Podcast appearances and mentions of sam french

Today we're sitting down with Sam French, Freshman Pitcher / Corner Infielder at Red Bank Catholic High School (NJ), and his father Alex French. Sam (Class 2028) is ranked #92 Nationally by Perfect Game as a RHP, and Top 20 Overall in New Jersey.  We'll be discussing Sam's recent gains in lean muscle mass, how he got there, and the subsequent gains it has brought him. Topics include:Making nutrition a priorityCalculating caloric intakeScheduling meal / snack timesCalculating calories to daily expenditure Ready to take your game to the next level? With our holistic and data-driven approach, experienced coaches, and cutting-edge technology, RPP Baseball takes the guesswork out of player development. Twitter https://twitter.com/RPP_Baseball/ Instagram https://www.instagram.com/RPP_Baseball/ Call us at 201-308-3363 Email us at rpp@RocklandPeakPerformance.com Website ...

In this week's homily, Fr. Sam French explores the dangers of going through the motions without heart, cautioning against the mindset of “faking it to make it.” Reflecting on the First Reading, where Moses exhorts the Israelites to observe God's laws, Fr. Sam highlights the importance of connecting our traditions to the faith that gives them life. He challenges us to move beyond mere lip service and embrace the deeper meaning behind our Catholic practices. By thoughtfully making the Sign of the Cross, lighting candles, and praying the Angelus, we can renew our faith and let our actions flow from a sincere love of Christ. Tune in to hear Fr. Sam's reflections, homilies, and insights on Instagram, TikTok, and YouTube: ⁠⁠linktr.ee/frsamfrench

In this week's homily, Fr. Sam French reflects on the profound truth that "the best things in life are free." Using a personal experience with aggressive gym sales tactics as a springboard, Fr. Sam explores how our culture's obsession with money and material goods can distort relationships and distract us from what truly matters. He reminds us that the most important things—love, family, friendships, and above all, the Kingdom of Heaven—are priceless gifts from God that cannot be bought.Fr. Sam delves into the Gospel's message about the Kingdom of Heaven, likening it to a mustard seed that, though small and easy to overlook, has the potential to become the most significant part of our lives. He challenges us to resist the constant bombardment of consumer culture and to focus instead on cultivating our relationship with God through prayer, the Sacraments, and acts of service.Fr. Sam encourages us to see beyond the distractions of modern life and recognise the Kingdom of Heaven already present within us. He invites us to foster this divine relationship, which brings true fulfilment and meaning to our lives.Tune in to hear Fr. Sam's reflections, homilies, and insights on Instagram, TikTok, and YouTube: ⁠⁠linktr.ee/frsamfrench.

In this homily, Fr. Sam French reflects on a personal encounter with God that profoundly changed his life, experienced on a train journey during his youth. He shares how this moment of grace, amidst a busy life filled with worldly desires, revealed the "bread of life" that only Jesus can provide. Fr. Sam delves into the concept of the "God-shaped hole" within every soul, a void that nothing but divine love can fill. Drawing from his experiences and the teachings of St. Paul, Fr. Sam explores the struggle against the distractions and temptations of modern life. He highlights the dangers of a culture that prioritises comfort and pleasure over spiritual growth, cautioning against the "therapeutic age" mentality. Fr. Sam emphasises the importance of silence, Scripture, and Sacrament in cultivating a genuine relationship with God, urging us to seek these essential elements daily to experience true fulfilment. With heartfelt honesty, Fr. Sam invites us to reflect on our own lives and the desires that drive us, encouraging a deeper pursuit of the divine. He reminds us that in seeking Jesus, we find the true purpose of our existence and the satisfaction of our deepest longings. Join Fr. Sam French for more reflections, homilies, and insights on Instagram, TikTok, and YouTube: ⁠linktr.ee/frsamfrench.

In this homily, Fr. Sam French reflects on the Gospel during the 16th Week of Ordinary Time. He addresses a profound cultural shift: our society's loss of true rest and leisure. Fr. Sam explores how modern life, with its relentless focus on productivity and utility, has distanced us from the beauty and purpose that define our humanity. He contrasts the sublime achievements of past cultures with today's emphasis on functionality and economy, questioning the impact on our spiritual well-being. Drawing from the teachings of Josef Pieper and St. Augustine, Fr. Sam delves into the concept of leisure as an essential aspect of human life. He underscores that true rest is a divine gift, not a self-made achievement. Fr. Sam emphasizes the importance of silence and stillness, urging us to disconnect from the noise and distractions of contemporary life to truly connect with God. Fr. Sam's personal experiences as a priest add depth to his message, illustrating the physical, emotional, and spiritual exhaustion that comes from dedicated service. He invites us to embrace 'wasting time with God,' advocating for regular visits to the Church for Eucharistic Adoration and personal prayer. This episode is a powerful reminder to find rest in God's presence and rediscover the art of true leisure. Join Fr. Sam French for more content, insights, and homilies on Instagram, TikTok, and YouTube: linktr.ee/frsamfrench

In this homily titled 'Weathering the Storm,' Fr. Sam French reflects on the Gospel of Mark 4:35-41 during the 12th week of Ordinary Time. He discusses how modern technological advancements can create an illusion of control over nature, leaving society unprepared for life's unpredictable challenges. Fr. Sam shares his personal experience with cancer to illustrate the fragility of human control. He emphasizes that true Christian faith lies in turning to Jesus during life's storms, trusting in His divine power and presence. Fr. Sam encourages a strong prayer life and regular reception of the sacraments to maintain this faith. Join Fr. Sam French for more content, insights and homilies on Instagram, TikTok, and YouTube: ⁠⁠⁠⁠⁠https://linktr.ee/frsamfrench⁠⁠⁠

In today's episode, Jason Evert interviews Australian priest Fr. Sam French, a vocations director known for his humorous social media skits about the Church, priesthood, and reflections on Scripture. They discuss the 7 deadly sins and their relation to modern apps. Jason also recounts his recent trip to Australia, where his chastity talks at Catholic high schools sparked controversy and were met with sabotage and celebration by a group of self-proclaimed witches. Follow Fr. Sam French on: https://www.instagram.com/frsamfrench/ https://www.tiktok.com/frsamfrench https://x.com/frsamfrench The Average Shepherd on Spotify   Join our community on Patreon: http://patreon.com/jasonevert Follow Jason On: https://www.instagram.com/jasonevert/ https://www.tiktok.com/jasonevert/ https://twitter.com/jasonevert https://www.facebook.com/JasonandCrystalinaEvert Check Out the Chastity Project's Website For Resources: https://chastity.com/    

This week on the podcast, Fr. Sam delves into the theme of divine love as contrasted with the fleeting passions of human affection, inspired by Taylor Swift's latest album. As we explore the 6th Sunday of Eastertide, we uncover the essence of Jesus' command in John 15: "love one another as I have loved you." This exploration reveals how modern culture, steeped in a romanticized view of love, often distorts our understanding of this profound biblical command. Fr. Sam challenges us to rise above the emotional rollercoaster of human relationships and embrace a love that is self-sacrificial, deliberate, and eternal—the love Christ calls us to embody. Join Fr. Sam French for more thought-provoking content and spiritual insights on Instagram, TikTok, and YouTube. frsamfrench.com

This week, Fr Sam invites us into a profound reflection on the narrative of Doubting Thomas and its intrinsic connection to the Sacrament of Confession, as we journey through the Easter season. This homily, set against the backdrop of the second Sunday of Easter, known as Divine Mercy Sunday, unravels the layers of doubt faced by Thomas following Christ's resurrection. Through an insightful examination, Fr Sam bridges our contemporary struggles with faith and the timeless story of Thomas, encouraging us to see ourselves in his quest for tangible proof of Jesus' victory over death. Join Fr. Sam French for more content, insights and homilies on Instagram, TikTok, and YouTube: ⁠⁠⁠⁠https://linktr.ee/frsamfrench⁠⁠

This week Fr Sam delves into the fiery passion of Jesus as depicted in the Gospel reading for the third Sunday of Lent. The image of Christ we encounter is far from the gentle nativity scenes we remember; instead, we witness a Jesus filled with righteous anger, a natural emotion designed by God to propel us towards justice and goodness. This homily explores the concept of righteous anger, contrasting it with the uncontrolled frustration we often experience, and highlights how Jesus' anger in the Gospel is perfectly focused and governed by reason. Join Fr. Sam French for more content, insights and homilies on Instagram, TikTok, YouTube, and Twitch: ⁠⁠⁠https://linktr.ee/frsamfrench⁠⁠

In this homily for the Second Sunday of Lent, Fr Sam explores the metaphor of "Three Mountains" drawing parallels between the biblical mountains of Mt Moriah, Mt Calvary, and Mt Tabor, and the personal pilgrimage of faith. Mt Moriah, highlighting the rejection of false gods; Mt Calvary, emphasizing the centrality of Jesus Christ's sacrifice for salvation; and Mt Tabor, encouraging a transformation towards living in anticipation of eternal life. Join Fr. Sam French for more content, insights and homilies on Instagram, TikTok, YouTube, and Twitch: ⁠⁠https://linktr.ee/frsamfrench⁠⁠

Join Fr. Sam French for more content, insights and homilies on Instagram, TikTok, YouTube, and Twitch: ⁠⁠https://linktr.ee/frsamfrench⁠⁠.

Fr Sam French joins Fr Ben and Anthony to discuss his Vocation story, social media and more NRL season preview. Visit the official sponsor of the show at https://mjpodiatry.com.au Visit our big hit of the week sponsor at https://www.totustuus.com.au Against The Grain Insta: againstthegrain.podcast TT: against.the.grain.pod FB: www.facebook.com/againstthegrainfaithandfooty

In a time when leprosy meant not just physical suffering but also social and spiritual isolation, Jesus' actions speak directly to the heart of our sacramental faith. This homily explores how, just as Jesus reached out to heal and restore the leper to the community and to God, He continues to reach out to us today through the sacraments. Fr Sam reflects on the essential nature of physical presence in our relationship with God, especially through the Eucharist and Confession, and how these sacraments offer us the healing touch of Jesus. Join Fr. Sam French for more content, insights and homilies on Instagram, TikTok, YouTube, and Twitch: ⁠https://linktr.ee/frsamfrench⁠.

New Media Broadcasters spoke with Sam French, Executive Director of Blaine County Museum, to get more details on the off season speaker series and why they decided to start it.

This week's homily covers: The Mystery of the Holy Trinity: The homily opens with a story about Saint Augustine and a child, illustrating the vastness of God's nature and our limited understanding. The Role of Prophets and Truth: The homily delves into the true role of biblical prophets, emphasizing their task of speaking truth into their age, rather than predicting the future. Authority and Impact of Jesus' Teachings: The focus then shifts to Jesus' profound impact as a teacher with authority. The Power of Truth in Jesus' Miracles: The homily discusses a specific event where Jesus performs an exorcism, demonstrating his authority over evil and his role as the liberator from the effects of sin and evil. Join Fr. Sam French for more content, insights and homilies on Instagram, TikTok, YouTube, and Twitch: https://linktr.ee/frsamfrench.

Join Fr. Sam French and me as we discuss social media, cultural issues, and how they are leading young people away from the Gospel. Official Website: Thereligioushippie.com Social Media

Fr. Sam French reflects on the season of Advent, emphasizing its spiritual significance in our fast-paced, internet-driven world. He contrasts the immediacy of modern life with the patient waiting inherent in Advent, drawing a parallel between our dwindling patience in the face of rapid technological advancements and the ancient tradition of anticipating Christ's coming. Fr. Sam highlights the importance of embracing this period of watchful waiting, as taught in Christian tradition, and the relevance of Advent in reminding us of the virtues of patience and attentiveness. He offers practical advice for the Advent season, urging listeners to engage in daily Scripture reading and to seek moments of silence amidst the hustle and bustle of daily life. This homily invites us to step back from our constant connectivity and to prepare our hearts and minds for the celebration of Christmas, focusing on spiritual readiness and the anticipation of Christ's Second Coming. You can listen to my homilies and follow me on Instagram, TikTok, YouTube, and Twitch through the link below. https://linktr.ee/frsamfrench

Director Sam French graced us with is presence at the Official Studios in Atwater Village to talk some shop with hosts @rinestar, @tony_franklin, and @sultanavicci. An Oscar-nominated filmmaker and founding director of the documentary production company Development Pictures, Sam's work has appeared on HBO, BBC, CNN, Channel 4 News, Al Jazeera, National Geographic, and other broadcast outlets. Sam spent five years in Afghanistan, where he directed the Oscar-nominated narrative short film Buzkashi Boys. His documentary With This Breath I Fly, about two Afghan women fighting for their freedom after being imprisoned for “moral crimes,” has won over a dozen awards at major film festivals. Sam has directed episodes of the Emmy-nominated documentary series Religion of Sports, the Emmy-nominated series Why We Fight, and the Red Bull series All In and Life of Kai. He is currently working on Dominion, a documentary about a new generation of evangelical climate activists, and Skinhead, a narrative feature film about former neo-Nazi Frank Meeink, exploring one man's fall to power and rise into grace.Sam believes that storytelling has the power to connect people across different cultures, and by sharing our stories, we can change the world. He lives in Los Angeles. 

We chat with Kiwi musicians, authors and other creative people about their passions.

This week on H2TechTalk we are discussing “The Case for Blue Hydrogen,” a position paper published by the UK HFCA with Sam French, Director of Business Development for Johnson Matthey. French also provides insight on blue and green H2 developments and projects within the UK, and next steps in furthering the global deployment of H2.

In the latest episode of our Hydrogen podcast series, we sit down with Dr. Sam French from Johnson Matthey as we discuss the trajectory of the hydrogen market and the issues associated with developing the supply chains for the hydrogen economy and Johnson Matthey's experience as both components and systems supplier for hydrogen production technologies and fuel cells.

Johnson Matthey is a leading manufacturer and supplier to the global chemical industry. The company's products and components sit at the heart of major industrial, manufacturing, and energy production projects all over the world and they have long been involved in the hydrogen sector. Today JM is one of the most influential companies working to decarbonize the UK economy with central roles in major blue hydrogen projects like HyNet and Acorn. On this episode of Everything About Hydrogen, the team is joined by Sam French, Business Development Director at JM, who spent some time speaking with us about the transition from grey hydrogen to low-carbon generation technologies and what steps the UK - and countries all over the world - to use hydrogen as part of the pathway to a sustainable energy future. Sponsor materials: This episode is brought to you by BayoTech On-Site Hydrogen. Visit https://my.captivate.fm/www.bayotech.us (www.bayotech.us) to learn more about the modular low-carbon hydrogen production solutions that BayoTech offers. Links: Johnson Matthey website: https://matthey.com/en JM hydrogen website: https://matthey.com/en/markets/energy-generation-and-storage/hydrogen Article about the "Hydrogen Opportunity" by Sam French: https://matthey.com/en/inspiring-science/expert-insights/the-hydrogen-opportunity HyNet project website: https://hynet.co.uk/ Acorn website: https://pale-blu.com/acorn/ IEA info on CCUS technologies: https://www.iea.org/fuels-and-technologies/carbon-capture-utilisation-and-storage

Jay is joined by his friends, hosts of the podcast INSERT MOVIE HERE: The Musical, Sam French and Kyle Wilson, to talk about musicals, Claudia Conway, Seal, and play a very good game of 500!

FRANCE-LUCE BENSON Playwright and Community Engagement Coordinator with The Fountain Theatre in Los Angeles. Named “Someone to Watch ” in 2019 by American Theatre magazine, she is a recipient of a Miranda Foundation grant (DETAINED), Alfred P. Sloan Foundation New Play Commission (DEVIL'S SALT), and a Princess Grace Award runner up (BOAT PEOPLE).   Additional honors include: Zoetrope Grand Prize (CAROLINE'S WEDDING); Dramatists Guild Fellow 2016-17, Sam French OOB Festival Winner, NNPN Award for Best Play, and three time Kilroy List Honorable Mention.  Residencies include Djerassi, the Camargo Foundation in France, and Instituto Sacatar in Bahia, Brazil. Her plays have had productions, workshops, and readings at Crossroads Theatre New Jersey, City Theatre of Miami, The Playwrights Center, Oregon Shakespeare Festival, City Theatre of Miami, Loyola Marymount University, Global Black Voices in London, and in New York The Lark, The Billy Holiday Theatre, and the Ensemble Studio Theatre where she is a company member. She's been published by Sam French and Routledge Press. She earned an MFA in Dramatic Writing from Carnegie Mellon University and a BA in Theatre from Florida International University. Teaching appointments include UCLA Extension, St. Johns University, Columbia University, Girl Be Heard, and P.S. Arts/Inside Out in L.A. She is a proud member of The Dramatists Guild, Inc.

Kyle and Sam adapt the 1994 Christmas classic “The Santa Clause” into a musical comedy—complete with non-equity reindeer, elf rock bands, and ABSOLUTELY NO CHOCOLATE MILK. Featuring a special musical performance by Annie Yokom (Michael Feinstein Songbook Ambassador). Content Advisory: Not for the kiddos, this one’s straight off the naughty list. [IMH] is available on Apple Podcasts and Spotify! Subscribe, leave us a review, and follow us on social media:Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehere[IMH] is hosted by Sam French and Kyle Wilson; Executive Producer John Albert Harris; Music Supervisor Andy Einhorn; artwork by Thomas Constantine Moore; incidental music arranged by Jeremy Robin Lyons. “Santa Can’t Fit Through the Hole” is written by Kyle Wilson, produced by Joe Mendick, and performed by Annie Yokom.The [IMH] Theme Song is written by Kyle Wilson; produced by Andy Einhorn; arranged and orchestrated by Nevada Lozano; mixed by Daniel Kluger; mastered by Jessica Thompson; music editing by David Dabbon; lead vocals by Will Blum; backup vocals by Lindsey Roberts, Zanny Laird, Jackson Perrin, and Adrian Rosas; Trevor Neumann on trumpets, Rebecca Patterson on trombones, Chad Smith on saxes, and Evan Hyde on drums.

In the season one finale, Kyle and Sam adapt the “Citizen Kane of bad movies,” Tommy Wiseau’s “The Room,” into a musical comedy, a task so daunting it nearly breaks them. Featuring a special musical performance by Grey Henson (Mean Girls on Broadway). [IMH] is available on Apple Podcasts and Spotify! Subscribe, leave us a review, and follow us on social media:Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehere[IMH] is hosted by Sam French and Kyle Wilson; Executive Produced by John Albert Harris; Music Supervision by Andy Einhorn; artwork by Thomas Constantine Moore; incidental music arranged by Jeremy Robin Lyons. “Oh Hai!” is written by Kyle Wilson, arranged, orchestrated, and mixed by Jason Weisinger, and mastered by Alexx Nielsen. Featuring Grey Henson as “Johnny,” Daniel Mertzlufft as “Mark,” Jackson Perrin as “Denny,” and Nicole Vazquez as the “Flower Shop Lady.” Singing in the “San Franciscan Chorus” are Sam Balzac, Derrick Davis, Molly Griggs, Emily Gardner Xu Hall, Tim Heller, Chloe Holgate, Jacqueline Keeley, Zanny Laird, Jess LeProtto, Jackson Perrin, Brandi Porter, Nicholas Del Prince, Rick Rea, Erica Spyres, Nicole Vazquez, Melissa Weisbach, and Jason Weisinger. Michael Jones on trumpet, Kenneth Johnson on trombone, David Leon on sax, Tomoko Akaboshi on violins and viola, Ansel Cohen on cello, and Dan Berkery on drums. The IMH theme song is written by Kyle Wilson; produced by Andy Einhorn; arranged and orchestrated by Nevada Lozano; mixed by Daniel Kluger; mastered by Jessica Thompson; music editing by David Dabbon; lead vocals by Will Blum; backup vocals by Lindsey Roberts, Zanny Laird, Jackson Perrin, and Adrian Rosas; Trevor Neumann on trumpets, Rebecca Patterson on trombones, Chad Smith on saxes, and Evan Hyde on drums.

In the second to last episode of season one, Kyle and Sam adapt Noah Baumbach’s 2019 intimate drama “Marriage Story” into a musical comedy, complete with a tap-dancing Devil, a monster truck full of bro-y lawyers, and a shocking amount of bad Randy Newman impressions. Featuring a special musical performance by Lesli Margherita (Matilda the Musical). [IMH] is available on Apple Podcasts and Spotify! Subscribe, leave us a review, and follow us on social media:Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehereIMH is hosted by Sam French and Kyle Wilson; Executive Producer, John Albert Harris; Music Supervisor, Andy Einhorn; artwork by Thomas Constantine Moore; incidental music arranged by Jeremy Robin Lyons. “Divorce with the Devil” is written by Kyle Wilson, produced by Andy Einhorn, arranged and orchestrated by Bill Elliott, and mastered by Dan Santiago. Featuring Lesli Margherita as “Nora” and Molly Griggs as “Nicole.” Amy Griffiths and Jay Mason on sax, Jami Dauber and Alex Bender on trumpet, Charlie Morillas on trombone, Greg Anthony Rassen on piano, Bill Elliott on bass, Adam Wolfe on drums and percussion. Tap solo by Richard Riaz Yoder. Song transcribed by Nevada Lozano and the music copyist was Jacob Fjeldheim. Special thanks to Ryan Vona. The IMH theme song is written by Kyle Wilson; produced by Andy Einhorn; arranged and orchestrated by Nevada Lozano; mixed by Daniel Kluger; mastered by Jessica Thompson; music editing by David Dabbon; lead vocals by Will Blum; backup vocals by Lindsey Roberts, Zanny Laird, Jackson Perrin, and Adrian Rosas; Trevor Neumann on trumpets, Rebecca Patterson on trombones, Chad Smith on saxes, and Evan Hyde on drums.

Kyle and Sam adapt the 1996 Michael Jordan/Bugs Bunny mash-up sensation “Space Jam” into a musical comedy—complete with a trench-coat full of puppets, a bloody basketball game, and Bill Murray himself. Featuring a special musical performance by Brandon Michael Nase (Cats 1st Nat’l Tour), Blaine Alden Krauss (The Cher Show, Hamilton), Jimmy Nicholas, Jon-Michael Reese, and Jason Veasey (A Strange Loop). [IMH] is available on Apple Podcasts and Spotify! Subscribe, leave us a review, and follow us on social media:Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehereIMH is hosted by Sam French and Kyle Wilson; Executive Producer John Albert Harris; Music Supervisor Andy Einhorn; artwork by Thomas Constantine Moore; incidental music arranged by Jeremy Robin Lyons. “A Devastating Blow to Our Hand-Eye Coordination” is written by Kyle Wilson; arranged and orchestrated by Nevada Lozano, mixed and produced by Regina Averion, mastered by Alexx Nielsen. Performed by Brandon Michael Nase as “Charles Barkley,” Blaine Alden Krauss as “Patrick Ewing,” Jimmy Nicholas as “Shawn Bradley,” Jon-Michael Reese as “Muggsy Bogues,” and Jason Veasey as “Larry Johnson.” Tim Heller voiced “The Doctor” and Alex Spieth voiced “the Fortune Teller." Andy Einhorn on piano, Chad Smith on sax, Kenneth Johnson on trombone, Derek Ganong on trumpet, Michael Mastroianni on bass, Louie Aronowitz on guitar, Michael Bellar on Hammond organ, and Evan Hyde on drums. Special thanks to David Dabbon. The IMH theme song is written by Kyle Wilson; produced by Andy Einhorn; arranged and orchestrated by Nevada Lozano; mixed by Daniel Kluger; mastered by Jessica Thompson; music editing by David Dabbon; lead vocals by Will Blum; backup vocals by Lindsey Roberts, Zanny Laird, Jackson Perrin, and Adrian Rosas; Trevor Neumann on trumpets, Rebecca Patterson on trombones, Chad Smith on saxes, and Evan Hyde on drums.

Kyle and Sam adapt the contemporary horror classic “The Blair Witch Project” into a musical comedy—in which a group of acting students accidentally bring a curse down on all of Broadway by performing documentary theatre. Featuring a special musical performance by Alexis Floyd (The Bold Type; Netflix and Shonda Rhimes’ upcoming Inventing Anna), Jonathan Christopher (Hamilton National Tour), and Ryan Vona (Once).  [IMH] is available on Apple Podcasts and Spotify! Subscribe, leave us a review, and follow us on social media:Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehere[IMH] is hosted by Sam French and Kyle Wilson; Executive Producer John Albert Harris; Music Supervisor Andy Einhorn; artwork by Thomas Constantine Moore; incidental music arranged by Jeremy Robin Lyons. “A Piece of Ass” is written by Kyle Wilson; arranged and orchestrated by Nevada Lozano, mixed and produced by Regina Averion, mastered by Dan Santiago. Performed by Alexis Floyd singing “Heather,” Jonathan Christopher singing “Mikey,” and Ryan Vona singing “Josh.” Dominic Frigo on guitar, Nathan Koci on banjo and mandolin, Erica Spyres on fiddle, Milo Deering on pedal steel, Jack Schwenke on bass, and Dan Berkery on drums. The [IMH] Theme Song is written by Kyle Wilson; produced by Andy Einhorn; arranged and orchestrated by Nevada Lozano; mixed by Daniel Kluger; mastered by Jessica Thompson; music editing by David Dabbon; lead vocals by Will Blum; backup vocals by Lindsey Roberts, Zanny Laird, Jackson Perrin, and Adrian Rosas; Trevor Neumann on trumpets, Rebecca Patterson on trombones, Chad Smith on saxes, and Evan Hyde on drums.

Kyle and Sam adapt David Fincher’s 1999 cult classic “Fight Club” into a musical comedy—complete with IKEA meatballs, boy-band power ballads, and the all-singing, all-dancing crap of the world. Featuring a special musical performance by Casey Cott (Riverdale) and Joshua Grosso (Les Misérables, US Tour). [IMH] is available on Apple Podcasts and Spotify! Subscribe, leave us a review, and follow us on social media: Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehereIMH is hosted by Sam French and Kyle Wilson; Executive Producer John Albert Harris; Music Supervisor Andy Einhorn; artwork by Thomas Constantine Moore; incidental music arranged by Jeremy Robin Lyons. “I Am You (You Are Me)” is written by Kyle Wilson; produced by Andrew Fox; transcription by Ben Morris; guitars and bass by Louie Aronowitz; performed by Casey Cott and Joshua Grosso. The IMH theme song is written by Kyle Wilson; produced by Andy Einhorn; arranged and orchestrated by Nevada Lozano; mixed by Daniel Kluger; mastered by Jessica Thompson; music editing by David Dabbon; lead vocals by Will Blum; backup vocals by Lindsey Roberts, Zanny Laird, Jackson Perrin, and Adrian Rosas; Trevor Neumann on trumpets, Rebecca Patterson on trombones, Chad Smith on saxes, and Evan Hyde on drums.

Last month we wanted to do some escapist fantasy stories for you and we did. See, we figured if we gave our writers a prompt that […]

Kyle and Sam adapt the Coen Brothers’ Oscar-winning classic “No Country for Old Men” into a musical comedy—with community theater sheriffs, Woody Harrelson masks, and a make-over number for Anton Chigurh. Featuring a special musical performance by Omar Lopez-Cepero (The Unsinkable Molly Brown, On Your Feet!, American Idiot).[IMH] is available on Apple Podcasts and Spotify! Subscribe, leave us a review, and follow us on social media:Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehereIMH is hosted by Sam French and Kyle Wilson; Executive Producer: John Albert Harris; Music Supervisor: Andy Einhorn; artwork by Thomas Constantine Moore; incidental music arranged by Jeremy Robin Lyons."Call It" is written by Kyle Wilson; arranged and orchestrated by Nevada Lozano; mixed and produced by Joe Mendick; featuring Omar Lopez-Cepero as "Anton Chigurh," Lindsay Roberts, Zanny Laird, Mariela Flor Olivo as the backup girls, and Randy Kovitz as the "Texaco Man." Derek Ganong on drums, Kenneth Johnson on trombones, Joe Mendick on saxes, and Evan Hyde on drums. The IMH theme song is written by Kyle Wilson; produced by Andy Einhorn; arranged and orchestrated by Nevada Lozano;  mixed by Daniel Kluger; mastered by Jessica Thompson; music editing by David Dabbon; Will Blum on lead vocals; Lindsey Roberts, Zanny Laird, Jackson Perrin, and Adrian Rosas singing backup; Trevor Neumann on trumpets, Rebecca Patterson on trombones, Chad Smith on saxes, and Evan Hyde on drums.

The [imh] origin story: Kyle and Sam adapt a movie into a musical comedy for the first time ever in this bonus "pilot" episode... the 1998 blockbuster alien-invasion film “Independence Day”—in which a Golden Retriever puppet soars above an exploding stage. Featuring a special musical performance by Reed Campbell (Important Hats of the Twentieth Century, YouTube's BROdway; Nice Work if You Can Get It, first national tour). [IMH] is available on Apple Podcasts and Spotify! Subscribe, leave us a review, and follow us on social media:Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehereIMH is hosted by Sam French and Kyle Wilson; Executive Producer John Albert Harris; Music Supervisor Andy Einhorn; artwork by Thomas Constantine Moore. The [IMH] theme song is written by Kyle Wilson; arranged and orchestrated by Nevada Lozano; produced by Andy Einhorn, mixed by Daniel Kluger, mastered by Jessica Thompson, and music edited by David Dabbon; Will Blum on lead vocals; Lindsey Roberts, Zanny Laird, Jackson Perrin, and Adrian Rosas singing backup; Chad Smith on saxes, Rebecca Patterson on trombones, Trevor Neumann on trumpets, and Evan Hyde on drums.“Harvey’s Soliloquy” is written by Kyle Wilson; arranged, orchestrated, and produced by Joe Mendick; performed by Reed Campbell.

Kyle and Sam adapt Guillermo del Toro's 2018 Best Picture winning film "The Shape of Water" into a musical comedy—complete with singing eggs, a decapitated cat, and a whoooole lot of fish f***ing. Featuring a special musical performance by Erika Henningsen (Les Misérables on Broadway, Mean Girls on Broadway) and Kyle Selig (The Book of Mormon on Broadway, Mean Girls on Broadway). [IMH] is available on Apple Podcasts and Spotify! Subscribe, leave us a review, and follow us on social media:Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehere[IMH] is hosted by Sam French and Kyle Wilson; Executive Producer John Albert Harris; Music Supervisor Andy Einhorn; artwork by Thomas Constantine Moore. The [IMH] theme song is written by Kyle Wilson; arranged and orchestrated by Nevada Lozano; produced by Andy Einhorn, mixed by Daniel Kluger, mastered by Jessica Thompson, and music edited by David Dabbon; Will Blum on lead vocals; Lindsey Roberts, Zanny Laird, Jackson Perrin, and Adrian Rosas singing backup; Chad Smith on saxes, Rebecca Patterson on trombones, Trevor Neumann on trumpets, and Evan Hyde on drums.“The Shape of Water” song is written by Kyle Wilson; arranged, orchestrated, and produced by Joe Mendick; performed by Erika Henningsen and Kyle Selig. 

From musical theater writing duo Kyle Wilson and Sam French comes [insert movie here]: The Musical!, a new unscripted podcast adapting movies that should probably never be on-stage into outrageous musical comedies. Equipped with absurdities, kicklines, and show-stopping, roof-raising jams, no movie is safe from the sardonic minds of Kyle and Sam. These movie musicals are so wrong… but oh so right. First episodes coming September 17th.Subscribe wherever you listen to podcasts and follow us on social media for more updates:Twitter: @insertmoviepodInstagram: @insertmoviehereFacebook: @insertmoviehere

Join us for a chat and a cuppa as we settle in for some Quality Time. Our sparkly new podcast offers you a peek behind the scenes at Queensland's state theatre company. Hosted by our Artistic Director Lee Lewis, every fortnight we'll be sharing conversations with our team members and artists. Hear how they came to work in the arts industry and the many exciting stories they've collected along the way. Queensland Theatre's Quality Time podcast turns the house lights up and invites you to get to know the people who have helped make our 50 Seasons of Stories possible. For our first episode, Lee sits down with our Artistic Coordinator Sam French. A long-time member of the Queensland Theatre team, Sam works with directors and agents to organise and cast productions, as well as looking after the logistics of moving artists around the country and licensing intellectual property. Theme music and sound design by Wil Hughes #QualityTimeWithQT

At first glance we see an ancient ship at sea, but upon closer inspection it’s revealed that all of the materials that make up the ship […]

Our sneak peek from the folks at KidPod Theater continues with Rescues Part Three! In this episode we finally meet The Raging Petunias as well as a very, very bad person.

Our sneak peek from the folks at KidPod Theater continues with Rescues Part Two! In this episode we learn more about the extraordinary creature and also get its name.

We take a break from our sci-fi short stories to bring you this, uh, sci-fi scripted audio. That’s right, one of our Brick Moon writers, Sam […]

Welcome to KidPod Theater's production of "Rescues" by Sam French!  Danny Mikkelson is thirteen and just starting to help her mother, Kay with their dog rehabilitation business.  Danny finds a badly wounded stray alongside the road and it doesn’t take long to realize that there’s something very, very different about this… creature.

Catching up on a rather extraordinary couple of weeks with new world records and new world stars in the 10k, discuss Sam's 10k race on the 19th and Sam French's achievement in finishing his first 5k. Also News from Kenya surrounding doping and legend of the sport Wilson Kipsang. The main bulk of this episode is made up of an interview with Mark Hookway. Mark has an enormous wealth of experience coaching juniors and organising events to name a few of his many accolades. 

You think it’s hard being a single mom? Try being a single mom and a thief – the headaches, the babysitters, the… advantages. Yes, it’s a […]

Tonight's episode is brought to you by the staples of the show, Michael Stewart, Sam French, Steve Reyes, and Rob Ruiz. We begin with the atrocities this country has been facing, the mass shootings, and what we must be actively doing when it comes to healing this nation. We then get into our spitfire round discussing whether rich individuals are out of touch, moving on to toxic masculinity in the NFL, and concluding with the Democratic Candidates, and quick advice for your upcoming NFL Fantasy Draft. Our central topic surrounded Quentin Tarantino films, including his latest Once Upon a Time in Hollywood. We end with our signature Top Ten. This week's Top Ten includes the top ten Bad Asses in American History. Feel free to comment each week with who would be in "your" Top Ten. We will mention some of your contributions next week. Thanks for listening *insert train whistle. 

When we release a new Sam French short story, it feels like we should be sounding an air-raid siren so you have time to emotionally prepare […]

Family, holidays, and tension – has there ever been a more consistent trio?  For the holidays this year we got our beloved readers (and listeners) a […]

The wave of slasher films from the late 70s to the mid-80s was nothing less than a tsunami.  Even more stunning was the sheer amount of […]

Recapping the season and discussing the playoffs with Sam French.

Recapping the season and discussing the playoffs with Sam French.

Have you been following our #SummerOfCrime series on the Brick Moon Fiction Podcast?  Then you already know you’re in for a treat.  From the anthology, “It […]

Tuesday Breakfast July 24th 7.00 am  Acknowledgement of Country7.05 am  News headlines  7.10 am We hear an excerpt of a speech by Behrouz Boochani, a journalist and refugee detained on Manus Island, and a vox pop with rally attendees, at the Narrm 'Rally for Refugees: 5 years too many' on Saturday 21 July 2018.7.30 am We play part one of Lauren's interview with Susan Carland about her book, 'Fighting Hislam', which examines how Muslim women fight sexism.7.40 am We hear George and Lauren speaking with Lavanya Thavaraja from the Tamil Refugee Council at the Narrm 'Rally for Refugees: 5 years too many' on Saturday 21 July 2018.7.45 Marijo from 3CR's Chronically Chilled program joins us in the studio to discuss the media's portrayal of invisible and chronic illnesses, and what the myhealthrecords system might mean to people with such illnesses. 8.00 am George chats to Sam French, Senior Policy Officer at People with Disability Australia concerning issues with recent disability employment reforms that came into effect earlier this month. 8.15 am We hear part two of Lauren's interview with Susan Carland.  End!Songsartist: Genesis Owusu   song: Awomen Amen artist: Erykah Badusong: Penitentiary Philosophy 

They’re both six years old.  They’ve been together their whole lives.  As far as they know they are the same species, but the truth is one […]

Espionage.  A secret mission.  A man sent undercover deep into enemy territory with one clear understanding and one clear objective:  Our side is right, their side […]

This episode of Zack’s Film Talks at SDSU is hosted by Libsyn. My guest is Michael Green, who wrote Blade Runner 2049 with Hampton Fancher.   Michael was raised in Mamaroneck, NY, and went to Stanford University. He wrote for Sex and the City and is the co-creator of American Gods. In this episode, Michael talks about: the importance of reading why it's good to go to the movies, as opposed to just watching them how he once made two stacks of film scripts—ones he felt were better than his, and those he felt he could do better than—and spent time studying and learning “by dissection” from the best JohnAugust.com—a screenwriting website/podcast he highly recommends Green Lantern and his early fascination with comics the “constant battle” he undergoes between creating original projects and working on adaptations  To prep for Blade Runner 2049, Michael read the great noir novels. We collected a few lists here: https://www.amazon.com/Hardboiled-America-Lurid-Paperbacks-Masters/dp/0306807734, http://www.mensjournal.com/expert-advice/best-old-school-noir-novels-20160217, https://www.barnesandnoble.com/blog/50-must-read-noir-detective-novels/.   Full interview transcription: Hello, and welcome to Zack’s Film Talks at SDSU, a film podcast featuring interviews with screenwriters, directors, cinematographers, and more. This is Episode 1. My guest today is screenwriter Michael Green, who co-wrote Blade Runner 2049. Michael talks about the importance of structure in a screenplay, and he warns writers not to become paralyzed by research. Our conversation was recorded November 9, 2017.   ZS: Hey, Michael, how are you? MG: Hey, great. ZS: Thank you so much for doing this, by the way. So was there a particular moment in your life when you knew you wanted to be in the film industry or just screenwriting in general? MG: … That question comes up from time to time, because people will often look for creation myths in writers and writing. Unfortunately, writers and writing tends to be a much less romantic profession—much more a slog. But what I can definitely track in myself is a persistent love of television and film. Even times when I wanted to be a doctor or a comedian or carpenter or doctor or any of the other things that seemed appealing, I did all that fantasizing while watching way too much TV and wanting to go to the movies. That’s where my passion lay. And I just got very fortunate that I had a moment of brain connection that perhaps I should do what I loved, and also even more fortunate that I was given the opportunities to do so.     ZS: Great. So is there anything in particular that gives you inspiration as a screenwriter? MG: I think any screenwriter that doesn’t read a lot is probably not tapping into their best potential or inspiration. Reading has always been what makes for more writing—and going to the movies, and watching television shows that are great and wonderful. These days going to the movies as opposed to just watching them at home—they’re very different experiences. … [I]n television, [watch] the show on-air the way the audience would see it. So if it’s a network show … watch it on the air with commercials. … ZS: Yeah, I definitely agree. I think going to the movies is probably just the best way to watch anything. It gives you a completely different experience than just watching it in your own home. MG: Absolutely. It’s an indulgence. But one should indulge, especially if that’s your art. What’s the last movie you saw in a theater? ZS: It was actually Blade Runner. MG: Oh! Good answer! I will take that! ZS: It was great, by the way. MG: I strongly recommend that the next movie you see be Murder on the Orient Express. … ZS: So you mentioned reading in one of your answers. I saw that you—I read the Hollywood Reporter interview where you said that when you started writing you made two stacks of scripts: one that you thought your work was better than and work that you thought was better than yours. How did you differentiate that? MG: You’re asking the right question because it was an incredibly arrogant statement I made—that I’m able to look at a stack and … determine with any accuracy whether I’m better or worse. … What that really means is that I started to have an opinion about what I thought was good— ZS: Okay. MG: —and applied that to my own writing. You might be wrong, but at least you’re starting to develop your own metronome that you’re going to start keeping time to. The more you read, the more you know what works, what doesn’t—what works for you, what doesn’t work for you, and how to approximate that. When I was starting—it was twenty years ago exactly, and that makes me a very old person, especially compared to you ...—but scripts were very elusive then. It was like, “Oh my God, you got a copy of the script of Tim Burton's Batman…? How? They were these secret things—you could only get them if you knew someone . …  People sold them on the streets in New York for five bucks. They were these magic things. You could go to Sam French and read every play in the world—which you should. But screenplays now are generally available on the Internet, and every TV show—you can read all the scripts. You can read the scripts and reverse-engineer: how did they do that? How did they get that image on the page? … How did they—was that dialogue on the page, or was it adapted by the actor … or was that word-for-word what was written? How did they structure it?—secretly the hardest thing in screenwriting. And you can start to learn by dissection. So I was fortunate that I lucked my way into a job where I had access to scripts. …And now they’re all PDFs. Get ’em all! Read them and understand. This person has a fancy reputation … but they’re terrible! Oh my gosh! I can have that job. Or: holy crap, this person wrote something that makes me think I suck. I want to be as good as that. … Get your ego invested, either positive or negative … because that’s your profession. … See how you feel about other people's work. ZS: I totally agree. Since I’ve been recently getting into screenwriting, I go on those websites that have all those PDFs, all the files. It’s great to look at it—especially with actions and sequences. If it’s a movie I’ve seen, like, five times, I go look at the screenplay and I can actually see it as it’s happening. MG: Yeah! …There are a few screenwriters of note who have dedicated enormous amounts of time and energy to  websites, especially John August—JohnAugust.com. John August is an incredible screenwriter, a very nice guy. … Anytime people ask me starting-out questions, I always refer them to his website, or [Javier Grillo-Marxuach and Jose Molina's] Children of Tendu, because they’ve done all these wonderful podcasts with really, really smart answers to questions that everyone has. John August started an FAQ about screenwriting twelve years, ten years ago. And if you just started reading backwards from his recent posts back to the original, you would know a lifetime of screenwriting advice. It’s incredible. All of this stuff used to be so esoteric—you couldn’t get answers to that. You didn’t have access to. … So it’s an incredible time to be an aspiring screenwriter— ZS: Yeah. MG: —because it’s all there for you to learn. The only thing is on top of that make sure to read things that aren’t just screenplays. … You still need to be someone who has something to write about, which means you have to cultivate interests. … No one wants a film about people who want to make films. … Not that there isn’t a good version of it, but there are a lot of them out there. Sometimes that’s the only experience people have. So make sure to have other experiences in your life. … ZS: So I saw in another interview that you— MG: —It’s a fancy way of saying: make sure to goof off! ZS: Yeah. That’s a good way to put it. So I saw in another interview that you were very into comics growing up. Is that one way—one platform of reading that you kind of got motivated off of, since you’ve obviously written a few superhero-oriented movies? MG: Ah, definitely, I mean, any reading is good reading. Anything that you gravitate to is worth doing. … I read a lot of comics growing up, but I wasn’t very thoughtful about it or reflective about why I liked these things, or didn’t even have a really strong sense of what I liked. I just wanted to consume it all. But I can look back on those experiences and see what my brain remembers from all that reading all these years later. And then there’s something very self-indulgent about writing. You’re taking time out of what could be an experience [to] put words down that you're certain other people should hear, and sometimes you do it for other people in your life, and sometimes you do it for yourself, and sometimes you write for your bar mitzvah self—for the 12-year-old- or 13-year-old version of yourself. … ZS: So all the films that you’ve made have been adaptation projects, whether it be from a series, like Logan, or adapting Blade Runner. … Is that something that you want to stick with doing, or are you trying to come up with original concepts? MG: You know, it’s a constant battle. If I’m not adapting things, then I’m coming up with originals. It happens to be that in the last few years, things were brought my way that were too irresistible to say no to. ... We’re definitely in a time in the entertainment industry where studios feel most comfortable with developing properties that are known. Adaptations just happen more. It has a lot to do with what the audiences are willing to show up for. There was a really pivotal moment a couple of years ago when this wonderful movie called Edge of Tomorrow came out, starring Tom Cruise. It’s a Warner Bros. film, directed by Doug Liman. It was an original film, but it actually was based on [Hiroshi Sakurazaka's] manga comic [All You Need Is Kill]. ... [Website here.] This was a new, fresh thing. It was such a great film. And there was ... a lot of Monday-morning quarterbacking about why it didn’t do well. People didn’t show up! You had audiences looking for familiar things. … It became a cult film later, but that was the day Warner Bros. said, We might not want to do original stuff for a very long time. At studios you can see the reverberations of that. … you could see the business seismic shift after things like that happened. As a working screenwriter, you get offered things … as opposed to when you say I want to do something original and you have to create time where you essentially say no to jobs. If I want to do something original, on spec … I’ll have to take as many weeks or months as that’ll take, not getting paid to do something else, to take a chance on something original. That’s a big lottery ticket. If it works well, you’ve now created something that you can enjoy, and that’s yours from the ground up. But if it doesn’t, you’ve now not worked during that slot of writing.… If you're not interested in high-risk kind of reward, don't be a screenwriter. I'm not saying anything fresh or original in the adaptation-versus-original conversation. People spend a lot of time looking at the finances of [this]. ZS: So when adapting an existing project or a previous movie, how much research goes into it—how much time went into researching Blade Runner, and rereading the original script and watching the movie? MG: Research is an important part of writing—you need to fill your mind with things of and around the piece, and internalize it. And it can mean different things on different projects. ...With Blade Runner, you certainly need to know that film. But there’s also a point that comes in every project where you have to stop. I’ve known writers who’ve paralyzed themselves ... using research as the excuse to not start. At some point you have to say, I’ve read enough; I know enough. … For Blade Runner ... I obviously knew the film very well ... but I did put myself through Noir Writing School—which was nothing more than, I just hadn’t read a lot of the great noir novels, and I gave myself the license to take some time to read them. ZS: Cool. MG: Pure joy. And then I would have them as the occasional tuning fork, till I felt I had a new voice in my head, or my version of all that. And then from time to time I might, while taking a lunch break, eating my … salad, pick up one of those [novels] and read a few pages to keep my mind occupied with those words and those cadences. Research is very important and it’s very useful—to a point. At some point you have to trust yourself as a writer and say, Okay, I got it—or at least me right now has a version of this. And you can only be the writer you are at that moment. In a year’s time, you might pick up what you wrote and say, Oh, I can improve on that. Hopefully you’ll have that opportunity. But you do have to do your job as a writer and let go of the fear of not being comprehensive. You don’t have to give yourself a PhD in Civil War history before you write [a] Civil War [film]. You have to read some, to find your way around it. Don’t paralyze yourself with that—but don’t be lazy, either! ZS: I know a lot of screenwriters like to direct and/or produce their own projects that they’ve written. Is there a reason that you haven’t really stepped into that? Or would you ever consider it? MG: Well, I came out of television, where I am a producer—where I do produce. Features is the director-driven job. ...In television, one of the nice things about it, from my perspective, is the writer and show runner is in charge of the show—produces it, top to bottom, every last detail, almost to the point where it can produce a terrible job, because it's too much control over everything. I’ve been very fortunate that I’ve been able to write features but I'm also able to stay in television, where I do run a show. … I can have an insane amount of control over every detail, or decide for myself what I want to delegate and what I don't, and [keep to] a form of direction in that way, while still writing. And [I can] work on features in the margins of that time. I've enjoyed that a lot. As far as directing, it’s an ambition I have. Depending on how a few things go this year, I may direct an episode of American Gods. ZS: Cool. MG: Put my toe in those waters and dive on in. It’s something I’ve wanted to do for a while and just kept saying, I’ll do it next year; I'll do it on the next show. So it depends on how a few things shake out this year. … ZS: Cool. So it sounds like you’re on set and involved in production for American Gods. Are you ever on set for the features that you write? MG: Yes. For American Gods I’m on set as much as I’m able to be, with my good friend Bryan Fuller. Toronto, Los Angeles. … On the features, it’s sort of “as able”: Logan I was not on the set for. I didn’t finish out the writing on that. That was James Mangold and Scott Frank. They were more on the ground there. Blade Runner and Orient Express, I was very fortunate. Both directors were extremely inviting and just said, "Be here as much as you want to be here." I was very much a part of that process. … After a few weeks I felt like. Well, I might have a contribution here, but I also felt ... I had to get back to American Gods—you can’t run a show from Europe. I would check in and out—spend a couple of weeks. Orient Express I was there the first week or two. Interestingly enough, it was essentially a year ago now, so I was there Election Day, when America shut down. Very strange thing to be there [for that]. … And then I came back later on in the production—trying to be helpful. It was also fortunate that I trusted both directors and enjoyed—I was able to watch dailies every day on both of them [Blade Runner and Orient Express] and feel like this was going really very well. … ZS: What was it like being on the Blade Runner set? Because clearly a lot went into that movie’s production. MG: Walking on the Blade Runner set was one of the silliest, funniest things I’ve ever done. It was so BIG. … I felt dwarfed, I felt … I felt like it was one of my first times on a set. … ZS: Yeah. MG: I’d never been on anything that scale. … A driver brought us into this campus. I looked up and I see these twelve buildings, each one a giant warehouse. ... I said, Which one’s ours? And he said, All of them. … In Budapest ... it was like an airplane hangar. … [You’re looking at] better versions of what you’d imagined. And you kind of have this weird gravitational shift in your brain, where you let go of how you’d imagined it. And you see the reality and sometimes certainly the reality is better. It was silly and hilarious. I just kept laughing. I couldn’t believe the gorgeousness of everything. ZS: Definitely paid off. Because it looked amazing on screen. MG: Thank you. I’m incredibly proud of it. … It was like a four-and-a-half, five-year job and I enjoyed every minute of it. … I just never stopped feeling grateful to be a part of it. And the fact that it turned out to be a movie people really enjoyed is beyond expectation. The whole thing was always beyond expectation. I couldn’t believe I was writing it, I couldn’t believe they liked what I was writing, I couldn’t believe they shot it, and I couldn’t believe it turned out great. Not surprised it turned out great, because of all the people involved. ZS: Star-studded cast, great director. MG: I’m sorry to have kept you waiting for weeks. ZS: Thanks so much for doing this. MG: Got everything you need? ZS: I’ve got everything I need. Thanks so much. MG: All right. ZS: Bye.   That’s Episode 1 of Zack’s Film Talks at SDSU. Thanks for listening. Episode edited by Chris Burke.            

Our fourth release riffing on the theme of Climate Displacement.  This story by Sam French takes place in a future in which extreme weather has pinned […]

Continuing this month’s theme Tyranny of History, writer Sam French delivers yet another fiendish, intelligent, and out-of-the box story – this one about a not-too-distant future […]

Sam describes himself as a storyteller before anything else. He is passionate about stories and being able to bring them to life, so it's no wonder he's an Academy Award-nominated filmmaker. His film project, Buzkashi Boys, has garnered multiple awards and nominations and has been praised by film critics worldwide. The film is set in contemporary Afghanistan and revolves around two Afghan boys who strive to reach their dreams amidst their current situation in one of the most war-torn countries on Earth, all while participating in the Buzkashi, the country's national sport.  "You're never going to know how you think about something until you get there." On this episode, Sam shares his experiences - especially the ones he went through while he was making Buzkashi Boys. He talks about living in Afghanistan and how Hollywood filmmakers are viewed to be these ridiculously rich guys, and how this is a total misconception.  "Failure is only a temporary setback." A dark time, he shares, was when he was accused of mismanaging the funds for the film and the subsequent anxiety attack that he suffered due to the allegation. However, Sam bounced back up and proved all his detractors wrong. "I look forward to taking the next step." Today, Sam is currently in Bali, working on another story. We can't wait to watch the next film!  Get in touch with Sam: sam@samfrench.com Facebook www.buzkashiboys.com www.dirtyrobber.com

Gaslighting.  It’s the theme of this month’s series of podcasts.  “Kids” by Sam French is the first entry and wow – what a stunner.  Sam has […]

Our second release for the Liberty-themed month of March comes from Sam French.  This story takes place amidst the ruins of a familiar city as the […]

What is the Broadway sound? During the "Golden Age" of Broadway, it was easy to say: Big and brassy, 18 to 25 players at least. But now, money is tight, musical styles have changed, and shows now tour a lot. Money is being made by the rights companies like MTI, Tams Whitmark and Sam French renting out the rights to Broadway shows to high schools and local theatre companies. But how can you find the quality of player locally, and money to pay for the orchestra sizes of the past? Most producers just simply don't budget enough and want to spend money on musicians. I think as a music director I spend 50% of my time stressing about how to make the music maintain the original feel and intention by using less then half the allotted players, sometimes even less then that. Some of the rights companies have reductions available for rent for some shows, but they are still too large for many producers to want to use? So we reduce, and reduce and a music director becomes, pianist, arranger and orchestrator all in one, and that's what the public thinks we do now. But.. Should we do it? Are there better solutions? When we do have to do it, how do we do it? On today's episode my guests and I will discuss these questions and more. So let's reduce the pit… from the pit.

“My Atlantis” by Sam French follows a climate refugee fleeing their home state of Florida as it is slowly swallowed by the ocean.  This bittersweet story […]

We’re back!  After a week off, we are back and onto a new theme for the month of December. Our central topic this month is Toys […]

In a few weeks Brick Moon Fiction will release The Brick Moon Annual Vol. 2.  A compilation of all the short story anthologies we released in […]

Continuing a theme first presented in Lauren A. Forry’s “Window Seat,” author Sam French puts us back on the bus and on a ride into pure […]

Oscar-nominated director Sam French has been producing work for top international broadcasters and news outlets, and creating narrative and documentary pieces all over the world, notably short film Buzkashi Boys and documentary Afghanistan Rising. Listen to our podcast with Sam to hear about what took him to Afghanistan where he lived for five years, and how he sees documentary filmmaking advancing.

Oscar-nominated director Sam French has been producing work for top international broadcasters and news outlets, and creating narrative and documentary pieces all over the world, notably short film Buzkashi Boys and documentary Afghanistan Rising. Listen to our podcast with Sam to hear about what took him to Afghanistan where he lived for five years, and how he sees documentary filmmaking advancing.

The Black Tulip writer, producer, director and star Sonia Nassery Cole, along with her dear friend Natalie Cole, who contributed two songs to the film, join host Robin Milling. Ironically there is no relation between them, but their 18 year friendship and what they have been through together has made them close enough to consider themselves 'sisters of different mothers.' Sonia tells Robin after 9/11 she was inspired to write about a family who open a restaurant/poet's retreat to commemorate their new found freedom from under the Taliban's rule. While shooting the film she feared for her life 24/7, bravely entering into a war torn Afghanistan in 2001; bombs went off right near her hotel and she was even kidnapped. She tells these stories and much more in her book, 'Will I Live Tomorrow? The Making of The Black Tulip.' Natalie calls in for a special follow-up chat. The multi-award winning artist who contributed the songs One Moment In Time and Freedom Song to the film's soundtracks says the basic freedoms of music and art were not lost on her when she visited Kabul with Sonia and entertained the troops. Natalie is also on the Board of Directors for The Afghanistan World Foundation founded by Nassery Cole which provides money to build hospitals amongst many other things and much needed aid to Afghan refugees. For more information visit: www.BreadwinnerFilms.com www.afghanistanworldfoundation.org/ Photo credits: David McFarlane and Sam French

It's been a while, but we're back. Special guest Sam French talks about my lack of new wave & his Andy Warhol NY nightlife experiences. The new-Jerewz & I discuss our travels. We play some tunes as usual & throw a bunch of cursing around. Gomez didn't even get high this episode....

We are proud to offer a sneak peek at one of the new shows over on KidPod Theater. These folks take the creative world building we do at Earbud but put it in a family friendly zone. We think you'll really dig it.