Podcast appearances and mentions of sam beam

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. 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

The “I”s have it! And Lightnin' Licks Radio has the “I”s. Ten of them to be exact. Jay and Deon discuss their favorite vinyl records filed under the letter I. It's intimate and intense. It's immersive and inspiring though, ironically, they're idiots.--In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past half century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, idiotic, introverted award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-fifth episode. Together, they decided... to default back to the alphabet. Because they have a reasonably solid grasp of the alphabet and how it works. They had previously utilized the letters A thru H, so naturally, they went with I.The “I” mixtape:[SIDE I-1] (1) INTHEWHALE – Animals (2) The Ice Man's Band – People Make the World Go ‘Round (3) Icehouse – Walls (4) Ice Cube – Down for Whatever (5) Instant Funk – Never Let It Go Away [SIDE I-2] (1) Donnie Iris – Joking (2) The Impressions – I'm Loving Nothing (3) The Icicle Works – Starry Blue Eyed Wonder (4) Weldon Irvine – Morning Sunshine (5) Iron & Wine – Upward Over the Mountain [END]Sonic Contributors to the thirty-fifth episode of Lightnin' Licks Radio podcast include: Lee Moses, Brothers Johnson, Holland-Dozier-Holland, James Todd Smith. Grand Puba, Piere Cavalli, Azymuth, Star Wars and Gremlins read-along story books and Sesame Street, Cowboy Junkies, Weldon Irvine, Nina Simone, Donny Hathaway, A Tribe Called Quest, Yasiin Bey, Just Blaze, Memphis Bleek, Jay-Z, Earl Sweatshirt, Icehouse, Ivy Davies, Ice Cude, Leaders of the New School, Fred Gwynne, Joe Pecsi, The Bomb Squad, Da Lench Mob, N.W.A., Grand Master Flash & the Furious Five, Quincy Jones, Instant Funk, Day La Soul, Prince Paul. T-Connection, The Postal Service, Sam Beam, Iron & Wine, Another Nashville Coma. Big Country, The Icicle Works. INTHEWHALE, Sunny Day Real Estate, The Ice Man's Band, The Beatles, The Impressions, Curtis Mayfield, The Funk Brothers, Donnie Iris, The Jaggers, The Cruisers, Steve Miller Band, Ozzy Osbourne. Dres and Black Sheep, Menehan Street Band, The Stylistics, and the Clockers.*Review Magazine Readers' Choice 2023 (someone nominate us for this year please)Drink Blue Chair Bay flavored rums. Buy vinyl, tapes or CDs at Lightnin' Licks Radio's record store of choice Electric Kitsch in Bay City, Michigan, USA.

More than 20 years into the Iron & Wine project, 2024 finds singer-songwriter Sam Beam having released both a new studio album, 'Light Verse,' and a concert documentary film, 'Who Can See Forever.' Beam stopped by WNXP studios to discuss creative momentum and the importance in taking risks even though life, as he says in the documentary's trailer, has "no safety ropes." The Iron & Wine 'Light Verse' tour stops at Ryman Auditorium on Saturday, August 24.

"Theme From Daddy Long Legs" - Daddy Long Legs"Be Gone", "Mornin´ Noon & Nite", "Celaphine" y "Snagglepuss" - Daddy Long Legs; "Love Starvation", "Trombone" y "Raincoat In The River" - Nick Lowe con los Straightjackets; "One Way To Pray", "Every Songbird Says" y "Kiss Me Quick" - Sam Beam & Jesca Hoop; "City of Lights" - Angus & Julia Stone; "Panda", "Sosi B" y "Sweet" - Ben Sidran  Escuchar audio

June's special edition of Roots Rendezvous. It is Valley Rendezvous. A podcast in which we go down into the valley one by one to rendezvous with 18 musicians to hear songs about valleys. PLAYLIST: ARTIST - TRACK. 1 The Civil Wars - From This Valley. 2 The Devil Makes Three - Down In The Valley. 3 Annie Keating - In The Valley. 4 James McMurtry - Valley Road. 5 Rose Cousins - Lost in the valley. 6 Cassandra Wilson - Red River Valley. 7 The Handsome Family - Down in The Valley Of Hollow Logs. 8 Los Lobos - The Valley. 9 Sam Beam and Jesca Hoop - Valley Clouds. 10 Drive by Truckers - The Monument Valley. 11 Bow Thayler - Blackstone Valley. 12 M Ward - Girl From Conejo Valley. 13 Tracy McNeil & The Goodlife - The Valley. 14 Scott Miller - This River's Yours This Valley's Mine. 15 Bruce Hornsby & The Noisemakers - The Valley Road. 16 Carlene Carter - Lonesome Valley. 17 Jon Langford & Skull Orchard - Death valley day. 18 Robert Plant & The Soweto Gospel Choir - Valley Of Tears . Size: 187 MB (196,336,206 bytes) Duration: 1:21:46

My guest today is Sam Beam, who writes and records music as Iron & Wine. Sam is an incredibly beautiful and vivid songwriter who has just released a great new album called Light Verse. We talked about whether this might be his funniest record, as well as college shows, The Rescuers, Davey Crocket, wisdom vs. experience, and the value of art being in the creation more than the reception. I loved speaking to Sam about all of this, he's a fascinating artist. Listen and subscribe! This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/craigfinn

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In this chat, we get to meet Iron & Wine - aka: singer/songwriter/guitarist, and general indie folk icon, Sam Beam. Sam has just recently put out a brand new Iron & Wine record entitled Light Verse, so we do spend a good amount of time discussing this album. We touch on its themes of loss and acceptance, the time it took to make, and the collaborators he had on it - including none other than the legendary Fiona Apple. We also look back on his seminal 2nd record, Our Endless Numbered Days, which turned 20 this year. We talk about creative ruts, file sharing and leaked music, and do some light myth-busting about his debut album. I also get personal and tell Sam just how much his music has meant to me, and how integral its been to my development especially as a musician myself, over the year. It's a lovely, jovial conversation, and one I will go cross off the bucket-list now. Thank you for listening.

On this week's show, we... commemorate 21 years of this show being a thingspending quality time with new records by Bleachers, Waxahatchee & Kacey Musgravesspinning fresh tracks from Iron & Wine, St. Vincent & The Avett BrothersAll this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours of musical eclectica & other noodle stories. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

Sam Beam, the heart and soul behind Iron & Wine, wrote a shiny new song that hearkens back to the call-and-response duets of the past made famous by artists like Johnny and June, George and Tammy, Dolly and Kenny — and now, Sam and Fiona on “All In Good Time.” 

The “I”s have it! And Lightnin' Licks Radio has the “I”s. Ten of them to be exact. Jay and Deon discuss their favorite vinyl records filed under the letter I. It's intimate and intense. It's immersive and inspiring though, ironically, they're idiots. -- In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For nearly one half of a century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, idiotic, introverted award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-fifth episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good solid grasp of the alphabet and how it works. They had previously utilized the letters A thru H, so naturally, they went with I. The “I” mixtape: [SIDE I-1] (1) INTHEWHALE – Animals (2) The Ice Man's Band – People Make the World Go ‘Round (3) Icehouse – Walls (4) Ice Cube – Down for Whatever (5) Instant Funk – Never Let It Go Away [SIDE I-2] (1) Donnie Iris – Joking (2) The Impressions – I'm Loving Nothing (3) The Icicle Works – Starry Blue Eyed Wonder (4) Weldon Irvine – Morning Sunshine (5) Iron & Wine – Upward Over the Mountain [END] Sonic Contributors to the thirty-fifth episode of Lightnin' Licks Radio podcast include: Lee Moses, Brothers Johnson, Holland-Dozier-Holland, James Todd Smith. Grand Puba, Piere Cavalli, Azymuth, Star Wars and Gremlins read-along story books and Sesame Street, Cowboy Junkies, Weldon Irvine, Nina Simone, Donny Hathaway, A Tribe Called Quest, Yasiin Bey, Just Blaze, Memphis Bleek, Jay-Z, Earl Sweatshirt, Icehouse, Ivy Davies, Ice Cude, Leaders of the New School, Fred Gwynne, Joe Pecsi, The Bomb Squad, Da Lench Mob, N.W.A., Grand Master Flash & the Furious Five, Quincy Jones, Instant Funk, Day La Soul, Prince Paul. T-Connection, The Postal Service, Sam Beam, Iron & Wine, Another Nashville Coma. The Icicle Works. INTHEWHALE, Sunny Day Real Estate, The Ice Man's Band, The Beatles, The Impressions, Curtis Mayfield, The Funk Brothers, Donnie Iris, The Jaggers, The Cruisers, Steve Miller Band, Ozzy Osbourne. Dres and Black Sheep, Menehan Street Band, The Stylistics, and the Clockers. *Review Magazine Readers' Choice 2023 (someone nominate us for this year please) Drink Blue Chair Bay flavored rums. Buy vinyl, tapes or CDs at Lightnin' Licks Radio's record store of choice Electric Kitsch in Bay City, Michigan, USA. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message

Long before the world fell in love with the music of Iron & Wine, and even before he knew that he wanted a career in music, Sam Beam knew that he loved making things. His parents, who didn't necessarily understand their artsy kid but wanted to support him, kept Sam well-supplied in drawing paper and art supplies so that his imagination could run free. Sam knew that he was different from other kids but that didn't bother him. In his early days of making music, Sam obsessively honed his skills as a producer so that he could present the most polished songs possible. It wasn't until later that he realized that live performance was just as important a part of his craft. Following his own curiosity has enabled Sam to remain intellectually energized throughout two decades of touring and releasing music.One thing you might not know about Iron & Wine is that he has worked with the same manager for his entire career. When he met Howard Greynolds, Sam's music career was just beginning to take off. Howard quickly proved that he cared more about the music than about getting money and credit. Their relationship has deepened and evolved over the years as Iron & Wine has become one of the most beloved singer-songwriters in folk music, and the music industry has reinvented itself in the age of streaming. Iron & Wine is notoriously private and mysterious, but that might be about to change with the release of ‘Who Can See Forever,' a meditative documentary. The project started as a concert film but the director, Josh Sliffe, was able to convince Sam to sit for a series of interviews reflecting on his life, his work, parenthood, creativity, craft, and legacy. Those conversations find Sam looking back but mostly looking forward with curiosity and acceptance. Follow Basic Folk on social media: https://basicfolk.bio.link/Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknewsHelp produce Basic Folk by contributing: https://basicfolk.com/donate/Advertising Inquiries: https://redcircle.com/brands

If you've ever had a tomato sandwich, then you know this is the best time of the year! In honor of *tomato season* (and host Rachel Belle being on vacation) we are re-airing this episode from 2019. Iron & Wine sounds like a band but in fact there is just one man behind the music: a soft spoken, North Carolina singer-songwriter named Sam Beam, who unintentionally stumbled into a music career later in life. A true Southern boy, Sam wants a stack of tomato sandwiches for his last meal. Just ripe summer heirlooms, squishy white bread and mayonnaise. A simple summer snack so sacred in North Carolina, locals get riled up at the mere mention of adding bacon or lettuce. We called upon a couple North Carolina culinary queens to talk about the do's and dont's of the tomato sandwich: veteran food journalist Kathleen Purvis and chef, restaurateur and cookbook author, Vivian Howard. And sticking with the Southern theme, food historian Robert Moss joins the show to tell the true history of the boiled peanut.Lucky for us, tomatoes are still hanging heavy on the vines, because you'll be hankering for a tomato sandwich by the end of this episode.Make sure you're subscribed to the podcast and follow host Rachel Belle on Instagram!Subscribe to Rachel's newsletter!Support the show: http://rachelbelle.substack.comSee omnystudio.com/listener for privacy information.

A parent resource wall is just one of Sam Beam's practical ideas that we can use to connect to parents in our ministry, and to connect parents to their preteens. Get more information about the Preteen Leaders' Conference here. Get FULL recordings from past Preteen Leaders' Conferences here.

El nou EP publicat per Sam Beam porta per t

Today on the Podcast, Sean talks with Sam Beam, the host of a brand-new preteen ministry podcast that you should check out! Sam is young, energetic, and has so much to share about Intentional Preteen Ministry!

In 2002, Sam Beam's first album as Iron & Wine was released on Sub Pop Records. He'd given them a bunch of demos, and rather than have him re-record these songs, they released the demos themselves. Since then, he's put out five more full-length albums and been nominated for multiple Grammys. For this episode, Sam looked back at the making of his song "Flightless Bird, American Mouth," from his 2007 album The Shepherd's Dog. A year after that album came out, the song was used prominently in a scene in the movie Twilight, and it's been one of the most popular Iron & Wine songs ever since. I talked to Sam at Blue Rock Artist Ranch and Studio in Wimberley, Texas, in front of a small audience. You'll hear the original demo he recorded, and how that transformed into the final version of the song. For more, visit songexploder.net/iron-and-wine

"Archive series volume no. 5: Tallahassee recordings"

Artist Dr. Fahamu Pecou tells us about his new project, “Black Boy Journal.” Plus, a visit with Sam Beam, the musician also known as Iron and Wine. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Join Amber, Ryan, & guest Sam Beam as they talk everything CHRISTMAS! Games, prizes, trivia, and more!

"Archive series volume no. 5: Tallahassee recordings"

After a crazy week of Mega Con, we are back with a new episode with guest Sam Beam!https://www.megacon2022.commegacontogo.comhttps://bit.ly/3v5V8xm

Join Ryan Frank and guest co-host Sam Beam as they discuss three trends in the world of preteen ministry today!

On this West Virginia Morning, we look at West Virginia’s overburdened foster care system and how the U.S. Department of Justice has been working with state officials for years to try to improve conditions. Also, we bring you this week’s Mountain Stage Song of the Week from songwriter Sam Beam.

This week on Past, Present, Future, Live! we bring you a conversation and performance with Joey Burns of Calexico. Over the past 20 plus years Calexico has blended Tex-Mex, indie rock, jazz, surf and other influences to create a unique sound sometimes called “desert noir.”Joey and his longtime bandmate John Convertino first broke through with “The Black Light” in 1998, and were soon on tour with Pavement and other heroes of theirs. Since then they’ve made more than a dozen albums with collaborators from across the globe including two albums with Sam Beam of Iron and Wine, most recently with 2019’s “Years to Burn”, which was nominated for two Grammys. Joey explains how he and John started out just messing around together in a house full of instruments, how their sound continues to evolve, and what travel adds to his experience as a songwriter and composer. After the interview, you’ll hear a unique performance from Joey and his bandmate Sergio Mendoza including “Cumbia De Donde,” “Hear the Bells," and “Service & Repair." Videos of these and all Past, Present, Future, Live! performances are on the show page and on the Osiris Media YouTube Channel. You'll find music from all the artists mentioned in this interview on our Past, Present, Future, Live! Spotify playlist. If you like what you hear, please give us a review on Apple Podcasts. Past, Present, Future, Live! is brought to you by Osiris Media. Hosted and Produced by RJ Bee. Executive Producers are Adam Caplan and Kirsten Cluthe. Production, Editing, Mixing, and original theme music by Brad Stratton. Show logo by Liz Bee Art & Design. To discover more podcasts that help you connect more deeply to the music you love, check out osirispod.com. See acast.com/privacy for privacy and opt-out information.

Fourteen years ago, Latin-infused Americana band Calexico teamed up with folk singer-songwriter Sam Beam, better known as Iron & Wine, for an EP called In the Reins. After much delay, the old friends reunited in 2018 to work on their debut full-length, Years to Burn, which was unveiled last year. The chemistry between the good chums is unmistakable during this KEXP performance, recorded at 2019’s inaugural Thing Fest at Fort Worden.  DJ Troy Nelson takes us through the history of the band and introduces us to the people responsible for the quick and collaborative making of Years to Burn. Recorded 08/25/2019. Father Mountain Midnight Sun He Lays In The Reins Bring On The Dancing Horses Watch the full Live on KEXP session on YouTube Support the show.

In this episode, Sam Verplanck describes how structural beams are applicable to a common snowpack test called the Propagation Saw Test. This work is funded in part by support from the National Science Foundation’s Innovations in Graduate education program award number 1735124. The findings of this work are those of the author and do not necessarily reflect the views of the NSF. Music in this episode is provided by Blue Dot Sessions under a Creative Commons Attribution-Non-Commercial 4.0 License. --- Send in a voice message: https://anchor.fm/stemstorytellers/message

On this special episode of Rationalish, Eddie's brother Sandy Matthews talks about how he met Sam Beam of the folk band Iron & Wine as well as Joey Burns, the frontman of Calexico. It's a memorable story. Support the show (https://twitter.com/rationalishpod)

Iron & Wine sounds like a band but, in fact, there is just one man behind the music: a soft spoken, North Carolina singer songwriter named Sam Beam. Sam is the ideal conversation partner: he laughs generously and speaks with a warm southern drawl. He also happens to have excellent taste in food and drink. A true southern boy, Sam wants a stack of tomato sandwiches for his last meal. Just ripe, summer heirlooms, squishy white bread and mayonnaise. A simple summer snack so sacred in North Carolina, locals get good and riled up at the mere mention of adding bacon or lettuce to the mix. We called upon a couple North Carolina culinary queens to talk about the do's and don'ts of the tomato sandwich: veteran food journalist Kathleen Purvis and chef, restaurateur and cookbook author, Vivian Howard. And sticking with the southern theme, food historian Robert Moss joins the show to tell the true history of the boiled peanut. Lucky for us, tomatoes are still hanging heavy on the vines, because you'll be hankering for a tomato sandwich by the end of this episode. Iron & Wine has a new album out, the latest collaboration with the band Calexico. Buy the album and check out their current tour here. Make sure you're subscribed to the podcast and follow host Rachel Belle on Instagram!

Iron and Wine singer-songwriter Sam Beam gives Kyle Meredith a call to discuss pairing up with Calexico once again on Years To Burn. We hear how their styles influence each other, their history, and what the tour will sound like. Later on, we hear about the deluxe edition Our Endless Numbered Days that Iron & Wine just released, stories behind the demos, and one of the LP's most popular songs, "Naked As We Came". For information regarding your data privacy, visit acast.com/privacy

það er löngu orðið hefð að nota áramót til að rifja upp eitt og annað sem var til umfjöllunar á árinu sem er að enda og í síðasta Rokklandi ársins rifjum við upp árið 2018. Paul McCartney kemur við sögu en hann fluag nokkuð hátt á árinu. Það gerði Magnús Þór líka. Midge Ure úr Ultravox heimsótti Íslandi í fyrsta sinn eins og Mick Jones úr Foreigner. BJörk fór í tónleikaferð, Sykurmolarnir fögnuðu 30 ára afmæli Life´s too good í Rokklandi. Stuðmenn voru heiðraðir á Íslensku tónlistarverðlaununum. Rás 2 tók þátt í alþjóðlega Clash deginum. Dolores O´Riordan úr Cranberries kvaddi okkur eins og Tómas M. Tómasson og Aretha Franklin. Bubbi sagði frá Sögum af landi í Rokklandi og Sam Beam úr Iron & Wine kom í heimsókn. Allir þessir listamenn og fleiri koma við sögu í þættinum.

það er löngu orðið hefð að nota áramót til að rifja upp eitt og annað sem var til umfjöllunar á árinu sem er að enda og í síðasta Rokklandi ársins rifjum við upp árið 2018. Paul McCartney kemur við sögu en hann fluag nokkuð hátt á árinu. Það gerði Magnús Þór líka. Midge Ure úr Ultravox heimsótti Íslandi í fyrsta sinn eins og Mick Jones úr Foreigner. BJörk fór í tónleikaferð, Sykurmolarnir fögnuðu 30 ára afmæli Life´s too good í Rokklandi. Stuðmenn voru heiðraðir á Íslensku tónlistarverðlaununum. Rás 2 tók þátt í alþjóðlega Clash deginum. Dolores O´Riordan úr Cranberries kvaddi okkur eins og Tómas M. Tómasson og Aretha Franklin. Bubbi sagði frá Sögum af landi í Rokklandi og Sam Beam úr Iron & Wine kom í heimsókn. Allir þessir listamenn og fleiri koma við sögu í þættinum.

það er löngu orðið hefð að nota áramót til að rifja upp eitt og annað sem var til umfjöllunar á árinu sem er að enda og í síðasta Rokklandi ársins rifjum við upp árið 2018. Paul McCartney kemur við sögu en hann fluag nokkuð hátt á árinu. Það gerði Magnús Þór líka. Midge Ure úr Ultravox heimsótti Íslandi í fyrsta sinn eins og Mick Jones úr Foreigner. BJörk fór í tónleikaferð, Sykurmolarnir fögnuðu 30 ára afmæli Life´s too good í Rokklandi. Stuðmenn voru heiðraðir á Íslensku tónlistarverðlaununum. Rás 2 tók þátt í alþjóðlega Clash deginum. Dolores O´Riordan úr Cranberries kvaddi okkur eins og Tómas M. Tómasson og Aretha Franklin. Bubbi sagði frá Sögum af landi í Rokklandi og Sam Beam úr Iron & Wine kom í heimsókn. Allir þessir listamenn og fleiri koma við sögu í þættinum.

Sam Beam, better known as Iron And Wine, chats with Scott Nicholls at Black Deer 2018

Hardcore, We live it. We breath it. Nerds can’t stop what can’t be defeated! This week, Chris is called away on a last minute mission for the core, so Dave It Up steps up to take the mic & spit that hot fire in his absence. Listen as the two dissect Kerrang’s Hardcore Geography & of course the godly Sam Beam’s 90’s sludge/doom/Stonerrock/ connection.

WHO'D OF THUNK IT, Turned Out A Punk Meets Iron & Wine!?! That's right, this week Damian sits down with South Carolina's own, Sam Beam. Listen in as Sam tells of his journey from humble skateboarder to indie rock superhero. This one is full of surprises, SO GET READY! Also Touched On: Where Your Music Ends Up Getting Into Punk Through Skateboarding Trading Tapes COC Getting Into The Ramones Fugazi Plays Richmond & The City Shuts Down REM Claimed As Local Heroes Hüsker Dü Nirvana Pixes Sex Pistols Playing South Carolina Singing About Reagan The Infotainment Era EYEHATEGOD Lays Waste! Being Roommates With Erik From Avail Opening For Unsane Forming A Band With People From Cavity Sam’s Great Sludge Record Waiting To Come Out AND MUCH, MUCH MORE!!!! BROUGHT TO YOU BY VANS

Four years passed in between Sam Beam's previous album as Iron & Wine and his latest, 2017's Beast Epic, but stepping away from the project to work on other endeavors - duet records, starting a record label, digging into his archives - refreshed him and inspired him to craft one of his most thoughtful and sweeping records to date. Joining Kevin Cole in the KEXP Live Room, Beam and his band play a stripped down set of Beast Epic songs that highlights the gently powerful songwriting. Recorded 10/18/0217 - 4 songs: Call It Dreaming, About A Bruise, Summer CloudsSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Sam Beam heitir hann bandaríkjamaðurinn sem ætlar að spila í kvöld í Eldborg í Hörpu undir nafninu Iron & Wine. hann er gestur Rokklands í dag. Sam Beam hefur verið að gera músík undir nafninu Iron & Wine í uþb 15 ár. Ég reyndi að ná í hann í síma í vikunni, það gekk ekki en ég fékk hann til að heimsækja mig í útvarpshúsið á föstudaginn og við áttum saman gott spjall. Samuel Ervin Beam er 43 ára gamall Bandaríkjamaðurm, fæddur 1974 í Suður Karólínu en ólst að hluta til upp í Florída líka og gekk þar í skóla. Hann býr í dag í Norður Karolínu með eiginkonu sinni og fjórum af fimm dætrum. Á ferli sínum hefur Sam Beam gefið út sex plötur sem Iron & Wine, fjölda stutt- og smáskífa, í bland við plötur með fágætu efni sem gefnar eru út í takmörkuðu upplagi. Til að byrja með deildi hann tónlistinni aðeins með konu sinni og dætrum en stuttu eftir að hann byrjaði að gefa tónlist sína út kolféll almenningur fyrir honum. Tónlistin hefur oft hljómað undir í hinum ýmsu kvikmyndum og þáttum, má þar t.a.m. nefna The O.C., Grey's Anatomy, Twilight, House M.D., Ugly Betty og 90210. Sub Pop útgáfan í Seattle bauð Sam plötusamning og gaf fyrstu plötuna út árið 2002 en þá þegar átti Sam tvær dætur og hann sjálfur var tæplega þrítugur, starfaði sem kennari í kvikmyndaskóla. Mike Bridwell sem er bróðir Ben Bridwell forsprakka hljómsveitarinnar Band of Horses og Sam eru gamlir vinir sem bjuggu saman þegar þeir voru í skóla og Ben bjó líka með þeim um tíma líka. Og það var Mike þessi sem kom upptökum með Sam til Sub Pop útgáfunnar á sínum tíma þegar hann var að reyna að koma hljómsveitinni sem Ben var í á undan Band of Horses, á samning hjá útgáfunni, hljómsveitinni Carissa´s Weird. Fólkið hjá Sub Pop bauð Sam útgáfusamning og síðan er hann búinn að vera að gefa út helling af músík og túra um heiminn þveran og endilangan. Þegar Sam er spurður út í fyrirmyndir og lærimeistara nefnir hann söngvaskáldin stóru; Leonard Cohen, Bob Dylan, Joni Mitchell, Paul Simon, Townes Van Zandt og svo framvegis, fólk orðanna.

Sam Beam heitir hann bandaríkjamaðurinn sem ætlar að spila í kvöld í Eldborg í Hörpu undir nafninu Iron & Wine. hann er gestur Rokklands í dag. Sam Beam hefur verið að gera músík undir nafninu Iron & Wine í uþb 15 ár. Ég reyndi að ná í hann í síma í vikunni, það gekk ekki en ég fékk hann til að heimsækja mig í útvarpshúsið á föstudaginn og við áttum saman gott spjall. Samuel Ervin Beam er 43 ára gamall Bandaríkjamaðurm, fæddur 1974 í Suður Karólínu en ólst að hluta til upp í Florída líka og gekk þar í skóla. Hann býr í dag í Norður Karolínu með eiginkonu sinni og fjórum af fimm dætrum. Á ferli sínum hefur Sam Beam gefið út sex plötur sem Iron & Wine, fjölda stutt- og smáskífa, í bland við plötur með fágætu efni sem gefnar eru út í takmörkuðu upplagi. Til að byrja með deildi hann tónlistinni aðeins með konu sinni og dætrum en stuttu eftir að hann byrjaði að gefa tónlist sína út kolféll almenningur fyrir honum. Tónlistin hefur oft hljómað undir í hinum ýmsu kvikmyndum og þáttum, má þar t.a.m. nefna The O.C., Grey's Anatomy, Twilight, House M.D., Ugly Betty og 90210. Sub Pop útgáfan í Seattle bauð Sam plötusamning og gaf fyrstu plötuna út árið 2002 en þá þegar átti Sam tvær dætur og hann sjálfur var tæplega þrítugur, starfaði sem kennari í kvikmyndaskóla. Mike Bridwell sem er bróðir Ben Bridwell forsprakka hljómsveitarinnar Band of Horses og Sam eru gamlir vinir sem bjuggu saman þegar þeir voru í skóla og Ben bjó líka með þeim um tíma líka. Og það var Mike þessi sem kom upptökum með Sam til Sub Pop útgáfunnar á sínum tíma þegar hann var að reyna að koma hljómsveitinni sem Ben var í á undan Band of Horses, á samning hjá útgáfunni, hljómsveitinni Carissa´s Weird. Fólkið hjá Sub Pop bauð Sam útgáfusamning og síðan er hann búinn að vera að gefa út helling af músík og túra um heiminn þveran og endilangan. Þegar Sam er spurður út í fyrirmyndir og lærimeistara nefnir hann söngvaskáldin stóru; Leonard Cohen, Bob Dylan, Joni Mitchell, Paul Simon, Townes Van Zandt og svo framvegis, fólk orðanna.

Sam Beam has been releasing his signature indie folk records under the moniker Iron & Wine for over 15 years. His 2017 effort, Beast Epic, returns to his stripped down, acoustic roots. Hosts Jim DeRogatis and Greg Kot interview Sam Beam at the Goose Island Barrelhouse and they talk about his sound, collaborations and fatherhood. He also delivers a performance in front of a live audience. Plus, a review of the new album by punk rocker Jeff Rosenstock.

Claire Fuller started writing to compete in a local short story slam. Then she started to win. Soon after, she earned an MA and has since written two novels, OUR ENDLESS NUMBERED DAYS and SWIMMING LESSONS. She and James talk about the torture of writing new material, the joy of editing, the reader response theory, and the practice of listening to music while writing. Plus, year-end reading recommendations from some of 2017's guests!    Claire Fuller: https://clairefuller.co.uk/ Claire and James discuss: Penguin Books  Tin House Books  Masie Cochran  Fuzzy Felt Green  WE HAVE ALWAYS LIVED IN THE CASTLE by Shirley Jackson  THE THINGS THEY CARRIED by Tim O'Brien  THE HEART IS A LONELY HUNTER by Carson McCullers  HOUSEKEEPING by Marilynne Robinson  LEGEND OF A SUICIDE by David Vann  Iron & Wine  Sam Beam  Townes van Zandt  TURN OUT THE LIGHTS (album) by Julien Baker  Margot Livesey  SOY SAUCE FOR BEGINNERS by Kirstin Chen NO COUNTRY FOR OLD MEN (dir by Coens) THERE WILL BE BLOOD (dir by PT Anderson)  MICHAEL CLAYTON (dir by Tony Gilroy)  ZODIAC (dir by David Fincher)  IDAHO by Emily Ruskovich   A SEPARATION by Katie Kitamura  - Year-End Recommendations from: Annie Hartnett, author of RABBIT CAKE:  THE HISTORY OF WOLVES by Emily Fridlund THE TWELVE LIVES OF SAMUEL HAWLEY by Hannah Tinti  BORNE by Jeff VanderMeer  MOTHERIST by Kristen Iskandrian  THE MOTHERS by Brit Bennett  PERFECT LITTLE WORLD by Kevin Wilson  GOD, THE MOON, AND OTHER MEGAFAUNA by Kellie Wells  ANNA KARENINA by Leo Tolstoy    Anne Valente, author of OUR HEARTS WILL BURN US DOWN: THE ANIMATORS by Kayla Rae Whitaker SING, UNBURIED, SING by Jesmyn Ward  THE HOUR OF LAND by Terry Tempest Williams    Tim Weed, author of A FIELD GUIDE TO MURDER AND FLY FISHING: ANNA KARENINA by Leo Tolstoy  HAVANA GOLD by Leonardo Pedura    Robert Repino, author of D'ARC: THE ART OF COMIC BOOK WRITING by Mark Kneece  THE NEST by Kenneth Oppel    Amy P. Knight, author of LOST, ALMOST:  STEPHEN, FLORIDA by Gabe Habash THE GOLDFINCH by Donna Tartt  OUTLINE by Rachel Kusk    Rachel Cantor, author of GOOD ON PAPER: WE THE DROWNED by Carsten Jensen  THE LONG DRY by Cynan Jones  HOMESICK FOR ANOTHER WORLD by Ottessa Moshfegh  THE OLD FILTH TRILOGY by Jane Gardham TUESDAY NIGHTS IN 1980 by Molly Prentiss  STORIES OF YOUR LIFE by Ted Chiang  THE TWELVE LIVES OF SAMUEL HAWLEY by Hannah Tinti  MEMOIR OF A POLAR BEAR by Yoko Tawada    Michael Farris Smith, author of DESPERATION ROAD:  STONER by John Williams  THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD dir by Andrew Dominik   Kelly J. Ford, author of COTTONMOUTHS:  THE FACT OF A BODY by Alexandria Marzano-Lesnevich  HERE COMES THE SUN by Nicole Dennis-Benn  A SEAT AT THE TABLE (album) by Solange    Daniel Wallace, author of EXTRAORDINARY ADVENTURES: HEATING & COOLING: 52 MICRO-MEMOIRS by Beth Ann Fennelly THE BOOK OF RESTING PLACES: A PERSONAL HISTORY OF WHERE WE LAY THE DEAD by Thomas Mira y Lopez  - http://tkpod.com / tkwithjs@gmail.com / Twitter: @JamesScottTK Instagram: tkwithjs / Facebook: https://www.facebook.com/tkwithjs/

On the latest episode of the Talkhouse Podcast, actor Michael Chernus (aka Cal Chapman on Orange is the New Black) sits down at the flagship Sonos store in New York City with Sam Beam of Iron & Wine, whose latest album, Beast Epic, came out in Summer 2017. The two longtime friends chat about Beam's roots as a painter and filmmaker, how Chernus has entered the Marvel Universe (playing the Tinkerer in Spider-Man: Homecoming), Beam's plans to make a movie in the near future, how Chernus has used Beam's music as part of his acting process, and much more. For more filmmakers talking film and TV, visit Talkhouse Film at talkhouse.com/film. Subscribe now on iTunes or Stitcher to stay in the loop about future Talkhouse Podcasts.

Marc talks with Sam Beam, a.k.a. Iron & Wine, about making soulful folk rock. Plus, Bob Saget stops by to talk about his new special.

His given name is Sam Beam but he's known in music as Iron & Wine, maker of soulful folk rock. Marc finds Sam to be a thoughtful son of the South who let his early interests in avant-garde photography, filmmaking and artwork open the door to a career in music. But Sam also explains to Marc why he doesn't listen to much music anymore. Plus, Bob Saget returns to the garage for a rare third appearance to talk about his new special, his just-wrapped movie, and the sudden change in his life. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

Sam Beam, aka Iron and Wine, has been testing the boundaries of folk music since the early 2000's. Hear how Big Star's "Take Care" helped him to evolve his ideas of what he could do with musical arrangements.

Sam Beam, aka Iron and Wine, has been testing the boundaries of folk music since the early 2000's. Hear how Big Star's "Take Care" helped him to evolve his ideas of what he could do with musical arrangements.

Sam Beam's new album "Beast Epic" returns to the more purely acoustic style of his first few albums.

Sam Beam of Iron & Wine on "The Trinity Session"by Cowboy Junkies.

Folk troubadour Sam Beam is about to release his sixth album as Iron and Wine, Beast Epic. He talks to Tony Stamp about returning to his musical roots and the album's theme of regeneration.

The lion & the lamb are listenin' to a podcast -- or at least that's what we hear. Yes, Evan, Taran, and special guest Kerida O'Reilly just finished ranking the works of Iron & Wine, so get into the weeds of Sam Beam's worst song, his wildly varying abilities as a live performer, and so much more. Grab a friend, kiss each other clean, and enjoy the ride! /// Our theme song for this episode is "World Girl Reprise" by Kyle Hollingsworth, off of his 2014 album SPEED OF LIFE, available on SCI Fidelity here [ itunes.apple.com/us/album/speed-o…life/id906219328 ]

You don't have to be a trapeze swinger to realize just how dexterous the task is that we took on here: Evan, Taran, and returning guest Kerida O'Reilly tackle Sam Beam's massive, looping discography and take it out for a backwoods spin, ranking from Jesus the Mexican Boy to Jezebel herself. (Also, don't tell anyone, but this is our 50th episode!) /// Our theme song for this episode is "Bad Touch" by The Marches, off of their debut album 4AM IS THE NEW MIDNIGHT, available on Satellite/Star Records here [ itunes.apple.com/bs/album/4-a.m.-…ight/id287331856 ]

part of the 2016 catchup

“Life is a rollercoaster!” says Jesca Hoop, an American singer-songwriter whose recordings and live performances have attracted a large following around the world. Jesca's success has been sustained with solo work, plus strong collaborative relationships with other musical artists such as Sam Beam and Tom Waits. In this interview from the Edmonton Folk Music Festival, Jesca discusses the importance of relationships with listeners, agents and record companies. In fact, her career demonstrates a balance between art and business. Jesca's straightforward thoughts and opinions on an artist’s unique combination of preparedness, limitations, satisfaction and the ticking of the clock have been forged from high and low points in her career. What responsibilities and agreements need to be met when you reach a level of success such as Jesca’s? And how do you keep working before, during and after that level of success has been achieved? Work with what you’ve got. Decide what you need and how to get it. Or, perhaps, consider some other line of work. You have more choice than you know. Subscribe to the free Monetizing Your Creativity podcast: itunes.apple.com/ca/podcast/monet…d1082894462?mt=2 While you're there, please leave your comments and suggestions for future episodes. We love your feedback! Or search for Monetizing Your Creativity on Stitcher, Google Play Music, Overcast or your other podcast app. SoundCloud: www.monetizingyourcreativity.com Follow us on Instagram: @monetizingyourcreativity www.instagram.com/monetizingyourcreativity

News indie, Weezer, Andrew Bird, Sam Beam...

Well, you have come to the right place if the the place you want to go is where there is new music from Frightened Rabbit, Day Wave, Extra Fox, Sam Beam & Jesca Hoop, Parquet Courts, Mogwai, Steve Mason, Eoin Dolan, plus Daithí, Talos, Cian Nugent and those nice fellas from Squarehead tells us about one of their favourite songs. Burgers. Strange Brew - indie beats, alternative rock and good vibrations from the past, the present and the not too distant future with gugai. Every Thursday night at Róisín Dubh, Galway, Ireland and every Friday at 9pm on 8radio.com. Facebook/strangebrewgalway twitter/@gugai gugai@roisindubh.net

In this episode, Luke Annand and guest Melissa Sullivan give a 2 1/2 hour send-off to the recently wrapped up series Parenthood (2010-2015). *MASSIVE SPOILER WARNING for the entire series* "Forever Young" by Sam Beam and Rhiannon Giddens

Folk singer Sam Beam and his band Iron and Wine perform live in the studio. Later, hosts Jim DeRogatis and Greg Kot review the debut album by female supergroup Wild Flag.

"Kiss Each Other Clean" is the fourth album from Sam Beam and with each new release he adds more players and instruments to the mix. He's got it just right on this one.

"Around the Well" is a musical history of Iron and Wine through a sterling compilation of rareties and unreleased songs by neo-folkie Sam Beam.

Sam Beam of Iron and Wine spends a few minutes with Jen chatting about African beet stew, ice cream, and Korean barbeque. [March 2003, Austin, Texas]