nobile di Montepulciano. The 2021 Riserva Vallocaia conquers the title of best wine for summer 2025, as well as DiWineTaste Five Diamonds. This recognition has also been earned by five other wines and vintages reviewed over the summer.
Rudi Johnson will be remembered for his life and his impact on his teammates, as Takeo Spikes shares in honoring him. In this tribute to Johnson, Takeo also shares a word of encouragement to all former and current NFL players. Subscribe To Our Podcast: https://www.thebtmpodcast.com/home Get Your BTM Merch: https://resid3ncy.com/collections/atlanta Creator, Host & Executive Producer: Takeo Spikes Executive Producer: Tutan Reyes Produced by Behind the Mask Media, LLC Videography: Cre8ive Soul Productions Audio Engineer: Cre8ive Soul Productions Sounds Powered by DJ JWATTZ Artwork: Jamaal Williams Patchwerk Recordings (c) 2025 The Behind The Mask Podcast Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
In this episode of the InPowered Life Podcast, hosts Rudi and Aniston Riekstins share their deeply personal stories of “coming out of the spiritual closet”—finally embracing and expressing their spiritual truth after years of hiding behind fear and social expectations. From psychic readings and intuitive experiences to leaving behind corporate roles and religious conditioning, they open up about the challenges and liberation of living authentically. Listeners will hear practical advice on how to overcome fear of judgment, honor their inner knowing, and align with a purpose-driven life. ✨ This episode is a powerful reminder that your authenticity is your greatest gift, and stepping into it not only transforms your life—it inspires others to do the same.
Paul and Jay are joined by Mo Egger as they unpack the problems that have surfaced with the Bengals. Come down to our next live show at BetMGM/Tom's Watch Bar at the Banks prior to Bengals-Lions on 10/5. Win tickets to Bengals-Steelers on Thursday Night Football. News: Burrow's back, injury updatesRemembering Rudi JohnsonHistory of early blowouts and red flag metricsCamarago Insurance Run, Pass or Boot: Who will start the Week 18 game? Burrow, Browning, not on team? Win tickets to Bengals-Ravens and get a no-obligation quote on your insurance: https://ckr72.share.hsforms.com/2jmquc5vLQ5qJ1OQHwAvYEgMo joins the show: How much of is on Zac Taylor? Jay's Got StatsAn unprecedented Bengals Growler Bet Jay's Got TriviaARBIES from MinneapolisWatch and subscribe on YouTube: https://www.youtube.com/@TheGrowlerPodcastThe Growler on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-growler/id1733476604The Growler on Spotify: https://open.spotify.com/show/70iJjqgPQrVzQ2pdOwVvDYLinks to socials, Growl Pal shirts, YouTube, podcast platforms and more: www.thegrowlerpodcast.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
BREAKING: Former Bengals RB Rudi Johnson DEAD at 45 possibly of CTE!
On this week's episode of the #NZXT Podcast... We have oolivia_ giving us (especially YOU) tips on how to become a streamer and some insights into working with companies (like us!) We also talk about her amazing cosplays and joining her very convincing group ruled by her mighty kitty, Rudi. But it's not a cult! Follow her on socials: https://beacons.ai/oolivia_
In this episode of the InPowered Life Podcast, hosts Rudi and Aniston Riekstins sit down with Dr. Thomas Hemingway, an ER doctor turned functional health expert, to explore how simple, science-backed habits can dramatically improve health and longevity. From protein-first eating and strength training to circadian rhythms, stress reduction, and sleep optimization, Dr. Hemingway breaks down practical steps you can apply today. He also shares insights on the gap between what doctors know and how they live, reminding us that true health is about prevention, not just treatment. Whether you’re a busy professional, entrepreneur, or someone who wants to live a longer, stronger, and more vibrant life—this conversation will inspire you to take action.
What does it take to transform fear into courage — and live with resilience, purpose, and authenticity? In this episode of The InPowered Life Podcast, hosts Rudi & Aniston Riekstins welcome Yohance Boulden, a former special operations warrior turned mindset coach and author. Yohance shares his extraordinary journey from the battlefield to personal transformation, revealing how facing fear, embracing vulnerability, and building emotional resilience shaped his leadership and coaching philosophy. You’ll discover: How facing fear repeatedly builds bravery Decision-making strategies from special operations leadership Why vulnerability and openness are essential for healing Tools to overcome procrastination, self-doubt, and “the drift” Lessons from fatherhood and raising high-agency children The five pillars of resilience for living strong and InPowered Whether you’re navigating fear, striving for leadership, or seeking a more meaningful life, this conversation will inspire you to take courageous action and embrace your authentic self. Connect with Yohance BouldenInstagram: @atravelin_man Connect with Rudi & Aniston RiekstinsInstagram: @the.inpowered.life.podcast Join the InPowered Life Community: rudiriekstins.com/community
In dieser Folge von SchweizWeit erkunden Miriam und Janna erneut das Berner Oberland – dieses Mal geht es nach Adelboden. Und der Auftakt könnte spektakulärer kaum sein: Wir heben mit dem Gleitschirm ab, schweben über Täler, Wasserfälle und Gipfel – und spüren, wie es sich anfühlt, frei wie ein Vogel zu fliegen.Mit dabei: die Tandempiloten Simon und Rudi, die uns sicher durch die Lüfte tragen! Anschließend unterhalten wir uns mit Chrigel Maurer, mehrfacher Welt- und Europameister im Gleitschirmfliegen, über die Anfänge des Sports, über seine ersten Flugversuche und darüber, wie die Perspektive aus der Luft und die Challenges im Wettkampf sein Leben veränderten. Er erzählt uns davon, wie es ist, mit Bartgeiern durch die Luft zu ziehen – und warum diese Region für ihn Heimat bleibt.Doch auch am Boden warten Abenteuer: Gemeinsam mit Roland „Roli“ Burn machen wir uns auf die Suche nach Gämsen, Murmeltieren und Steinböcken auf der Engstligenalp. Begleitet von Kuhglocken (und Kuhzungen!) und imposanten Wasserfällen entdecken wir, wie lebendig und facettenreich die Natur hier ist.Kommt mit uns nach Adelboden – in luftige Höhen, zu wilden Begegnungen und Geschichten, die nur die Schweizer Berge schreiben können.Vielen Dank an Tourismus Schweiz für die Unterstützung bei der Umsetzung dieser Folge!---------------------------------------------------------Über das Format “SchweizWeit”: Wie fühlt es sich an, auf einem Gletscher im Wallis zu stehen? Wie sehen die Berner Alpen von oben aus? Warum hat Luzern einen besonderen Bezug zur Musik? Wie schmeckt die vegetarische Küche in Zürich? Und welche Fossilien lassen sich im Tessin entdecken?In unserem Format „SchweizWeit – Geschichten und Klänge aus der Schweiz“ sind Erik Lorenz, Lydia Möcklinghoff, Janna Olson und Miriam Menz von “Weltwach” in der Schweiz unterwegs, um die Vielfalt dieses Landes hörbar und erlebbar zu machen. Mit Aufnahmen von vor Ort lassen sie euch eintauchen in ein Land, in dem Natur, Städte, jahrhundertealte Traditionen und moderne Ideen aufeinandertreffen. Sie begegnen Menschen, die ihre Heimat prägen, steigen auf Gipfel, wandern durch Wälder, paddeln auf klaren Seen, probieren sich durch die Schweizer Küche und nehmen euch mit in das Leben zwischen den schier endlosen Bergen und lebendigen Städten.Immer mit dabei: das Mikrofon, mit dem sie Geschichten und Klänge einfangen – vom Rauschen eines Gletscherflusses und Gesang der Vögel im Wald bis zur Käseproduktion auf einer Alm! So erkunden sie Region für Region dieses vielfältige Land. “SchweizWeit” erscheint mittwochs im Weltwach-Feed, rotierend mit den anderen Mittwochs-Formaten “Reiseflops” und “Weltwach Extrem”.Weitere Inspirationen für eure Reise in die Schweiz findet ihr auf der Website von Schweiz Tourismus. Hosted on Acast. See acast.com/privacy for more information.
Drift off with this gentle bedtime story about a girl, her dog, and the cat they meet one quiet evening. Together, they discover how friendship grows when we open our hearts to those who are different. Try my new course, The Gentle Trail to Sleep. It's unlike any other sleep course you've tried. To join, visit https://academy.awakenyourmyth.com/the-gentle-trail-to-sleep/ Your support is the cornerstone that allows me to continue crafting tranquil stories and meditations for you. For less than the price of a cup of coffee, you'll unlock an oasis of over 500 ad-free Listen To Sleep episodes, including 8 subscriber-only full length sleepy audiobook classics like Winnie the Pooh and Alice in Wonderland. Ready for an even more serene, uninterrupted listening experience? To subscribe, visit https://listentosleep.com/support To join my email group and get a bunch of goodies, go to https://listentosleep.com Sleep well, friends.
Rudi Riekstins has been named one of the Top 5 Coaches in the world by Thrive Global and a Top 20 Thought Leader by Business Insider. He's a leadership visionary, business mentor, and transformational speaker trusted by entrepreneurs, creatives, and even billionaires.But behind the accolades lies a truth we rarely talk about. Men have been fed a lie — that we must always be strong, stoic, and never show vulnerability.That conditioning disconnects us from who we truly are, leading to broken relationships, self-sabotage, and lives lived out of alignment.In this conversation, Rudi shares:The biggest challenge men face today and why it costs them their powerWhy 98% of people don't actually know who they areThe unconscious programs created in childhood that run our adult livesHow to stop self-sabotage and break destructive patternsThe daily practice that saved his life and can transform yoursWhy presence is the most powerful gift you can give yourselfHow to align your mind, body, and energy so you become magnetic to what you wantThis episode is a roadmap back to authenticity and power. If you've ever felt like you're living someone else's story, this is the conversation you've been waiting for.
The wearing of Medals and Awards is often a hot button topic amongst reenactors. In this, the latest in his series of deep dives, Rudi Lange looks at Assault and Close Combat Awards and tackles the thorny question of if they should be worn within the hobby. The book that Rudi references and recommends towards the end of the episode is... "The Face of Courage : The 98 Men Who Recieved the Knight's Cross and the Close-Combat Clasp in Gold" (Stackpole Military History) A big thank you to everyone who supports the podcast via Patreon - we appreciate every donation, no matter how big or small, and your regular contributions really do keep the show on the air. You can sign up for as little as $5 a month to unlock regular exclusive content! https://www.patreon.com/reenactorpodcast
This edition of Labor 131, presented by the National Labor Office of Blue Cross and Blue Shield Association, features Rudi Batzell, Associate Professor of History at Lake Forest College and former UAW Staff Organizer, who joined the America's Work Force Union Podcast to discuss his book “Organizing Workers in the Shadow of Slavery.” Ken Margolies, partner at Margolies, Potterton and Associates, joined the America's Work Force Union Podcast to discuss Union Search, a service helping labor organizations fill key staff positions. Margolies explored the growing need for executive search services in unions, the challenges of managing internal politics during hiring processes and strategies for objective candidate evaluation.
What if the only thing holding you back was the story you've been telling yourself?In this powerful and deeply personal episode of The InPowered Life Podcast, Rudi sits down with New York Times bestselling author, keynote speaker, and podcast host Jon Acuff to explore the soundtracks that shape our lives—our inner dialogue, our relationship with success, and the beliefs that either propel us forward or keep us stuck.Jon shares the exact frameworks he's used to write 10 bestselling books, transform his mindset, and help thousands of high performers replace overthinking with action. Together, Rudi and Jon unpack how to identify broken soundtracks, rewire your mental patterns, and step into the full potential you know you were meant for—with humor, heart, and tactical clarity.More from Don & Evonne:Buy Jon's book Soundtracks: https://jonacuff.com/soundtracksMore from Jon Acuff: WebsiteFollow on IG: @jonacuff In this episode, you'll learn:The 3-part framework Jon uses to write bestselling books—and how you can apply it to your own big ideaWhat a “soundtrack” is and how it silently shapes your lifeHow to identify the broken thoughts that hold you back (in just 60 seconds)The 3 questions to ask about any thought: Is it true? Is it helpful? Is it kind?Why mindset is the most powerful tool you use every moment of your lifeHow to shift from performance to purpose and find joy in the processWhy being kind to yourself is the foundation of lasting transformation
What does it really take to thrive in both business and love? In this powerful conversation, Rudi and Anniston sit down with Don and Yvonne Verity, co-founders of Clean Eatz, to unpack how personal growth, deep connection, and mutual support fuel their $100M+ brand—and their marriage.The couples discuss vulnerability, healing past wounds, leading together without losing individuality, and why growing as partners starts with growing as people. They also announce an upcoming transformational retreat experience unlike anything available today.More from Don & Evonne:Follow DonFollow EvonneCheck out Clean Eatz In this episode, you'll learn:You can't expect your partner to do the work for you—transformation starts within.Setting realistic growth expectations creates sustainable progress.Communication isn't one-size-fits-all—it requires honoring your partner's style.The strongest relationships allow room for both people to lead—in different lanes.Supporting each other's personal dreams is the foundation of co-creating something bigger.True connection comes from seeing and being seen without judgment.Transformation requires consistent integration—not just information.
"Each Seabridge Gold Share Represents $9,000 In-Situ Metal, Yet Trades for $16” says CEO Rudi Fronk in this MSE episode. Seabridge Gold presents an extraordinary tripartite value argument to investors claiming to offer: 1) more value per share than any other publicly traded metal producer; 2) the most gold per share of any public company; and 3) more copper per share than any other copper focused exploration and mining company. In this MSE episode, host Bill Powers interviews Rudi Fronk about his mining career, key lessons learned and the investment thesis behind Seabridge. Rudi recounts his early education in mining and finance at Columbia University, the lessons he learned from the multifold challenges faced by Greenstone Resources while he was at the helm, and how these experiences shaped his approach at Seabridge. He emphasizes Seabridge's guiding principles such as avoiding political risk, never building mines themselves, and focusing on gold ounce per share growth. The conversation also delves into two significant near-term milestones for Seabridge, including resolving a nuisance claim and announcing the joint venture partner for the KSM project. Rudi shares insights on the gold market, the company's strategic approach, and his commitment to Seabridge's long-term success. 0:00 Intro 0:54 Career path 4:04 What Rudi did wrong at Greenstone Resources 6:07 Seabridge Gold: Rudi's second chance 7:37 “I'm a control freak” 8:20 Seabridge: the most gold per share 10:22 Why the share price discount? 11:30 Two main catalysts 12:49 Courageous Lake spinout 15:27 Gold miner value destruction 17:40 Shareholders: listen to or ignore? 21:00 Investment thesis never changed 21:51 Stars aligning 26:05 JV partner announcement 27:58 Liquidation value? 29:01 $12,000/oz gold? 31:51 Rudi's retirement https://www.seabridgegold.com/ TSX:SEA NYSE:SA Sign up for our free newsletter and receive interview transcripts, stock profiles and investment ideas: http://eepurl.com/cHxJ39 This interview was not sponsored. Mining Stock Education (MSE) offers informational content based on available data but it does not constitute investment, tax, or legal advice. It may not be appropriate for all situations or objectives. Readers and listeners should seek professional advice, make independent investigations and assessments before investing. MSE does not guarantee the accuracy or completeness of its content and should not be solely relied upon for investment decisions. MSE and its owner may hold financial interests in the companies discussed and can trade such securities without notice. If you buy stock in a company featured on MSE, for your own protection, you should assume that it is MSE's owner personally selling you that stock. MSE is biased towards its advertising sponsors which make this platform possible. MSE is not liable for representations, warranties, or omissions in its content. By accessing MSE content, users agree that MSE and its affiliates bear no liability related to the information provided or the investment decisions you make. Full disclaimer: https://www.miningstockeducation.com/disclaimer/
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