Podcast appearances and mentions of samuel jackson

Send us a textThis Episode has EVERYTHING!It's got:Dave's brain doesn't work!Mr. Short Term Memory!In the way, Dave!Negativity AWAY!Levity! Brevity!A dollar in the douche jar!HAPPY BIRTHDAY, KEVIN!Airline tickets are too expensive for shenanigans!Levity! Brevity!"Severance" is amazing, though horrifying!Useless degrees!Will philosophize for food!Rants!Lady Gaga Levity!Up and down like a toilet seat in a men's room!Updated Irwin Allen!CGI sucks compared to practical effects!"The Goonies" sequel is on the horizon...!Long awaited sequels ALWAYS suck!Part 2, Electric Boogaloo!Dave loves Sean Astin to this day!Twink yogurt!Other peoples' kids are the best birth control!No naked nonsense in Dave's family!Episode Links (In Order):Louie Prima "The Bigger the Figure"!Tom Hanks "Mr. Short Term Memory"!Samuel Jackson's death in "Deep Blue Sea"!"The Goonies 2" is in the works!Teen girls try to kill mother over Wi-Fi!Music Credit!Opening Music Graciously Supplied By: https://audionautix.com/ Visit Our Patreon! Email Us Here: Disturbinglypragmatic@gmail.comWhere To Find Us!: Disturbingly Pragmatic Link Tree!

Should Kendrick Lamar have been the 2025 headliner? Also how do we feel about his 2 step and his bell bottom pants?

One Brain can't get enough of amnesiac movies! This time it's Geena Davis suffering from the world's longest brain fart, with Samuel Jackson as her detective sidekick. Spoiler alert: she's a government assassin waking from 8 years as a small-town schoolteacher, just in time to save us from a "dangerously" underfunded CIA... how can you not remember it? Plot too forgettable? Have no fear - The Brains have a refresher ready for you.   And check out the video version on our YouTube channel: https://www.youtube.com/watch?v=zkFAgSZTttE&t=71s

Walter Mosley is the author of 60 critically-acclaimed books, translated into 25 languages. He has had several of his books adapted for film and tv including Devil in a Blue Dress, Always Outnumbered, Always Outgunned, and The Last Days of Ptolemy Grey starring Samuel Jackson. He was a writer and an executive producer on the John Singleton FX show, “Snowfall” and filming has just completed on his “Man in My Basement,” starring Willem Dafoe and Corey Hawkins.He is the winner of an O. Henry Award, The Mystery Writers of America's Grand Master Award, a Grammy®, several NAACP Image awards, PEN America's Lifetime Achievement Award. the Robert Kirsch Award from the Los Angeles Times Festival of Books and the Distinguished Contribution to American Letters Award from the National Book Foundation.In 1998, Mosley and the City University of New York created The Publishing Certificate Program. Created to address the critical issue of diversity in the book publishing industry, the program brings together the rich variety of racial, ethnic and cultural experiences of the students of CCNY with professionals in the industry who provide courses in core principles and skills needed to begin careers in the book industry.Facebook Page: https://www.facebook.com/WalterMosleyAuthor/Website: https://www.waltermosley.com/Mentioned in the Podcast:Crime Writers of Color: https://www.crimewritersofcolor.com/City College of New York Publishing Certificate Program: https://english.ccny.cuny.edu/publishing-certificate-program/Eleanor Taylor Bland Award for Emerging Crime Writers of Color: https://www.sistersincrime.org/page/EleanorTaylorBland*****************About SinCSisters in Crime (SinC) was founded in 1986 to promote the ongoing advancement, recognition and professional development of women crime writers. Through advocacy, programming and leadership, SinC empowers and supports all crime writers regardless of genre or place on their career trajectory.www.SistersinCrime.orgInstagram: https://www.instagram.com/sincnational/Bluesky: https://bsky.app/profile/sincnational.bsky.socialThreads: https://www.threads.net/@sincnationalFacebook: https://www.facebook.com/sistersincrimeTikTok:: https://www.tiktok.com/@sincnationalThe SinC Writers' Podcast is produced by Julian Crocamo https://www.juliancrocamo.com/

Ramses Ja and Q Ward take a look at a few of the hidden gems in Kendrick Lamar's half time show at this year's Super bowl. See omnystudio.com/listener for privacy information.

With So much going on in the Halftime performance from Samuel Jackson being Uncle Sam, Serena Williams C”Walking to the famous they not like us references, what did you think about the Halftime show

In today's show, medium wave surfer Mark Zuckerberg protests too much love for Queen P, Curren spots a podcaster in the wild, Slater KO's Samuel Jackson & Vin Diesel, and David and Chas rank the least sexy instruments to play whilst naked. Plus Barrel or Nah?! Enjoy. Learn more about your ad choices. Visit megaphone.fm/adchoices

There are a lot of expectations in society when it comes to certain achievements. You're expected to follow this sort of time line ON SCHEDULE. Graduate from college by 22, get married by 25, establish a solid career by 28, have a kid by 30, buy a house by 32. You get the gist. There's this "Life Itinerary" you're expected to follow. But we procrastin8rs we don't like due dates or schedules. We like taking our time to do the things we want to do, IF we even want to do them at all. You're never too old to achieve something, despite the crazy looks people might give you if you tell them you're about to start a new career at age 60, for example. Alan Rickman, Samuel Jackson, Bryan Cranston, to name just a few, are all procrastinators who had a late bloom in their success. Don't believe you have to accomplish something by a certain age or time frame. Take your time, slow n' steady. Read the Full Blog: http://www.procrastin8r.com/blog/owntime Subscribe to the Newsletter: http://www.procrastin8r.com/subscribe

CARLOS JIMENEZ "C-4" NOS NARRA LA IMPACTANTE HISTORIA DE GASIEL UN NIÑO DE 17 AÑOS QUE ASESINARON POR ANDAR EN LA MAÑA , NOS CUENTA LA HISTORIA DE LA RATERA DEL CORVETTE

“Pulp Fiction”, dirigida por Quentin Tarantino, cumple 30 años. Estrenada en 1994, es uno de los éxitos comerciales más grandes en la historia de Hollywood, recaudando 213 millones de dólares, cifra que hoy no suena a mucho hasta que consideras que es 25 veces más de lo que costó hacerla. Ganó varios premios, el mas notable siendo la Palma de Oro, en Cannes, y fue un éxito crítico. Richard Corliss, de la revista Time, alabó la película notando que Pulp Fiction retaba al resto de Hollywood a ser así de inteligente al transgredir. Pulp Fiction revivió la carrera de John Travolta, quien no había hecho nada notable desde “Fiebre de Sabado en la Noche”, casi 20 años antes; lanzó a Samuel Jackson a la fama; e hizo de Quentin Tarantino un nombre conocido mundialmente. A 30 años de su estreno cabe preguntarse si ya se ha dicho todo lo que se tiene que decir de Pulp Fiction, o si todavía es material de discusión para los y las que crecimos con ella, y si hay algo ahí que, tres décadas después, le hable a las nuevas generaciones. Para ello nos acompañan Ángel Álvarez, académico de la Pontificia Universidad Católica de Chile, e Ingrid Sánchez Tellez, académica de la Universidad Central de Chile

That time Samuel Jackson brought attention to a debate about Black-on-Black castingWritten by Nicole DixonRead by Kassandra Timm

Our little Smoliv is all grown up and turned into a tree. Join us as we talk about its final form, Arboliva! And the LAAT Gunship from Star Wars Episode II Attack of the Clones! Follow along with the entries below: Scarlet: This calm Pokémon is very compassionate. It will share its delicious, nutrient-rich oil with weakened Pokémon. Violet: This Pokémon drives back enemies by launching its rich, aromatic oil at them with enough force to smash a boulder. Professor Friede: It may be scary if it gets angry, but normally, it's a very kind and gentle Pokemon. It's devoted to caring for its friends. Those arms nurture both its fruits and its friends. BTB: It blasts olive oil just like an LAAT gunship from Star Wars Episode 2 Attack of the Clones starring Natalie Portman, Hayden Christensen, Ewan McGregor, Samuel Jackson, and Temuera Morrison. A bit of a diva. Cover design by Kwesi Phillips Music by Junichi Masuda and Go Ichinose Leave us a tip at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/beyondtheball

We talked about: Finding community, doing The Stump, Not doing Chandler on “Friends”, the wonderful and difficult friendship of Matthew Perry, doing theater as a kid, “easy” comics who took their time, playing villains, lying about knowing how to ride horses and almost dying on the horse, auditioning by “being that guy” to set you apart, The Great David Pressman, kind hearted Richard Kind, staring in broadway, fear of going out. my writing advice “how much pain can you take?”, always seeking connection. Saying “yes” to opportunities, Craig's dog boo.  Rye New York. Somehow Craig thinks I project warmth and kindness. Windows in school that go all the way to the ground that give kids the confidence to be on the world. Bullies who don't think they are bullies, the gain and loss of choice, and the idea that the journey we are all on must contain random gifts and failures to get us where we are now.  Bio: Craig Bierko made his Tony-nominated Broadway debut as “Professor Harold Hill” in Susan Stroman's Broadway revival of Meredith Willson's The Music Man. A familiar face to Broadway audiences, Craig most recently appeared in Conor McPherson's Girl from the North Country featuring songs by Bob Dylan; as “Sky Masterson” in Des McAnuff's revival of Guys & Dolls, and in Lincoln Center's Thou Shalt Not featuring music by Harry Connick. Craig recently completed the darkly comic feature film D(e)ad. Other film work includes starring opposite Russell Crowe in Ron Howard's Cinderella Man, The Long Kiss Goodnight with Samuel Jackson and Geena Davis, Larry David's cult classic Sour Grapes and Terry Gilliam's Fear and Loathing in Las Vegas. Craig has appeared in numerous TV shows, most recently on the hit Netflix series Sex/Life as well as on the Peabody Award-winning UnREAL. Craig appeared as Carrie Bradshaw's love interest “Ray ‘The Jazz Guy' King” on HBO's iconic Sex and the City.  Craig bathed John Malkovich in his online talk show “Bathing with Bierko” and offers no apologies.

Page Kennedy joins the pod to discuss the myriad bangers he's starred in including ‘The Meg,' ‘Meg 2' and ‘Leprechaun: Back 2 Tha Hood' (just to name a few!), the perfect role that he was turned down for, the scene he did with Nikolaj Coster-Waldau that audiences hated so much that it had to be removed from the movie, why his name wouldn't make the press release if he was in a bus crash with Samuel Jackson and Colin Farrell, and much more. Page and Stav help callers including a woman dating a guy who tried to pass off someone else's art as his own, and a mother whose disdain is growing for her misbehaved middle school son. Download the Gametime app, create an account, and use code STAVVY for $20 off your first purchase. Terms apply. More info at https://www.gametime.co/ Listen to Page Kennedy's album ‘A Book of Pages': https://empire.ffm.to/abookofpages Follow Page Kennedy on social media: https://linktr.ee/pagekennedy https://www.instagram.com/pagekennedy https://twitter.com/PageKennedy https://www.tiktok.com/@pagekennedy Unlock exclusive, Patreon-only episodes at https://www.patreon.com/stavvysworld Wanna be part of the show? Call 904-800-STAV and leave a voicemail to get advice!

We dive into bathroom remodeling in this episode. We sat down with California Contractor and Designer Matt Plaskoff from One Week Bath. He also owns Plaskoff Construction. Plaskoff Construction serves the most discriminating homeowners in the Greater Los Angeles Area, providing Design and Build services and improving the homes of such notables as Warren Beatty, Annette Bening, Jeff Goldblum, Geena Davis, John Candy, John Lithgow, Samuel Jackson, Ben Affleck, Carl Lewis, Henry Fonda, Goldie Hawn and many others.In this episode we use this experiance and what he learned from managing construciton projects from ABC's Extreme Makeover Home Edition to remodel your bathroom with quality and on schedule. To find out more checkout https://oneweekbath.com/ To get your questions answered by Eric G give us a call in the studio at 833-239-4144 24/7 and Eric G will get back to you and answer your question and you might end up in a future episode of Around the House. Thanks for listening to Around the house if you want to hear more please subscribe so you get notified of the latest episode as it posts at https://around-the-house-with-e.captivate.fm/listenIf you want to join the Around the House Insider for access to the back catalog, Exclusive Content and a direct email to Eric G and access to the show early https://around-the-house-with-e.captivate.fm/support We love comments and we would love reviews on how this information has helped you on your house! Thanks for listening! For more information about the show head to https://aroundthehouseonline.com/ Information given on the Around the House Show should not be considered construction or design advice for your specific project, nor is it intended to replace consulting at your home or jobsite by a building professional. The views and opinions expressed by those interviewed on the podcast are those of the guests and do not necessarily reflect the views and opinions of the Around the House Show. Mentioned in this episode:Baldwin Hardware Baldwin Hardware A new kind of decking and siding from MillboardFor more information about the latest in decking and cladding head to https://www.millboard.com/

Tap in to learn valuable tools to shift your mindset, adjust your habits, and stop wasting your time and your life.   Vera Wang didn't design her first dress until she was 40. Henry Ford didn't create the revolutionary Model T car until age 45. Samuel Jackson didn't land his award-winning role in Spike Lee's “Jungle Fever”, which catapulted his acting career, until age 43. Controversial as she is, Kris Jenner didn't pitch the hit show “Keeping up with the Kardashians” to E! Network until she was 52 and we see what happened there. The point is, it's never too late to be who you might have been. It's actually not ok to give up and damn yourself to a life of mediocrity. Alechia believes it's a slap in the face to the creator who gave you gifts that you should use to elevate your life and serve humanity but instead you choose to squander them and keep them to yourself. If you're good with some tough love, then you need to come on in and have a seat. Tap into this week's episode for some invaluable tips on how to reclaim any time you feel you may have wasted and how to live your best life at any age. Yes, you have the time. No, your life doesn't HAVE to stay the same. Your moment is here and the time is NOW.   Watch the conversation on YouTube: https://youtu.be/Qu4E8ifLKUU SPONSORED BY: Dating Well AF Course, visit to learn more: http://datingwellaf.com KEY POINTS & QUOTES: It's ok to reinvent yourself as many times as you need to. “The real sin is not using the gifts God gave you.” “The most powerless position is indecision.” It's crucial to know who your children are when you're not around. You are one decision away from your dream life. Tell yourself the truth about the life you have so you can create the life you want. CONNECT WITH YOUR HOSTS: Alechia Reese For coaching, visit: http://gotvaluenation.com Instagram | http://instagram.com/alechiareese LinkedIn | linkedin.com/in/alechiareese Dani Bourdeau For coaching, visit: http://danifostercoaching.com Instagram | http://instagram.com/thedanibourdeau   RESOURCES: For more info, visit: http://triggeredafpodcast.com   Like what you're hearing? Follow Triggered AF and share the love! IG: instagram.com/triggeredafpc Twitter: twitter.com/triggeredafpc FB: facebook.com/triggeredafpc YouTube: youtube.com/channel/@triggeredafpodcast   Triggered AF Podcast is produced by Triggered Media Group. 

If Samuel L. Jackson offered you an easy out that included free booze would you take it? No? We prefer the hard way too.  In this episode Sean and Dan talk about 2007's 1408, an adaptation of a Stephen King story that finds a skeptical writer trapped inside a sinister hotel room.   With a powerful performance from John Cusak, this thriller explores grief, hubris, and will make you question your safety whenever you come across a generic, knock off painting. email: openmicmovies@latertaterfilms.comwebsite: openmicmovies.buzzsprout.cominstagram: @latertaterfilms  

Become a monthly subscriber for just $1.99 per month and receive an additional two to three episodes per week!https://app.redcircle.com/shows/9472af5c-8580-45e1-b0dd-ff211db08a90/exclusive-contentIn this episode of The A to Z English Podcast, Jack talks with lifelong English language learner Johnny from China.Transcript:00:00:00JackHey A-Z listeners, this is Jack here.00:00:03JackAnd if you would like to become a an exclusive subscriber to the show, you can hit the link in the description and that will take you to our Red Circle page, where for $1.99 a month you will get access to an extra two or three episodes each week.00:00:23JackAnd be careful, don't hit that donation button if you want to become an exclusive subscriber because the donation button is just a one time donation. However, the exclusive subscriber button will give you access to the extra two or three episodes.00:00:42JackEach week.00:00:44JackSo make sure you hit that exclusive subscriber button if you want access to the extra episodes.00:00:52JackNow let's get on with the show.00:00:56JackWelcome to the AC English podcast. My name is Jack, and today we have a very special episode for you. I am doing an interview with Johnny and Johnny is from China and we're just going to have a conversation today. And, you know, leave and see where it leads. So Johnny.00:01:16JackTell us a little bit. Like where, where?00:01:17JackAre you from in China? Exactly.00:01:19JohnnyHi. Hi, Jack. Hi. The audience of AZ English podcast. My name is Johnny and I'm from China and I'm living in China at the moment, so it's a it's a great honor to me to be on the show with Jack. Yeah.00:01:35JackIt's. It's an honor to have you here. You're a long time listener and you know you always, you know, send us, you know, comments and things like that. And we really appreciate your support. It's it's.00:01:39JohnnyExactly, yeah.00:01:46JackAwesome.00:01:47JohnnyWell, that yeah, yeah, yeah.00:01:49JackWhere where in China?00:01:50JackAre you from exactly like what city?00:01:51JackDo you live in?00:01:52JohnnyOh, I'm. I'm from. I'm from the city called Fuzhou. That's like the the southern part of China. And so I'm in the South of China, basically. Yeah. It's like the coastal city here. Yeah. Yeah.00:02:00JackOK. OK. OK.00:02:04JackYeah. Oh, I'm. I'm sure they've got amazing seafood there.00:02:08JohnnyYeah. Yeah. So I don't know if you heard of the place, but we've actually got a lot of fellow countrymen, everyone, especially you, will find a lot of my people from my hometown in in New York. OK. So in Chinatown, a lot of them.00:02:23JackOh. Oh, really.00:02:25JohnnyAre from Fuzhou.00:02:26JohnnyActually, yeah. Yeah. So and they speak.00:02:26JackOK. Interesting.00:02:28JohnnyAnd and they speak still speak the the, the native native language. And it's like a dialect, yeah.00:02:37JackRight. So, so a lot of people there speak that dialect. OK, you sing. That's fascinating. OK.00:02:40JohnnyYeah, yeah, yeah, yeah.00:02:43JackYeah. Well, Johnny, a lot of our listeners would love to know, you know, they just from listening to you talk right now they're they're probably in awe because you have such a strong command of the English language. And when we do interview episodes like this, we'd love to, like, ask our our guests.00:02:57JohnnyThank you.00:03:03JackLike, how did you like? What was your language journey like starting from when you were young? When did you Start learning English? What was your trajectory?00:03:14JohnnyYeah, like on uh, so, you know, in China. So I think it's pretty much the same in in Korea. So we started learning language in perhaps in in our primary school. So we have like text.00:03:25JackI think it's third.00:03:26Jack3rd grade in Korea is when they start.00:03:28JohnnySo great. Yeah, the same. No, it's it's. It's just thing to find out. Korea is the same. Yeah. So it's like third grade and we'll learn it all the way up to.00:03:38JohnnySome people to high school high school, so we have the in the in the big exam, you know for entering university you will be tested in your English, just like Korea, right in Asian countries.00:03:41발표자MHM.00:03:47JackJust like Korea, but but that test, am I not mistaken? Because I do teach some Chinese students that test is very grammar based. I mean, so it's a lot of just grammar, grammar, grammar, right.00:03:58JohnnyExactly. Yeah, that's the.00:04:02JohnnyYeah, and well, actually, we don't really learn spoken English in China. So it's not that focused on spoken English, so.00:04:13JohnnyThey can. Well, like it's, you know, I've been.00:04:16JohnnyPreviously I I have been learning English for many years, but I can barely speak three words of English because I've never spoken to anybody in China, so we don't really have the, you know, the the language environment here in China. That's that's the problem. The same in Korea.00:04:31JackI think it's the same in Korea. I think that they've they've implemented certain strategies to try to overcome that problem.00:04:39JackBecause there are a lot of private academies in Korea, which I'm sure there probably are a lot of private schools in China as well, where students can Start learning English at a younger age and have exposure to like a native English speaker from Australia, America, Canada, whatever, yeah.00:04:55JohnnyHmm.00:04:59JackUmm, but you know those are expensive. You know, not everyone can afford those. So you know, some kids are stuck with the public school system where it's like a.00:05:10JackA Korean teacher or a Chinese teacher lecturing in Chinese or in Korean, but they're teaching English, which is doesn't really make a lot of sense. You know when you're, when you think about it.00:05:22JohnnyYeah. So I I still, I I think we're we're we're in desperate need for some good English teachers like you in China so.00:05:30발표자But.00:05:30JohnnyUnfortunately, we don't. We don't have that many.00:05:33JohnnyOf native speakers who teach spoken English in China. Really. So that's. That's basically the situation here and.00:05:39JackOK. So take us back. So you're so Johnny's in primary school. And are you going to a private Academy or are you using the public school system?00:05:42JohnnyYeah.00:05:51JohnnyYeah, I'm. I'm pretty much using the the the public school system. Yeah. So just like, just like anybody else in in China. OK. So I wasn't in any language training school or anything. I didn't.00:06:02JohnnyUh, I I didn't like English all that much, to be honest. I was like, yeah, right, that was. That was just a.00:06:06JackI was just gonna ask you that question. I was like, I bet you hated it passionately being, you know.00:06:08JohnnyLot of fun, yeah.00:06:11JohnnyYeah, in, in a sense. Yeah, in a sense like it was just another subject for me, OK. And I and I, well, I think I I did OK in in middle school, but in.00:06:23JohnnyIn in high school like it fell, it falls off, I think pretty badly in in high school. So. So I didn't do so well in the the college entrance exam.00:06:34JohnnyFor my English.00:06:35JohnnyOK so so I didn't didn't wasn't a really good English speaker.00:06:42JackYeah, that's that's.00:06:43JohnnyProbably.00:06:43JackShocking to us, you know, because listening to you right now, this conversation I'm like, how is this possible? Like what?00:06:45JohnnyProbably not. Not even.00:06:49JackSomething, obviously something.00:06:51JackHappened along the way there. That was like a a real watershed like moment for you where you you did something dramatically different than you know.00:06:54JohnnyYeah, right.00:07:02JackFollowing the school curriculum.00:07:05JohnnyYeah, like, yeah, I I I wouldn't say I, I I wasn't even a good English learner, let alone a speaker. OK. So I think things got changed when I.00:07:16JohnnyUh, when I decided to go to Australia and for for a further study. So and so I think and I started learning English like proper learning.00:07:29JohnnyEnglish before that because you have to, you know, you have to pass the exams, you have to pass English exam before you can go there. So.00:07:40JohnnyI I think that's that's where I got started. But I notice, OK, so this this is actually kind of interesting so.00:07:47JackSo did did you make the decision to go to Australia before you started learning English, you know, or were you already in the process of learning English, you know?00:07:56JohnnyNo. So that was, you know, that was all after the.00:08:00JohnnyAfter I decided to go to Australia.00:08:02JackWow, that's real. Like trial by fire. You're like, oh, my gosh, I've made this commitment and now?00:08:08JohnnyYeah. Then you're sort of, you know, force yourself to, to be committed to this.00:08:13JackYeah.00:08:14JohnnySo you got to do.00:08:16JohnnyWhatever you can you.00:08:17JohnnyKnow to because this is the. So you, you. This is the choice you made so.00:08:21JohnnyYou've got to commit to that.00:08:23JackRight, right. Umm, what was it like when you first arrived in Australia? How was your? How was your English at that time?00:08:29JohnnyWell, uh, I think I think things got changed. Uh, a bit after I I uh, you know, I went to the language school before I go to Australia so.00:08:39JohnnyI think I can't discover that I have this interest in in spoken language because I decided to started to really see if if if your English Movies OK, I think that's.00:08:45JackMHM.00:08:53JohnnyWhat? What, what?00:08:54JohnnyWhat started me off in the first place?00:08:57JackWhat kind of movies were you into I like.00:08:59JackLike.00:08:59JohnnyOh, OK, that that, that's it. That was great because that was so many years ago. OK, so the the one I I can. Well, you know this sort of giving it away. Well, how how many years ago. So I I think that was like.00:09:05JackOK.00:09:19JohnnyUh movies? Well, actually, I when I started off I I watched some of the older movies, OK like that the the the movies from from someone from the 90s like Terminators because that's one of my favorite. Yes. So Terminator two. Yeah.00:09:28JackOhh yeah, sure. Terminating. Well, Sonny, that that I was in high school when that came out. So that gives away how old I am.00:09:40JohnnyYeah, and terminate that because that was the all time classics. So I started seeing all those classic films like I, I don't remember. This one's called the negotiator. I don't know if you have seen this one.00:09:51JackYeah. Sam Jackson. Yeah, that's a.00:09:53JackGreat one, yeah.00:09:54JohnnyYeah.00:09:55JohnnyYeah.00:09:56JohnnyRight, Samuel Jackson and and Kevin Spacey. I, if I remember right. Yeah. So that that was the the sort of the movies that I I watched that at the time. OK. And then I kind of started me off and I and I think I followed a a TV program in China and that that was called Learning English with movies.00:09:59JackYeah, exactly.00:10:16JackOhh, I like that. That's cool.00:10:18JohnnyOK. So yeah, that was that was many years ago. OK. So and I I stumbled across that that that show on TV and I think that kind of started my you know that was that was very that was really mind blowing to me.00:10:33JohnnyYeah, I can. I can actually learn something through movies when watching movies.00:10:37JackSomething fun language learning can actually be enjoyable. It doesn't have to just suck all the time, you know? Yeah.00:10:39JohnnyIt can be fun, right? It's like studying is fun.00:10:46JohnnyYeah, it's because to me English is all about exam before, so you know about exams before. So yeah.00:10:54JohnnyThat that kind of.00:10:57JohnnyUM introduced me to a whole new world.00:11:01JackYeah. Yeah, that's that's great. I'm. I'm so glad that you brought because I think these like.00:11:02JohnnyIf you like, yeah.00:11:07JackThis idea that like if it's fun, it's not learning, and if it's painful, it's learning and I I I really I I just, I get disgusted by that kind of philosophy where if it doesn't, if it isn't boring and it isn't painful and tedious, then you're not really learning anything.00:11:26JackAnd it's so funny because it's like when you really started learning is when you actually started enjoying the process and and discovering.00:11:36JackEnglish language movies and you know things like that where you can actually be entertained and also learn something along the way. That's a really great.00:11:46JohnnyExactly. Yeah. That's how I felt. That's exactly how I felt. So that's.00:11:51JohnnyNelson with mind blowing to me at a time so going.00:11:54JackYeah, I'm just picturing you. Sorry to interrupt you. So just to get back, so you, you you went to Australia?00:12:03JackAnd you, you you had a pretty, like decent command of the language when you got there, you felt pretty comfortable.00:12:03JohnnyYeah.00:12:08JackWith like like.00:12:09JohnnyI I wouldn't. I wouldn't say that I had a good command of the language. I still, you know, I would. I I was able to I I guess I was able to order something in McDonald's, yeah.00:12:22JackOK. OK. OK.00:12:24JohnnySo I was I didn't have to staff myself. That's I think I I I would say that's the level I've I've gotten. And at the time.00:12:30JackKind of a we.00:12:31JackWe would call that like in. Yeah. So like a surface level of understanding where you can kind of navigate, you can get around in taxi, go straight, turn right, turn left. This is my house. This is my stop. Give me the 2 cheeseburgers with large fries. You know that.00:12:42JohnnyYeah.00:12:46JohnnyYeah, probably even.00:12:46JackKind of stuff.00:12:48JackThat's where my Korean is right now, you know.00:12:50JackTo be honest, I've been stuck there for a decade.00:12:51JohnnyOK.00:12:52JackRight. So yeah.00:12:54JohnnySo I probably I I I couldn't even like name the the correct cheeseburger that I wanted. Yeah, I I can order a cheeseburger. Yeah, I I you know the the first thing I say is that you can even say.00:13:01JackYou could just point.00:13:06JohnnyThis one, that one is something like that.00:13:08JohnnyYeah, yeah. I didn't even know how to say how to how to get a straw, you know? So in, in, in our language, we we call it a sucker. So The funny thing, you're.00:13:16JackSo yeah, you don't want to ask for a sucker at McDonald's in Australia, you might you might get in trouble over there to see if.00:13:17JohnnyNot not get a.00:13:22JohnnyYeah. Can I get a sucker or something like?00:13:23JohnnyThat. So that's quite funny.00:13:25JackThat is funny. Yeah, that's that's that's hilarious.00:13:29JackSo how long in?00:13:30JackAustralia, before you really started to like, you know, feel like you were in your groove, you know, really like making progress.00:13:37JohnnyHmm.00:13:38JohnnyI I think that was I think the first major change or you know it's it's gone to a point where you realize that OK, something has changed. OK. So I have I have improved, OK that that moment came, I think about half year after I arrived in Australia 6 months later, OK.00:13:56JackYeah.00:13:58JackSix months, yeah.00:13:59JohnnyHmm.00:14:00JohnnySo I I think I you know the the the the sentences that that came out of my mouth was a little different. You know I can I think I can sort of.00:14:09JohnnyUse the the relative cost in my in my sentences. So that was a big that that was a that was a big change.00:14:12발표자MHM.00:14:17JackYeah, this is the place where that's the person who.00:14:20JohnnyThis is a place where, yeah, so you can actually add a little description after the after the NUM.00:14:25JackRight.00:14:26JohnnyAnd and that that was, uh, that, that that was like a game changer.00:14:31JohnnyOK, so you can add significant amount of information to your to the, to the things that you say.00:14:31JackYeah.00:14:38JackAbsolutely. Absolutely. And that because it's instead of short, choppy sentences all the time, you're able to, like you said, add description to a noun and to, you know, build on that and and make your sentences longer and longer. So it's really funny that you bring up like relative clause because it's like.00:14:54JohnnyYeah, it's still longer.00:14:58JackYou're going back to your grammar roots, you know, in China.00:15:02JackWhere you learn.00:15:02JohnnyYeah.00:15:02JackFrom relative clauses, but you're like now I can use a relative clause, which is. You know, that's really different to me. Yeah. And you know what it means exactly. Yeah.00:15:07JohnnyNow I really understand what it means.00:15:13JohnnyAnd I understand.00:15:14JohnnyWhy they did native speakers use it OK, because you need to. You need more. You need depth in in your language you need more information description.00:15:17JackYeah.00:15:24JackAbsolutely.00:15:24JohnnySorry, yeah.00:15:26JackI'm so yeah, I'm. I'm just, you know, I'm. I'm thinking about your your your story is really.00:15:32JackMaybe making a lot of like I'm making a lot of connections to other students that I've that I've met and that I've talked to and interviewed. They find that like when they, I I I equated to like learning the guitar or something. When you're learning the guitar or learning a language.00:15:53JackYou improve quickly in the beginning.00:15:55JackAnd then you hit a plateau.00:15:57JackAnd you get kind of stuck on this one level and you feel like you're never going to.00:16:02JackBump up another level and then suddenly one day out of the blue, like you said, you're just making sentences that are longer and more descriptive. And it kind of does that kind of light a fire with within you to be like, wow, this makes me wanna learn this even more because I'm seeing the improvements.00:16:23JackObjectively, you know.00:16:24JohnnyYou know. Yeah, certainly. Yeah. So I think I've, I've got more confidence after after I I know I what I can do.00:16:36JohnnyBut interestingly enough, like not long after that, you know, I think I kind of hit another ceiling.00:16:43JackOK.00:16:44JackThat's normal. That's normal. Normal, yeah.00:16:45JohnnyThat's not. Yeah, that's that's not there for. So I I I can.00:16:52JohnnyYou know, I I.00:16:54JohnnyI think I passed that phase where I can only, uh, say very simple sentences. OK, so uh, so I can have, uh, more meaningful conversation with, with some with a native speaker.00:17:07JohnnyOK, but I still uh, I'm so.00:17:12JohnnyUh, I'm still not confident. I'm not confident enough in in some of the the more deep conversations, right. And I think I I kind of stuck there. It's just like you said, you know, so yeah, that was a really good analogy like learning guitar. It's like kind of stuck there for for a long time again.00:17:32JackGood.00:17:33JohnnyOK, I didn't see any. I didn't see any improvements in my language. So I think that that's that, that that lasted.00:17:39JohnnyAbout I think maybe.00:17:43JohnnyA good one or two years. OK. So that was, uh, kind of suffered because.00:17:49JackBut I I wanna. I wanna just talk about this a little bit because I I think I I don't want to listeners to misunderstand that you're.00:17:58JackYou felt like you're not making progress and maybe when it comes to like producing utterances, but but things were happening inside of your brain during that entire period of time there were you were you were immersed in English language, you were internalizing rules and patterns and things like that. You just weren't able to.00:18:19JackKind of convert it into utterances that were, you know, you know, speech perhaps. But I think that you were improving. I I just think.00:18:30JackLike it's it's part of the process is like you feel like you're stuck, but you're actually not. Things are happening and and progress is being made. It just might not be as obvious as you know. Perhaps we would want it to be, you know, because we we want like in two weeks later we want to.00:18:50JackYou know, show people look what I can do, you know? But it's it takes.00:18:53JackA long time.00:18:55JackTo get to that next level. And so I think a lot of people give up during that time. And it's sad because they're actually they are improving, it just maybe isn't showing the way that they want it to.00:19:01JohnnyYeah.00:19:06JohnnyThat I think that that's a fair point because.00:19:08JohnnyProbably you know, I I I I would have given up at A at a point, but you know I was.00:19:16JohnnyI was not in China, you know, I was in another country, so there's no way. There's no way you can get around.00:19:18JackYou couldn't give up you. You were in. You were swimming with sharks. You know you. You were. You. Like sink or swim right here.00:19:27JohnnyYeah. So there was, there was so everything. Everything you do, every every time after you, you know, you wake up, you have to speak English, otherwise you you know, otherwise you wouldn't be able to do anything. So. So I I kind of got lucky there. So at at that point.00:19:39발표자Sure.00:19:44JohnnyYou you're in that environment, so there's no.00:19:46JohnnyWay you can give up.00:19:48JohnnySo I kind of got me through that period where you feel, you know, a little disappointed about yourself, OK, about not making any progress.00:19:58JackSo Johnny, we talked about that you're like long plateau. That was like maybe two or three years.00:20:03JackOr maybe one?00:20:04JackOr two years where you got kind of stuck. Yeah. And so how how long were you in Australia by the?00:20:04JohnnyYeah, yeah.00:20:06JohnnyOne or two years.00:20:10발표자OK.00:20:12JohnnyJust a couple of.00:20:12JohnnyYears like three to four years, yeah.00:20:14JackOK, OK. And and what did you like when when you made that second jump up after that one to two year plateau, were you able to like have deeper conversations with people? Did you feel like like when you're sitting in a circle at a coffee table in there, you know the native Australians are are kind of you know?00:20:34JackBantering back and forth and you before you were kind of lost in the conversation, did you feel like now you understood what was going on? You were able to understand kind of a more on a deeper level what they were talking about?00:20:47JohnnyActually, no, actually no. No, because you know, you know Aussies because they have this very strong Australian accent. So as long as they they have the, it's like almost like they.00:20:48JackOK, OK.00:20:55JackRight.00:21:00JohnnyYou're not really speaking English, right? So there's systems like totally different use different words, you know? So they are a lot different when the slings are strong and slang so.00:21:05JackThey use a lot of different words, yeah.00:21:11JohnnyYou will not be.00:21:12JohnnyYou get.00:21:14JohnnySo that was that was the problem there.00:21:16JohnnySure, sure.00:21:18JohnnyYeah, and no. You have problem with overseas students. So the overseas students usually hang out.00:21:25JohnnyWith the overseas students.00:21:26JackYes. So you we always tell them that we always, I always tell my students, don't hang out with your Korean friends like, don't do it.00:21:27발표자I didn't really.00:21:31JohnnyExactly.00:21:33JohnnyI I tell I tell myself that but you.00:21:35JohnnyKnow it's just.00:21:37JohnnySometimes it's, uh, it's uh. Well, you know, you know, uh, it's something you should do, but you just not be able to do it, right. So you.00:21:43JackRight. And it's comfortable and it's familiar and it's comforting and it's so it's so tempting. It's so tempting.00:21:46JohnnyIt's kind of, yeah, it's familiar, right? So you? Yeah.00:21:51JohnnySo when you.00:21:52JohnnyWhen when you, when you talk to the native speakers and you when you hear so many words that you don't understand, it's just so frustrating. Right? I I guess it's frustrating for for anybody. You know, it's funny thing is I I found like a French class.00:22:00JackSure.00:22:05JohnnyThey they they hang out with friends as well. That's what happened.00:22:09JackOhh yeah, this is not yeah, this is not like a Korean or Chinese. You know, I don't wanna say problem, but like situation, you know it's it's something that a lot of exchange students will do because when you're when you're feeling lost and completely rudderless, you know just you alone in the ocean.00:22:18발표자Yeah.00:22:29JackThe first thing you're gonna do is is go towards something that's comfortable and familiar.00:22:34JackAnd you're gonna find people who are from your, you know, your country, and you're gonna latch on to them and hold on for dear life, you know, because it's. It's.00:22:44JohnnyLike. Yeah, yeah, I I guess because I think you you probably share the same experience cause you're you're in career. Yeah, so you.00:22:44JackScary. You know to do that.00:22:51JackYep, Yep.00:22:53JohnnySo I don't know about that. When you put the life there.00:22:54JackMy my I hung out with a lot of Americans and Canadians and.00:22:58JackThe.00:22:59JackWent to a lot of places where there were a lot of other Canadians and and Americans and.00:23:04JohnnyExactly.00:23:05JackYeah.00:23:06JohnnyYeah.00:23:07JackI guess I tell my students do do as I say, not as I do you.00:23:08JohnnySo.00:23:11JackKnow so yeah.00:23:13JohnnyYeah. Well, that that's basically what happens everywhere. Yeah, so.00:23:16JohnnyI guess that's that's why you know, I I hit the second ceiling because I.00:23:20JohnnyDon't have enough conversations with the real native speakers. Now I go to classes. OK, yeah, we we use English in the classroom, and we'll probably do some food assignment scaling and uh, you know that that's it. OK, so so you don't actually. So.00:23:34JackYeah.00:23:38JohnnyYou, you, you have a lot of input.00:23:41JohnnyBut not not enough output. I understand this like in many years. Many years later. I don't understand the the understand the theory at the time.00:23:43JackYes.00:23:49JackRight, right. Not so many students don't understand the theory, and there are a.00:23:53JackLot of lot of.00:23:54JackTeachers have kind of older I'm going to use a big word here, antiquated for our listeners out there just means like old fashioned. Yeah, old fashioned kind of philosophy on education where.00:24:01JohnnyWhat does that mean? Old fashion OK.00:24:09JackYou know, the students are sitting in a desk pointed at the teacher, and the teacher is speaking English to them.00:24:14JackThat they're supposed to, you know? Shut your mouth, be quiet. Listen and and don't disturb my classroom, you know.00:24:21JohnnyYou know what that that that's the the. That's the kind of educational system we've been using for more than 100 years and still going.00:24:29JackI know it's still going. You could put a PPT. You know you can put a a projector in a classroom and but it's still. I still find myself standing in front of a room full of people with their chairs pointing at me. And I I wondered to myself, why are we doing this? You know, 100 years.00:24:44JackTwitter it's it's it's terrible. So.00:24:46발표자Yeah.00:24:48JohnnyOh yeah, I almost fell. You're. You're a universal teacher.00:24:52JackRight. I teach university here in Korea. But yeah, it's still, you know, the this whole setup is is very familiar. Yeah, it it's it's the same almost everywhere. So how do we get to Johnny today, you know, with, with your wonderful eloquence and and speaking ability?00:24:57JohnnyIt's 9.00:25:11JohnnyYeah, I can only say I'm still learning, still learning to go still long way to go.00:25:14발표자Well.00:25:16JackYeah, sure. I mean, it's a, it's a, it's a never ending journey. You're never going to get there. There is no final destination.00:25:22JackAnd you know there, there's always, there's always even for me as a native speaker, there's still more words for me to learn and more things for me to read and understand and and to. But but that's kind of the beauty of of teaching I find is like.00:25:32JohnnyExcellent.00:25:40JackYou you realize that?00:25:43JackThe more you learn about something, you think that it's going to get closer to you. But as you look on the horizon, it just gets farther and farther away. It's like the deeper you that you go into English, the the horizon is moving away from you, the you know, it's getting farther away. And and you realize, oh, this is a never ending process.00:25:59JohnnyYeah.00:26:01JohnnyYeah.00:26:04JackUntil you know the day I die, I'll still be learning English, you know, and.00:26:08JohnnyYeah, we call that the A lifelong learner. OK, so you're learning for a lifetime.00:26:11JackYep.00:26:13JackAbsolutely. Absolutely. And I think that's that's a better way to look at yourself as or a better way to.00:26:18JackLook at it then to say ohh this is my destination and when I get there I'm going to stop.00:26:24JackIt's like, no, you it it's be a lifelong learner. It's a much better way to think of yourself.00:26:26JohnnyYeah, no.00:26:31JackSo how how did you?00:26:32JackGet how did you get to where you are now?00:26:34JackLike what? What was your? What's your secret?00:26:36JohnnyI think the uh the 2nd, so now I'm coming to the the the second big game changer in my journey in my journey in in Australia. OK so.00:26:42JackOK. OK, right.00:26:43JackRight.00:26:44발표자OK.00:26:50JohnnyI a well I I got a a part time job at the time. OK? So because I I think, OK, so something has to change.00:27:00JackYeah.00:27:00JohnnyYou have to work out. You have to work out your comfort zone. You know, sometimes you just have to push yourself a little to work out the comfort zone so that I found myself a part time job there.00:27:10JohnnyYou know, uh, which is a salesperson at uh at a mobile phone store.00:27:14JackOh wow. OK.00:27:15JohnnySo yeah, so and.00:27:16JackNow you now you need some technical English because.00:27:19JohnnyYou have to learn. Yeah, you.00:27:21JackYou're not going to get by with hamburger and.00:27:21JohnnyHave to learn a lot of 2nd.00:27:23JackYou know. Yeah, that's not gonna cut it.00:27:27JohnnyMy name is. You're not getting away with those simple words. So because not only do you have to talk to the customer.00:27:34JohnnyOK.00:27:36JohnnyBut you also have to sell your products, OK? Otherwise you'll get fired.00:27:40JackRight, right.00:27:41JohnnyWell.00:27:42JohnnySo you not only have to to, uh, speak to them, you have to sort of get them hooked, you know, get them, listen to you. So so they'll they'll buy things right. So so establish this kind of connection.00:27:56JohnnyYeah, right. So again, it it really allows me to get into a deeper conversation with them and and you know, because it's a paid job, right? So it's a paid job. So. So you're more serious about this, not like you're fooling around with your mates, right? Yeah.00:28:12JackRight. It's not like the classroom, you know, project where you're.00:28:15JackJoking around and you know, you know.00:28:17JohnnyYou know.00:28:18JohnnySo sort of force myself to think about.00:28:19발표자Absolutely.00:28:24JohnnyThe some of the grammar, some of the the the terms that I use and I think I learned a ton from my my colleagues, OK, so.00:28:32JohnnyI think 1.00:28:32JohnnyOf my colleague is the is the best son. He's like 16 years old or something at the time, you know? So and.00:28:42JohnnyUM.00:28:46JohnnySo actually he he was using a lot of the teenager language, you know, still a lot of slang, the teenager slang saying and.00:28:50JackA lot of slang and yeah, yeah.00:28:54JohnnyI I still, but still you.00:28:56JohnnyYou learn, you learn a.00:28:57JohnnyLot.00:28:57JohnnyYou know from that experience.00:28:59JackYeah. Actually I think that might be the perfect kind of like practice partner is someone who's, you know they're they're not necessarily professional or established yet, you know, so they're not.00:29:06JohnnyYeah.00:29:11JackGetting and you know, he's they're also probably way more relaxed and chill than like, you know, the an older person might be someone in their 40s and so.00:29:22JohnnyYeah, yeah.00:29:25JackIt's much more comfortable.00:29:26JohnnyYeah.00:29:27JohnnyMuch more comfortable exactly.00:29:29JohnnyAnd and and I'm you know.00:29:31JohnnyI'm really thankful that he's not judging because I'm not so fluent in English. You know, because sometimes the teenagers, they're, they're the they, they can be, they can be the.00:29:41JohnnyUh, some little demons, but they can be can also be the nicest person in the world, so you know, I just happened. I'm just so glad that I that I met the the, the, the the nicest person.00:29:46JackRight.00:29:51JohnnyIn the world.00:29:52JohnnyThey will be not judging and but it could be daunting sometimes, you know, to still face the face the customers, because they they can ask your questions, right. And they're they well. And I mean, I wouldn't. I don't want to say.00:30:02JackABC.00:30:02JackAbsolutely.00:30:06JohnnyBut sometimes, as customers, they don't, they do not forgive you because because your native language is not English, right? Because.00:30:14JackThey're just going to get frustrated. They're going to complain.00:30:16JohnnyYeah, if you can't. Yeah, they they. If you can't explain something thoroughly, they're just gonna get complaint. It's very natural.00:30:23JackWell, it's a we we call them. That's a a Karen behavior social and I talked about. Yeah. One of our podcast well, I mean, but you you're gonna eventually you're going to get a Karen. You know what I mean? Like you're gonna get someone who's gonna.00:30:30JohnnyThe shopping game.00:30:39JackThe.00:30:39JohnnyOK.00:30:40JackVery impatient and frustrated because maybe they're not going to give you that extra like I don't know space to like kind of catch up in the conversation. They want to be understood immediately, and if you're not meeting their demands, they're going to start complaining. And so that that could be scary.00:30:57JohnnyYeah. Yeah. And it was. It was. Yeah. And I'm going to just. I'm just going to.00:31:04JohnnyThis, on behalf of all our audience here I are. You, a male, Karen Jack.00:31:10발표자I'm like, yeah.00:31:11JackTo be honest, actually I'm I'm very far from a male. Karen, you know I'm not. I'm not. I don't, I don't.00:31:20JackI I don't practice Karen like behavior in my in my regular day I'm pretty. I'm pretty patient and pretty, pretty laid back when it comes to those things. So yeah, yeah.00:31:26JohnnyAnd I'm just joking, just playing.00:31:32JackYeah. So that was that sounds like that, that job, your part time job was again.00:31:38JackYour philosophy is kind of like, I mean, I'm starting to see a pattern here in like your in your life.00:31:44JackYou first you decide to go to Australia, then you're like ohh. Now I have to learn English, you know. And then you're learning English in Australia and you're like, I'm gonna get a job. Ohh my gosh. Now I have to start speaking on a deeper level to these customers. It's like you put yourself in these situations that are very high stress and then you.00:32:05JackRise to the OK.00:32:06JackVision, which I think is you know, I mean that's like a a trade for of like very successful people will do that they'll they'll jump in first and then they'll be like now I have to figure this out whereas cautious people will you know I'm going to study for 10 years and then maybe I'll apply for that job it's it's much better to just do it your way.00:32:27JackRight. Just jump in and go for it or swim.00:32:29JohnnyWell, I I I guess I I I.00:32:31JohnnyGuess I I I got lucky. I got lucky that I have this opportunity.00:32:36JohnnyMy as my family has been able to support me financially and which allows me to go to another country.00:32:40JackYeah.00:32:44JohnnyTo study so that that's what you know when you're in this country, when you're in this environment. So you could sort of.00:32:51JohnnyTake away your your safe, safe net so you don't have the safe net to fall back on. So you, you.00:32:55JackRight.00:32:59JohnnyYou you have to, you have to.00:33:02JackAnd but you know it, it doesn't have to be extreme like what you did. I mean, what you did is pretty extreme, but.00:33:08JackI'm going to.00:33:09JackI'm going to say to our our listeners out.00:33:11JackThere, you know.00:33:12JohnnySo.00:33:14JackIt's also scary to introduce yourself to a native speaker.00:33:18JackYou know, if you if you see one in your neighborhood, you know, like, that's scary. But you know what? Go introduce yourself. Just take that leap of of faith. And so that's like kind of doing it on like a micro level of what you did. And you don't have to move to Australia. You don't have to get a job.00:33:26JohnnyYeah.00:33:35JackYou know selling mobile phones, but you could just introduce yourself to someone who speaks English, try to befriend that person and and that could be another Ave. to success that doesn't require money. It might require a little bit of time and energy and you, you know.00:33:53JohnnyExactly, yeah.00:33:54JackBut I think.00:33:55JackI think these little things are, there are little ways to do to be, to take risks that will actually benefit you.00:34:02JohnnyHmm. Yes, totally agreed. Yeah. So. So I I think it has to. Yeah. Yeah, I heard this. You have to start somewhere, right. Everything has to start somewhere. So.00:34:14JohnnyI think it's the the, it's. It's really crucial that.00:34:18JohnnyI think it's better.00:34:19JohnnyIf you're determined to to learn this language.00:34:23JohnnyYou better start somewhere or say whether that's uh, that's a really simple sentence. And maybe just saying hello, just like you're saying hello to.00:34:30JohnnyThe to the foreigner in your.00:34:31JohnnyIn your neighborhood? Yeah, something.00:34:34JohnnyYou know, we're not gonna eat.00:34:35JohnnyYou right, so why not? Why not?00:34:37JackThey're.00:34:38JackGonna.00:34:38JackEat you. That's. I like that. That's.00:34:39JohnnyNo. Why not? Yeah.00:34:40JackTrue.00:34:42JackYeah.00:34:43JackUM, that's fascinating. And So what do you? Are you a teacher now? Is that if if.00:34:47JackI'm not mistaken.00:34:47JohnnyI am. Yeah. I I I, I.00:34:49JohnnyAm a teacher. I have a.00:34:51JohnnyI am the Niles teacher.00:34:52JohnnySo I think from that you know.00:34:54JohnnyYeah.00:34:55JohnnyUh, from a mobile phone job many years ago, and I found my interest in learning the language and speaking the language so.00:35:05JohnnyI you know.00:35:06JohnnyWell, I you know, I.00:35:07JohnnyWound up in different.00:35:07JohnnyJobs later, you.00:35:08JohnnyKnow so that that's a long story, but anyway, so I eventually I was able to.00:35:09JackYeah.00:35:15JohnnyFind a true interest which is language and language teaching, I guess.00:35:20JackYeah.00:35:20JohnnyHmm so so I am a teacher now.00:35:21JackThat's amazing.00:35:23JackYeah, I I love your story. I think it's fantastic and I think it's very inspiring. A lot of our listeners out there are going to appreciate it. And and I think some of them have had similar experiences and maybe you know, like you said, a lot of it is luck too, right? The fact that you met the.00:35:24JohnnySo this.00:35:39JackRight, people at the right time.00:35:41JohnnyYeah, yeah.00:35:42JackBut you know, if you.00:35:44JackPut yourself out there. Opportunities are they're floating around, you know, and if you don't try you, you you 100% chance of failure. So you know you you you got to take you got to take a risk.00:35:55JohnnyExactly, yeah.00:35:58JackUM, so Johnny, you're you're interested in podcasting, if I'm not mistaken, this is something that you're aspiring to do. Yeah. And you said you had some questions for me, so yeah.00:36:04JohnnyYeah.00:36:09JohnnyNot only not. Yes, and thank you, Jack, for.00:36:15JohnnyYou know, actually, I want to thank you to inviting me and thank you for inviting me today here. So I could be on the show and ask you about all these questions.00:36:24JackAbsolutely.00:36:25JohnnyAnd so, yeah, you're you're saying that exactly. I'm. I'm I'm interested in starting a podcast. You know, I've been thinking about that for a long time and actually not not only broadcasting because.00:36:39JohnnyI'm I'm I'm actually.00:36:40JohnnyQuite new to podcasting because it's not the I guess it's not as popular as it is in.00:36:46JohnnyAnd you know basically.00:36:48JohnnyOutside China. OK, so in China it's, it's not a thing.00:36:50JackYeah, yeah. And and these days it's always evolving because what I've noticed is that podcasting without youtubing or being a YouTuber or in China, Billy, Billy, you know, without doing something like that, you know, people want to be able to see you and listen to you. That's what I've I've, I've I've come to realize, is that they really want to see.00:37:03JohnnyYeah, yeah.00:37:12JohnnyYeah, yeah.00:37:12JackAnd listen.00:37:14JackAnd so I I would recommend if you do, you know if I were to do it all over again, I would have made more of an effort to be a podcaster slash like YouTuber and really put the effort into like the video as well, which we haven't, you know, for the last couple of years, we've been mostly just an audio podcast.00:37:14JohnnyExactly.00:37:25JohnnyOK.00:37:34JackI don't know how you did. How did you find us, by the way?00:37:38JohnnyOh, oh, yeah. That's that's an interesting word as well. I think the first summer class.00:37:46JohnnyYour channel on the on the channel, unbelievably.00:37:50JackOh, OK.00:37:51JohnnyYeah. So I was. Yeah, I yeah. So because I was, I was trying to find some of the some of the materials for my students because I don't think they have enough input. So I think they should listen to more of the native speaker conversations and.00:37:52발표자All right.00:38:05발표자Right.00:38:10JohnnyWell, trust me, I I've tried a few a bunch of different. I've tried different things, try different channels. OK so. But you know, because I I teach out.00:38:15발표자Sure.00:38:17JackYeah, yeah.00:38:20JohnnyRight, so I'm not speaking. It's sort of a, it's very conversational English, you know.00:38:27JackRight.00:38:28JohnnyRight, so a lot.00:38:29JohnnyOf students are familiar with the the sort of uh monologue type of uh speech type of English.00:38:36JackMore toic or something like that, where it's like a a kind of presentational or something like a.00:38:42JackLike a.00:38:42JohnnyPresentation or. Yeah, yeah, yeah, something like that. Right. So, but not not, you know, the conversational English. So that that's that's.00:38:48JackRight.00:38:50JohnnyI came across your channel and I and I think wow this so this is just fantastic.00:38:56JackThank you so much. We are the least like academic of the podcast that I've come across.00:38:57JohnnyThis is this is.00:39:02JackYou know we.00:39:02JohnnyAnd that that.00:39:04JohnnyHappened to be exactly what I needed.00:39:06JackThat's fantastic. I I love hearing that. It makes us, you know it. It kind of validates, you know, things for, for social and me because we do we have kind of found our lane in which is it's not the most beautiful polished you know kind of podcast.00:39:25JackBut we do just love to have, like, real, genuine conversations with each other. And I feel like that's something that's missing. It's everything's all planned out. It's so clean and so crisp and, you know, conversation is messy and ugly sometimes it's not, you know, it's it's not this like.00:39:43JohnnyYeah, but that's, you know.00:39:44JackBeautiful, yeah.00:39:47JohnnyWell, it doesn't have language, doesn't have to be beautiful. That's that's my take.00:39:49JackRight. Yeah, exactly. We can't all be Shakespeare. It's not all poetry, you know. Yeah. Yeah. Yeah. So, yeah. So if you, you know, if I. If I were in your your shoes. Well, let me ask you a couple of questions. First are are you thinking of doing like an aisle?00:39:55JohnnyNo, no, no, no.00:40:06JackThe style of podcast or something are you are you going to focus on?00:40:08JohnnySo yeah, that that you.00:40:09JackSomething specific like that.00:40:11JohnnyKnow Jack, that that's where I got stuck. You know, that's kind of where I got stuck because.00:40:17JohnnyThere are some many.00:40:19JohnnyThere are many competitors out there who are doing this kind of content already. OK, so.00:40:25발표자Right.00:40:27JohnnySo if I were to do it now, OK, would I be able to ever compete with them because they started earlier?00:40:34JohnnyOK, so and and and and in doing that I kind of limit myself to uh, you know, to this group of audience that that they are only interested in in outs knowing you know this kind of small group of people you should know that.00:40:35발표자Yeah.00:40:47JackYeah.00:40:49JohnnyYeah. So that's that's that's what I've done.00:40:53JohnnyThat's that's what I'm worrying about. OK, so I I I, you know, in a way, I don't want to.00:40:55발표자Mm-hmm.00:40:58JohnnyLimit myself to only.00:41:00JohnnyThis screwed up audience and I want to. I want a bigger audience but.00:41:04JackYeah, exactly. I, no, no, you got to be greedy because it's there's only, you know, there's only so much bandwidth out there that people have, you know, for for this kind of.00:41:06JohnnyIs that not too greedy?00:41:15JackContent and uh, you know, I mean social and I were still plugging away two years later and we've made some progress. But you know, there are times where our downloads are not as as good as some months. And you know we wish we were more successful like some of the bigger, you know, ESL podcast. But you know we stayed.00:41:36JackYou know, we try to be genuine. We try to be authentic, we try to be true to ourselves and what we enjoy doing.00:41:43JackAnd I guess that's what I think that's my the best advice I could give you is find out like what your what do you authentically enjoy doing, you know like what are are you you know, if if teaching a lesson is your thing then then you know you could take some of your lessons from your alts class and you could actually.00:41:55JohnnyYeah.00:42:03JackYou know, convert those into like podcast form, you know, and do it that way, if you're you're a conversationalist because we're have we had, it's already been 45 minutes. We've been talking. So we're we're having this great conversation.00:42:20JackSo you could go down that lane and or you could do all of those things, you know, and and just and and see what clicks with the, with the audience as well. Because once you get something that people like, you have to follow that, you know, follow that lead that trail because they're they're telling you what they want.00:42:33JohnnyYeah, yeah.00:42:39JackAnd you have to follow it. You know, sniff it out.00:42:42JohnnyYeah, yeah, I know. It's not. It's.00:42:44JohnnyIt's not about, yeah.00:42:45JohnnyDoing the right thing the right time.00:42:47JohnnyAnd uh, so I I guess, uh, videos, uh, the the the short videos are a thing you know since since the.00:42:55JohnnySince TikTok I guess.00:42:57JackYes.00:42:57JohnnySo you have seven other point, yeah, I was.00:42:59JohnnyThinking about maybe I should do a TikTok or should I?00:43:01JohnnyDo TikTok.00:43:02JohnnyOr YouTube, or because YouTube is isn't really a you know, available in in China. So so should I be a YouTuber or so?00:43:07JackRight, right.00:43:12JohnnyA lot of things you have to take into consideration at the moment so.00:43:15JackYeah. Yeah. Well, I I would tell you, you know, honestly do it for a while because you'd love to do it.00:43:23JackAnd don't worry about the downloads and the success, because if you, you know, you find that that you really enjoy doing it. Like for me this is like very much.00:43:35JackA kind of a hobby. I I always call it a job. It's a jobby. It's like a.00:43:38JohnnyYeah. OK. Is that is that a word?00:43:42JackI just made that up, but it's it's between, yeah.00:43:44JohnnyOK.00:43:47JackYou know it. It's it's, it's something that I would love to do and generate income and survive on, but I'm not there yet. But I keep doing it. Not for for money or for fame or anything like that. I just really enjoy it, you know, it's just something that is really, really good.00:44:06JackAnd I think it's and you're you're doing something good for.00:44:10JackYou're not just wasting people's time, you're actually giving them something that they they need, which is, you know, more, you know, content for language learning. Cause I think there's just, there's never. There can never be enough of that. To be honest, in my opinion, because people are always looking for more ways to learn English and they're connecting with certain personalities.00:44:30JackAnd you know it, you may just resonate with with certain people and and but I would, you know, follow your instincts, be yourself. Don't try to be you know somebody else.00:44:36JohnnyYeah.00:44:41JackI am.00:44:42JackYou know, I tried that in the beginning of podcasting where I tried to have a better broadcasting voice, but the truth is, I stammer. And I I I, you know, repeat myself and I, you know, you know, I do all that kind of stuff. And and that's just who I am, you know. And if if people don't like it, then you know, they they'll tune.00:44:55JohnnyJust feed yourself.00:45:03JackNo, but I I think people will forgive you if they think you're being authentic and genuine as as a, as a presenter, as a podcaster.00:45:12JohnnyYeah, I think.00:45:13JohnnyBeing genuine that that's that's really crucial.00:45:15JohnnyYeah, well, you know, I share the link of your your podcast to many of my students, and I think they they think it's absolutely fantastic. So a lot of my students been listening to. Well, thank you, Jack. Well, thank you for creating such a great.00:45:26JackOh man, thank you so much.00:45:31JackYeah.00:45:33JohnnyAll these great content. OK. Thank you for you. And socials and Kevins and effort. You know, we're actually listening to some of these earlier, earlier episodes where you feature.00:45:46JackYeah.00:45:47JohnnyKevin and I mean.00:45:49JohnnyMaybe someone else. I don't remember the name.00:45:52JackYeah, you're you're going into the deep cuts. Yeah, we had some really good conversations at the beginning, you know, Kevin and I started it together, and then he got too busy and social was a guest on our our podcast. And then she became a my full time podcasting partner. So. Yeah, just kind of funny how that happens.00:45:53JohnnyAre you sure? Yeah.00:46:08JohnnyOh, OK.00:46:12JackUM, but uh, you know. Thank you, Johnny. It means a lot to us. And thank you so much for spreading the word and for our listeners out there. This was my my conversation with Johnny. John. If Johnny gets a podcast started, I will be the first to promote it to all our listeners out there. Of course. Of course.00:46:29JohnnyThank you. Thank you, Jack, my name is.00:46:33JackAnd if you guys want to listen to this episode, go to our website A-Z englishpodcast.com if you want to leave us a message, you can send us an e-mail at at Oz English podcast at Gmail.00:46:43JackCom you can talk to us in our WhatsApp group or in our WeChat group for our our Chinese listeners out there. And with that said, Johnny, thanks again man and listeners. We'll see you next time. Bye bye.00:46:53JohnnyThank you.00:46:55JohnnyThank you.00:46:57JohnnyBye bye.Podcast Website:https://atozenglishpodcast.com/culture-corner-my-interview-with-johnny-from-china/Social Media:WeChat: atozenglishpodcastFacebook Group: https://www.facebook.com/groups/671098974684413/Tik Tok: @atozenglish1Instagram: @atozenglish22Twitter: @atozenglish22A to Z Facebook Page:https://www.facebook.com/theatozenglishpodcastCheck out our You Tube Channel:https://www.youtube.com/channel/UCds7JR-5dbarBfas4Ve4h8ABecome a member of Podchaser and leave a positive review!https://www.podchaser.com/podcasts/the-a-to-z-english-podcast-4779670Join our Whatsapp group: https://forms.gle/zKCS8y1t9jwv2KTn7Intro/Outro Music: Daybird by Broke for Freehttps://freemusicarchive.org/music/Broke_For_Free/Directionless_EP/Broke_For_Free_-_Directionless_EP_-_03_Day_Bird/https://creativecommons.org/licenses/by/3.0/legalcodeSupport this podcast at — https://redcircle.com/the-a-to-z-english-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The one with Chris Rock and Samuel Jackson! Jordan and Stefan watch this departure from the usual Sawfare, in which there is 100% less Jigsaw and 100% more police procedural. We might also get some dialogue that seems airlifted in from Chris Rock's standup routines, but you never know. 

This week's episode is a little shorter, but there are two movie features. The main movie feature is Argylle directed by Mattew Vaughn and starring Dallas Bryce Howard, Henry Cavill, Sam Rockwell, Samuel Jackson, Bryan Cranston, and many more. You can also hear about Badland Hunters which is a Korean post-apocalyptic movie on Netflix. It was a lot of fun. As far as TV, there is only the final episode of Percy Jackson and the Olympians. And then, of course, there is the latest comic books. 00:00:00 - 00:18:00 Intro & News 00:18:00 - 00:40:29 Comics 00:40:29 - 01:03:53 Percy Jackson and the Olympians E108 01:03:53 - 01:16:06 Badland Hunters 01:16:06 - 01:29:00 Argylle 01:29:00 - 01:36:11 Outro You can support the show at Patreon.com/GManFromHeck (and get access to the weekly bonus podcast) or at ko-fi.com/GManFromHeck.

Our first movie review and group discussion of the year! We share our thoughts on Matthew Vaugh's Argylle, a comedy spy action thriller featuring a star studded cast of Bryce Dallas Howard, Sam Rockwell, Henry Cavill, Bryan Cranston, Samuel Jackson, John Cena, and more.  Are the intriguing plot twists and ensemble cast enough to make this a must see? Tune in to find out!

This podcast covers New Girl Season 4, Episode 5, Landline, which originally aired on October 14, 2014 and was written by Rob Rosell and directed by Trent O'Donnell. Here's a quick recap of the episode:Because of some construction, the loft doesn't have good cell reception. Jess's answer to this is to get the loft a landline which prompts Nick to act as a secretary and Jess to find out about Coach's relationships with their coworkers. This episode got a 8/10 rating from Kritika whose favorite character was Nick and Kelly rated this episode a 8.5/10 and her favorite character was Coach!While not discussed in the podcast, we noted other references in this episode including:Blanche / Golden Girls - Coach called out Jess for commenting on his sleeping with other teachers and Coach said she was like the character Blanche from Golden Girls.War Games / Short Circuit -  Nick told an elaborate story about why you shouldn't trust technology and as the loft mates called out he likely stole that from the movie War Games or more likely Short Circuit. Splash - In response to listing out other movies, the loft shared that Splash was a good movie.Carson Daly - When Winston pretended to be Schmidt during the interview, he said the last book Schmidt read was Carson Daly's biography.Thanks for listening and stay tuned for Episode 6! Music: "Hotshot” by scottholmesmusic.comFollow us on Twitter, Instagram or email us at whosthatgirlpod@gmail.com!Website: https://smallscreenchatter.com/

Alannah Vellacott is truly a creature of the Caribbean Waters, in every possible sense. She's been famously dubbed "The Real Life Little Mermaid" by many notable figures, and for good reason. Aside from freediving, scuba diving, working on several Shark Week episodes, and simply living the Island Life we all dream about… she actually works to preserve and rebuild the very world that sustains her lifestyle (and the planet, for that matter!) Land Based Coral restoration with Coral Vita is a unique process that she explains with great enthusiasm during our interview. It's a system that allows coral to grow up to 50 times faster than it would in the wild, helping revitalize dead or dying reefs. Alannah is wildly connected, seen working with the likes of André Musgrove, Cristina Zenato, Scuba Radio, and even Samuel Jackson.  A flagship citizen of Grand Bahama Island, Alannah is armed with a B.Sc. in Biological Sciences, with an extensive resumé ranging from Cape Eleuthra Institute, BREEF, Perry institute for Marine Sciences, and a Scuba Instructor with over 16 years of diving. I got to hang out with Alannah at The 2023 DEMA show in New Orleans, where she not only represented Coral Vita, but put on a show with fellow Mermaids bringing an incredibly fun vibe to the festivities. BIG THANK YOU: All underwater footage, facility footage and drone footage of Coral Restoration and Bahamas footage courtesy of Coral Vita. Alannah's contact info: IG: https://www.instagram.com/alannahvellacott/ TikTok: https://www.tiktok.com/@alannahvellacott Facebook: https://www.facebook.com/alannahvellacott Coral Vita Website: https://www.coralvita.co/ Alannah Vellacott Personal Website: https://www.alannahvellacott.com/ — Kenny Dyal is the host of The Scuba Diving Podcast: TikTok: https://www.tiktok.com/@kenny_dyal Instagram: https://www.instagram.com/sweetwater_scuba Facebook: https://www.facebook.com/realkennydyal LinkedIn: www.linkedin.com/in/kennydyal Twitter: https://twitter.com/RealKennyDyal www.sweetwaterscuba.com

This week's podcast guest is international film star Werner Daehn. The Berlin based actor has worked in huge Hollywood movies alongside Tom Cruise, Samuel Jackson,  Vin Diesel, Rachel Weisz, Jude Law and more. Werner offers shares his process as an actor and daily routines that help him stay on top. A very inspirational episode.Werner is a German actor, who has worked with Vin Diesel and Samuel L. Jackson in XXX, with Jason Priestley in Colditz an ITV1 2005 miniseries, with Bill Pullman in Revelations and with Steven Seagal in Shadow Man. He has also worked in German productions like Stauffenberg - Rebellion of Conscience (also titled Valkeryie on the German DVD) and King of Thieves (nominated in Germany for the Grimme Prize).Watch the Podcast on YouTube | Read the DiariesHost, Author of Diary of an Actress,. Executive Producer: Rachel BailitEditor, Producer : Max BugrovYouTube: @diaryofanactresspodcastInstagram: diaryofanactresspodcastTikTok: @diaryofanactresspodcastFacebook: diaryofanactress

On this week's episode, I discuss the differences between writing for TV versus film and the differences in the development phases. We also go into ways to create your own material and what to really focus on. Tune in for much more!Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:If you write something great, the actors will come out of the word work to be in it, and you don't even have to pay 'em because they're getting footage and they're also being involved in something that could be really great and could blow up and could make their careers. But if the script's no good, you're going to have to beg 'em to do it because what's in it for them other than bad footage that they can't use? It'sListening to Screenwriters. Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to another episode of Screenwriters. Need to Hear this. I'm here with Phil Hudson again. Hello, Phil.Phil Hudson:Hey everybody. Good to be back.Michael Jamin:Hello, everybody. Today we're going to talk about something, well, something I think is very important. How about that? The question is, should you write for film or tv? I think a lot of people, at least from social media when they leave comments, I think a lot of people really aspire to be film writers because they have their story and maybe they think it's more prestigious. Maybe they like the idea of going to walking down a red carpet and seeing their work on a large screen. And so I just thought I talked to you about my feelings about film versus TV and why I greatly prefer working in television. And I think anybody who works in film is crazy. So it's not that they're crazy, but it's just like, wow. I see a lot of advantages for working in film. And to be clear, I am a TV writer, but I have sold a couple of movies and after selling those movies I was like, I don't want to do that again. I'd rather work in television, but I definitely see the appeal that people have. So I thought I may shed a little light on what my perspective is. That sounds good with you, Phil.Phil Hudson:I think this is an exciting topic and we were just talking before we started recording, the industry's changed even since I started studying this craft. Seriously, back then there was a viable feature market and it seems like it's gone the wayside, and I've seen the transition over the last decade with filmmakers and screenwriters coming into tv. I think because the money's better, there's more work, there's more creative freedom, and I'm sure you'll talk about it, but there's that saying of the director runs the film set and the writer runs the TV set.Michael Jamin:Yeah, if you want creative control, we have lots to talk about, but if it's creative control that you want, then you want to be in TV because the writer's in charge. If you want to be in charge in a film, then the director's in charge. Often the writer's not even invited to set. The writer has no say that will be rewritten. The director might hire multiple writers to rewrite. So if you think if it's about your vision, unless you are shooting yourself, forget it. You are really an afterthought. And like you said, they are making far fewer movies now than they were even 15, 20 years ago, probably a third as many. And when you look at the titles being released, you got a lot of remakes. You got a lot of sequels, you got a lot of reboots. Yeah, I mean, so they're makingPhil Hudson:Another, it's largely IP based material too. So it's other books that have blown up and they buy the rights to that. They then make that.Michael Jamin:So it is because they're easier to market, which is why you have Fast and The Furious 13, everyone knows that and it's why you have it, Indiana Jones five, because everyone knows it's just easier to market. And even Barbie, I don't know if it's Greta Go's Dream to make, when she was approached to write Barbie, she's probably Barbie, do I have to Barbie? What about my original idea? So obviously she wrote the Barbie movie and turned it into something very unique and special. But I can't imagine as a child, she grew up thinking, I want to write a movie about Barbie. They came to her with an offer and she turned into something unique and creative, but I don't think she came, maybe I shouldn't speak, but I can't imagine she brought the Barbie idea to them. I think they had to move the ip and yeah,Phil Hudson:I'm certain that's the case, but even then because of the success of Barbie, now Mattel is talking about creating their own cinematic universe,Michael Jamin:Right? Right. So get ready for more gi whatever it is. I don't know. Is that your dream? Now, indie filmmaking, by the way, is a completely different topic. Maybe we can brush on it a little. My area of expertise is definitely not independent filmmaking, but that's a whole different,Phil Hudson:But that's what I went to film school for and that's the Sundance world that I kind of been in. So I'm familiar with that. And there's a bit of a merge there. And we can talk about tko. Waititi is a really great example of that because he came out of the indie film world. He was a Sundance kid, and then he started doing more prolific stuff. And while I was touring for quasi handling social media for the broken lizard guys, that's one of the conversations we had with their, one of the Searchlight VPs of publicity. And she was like, yeah, Tika, he does one for us, we do one for him. You do Thor, you want to do Thor? Awesome. We'll make invisible Hitler. And it's a way for them to incentivize. But I would say Clin Eastwood, I would say even look at Christopher Nolan, that's the way it works. You get this deal at these big studios, I'll make your billion dollar film, and then they let you make the film you want to make, and one is going to make a ton of money, may win some awards, the other one's going to win some awards because they have the talent.Michael Jamin:So if it's your aspiration for me, just the thought of working film, you go, okay, I'll write a film and maybe I can sell it. But then, okay, then how many times are you going to sell a, it is hard to sustain that career. Whereas in television, oh, I know there's a TV show and maybe they have whatever, 10 or 13 episodes a season that sounds like you can make a living that sounds like you're working more steadily. And when I broke in, by the way, it's 22 episodes, so I was like, oh, okay, these people work all the time. And for 10 seasons, that sounds to me that was the lure of a steady paycheck was in television, maybe less so today, but certainly more so than being a filmmaker.Phil Hudson:Yeah, that's fascinating. One thing that's standing out to me from this conversation really just echoes what you've been saying throughout the history of the podcast, and we're approaching two years of this podcast, and that is you have to get out and do it yourself. Nobody's going to do it for you. You can't rely on anybody else. You have to get up and do it. And even the gre Gerwig, the Tiger Boy, tee Tees, they had a name for themselves as filmmakers before the big studio came with the big bag of money. They were the value, and that's where they came to take advantage of them, right? Yeah. Greta Gerwig has the way to make her film stand out in her way and her style, and that's why it's a big hit. I don't think it's largely because it's Barbie, it's because of what she did with Barbie that made it work. But that's something she has honed and developed over years and years and years of hard work before she hit it big.Michael Jamin:And also my friend Chrissy Stratton, who I'm going to have back on the podcast at some point, we had her run before. So I met her on King of the Hill. She's a writer on King of the Hill. But then she went on to a very long career, almost as long as mine, working in various TV shows. She might be just one or two years behind me, pretty much equal. And she works all the time in tv, but she had this film that she's been dreaming about for whatever, 10 or 15 years and then decided, you know what? I'm just going to make a short. And so on her own dime. And she raised the money. She's a successful TV writer, but in film, she's the no one. So she started from scratch and she called in a lot of favors and shot a movie on by raising her own money, real low budget.And we'll talk more about this journey and why she's doing it, but it's not like, even though she's big in tv, she's a no one in film. So it's kind of a level playing field. And one of the thing, well, I know I'm jumping around, but I just so you're aware, as I mentioned about creative control in film, well, lemme tell you about the experiences that I went through. So my writing partner and I, we wrote a writing sample, a feature sample. I was dreaming it was going to get sold, but he was like, it's not going to get sold, whatever. But I was like, maybe it will. We wrote a sample, our agent shopped it around, no one bought it as predicted, but there was a producer who was very interested in working. He's like, this is great. We can't it, but let's try coming up with some ideas together and sell those.And so we worked with this producer and we wound up selling two more ideas, but every step of the way, it was kind of exhausting. We're coming up with ideas, we're writing drafts, we're giving it to him. He's got notes we're not getting, and you're doing, it's called free revisions. You're doing notes after notes. We sold it to the studio, but the producer is basically the gate. So until the producer's happy with the draft, the studio will never see it. And so this is what free revisions is. So you're doing constant rewrites for the producer.Phil Hudson:This is a big deal for the W G A, by the way. It's a very big deal. It's part of the strike too.Michael Jamin:Yeah. I don't know what's going to obviously happen with it. And you're doing a lot of free work, which you're not getting paid obviously, and the studio's not seeing any of it. And then you get finally the producer's happy, you give it to the studio and then the studio has notes and then, okay, now you're again. So they say, do a revision. And again, you go back, you start doing the revision, you've turned into the producer and the producer's like, eh, I don't think it's good enough fellas. I need to do more work and more work. And then finally you turn that revision to the studio. I was at one point producer who I liked quite a bit, really good guy, but he also had development people working under him. So at one point his development person left, he brought in a new one, and now this new person has a new direction that we're going, oh my God.It was like, this is a never ending hell. That's how I felt. It's just a never ending hell because you have to please them. And I understand this is how the game is played, but I was like in tv, it doesn't work this way in tv, if I'm a writer on staff, I turn in my draft to the showrunner. If I'm not the showrunner, the showrunner has notes, great. Turn in another draft, we're done. Shoot, we're going to shoot it. And of course the network will have notes, but it's so much more streamlined because you have a timetable, we have to shoot this thing on Friday, so you can't keep this up in development hell for a year, which is what happens if you're doing film. You could be in hell forever on this. I was like, work done. And that'sPhil Hudson:The term too. It's development health, what you said. That's an industry term for what that is.Michael Jamin:And the money, in terms of the money, I got paid way more in TV than I do in film. SoPhil Hudson:That's what I was about to say. I just said, we talked about the podcast, that experience I had where that guy signed the script, signed the contract to write a script for that thing, and it kind of fizzled out, but the numbers on it were, it's like $160,000 to write a screenplay. Well, the average I understand is about six months to go through the whole process to write a script more than that. But then you have the notes and you have the feedback and you got all that stuff. So you're going to do one, maybe two of those a year. Well, you can go get an M B A and then go get a six figure paycheck that's going to pay you more than that. AndMichael Jamin:Just so you know, the movie's not getting made and it has nothing to do with you or it's just like it's a miracle movies. It's a miracle when a movie gets made. So if you want to see your work on the screen, even if it's been rewritten to death, forget it. Most movies just do not get made. So you're okay, but you used to make a good living writing movies that never got made. Maybe it's less so now because they're making because they're buying fewer. But back in the day, you could be a very successful screenwriter and never have a word of yours onscreen. But in TV it's different.Phil Hudson:One question that comes to mind for me, Michael, when you talk about free revisions and development, hell, you also advocate that writers write and they write for free. And if you don't want to write for free, don't do this because that's what this job looks like.Michael Jamin:Yeah.Phil Hudson:Right. What's the difference between the experience with the free revisions and the notes with the producer versus your definition of free writing?Michael Jamin:I mean, we're talking about two things. We're talking about improving your craft to write, to learn how to write. And so a lot of people just write one script and they think, well, I'm going to sell it and I'm done. Give me a paycheck. And my point is then you put it down and write another one and then write another one. And you'll notice that script number five is vastly better than script number one simply because you're getting better at writing. But the free revisions I'm talking about for these producers, when you become a professional at some point, I got to take home money. This is not a hobby for me. This is how I make my living. So I just didn't enjoy the process. I just thought like, ugh, it is no fun. It takes the joy out of it.Phil Hudson:Yeah, no kidding. So we have to write. We have to write. That's part of writing. Being a writer is writing. But what the WGA is fighting for is that writers should be paid for all of the professional rioting where other people are making money off of the sweat of their back. They're taking advantage of that situation because a bit of a power dynamic there where the producer has control and obviously they want to maintain their relationship and they want to make it as good as they can be. So I'm not saying it's a negative or a nefarious approach to it, but it's still a writers are sitting there not getting paid.Michael Jamin:I understand the producers are protecting their brand and they have a closer relationship with the studio. I get it. But they're not the ones doing all that work for free. So I just like, this is not appealing to me. I'd much rather work in television. Like I said, you have more creative control. You're onset. And again, in features, what would've happened had these two features of ours been made. It didn't come to this and I didn't expect it to, but we sold two features and at both times we're finally done. We give both final drafts to the studio. The studio is happy with it. The studio executive were working with happy. They'd given all our notes and revisions. They were very happy with the script. Now they give it to their boss who has the green light, they have the power to green light. And the boss reads it over the weekend, not interested.It was like, it's over. It's it. It was almost on a whim. Nah, what else you got? And it's like there's no argument. There's no more convincing them, it's dead because they just don't want to make that movie. And often they don't want to make that movie simply because the movie that did well that weekend was an action movie and your movie's a comedy and they want to make more action movies now, or it's as simple as that. Or someone put out a comedy movie that weekend that bombed and forget it. We're not doing comedies anymore. And so it could have nothing to do with the quality of what you wrote. This is what the marketplace suddenly changed and now it's dead. So this is how it is.Unless you are making your own movie. And if you make your own movie, that's great, but do it on a dime. On a dime. I say I had a nice conversation with someone, someone asked me to, it was a couple of days ago, they wanted to book some time with me for a consultation, which I occasionally do. And he really nice guy, but he had self-financed some projects and I was like, you spent too much money on that. Don't put so much money into your own projects in the beginning until you really get spend a couple thousand. That's what you can do it on. That's what I recommend.Phil Hudson:And in the indie film side of things, the goal is to not spend your money. It is actually to find investors. And the question is, why would people invest in an indie film maker who's made no money? A lot of people are looking for tax write-offs and they want to be involved in Hollywood. They want to feel like they are producing being part of that because they probably have that desire, that dream, and they chased the paycheck rather than their art. And so now that they've got the money, they would rather invest in another artist to be a part of that. And so my friend's dad is just this awesome guy, and he just texted me out of the blue two years ago and he had a bunch of stocks vest and he cashed out and he was like, Hey man, if you ever have something you want to make, let me know. I've got some cash lying around. I'd love to put towards that.Michael Jamin:Oh wow.Phil Hudson:But that comes out of a relationship of trust that I have with the guy. It alsoMichael Jamin:Is, and it might come with strings attached. It mayPhil Hudson:Be, and it probably will,Michael Jamin:It may be, and this is not how it works in TV and tv. So in film you might have a ton of executive producers because they help chip in for 5,000 bucks. You can become an executive producer of my movie. People do that and TV doesn't work that way. Tv, that's all financed by the studio. So it's not that kind of model. But in film, you write a check for 5,000, or if you write a bigger check for 50,000 and the person says, I'll give you 50,000 if you cast my daughter as the lead, or if you make these changes to the script, do you want to do it or not? That's up to you. How much do you want that money?Phil Hudson:I think that's really where the question of art versus craft comes into play, because in that situation it might be a little bit more art, it might be a little bit more of your decision. Well, that's going to ruin my vision for what I have or destroy the theme of this piece, and I'm doing it myself because it is an expression of myself, and that is art. And you might turn down the money out of integrity for the art there, but you might also take the paycheck because you've got kids who need diapers,Michael Jamin:Right? And so some people, sometimes people are very naive about the whole thing and they're like, you writers suck, or This is the garbage. Do you know how hard it's to get something made? And do you understand that I also need to make money?Phil Hudson:Oh man, we do the webinars every month and we do, we started to do this v i p q and A after, and we were testing it out, but we had a member of your group she joined and she was telling us about how she has made two or three indie films and she had put up this money and she was going to shoot it in the forest. And the film, the films that got shut down because of wildcat or a cougar, like a mountain lion or something, came in and ruined the whole thing. None of the actors want to come back. And she knew this was a thing that could happen. And so she was asking the question about hobbling together, her footage to make something producible. And it's just heartbreaking because a good story, you can't really do that. The story should mean something.And that's someone who's in there doing it. I think they're doing it on their own dime, and that's just heartbreaking to hear. But I've got other experience where my buddy Rich, he's produced a bunch of any stuff. He's done stuff with Michael Madson, done some stuff with major players, knows a bunch of people, and he was telling me about this film that he was working on for years and years and years. And they shot the whole film and then it got locked down in post because one of the executive producers who wrote the check wouldn't sign off on the final cut. And so it could getMichael Jamin:Final cutPhil Hudson:And it got stuck and they were arguments and they had to work through and it was like five years. And the end result they got out of it was a worst film because the producer had too much say and wanted edits. So understanding story structure, you look at it, it is a hobbled together piece of crap that has a couple big names in it,Michael Jamin:Right? Yeah. I don't even think you need, well, I don't want to talk about big names, but, and I felt bad for this woman in the v I b talk. But here's the thing, I also think you need to figure, be cautious on how producible is this movie you want to make. You didn't have to do a movie, write a movie that take place in the mountains. You could have written a movie that takes place in someone's apartment, and if you think I'm nuts, go watch the whale, which takes place in someone's crappy apartment and was amazing and beautiful because their writing was beautiful and the acting matched it, but the set was ugly. And anyone could have shot that in their own apartment. And that's on you as the writer is like, you don't have to write a movie. I would be cautious about writing anything with kids, because kids are really hard to have on set first of legally. You need to have tutors, you want to bend the rules. Kids can only work a certain amount of hours. And what you do on your independent film, that's your business, but to be up and up, that's the truth. And kids, they get tired, they lose focus, and they want to horse around. So I would be careful about having kids. I'd be careful about doing anything that requires characters getting wet because costume changes are bitch, when you're wet and at exterior locations, the same thing. Back noise, street noise, people being disruptive, a leaf blower.But you can write something very compelling in a controlled set where you don't have to worry about any of this stuff as long as the writing is good. It's all about the writing.Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:I'm having a flashback. So my thesis film that I did, I took a crew, we rented a van, we took our equipment, we drove to Utah, negotiated all these things because of relationships. I had to get it cheap, shooting in friends' houses, borrowing a friend's truck, doing all of these things. Flew in a couple of indie actors from LA to be in my project. And while we were going through, you just start getting hit with every single thing you have planned, start shifting based off of, there's cloud cover now because you're outside, it's starting to snow. Lots of beautiful things happen. Like we're shooting on a pump jack, which an oil deck, an oil derrick is, what you think about 'em is pump jacks that big swinging arm pump. It's a training school that agreed to let us shoot on theirs that was donated. And there's moving in the background, makes the production value go through the roof, what we had.But then at the same time, while we're driving, a deer jumps out and my friend's truck when my actor's driving hits the deer, and then we're driving the next day to go to the set to shoot the exteriors. And we need that truck. And then it blows part of the engine and we can't use the truck anymore. And I'm rewriting on the fly and my friend's daughter is casting this role using their house, and she's just this sweet little girl and she has two lines and she gets stage fright and she can't do it. And so we have to put her sister in who's too young. And so I have to scrap those lines and rethink how do I get this emotional moment across? And then at the end, when we're done filming, the little girl comes up and says, I'm ready now.Michael Jamin:Yeah, great.Phil Hudson:And they're heartbreaking. Heartbreaking because we're done.Michael Jamin:And that said, whatever, I would take inventory if you decide to do this Indio thing, because as a way of getting discovered, as a way of breaking in, which is great. I would just take inventory of what you have that's in your control. If you're a truck driver and you have a Mack truck, alright, maybe you're shooting the truck. I mean, that's an interesting set.Phil Hudson:Well, it's your life that ties in the right what you know, you can add reality veracity to that.Michael Jamin:If you have a storage locker, the same thing. If you're allowed to shoot there, you're probably not. But what little you have could be interesting. You don't think it's interesting because it's your life, but we think it's interesting. We don't live your life.Phil Hudson:While you were talking, I was just thinking of Robert Rodriguez, who's arguably one of the biggest directors on the planet. And he came from this in world where he did on mariachi. He documents all of this in a great book, the Rebel Without a Crew. And he donated his body to science to fund it. And he went to the small town in Mexico. He went in for clinical trials for a, to get the money, borrowed a camera that didn't have audio. Went to a town in Mexico where he would summer, borrowed friends and family and a best friend to play the roles, did the whole thing. And then stayed up at night in an editing bay at a local TV station to edit his film and did it and blew up because he thought, and all he wanted to do was to sell it to a Spanish language channel and ended up selling it to Sony or whoever, Sony Columbia or something.Michael Jamin:And now you can make it for a fraction. You could edit it all on your laptop, you canPhil Hudson:Edit it on your phone. You shoot the whole thing on yourMichael Jamin:Phone.Phil Hudson:But the story was good. Why did it sell? Why was it a big deal? It's because he knew how to tell a compelling story, and he just used what he had to do thatMichael Jamin:Job. So we're in agreement here. If you want to do an indie film, great. Just don't spend a lot of money. Also, you don't have, if you write something great, the actors will come out of the word work to be in it, and you don't even have to pay 'em because they're getting footage and they're also being involved in something that could be really great and could blow up and could make their careers. But if the script's no good, you're going to have to beg 'em to do it, because what's in it for them other than bad footage that they can't use?Phil Hudson:I dove headfirst into this stuff when I was first starting, and I would write a script, do one version of it, one draft, and then I would shoot it, do a casting call. People would show up, they'd want to be in it. We'd be on set. And they'd very quickly realized I had no idea what I was doing and I didn't, but I just had the gumption to make it happen. And I remember my lead calling me out one time or shooting this shot, and he's like, dude, what are you doing? We're here. You're not even using light to help add subtext and value. And he's talking about how when you're walking up the stairs, well, if you shot it this way through here, there's a cage and a shadow being cast on my face and emotionally, my character's going through this inner turmoil with his relationship and there's all this.And I was like, I have no idea what you're talking about, because I had no clue. And I wasted time and energy and money doing it, and I was a valuable learning experience for me, and I got that lesson out of it. So yeah, your point, do it as cheap as you can because learning, you're just learning. And that is the school of hard knocks, not the school of theory and philosophy. It's get it done. You're going to learn. You're going to make a lot of mistakes. You're not going to sell the first thing. It's probably not going to win any awards. And if you do, awesome, you did it now, but you're most likely not. And that's okay. It's reps, reps, reps, reps.Michael Jamin:Yes. And I have a lot of respect for people who do it. And even if they come up with something terrible and crappy, well, guess what? They did it. Guess what? They put a lot of energy and work into something and their next piece will hopefully be better. And most people just dream of it. And most people will just say, here's my script. Make my dream come true. But the other people say, here's my script. I'm going to make my dream come true. And it may take long, a long process, but it's putting the work in so good for them.Phil Hudson:Yeah. My first class I went in, I had some credit transfer credits from when I was first in college. So when I went to film school, I was up, maybe I was basically a year ahead when I got there, and I had to take a couple of freshmen film classes because they were requirements. And I remember intro to film, film 1 0 1, we're in this big IMAX theater on our campus, and Peter Grendel, our professor my age is teaching. And his big point from the first lesson was the percentage of people who say they want to be filmmakers versus the people who make films is very different. It's like 0.0001% make a film. He said, so even if you put in all the time, energy, and effort needed to make an indie film that does nothing goes nowhere, you have still done something most people will never do. But most people talk about doing, and that's something to take pride in.Michael Jamin:My daughter shot a little scene in college. She got a scene, a little film that someone wrote, and it was just two people. It was short. It was like three minutes of a young woman. She was the girl and a boy sitting on a staircase talking about something, and it was too short to go anywhere. But I was like, that's interesting. You could have done something. It's easy to shoot. You're just two angles and a master on a staircase. If they had spent a little more time with the script, I go, there's something there for sure. It's something compelling about a boy and a girl who are dating and whatever they were talking about. I was like, it's something small. And the writing, it's about the writing. It's not about anything else as far as, and the acting. But yeah, I mean, just as an experiment, can I write something compelling about two people on a staircase talking about something? And we've seen this stuff. Here's a good one. Mount is a good example, but in Pulp Fiction, when Samuel Jackson and Travolta in that car are talking aboutPhil Hudson:The crown royale with cheese,Michael Jamin:That's interesting. That's interesting. Fun dialogue. You still need a story on top of that. But it's rich, and we all remember it because, or the scene or that small little scene, if you had shot that small scene where Samuel Jackson's talking about, he's in that guy's, there's young guy's house. He breaks the first scene where there's five college kids or whatever that they're threatening. They owe them money. And Samuel Jackson's talking about he's clearly a killer, but he's reformed. He's found Jesus, and he's struggling though. He's struggling to do the right thing. If you shot that one scene and it's an apartment building, that's it. You have a couple guy on a couch and a guy and two guys holding fake guns, that one scene is very interesting and compelling. If that's your movie you made, I want to see more. And it doesn't cost a fortune to write that scene. There's no special effects, I guess in the end had some fake bullets or whatever. But that's it, that that's all you need, A thug, a street thug who's a murderer, but he found Jesus and he's trying to do the right thing. Yeah.Phil Hudson:Yeah. That's great. That whole scene is fascinating. And that's for anybody listening, wanting to learn how to write great dialogue or understand characters. The fact that what's so interesting about that cheeseburger conversation is they are killers, and they're not talking about when we get there, we're going to shoot 'em in the face, or here's how we're going to dispose the body. They've done this so many times that this just, we can talk about why they put cheese on a burger. It's stabs quo. And the story's there because they're talking about the wife and the foot massage and all that stuff as they're standing in the hallway and it just happens and they kick the door and they know let's beat thugs. Right? ButMichael Jamin:How easy are both those scenes? I mean, the first one's a little harder in a car, but they're both very easy in terms of shooting, that wouldn't cost neither one of those scenes cost a fortune. It's all about the writing and the acting will support the writing.Phil Hudson:Yeah. I mean, that's Tarantino like Reservoir Dogs. It's a warehouse. It's a warehouse with some flashbacks outside. The whole thing takes you in one room,Michael Jamin:But even let's say reservoir drugs, which obviously was the one that really made him. But the point I'm trying to make is just write, because you don't have to write a whole movie, just write one compelling scene that promises something really on its own. You're like, I'm hooked. And maybe there's more to it.Phil Hudson:That ties back to your fractals podcast too, which has really stuck with me. And I think about it every time I sit down to write, when I'm structuring scenes and acts and I'm structuring my story, if you can't do a scene, well, how could you do a short, well, if you can't do a short, well, how could you do a full blown act or a TV pilot if you can't do that? Well, how can you do a two hour feature?Michael Jamin:We shot that episode, that podcast episode a long time, probably over a year ago, but it was called something about fractals. I think it wasPhil Hudson:Just called fractals.Michael Jamin:Yeah. And the point I was making is anybody who knows anything about fractals, they're patterns that repeat nature. So if you see a tree, it has a trunk in branches, but if you look at the leaf on the tree, the leaf has a trunk in branches, and then if you look at the cells, so it's about these repeating patterns. And so my point is, for movie, you have to want to write a compelling movie, right? But break down the movie into acts, and each act has to be compelling. Then break down each act into scenes, and each scene is compelling. And then each line has to be compelling. And so you're really just repeating patterns over and over, but on a larger scale. And so if you point out, if you can't write a compelling act, if you can write a compelling scene, how are you going to write a compelling act? Just start with writing a scene. That'sPhil Hudson:It. Yeah. Write the scene, write the scene, write the scene over and over and over again. You can churn out scenes. Even if you just took a week and just focused on one scene, how much better is that going to be than taking a week and powering through 50 pages?And I'm not advocating by the way that you shift your writing style, and it's not necessarily what you teach as the process that we do in Hollywood, and we've seen in TV rooms. What I'm saying is as a writing exercise, getting in your reps to practice the craft of writing, you're going to get faster return. Drilling. This thing, and I talk about this all the time, it's Josh Watkin's making bigger, small circles bigger. So how do you pull back and zoom in on something and focus on the detail work inside of that thing? And in Jujitsu's transitions in this, it's how do I get into a scene fast? How to get out of a scene fast? How do I display things through subtext? How do I have people say things without saying things? What's the thematic thing? What's the energy coming in? And the energy come out? That's all the detail. That's just a film condense. So focus, just do that while you're doing the other stuff.Michael Jamin:That's a good point. And I was going to also say, I'm guilty of this too. When I'm writing my, well, I finished my book, but when I was writing it, I'd have a scene in my mind. I wanted to get to the next scene where also some great stuff was going to happen. And then I kind of just got a little lazy in my transitions. And then when I'd read it again, I'm like, what's going on in this transition? Can I make this transition interesting? Do I have to be lazy and sloppy? Is there a goal to be found in the transition? And then I'd realize, oh, that's kind of where there's some interesting stuff is, so I'm guilty of it too. But you have to be aware. It's not just about a race, and you're not just racing to get to the next scene you are whenPhil Hudson:We talk about enjoy the journey and enjoy the process. This is what we're talking about. You have to love doing this because it ends up getting you somewhere better than where you were before. And the other quote, I believe I've said on the podcast who really stood out to me was an interview with Kobe Bryant, and he just said that nothing he does on the court, he hasn't practiced a thousand times, right? So he's in there practicing, practicing, practicing. He shows up, and you hear this all the time in interviews with other players from the Lakers, they say that they would show up their first day and they'd want to show up early to put in the work. And Kobe Bryant was already there practicing free throws, practicing free throws.Michael Jamin:You're talking about the greatest player or one of the greatest players in the N B A hasty was already there, was acting as if he was a rookie who had never taken a shot in a basketball court.Phil Hudson:All the money, all the skills, all the fame, known name, 70 hour work weeks, just putting in the work.Michael Jamin:If the greatest player has to do it, why do you think you don't have to do it?Phil Hudson:LeBron James, he makes what? A hundred million a year off of all of his endorsement deals. I read, I think in Sports Illustrated, it's like 9 million a year goes into taking care of his body just in trainers massage therapy.Michael Jamin:Wow.Phil Hudson:Why? Because that's his tool. That's his instrument. Your tool is your keyboard or your typewriter, your pad and paper and pen, and you don't need, here's the cool thing. You can write a lot of things without needing a fancy computer or fancy software. You can just sit down and practice this with a pad of paper and a Panama napkin.Michael Jamin:What's your commitment to getting better at the craft? And I get why people just want to, they want fast results, but it's not a fast result kind of game. I don't know how we got here from, should you be a TV writer or a film writer?Phil Hudson:Well, I think we're talking about indie film, we're talking about the process of indie film versus features, but all of this relates it's skillset. And I know you talked about for you, you liked TV writing, and I think with the time we have left, I'd love to hear what are the benefits that you found in TV writing? And I think they tie directly into this, which is there's more work, there's more time to sit, and you do this more than writingMichael Jamin:A feature. But not only that, I feel like TV writing, being a TV writer has helped me improve my writing all around because every week, including writing novels. Including writing films, because every week you have to come up with a new story, and it's the repetitiveness, the repetition of, okay, let's break a story. This week we got to break a story. Next week, we got to break a north story next week. And constantly coming up with new stories, even though they're half hour as opposed to an hour and a half. It's that repetition that really makes you really good. And that's why I feel, and I'm not the only one who thinks this way, if you want to watch a really good comedy, you watch tv, you don't turn to film, although there are some really funny films, pound for pound, you go back to tv.It's that action. That's where the good writers really get good. I'll see a comedy. I don't even know how many come. I tried watching one of these streamers, I'm like, oh, comedy, I'll watch this. And it's terrible. This is terrible. From some unknown, have they spent some time in a TV writer's room? They would know, no, this is not acceptable dialogue. That's not an acceptable joke. You just learn so much by being in television, I feel. And then you could go to TV or a film if you have an opportunity. But the learning ground, I feel, is in tv.Phil Hudson:Yeah. Have you seen The Bear?Michael Jamin:I saw the Pilot. I haven't watched the Rest. DudePhil Hudson:Blew my mind, and it feels like one of the most dramatic films, TV shows I've ever seen. It's short form. It's a comedy, it's a sitcom. It's got all the enemies for these comedy, and it makes you laugh, it makes you cry. It's all those notes, and you just look at it, and I looked up the creator and it's like, man, this guy has produced some of the greatest standup comedians in history. Chris Rock, just tons of people. And it's like, yeah, you're learning this from being around and doing the work. And then that translate into what I think is one of the best comedies on tv,Michael Jamin:AndPhil Hudson:It's great.Michael Jamin:I got to watch it. The problem is Cynthia's already seen it, and so I got to watch it alone, make time to watch it alone.Phil Hudson:I get it. I'm married. I understand.Michael Jamin:Yeah. But there it is. I hope that helps. Yeah.Phil Hudson:One thing I just wanted to add to this conversation was when I first got into this, the advice was really centered around, is this a TV IT idea or a film idea? Not necessarily are you a film writer or a TV writer? And I just wanted to get your thoughts on this. I hear this advice all over the place. The question was, is this something that could end or is this something that could continue? Is this the kind of idea that there's a clear defined ending to this, right?Michael Jamin:I feel likePhil Hudson:TV might've changed that now with our long form, eight to 10 minute, like a TV series ends up being a longer form film. But at the same time, I think there's some weight in that, which is something you tie back to in comedy. Your character doesn't really change at the end. They reset. I'd love your on that.Michael Jamin:Yeah. So if you're coming with a film, is this a TV idea or a film idea? If the character goes on a complete journey, Rocky and Rocky finally wins or goes the distance. It's not a TV show because he's not going to go. It's not a fight of the week. It's just like you take a street bum and you turn into, he went the distance, so it's done. That's it. They made sequels. Sure. Each sequel is basically a remake of the first one, and none of them are as good as the first one because you took a character. The only reason they did sequels is because they, Hey, we can squeeze some more money out of this. The story was over, I'm sorry, the story was over. It was a beautiful story, but it's not like a world of Rocky and Nikki and the gang hanging out that would be hanging out at the training facility at the boxing club. That would be sunny. It's always sunny in Philadelphia, which is fine. That's a TV series. They're just hanging out, people hanging out. So is it a world you're creating, or are you taking a character on a full emotional journey?Phil Hudson:Yeah, and that's an interesting, John Wick one is just great. It's great. It's a great film. John Wick two, I kind of like more than John Wick one because we get into the world, but I wouldn't want John Wick two if I hadn't seen John Wick one and felt like it was satisfying at the end, and you're kind of bummed. The other thing, this is just my thing as a writer, I really hate when characters suffer to the nth degree of suffering and just wrecking, this guy just got his life back and now you're going to ruin his life in the second film. It's a bit of a bummer.Michael Jamin:Yeah. But yeah, so that's what I ask, Yousef, are you creating a world, especially in sitcoms, this is your family. I think of it as, cheers. Do I want to hang out with these people week in and week out? Do I want to let them into my living room? Is that what it is? Because I certainly don't want to let some movies, no. Some movies, no, I don't want to The quiet place quiet. I don't don't want to let them into my living room week after week. That's unsettling to me. Great movie, not a TV show.Phil Hudson:Children are men. Children are men. One of the most impactful films I've ever seen. Haven't watched it again, so many,Michael Jamin:Right? It's enough. Right, right, right. GotPhil Hudson:The lesson. Move on.Michael Jamin:Right. Yeah.Phil Hudson:Great answer, Michael. Thank you. Bye. It was great.Michael Jamin:Alright, everyone, thank you so much. Phil and I have more to talk about. We have some exciting stuff to talk about coming up in future episodes, but thank you so much and for what are we going to talk about, Phil? We got to promote, we have a watch list, our newsletter,Phil Hudson:We got all about it. So you can go to michaeljamin.com/newsletter to join the watch list. You can also go to /watchlist. A lot of people know that one, but you've got that. It's a weekly newsletter. You've got the free lesson. It's the first full free lesson. You've broken into three parts. AMichael Jamin:Screenwriting lesson,Phil Hudson:Right? A screenwriting lesson. If you want to learn more about the very first lesson you ever taught me as a mentor about screenwriting, which I think you were taught, and I think you've taught lots of other people, is what is the definition of a story. So go get that michael jamin.com/free. I think we get three to 500 people a week sign up forMichael Jamin:That thing. Oh wow. That's crazy. We also have, we've been doing free webinars and now right now the schedule's up. We're doing it every three weeks instead of every four weeks. So you can come to that michaeljamin.com/webinar and it's free. Come sit in and thenPhil Hudson:Touring for a P orchestra. That's going to be coming up, I think, at some point, right?Michael Jamin:Yeah, hopefully. But we're hoping that our book, my book is going to drop. I'm really happy with the way it's coming up, but we're doing the audio book now, and so maybe we'll talk a little bit more about that. Maybe we will talk more about that in a different episode. Yeah, if you want to come see me on tour or be notified when my book drops as an audio audiobook as well, Michaeljamin.com/upcoming, and the audiobook is really nice. It's really because I got some music. I have a composer on it. We'll talk about it now. I guess. Anthony Rizzo, who is the composer on Maron, well, I'll talk about it in the next episode. We'll open up, talk about that. So go there, michaeljamin.com/upcoming if you want to see me on tour or be notified me the bookPhil Hudson:Drop. And for everybody watching this, this is going to be a bit out of order, so it'll be the next episode that I'm in. Right? Because the next one, I think you got Steve Lemi comingMichael Jamin:Up. Yeah, Lemi is coming up for episode 100 from Broken Lizard. Alright, everyone, thank you so much. Until next time, keep writing. Thank you, Phil.Phil Hudson:Thank you.This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJamin,writer. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music, by Ken Joseph. Until next time, keep writing.

We recommend and discuss the best, craziest and most notable movies for Samuel L. Jackson. Come get your Sam Jack fix here!Two Chicks Talkin Flicks Podcasttwo chicks talking about their favorite movies and moreListen on: Apple Podcasts SpotifySupport the show

Pam Grier and Rbert Forster make a big comeback in Tarantino's "Jackie Brown" from 1997. Comic Ron Coleman is here to discuss it with Host and Comedian Steve Mazan.  Is this Tarantino's best? Is this Samuel Jackson's best? Who is the bigger comeback? How great is the soundtrack? Why didn;t Max go with Jackie? All these questions and more get answered on ths week's Mazan Movie Club Podcast.  "Jackie Brown" on IMDb Home of the Mazan Movie Club Steve Mazan on Instagram Home of Corporate Comedian Steve Mazan      

Rob Eschmann and DC Benney discuss how Rob's new book, "When The Hoods Come Off" , chaotic giveaway in Union Square, DC Benny's new comedy hour on YouTube, and how the use of social media challenges racism and racist narratives with host Marina Franklin. Rob Eschmann Dr. Eschmann is a writer, educator, filmmaker, and scholar from Chicago. He is a proud product of the Chicago Public Schools and received his PhD from the University of Chicago in 2017. He writes on educational inequality, community violence, racism, social media, and youth wellbeing. His research seeks to uncover individual, group, and intuitional-level barriers to racial and economic equity, and he pays special attention to the heroic efforts everyday people make to combat those barriers. For Dr. Eschmann, this work is a part of the freedom struggle. The function of racism is to reproduce racial inequality, but in the 21st Century the devices of racism are often hidden behind color-neutral laws or friendly interactions. Highlighting the mechanisms of racism, therefore, can demonstrate the continuing significance of race, raise consciousness, and promote and strengthen resistance efforts. Dr. Eschmann is an avid reader and re-reader of fantasy fiction who uses his children as a justification for his continued interest in young-adult fiction and regular trips to the comic book store. In terms of creative endeavors, Dr. Eschmann has co-written and directed several short films for the 48 Hour Film Project Film Festival, and has written and workshopped fiction since his days as a graduate student. He is currently in the midst of his first novel project.  *Dr. Eschmann's first book, When the Hood Comes Off: Racism and Resistance in the Digital Age, is an engaging and comprehensive exploration of the ways technology and online communication are changing how we experience, understand, and respond to racism, both online and in-person. You can buy it now from Amazon, Barnes & Noble, or wherever books are sold. D.C. Benny's story-telling style of comedy has delighted audiences over his thirty-five years as a New York-based performer. His third appearance on NBC's  “Showtime At The Apollo” has over eighteen million Youtube views, he has 4 stand up specials including Comedy Central Presents, Dry Bar, was a season finalist on both seasons 2 and 8 of NBC's Last Comic Standing. He's been featured in John Singleton's “Illegal Tender”, "Freedomland" with Samuel Jackson and Julianne Moore, "Love Walked In" with Terrance Stamp, "Where God Left His Shoes" with John Leguizamo, recurred on the soap opera “As The World Turns” and appeared in many national commercials such as the Budweiser "How You Doin'?” campaign.  He co-hosted the story-telling podcast, "Tall But True", with Cash Cab's Ben Bailey, was a cast member on ABC"s Supermarket Sweep with Leslie Jones and currently plays "Bart" on Amy Schumer's series Life and Beth on Hulu. His writing has been published in New York Magazine, Mystery Tribune, Heeb Magazine, Narratively, and The New York Observer. He currently lives in Long Island's North Fork, where he teaches comedic storytelling and runs a beach rental business with his wife at www.bungalowouteast.com.  Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime, CW Network), TBS's The Last O.G, Last Week Tonight with John Oliver, Hysterical on FX, The Movie Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf.

Writers strike still going on, The Witcher season 2 and Secret Invasion Finale Recap

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Phil LaMarr is an actor known for being one of the original cast members of MadTV, Pulp Fiction, and his voice acting roles in Samurai Jack, Futurama, Beavis and Butthead, Family Guy, Teen Titans Go! and a host of other animated series.Show NotesPhil Lamarr on IMDB - https://www.imdb.com/name/nm0482851/Phil Lamarr on Instagram - https://www.instagram.com/phillamarr/Phil Lamarr on TikTok - https://www.tiktok.com/@phillamarrFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated TranscriptionPhil LaMarr:I was developing an animated show based on a friend of mine's web comic called Goblins. Okay. And my partner, Matt King and I, we are both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads, we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice LaMarr. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it could be.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. I, another, another. Cool. I got another cool episode. I, I was so excited about this. I, I tri over my own words. I am here with actor writer Phil LaMarr and this guy. All right. So I'm on his IMDB page cuz he going through his credits. Phil, I'm not joking. It's taking me too long to scroll through IMD,B to get through all your credits. It's nuts how much you work. But, so I'm gonna give you real fast an introduction and then we'll talk more about, what're gonna talk about but okay. So this guy does a lot of, a ton of voiceovers. I guess I think we met on King of the Hill and I know we worked together on Glenn Glenn Martin DDS, but fu you know, him from Futurama.From Beavis and Butthead family guy the Great North. All every single adult animated show, a ton of kids shows Star Bob's Burgers. That's adult, of course. Rick and Morty Bob Burgers, Bob's Burger's movie as well. I mean, I'm going through all your stuff here. It's nuts. You were a writer performer on Mad TV for many years. Mm-Hmm. . And I think the pro, I'm sorry to say this, but the, the coolest role that everyone knows you, that you maybe you get recognized most from. Right. We, you know what it is, is you were, you were in Pulp Fiction and you had your head blown off in the back of the car. And I remember watching like, oh my God, they killed Phil Phil LaMarr:.Michael Jamin:I mean, how awesome was that role? Oh man. But so Phil, thank you for doing this. Welcome, welcome to this. I want to talk all about your amazing career. But now tell me, so how did you get into acting? When did you decide you wanted to be an actor?Phil LaMarr:Well, it's funny because there are a couple of double steps in terms of how I started being an actor. And when I decided to be an actor and when I got into voiceover, both my first time performing was in eighth grade. My school was doing a production of a book that I loved. I didn't consider myself a performer. Right. It was the phantom toll booth. Right. And there's this little character towards the end of the Phantom toll booth. The senses taker who will take your sense of purpose. Your sense of duty, but he can't take your sense of humor. Right. And I wanted that part. So that's why I went and auditioned. But I wound up getting cast as one of the leads.Michael Jamin:Wow. Okay. AndPhil LaMarr:Opened a show alone on stage under a spotlight doing a two minute monologue.Michael Jamin:Okay. AndPhil LaMarr:It flipped a switch in my head. I'm like, oh, I love this. You were, that's what, so I started, you know, being an actor because I liked to bookMichael Jamin:. Right. But then, but okay. But it's one thing to be acting in as a kid in eighth grade and then to commit your career to it. What, what, what happened next?Phil LaMarr:Well, and it's funny because I didn't consider that a career or what I was doing. It's just, it's fun. Yeah. I get to play well, and also I went to an all boys private school. Yeah. So the time you got to see girls was when you did a playMichael Jamin:. Okay. That makes, now you're, makes sense. Now we know why you're being an actor, .Phil LaMarr:And I wound up graduating and I applied to colleges that had, you know, drama programs, Northwestern nor Carnegie Mellon, Yale University. But I wound up deciding not to go to Carnegie Mellon and I went to Yale. I was like, no, no, I just want to go to college. And I did not decide to pursue acting as a career. I just majored in English. It was on the flight back home to LA I said, you know what, maybe I should pursue this acting thing. I mean, I enjoy it. And you know, some people say I'm pretty good at it. I mean, I either gotta do it now or wait till my mid forties when I have a midlife crisis. Yes.Michael Jamin:But this is Yale undergrad. Yes. Yale's really not for the grad school of the school of drama. But youPhil LaMarr:Go back to thing. Cause when you were an actor and you say you went to Yale, people assume, oh, like Moral Streep and Henry Wiggler. It's like, no, no. I didn't know thatMichael Jamin:. But so after you got outta college and you got outta, we went to Yale and there was some pressure on you to are they Princeton over there? We're gonna continue, we'll continue our, we'll set aside our differences long enough to have this conversation. But so, but after college you're like, okay, I got a big fancy Yale degree and I'm gonna become an actor.Phil LaMarr:Right. And, you know, had I decided to be a comedy writer with a Harvard degree, that would've beenMichael Jamin:Yes. That would make sense.Phil LaMarr:A career path that made sense. Right. As a Yale, there were no famous Yales as writers or producers or anything. There were a handful of, you know, drama school actors. Right. But again, I didn't go to that drama school. So I'm like, okay.Michael Jamin:Yeah. There's no connect. People talk about the connections. No, there's no connection. Just because you, there's no inroad. Just cuz you went to Yale, you know, to No,Phil LaMarr:Yeah. No. The the only famous undergraduate actors at that time in the eighties were two women who were famous before they came to Yale, Jennifer Beals and Jodi Foster.Michael Jamin:Right. Exactly. Exactly. All right. So then you made this commitment to, or this, this leap. How long your parents must have been thrilled , how long before you started getting work and how did you start getting work, getting work?Phil LaMarr:Well, and, and this is another one of the double steps, Uhhuh I, when I made this decision, I already had my SAG card.Michael Jamin:How did you get that?Phil LaMarr:Because back in high school, a friend of my mother's worked for NBC Uhhuh. And I think my mother had dragged her to see a couple of my plays. And so she said, Hey, we're doing this cartoon and we're gonna use real kids for the kids' voices. Which back in the eighties was a rare thing. Yeah. And she asked me to, to come in and audition for it. And I got a job on the Mr. T cartoon in the mid eighties.Michael Jamin:Oh, wow. AndPhil LaMarr:That got me my union card. Now I did not, again, did not consider this a career path. I it was just a cool summer job.Michael Jamin:Yeah. Now, the thing is, cause I hear this a lot. People say to me, yeah, I, I can do a million voices and you could do literally a million voices. I, how do I get into you know, voice acting? And it's like, they don't seem to put the connection that it's not enough that you do voices. You have to know how to act. You have to be a trained, you have to, you know, know, be if you're trained or even better. But you have to know how to perform and act. And so yeah.Phil LaMarr:That's, that's what I always tell people who ask me that question. I say, the first thing you need to know is voice acting the term is a misnomer because the acting comes before the voice.Michael Jamin:Yes. Yes.Phil LaMarr:You know, that's why you have amazing people like Cree Summer, who has a really distinctive speaking voice, but she has the acting ability. Right. To make every character completely different and real. It's the same thing like, you know, a a movie star, it's the same face, but it's always a different character.Michael Jamin:But there's something else that you bring, and I say this because you are a consummate pro. You are truly a pro. It's well for what you bring to that other actors, that non-voice actors, I guess, I don't know what you would call 'em, but have, but what I'm directing a voiceover actor, sometimes if they haven't done avo, a lot of voice acting, they don't realize they're using their face or their body . And, and you say, no, no, no. I, I see you're acting the part I see you're playing mad, but I have to hear it in my ear. And so I don't look at them when I'm directing. I wanna hear it. And Right. And so to talk about that a little bit.Phil LaMarr:Yes, yes. I remember, cuz I started out, you know, even though I had that job in high school, I did not consider it a voice acting career. It was just a, a goofy summer job on a cartoon that nobody I knew watched. So I came home after college and pursued on camera acting and stage mm-hmm. . And so a few years later, actually it was after a several years of Mad TV where we did Claymation pieces and it got me doing multiple characters on mic as opposed to just multiple characters on camera, which I was also doing on Mad tv. And I remember I decided to actively pursue the voice acting thing. Cuz at this point, you know, in the post, you know, early nineties era when cable blew up, voice acting became a job. Right. You know, cuz when we were kids, it was just something that six guys that Mel Blanc and five other dudes Right.Voiced every cartoon of our childhood. Right. You know, Mel Blanc, dos Butler, you know, that was it. But in the nineties, once Nickelodeon had 24 hours of children's programming, there was a lot more cartoon voices. And so like, oh, this could be a path now. And I remember one of my early sessions, I fell into my on camera acting face, face acting mm-hmm. . And they said, okay, Phil, stop. Try it again. Do that line again. Angrier, I did it again. They said, hold on, we're gonna play them both back. And they sounded exactly the same. And I realized what you just said. Right. Oh my God, I just made an angrier face.Michael Jamin:Right.Phil LaMarr:And that's one of the, you know, skills of voice acting the same way that you have singers, singers can, you know, put forth feeling or fun or whatever through their voice.Michael Jamin:Right.Phil LaMarr:You know, dancers do it through their bodies.Michael Jamin:Right.Phil LaMarr:You know. ButMichael Jamin:When you perform, let's say you're doing something on camera, how much thought do you give? Do you, is it, is it just second nature to go, okay, now I can use the rest of my body? Or how much thought do you have to go in between different, you know skill sets, I guess, you know?Phil LaMarr:Well, the, the good thing is, you know, you do have to, you know, get a switch in your head because when you're on stage, it's the exact same job bringing this script to life. But you have to do it with different tools. Right, right. And the same thing when you're doing it on camera. And the same thing when you're doing it on microphone. You have to, you have to gauge. Okay. Cuz you know, you read the script, you see the character, you embody it. Yeah. But then it's how do you communicate it to the audience?Michael Jamin:Right,Phil LaMarr:Right. You know, and it's funny because with voice acting, you know, we learned to run the character through our, our ears. You know, when you see in the old days, you see, you know, announcers doing this. Do you know what that is about? No.Michael Jamin:What what is that?Phil LaMarr:It's because all of us, you know, regular people hear our voices from inside our heads. Right. We're not hearing what other people hear. But when you do this, you are channeling your voice.Michael Jamin:That's whatPhil LaMarr:Mouth into your ear. So you hear what your voice sounds like outside your head.Michael Jamin:Oh, I see. I, that's so funny. I thought they were stopping their ear, but they're not. They're just re redirecting the voice Yeah. Into their ear. Yes. Oh wow. I had no idea.Phil LaMarr:So you can hear the subtlety, you know, because if, if you don't do something with your teeth, you don't hear that inside your head. Yeah. It's only what people hear. But that's something you might want with a character. Right. You know, I always, when I teach workshops, I always try to tell people, like, there are things we hear. There's, it's the same thing with your face. Mm-Hmm. when you want to, you know, express anger. You don't just do your face flat. You, you know. And it's the same thing with if, if there's something about a character, let's say I'm doing this character, but then I see the drawing and the guy's got a big beard. Oh, well let me make him sound, let me make him sound beier.Michael Jamin:Right. Right.Phil LaMarr:Which isn't necessarily true, just growing a beard doesn't change your voiceMichael Jamin:Uhhuh.Phil LaMarr:But there are things that when we hear something, we get the sense of it.Michael Jamin:Right. Do you have a preference now, Kami? Cuz do you have a preference? You work so much in voice acting, but do you have a, do you prefer that overlap? You know, like on camera?Phil LaMarr:No, it's funny cuz you know, at Comic-Con, people will ask, what's your, you walk in so many media, what's your favorite? And the truth of the matter is, and this is what I tell them, it's not about the media, it's about the quality.Michael Jamin:Quality. The writing or, or what Yes.Phil LaMarr:Uhhuh Well, the, the, the quality of the writing, the quality of the directing, the quality of the experience. Because to me, the, the cartoon Samurai Jack, which is I consider a work of art that has more in common with pulp fiction. Right. Than it does with, you know, pound puppies or some like goofy little Saturday morning cartoon that's more focused on selling toys than on actually putting out story.Michael Jamin:Yeah. Right, right. But in terms of voice, a I mean, you don't have to get into hair and makeup. You don't have to memorize anything. And that's a whole nother skill as well. Memorizing the, the, the text.Phil LaMarr:Well, but that, that's actually harder because when you work on stage or on camera mm-hmm. , you get time to rehearse.Michael Jamin:Right.Phil LaMarr:You get to practice with a director helping guide you, your people, someone watching you, and you build the character over time. And then you don't have to make it work till the camera says, till they say action.Michael Jamin:Right.Phil LaMarr:But when you're doing voiceover, you're handed a sheet of paper, you're reading words off a page, and you have to bring those to life instantly.Michael Jamin:Yeah, that's exactly. Now do you, cuz when we work together on, on Glen, well we did King Hill first, but on Glen Martin, just so people know you didn't audition, we just, we call you up. Hey, we book you Theor agent, and you come in, you show up, you, you got the job, and you show up. And I remember approaching you saying, okay, Phyllis, the character, I remember the character's name was Rasmus, and the only thing you knew about him was that he had a milky eye. He was like seventies. He had a milky eye. And I go, what voices did you bring ? And you, you, you gave me like three different voices. And I think I said that one a little more gravelly and boom, that was it. You jumped right into it. Exactly. That was it. You're ready to go. . And that was the benefit of direction you got go .Phil LaMarr:Right. See, and we did that in a minute and a half.Michael Jamin:Yeah.Phil LaMarr:Had we been working on a movie, I would've had to go in for wardrobe, had them try on seven different outfits, had them send you the pictures, , you know, over two weeks. Right. While I was memorizing all the lines for us to come to that conclusion.Michael Jamin:But on most of the voiceover judo, is that how it is? It's just basically they book you for the day and you know, unless you're a regular, they just book you, you come on in and you spend an hour or two, and then that's it. Is that how it works for you? Mostly?Phil LaMarr:Well, ho hopefully. I mean, most of the time you get the script ahead of time, so you get to read the story, know the context. Right. But that's just one episode. You don't have the entire, you know, arc of the story. You know, don't know everything about the, you know, if you're playing the villain about the, the hero. So you learn most of it when you come into the session,Michael Jamin:But then there's another thing that you have to bring to the table, which is a whole, like, you okay, you're an excellent actor, but you also have the, the, when you do these voices, they don't sound like they're coming from you. Like, they sound like they're coming from 10 different people. And so the, how do you, like how do you approach that? How do you making voices that don't sound anything like the, any, any other voice that you do.Phil LaMarr:Well, it varies. I mean, there are, it's funny because now over the years, you know, people will bring up some old character. And I realize, okay, that sounds a little similar to that other one. But I realize it's not about, I used to think when I was younger, starting in voice acting, I used to think it was about no, no. Every voice should not sound anything like the other one. Right. You know? But I realize it's more about embodying the character. And the thing is, you know, these characters are all different. So I need them to, I want them to sound different.Michael Jamin:Right. I don't mean like, like when I first got the King of the Hill, I was shocked when you hear the voices that you've been watching the show forever, and then you see the actress playing, you go, whoa, that voice is coming from that person. That, that doesn't sound anything close to their, like, there's a transformation that you're able to do with your voice by, like, that's a different skill. I mean, forget about even, yes, I know embodying the character, but you're really playing with your vocal chords in a way that almost seems impossible to someone like me.Phil LaMarr:Oh, thank you. Well, I mean, in, it's, it's a, it's a skill set that not everybody has. Like I said, some people just like when on Samurai Jack, I worked with Mako Iwatsu Uhhuh, you know, an older Japanese actor who was an icon. He had starred in movies, starred on Broadway, you know, his name was above the title on a Stephen Sondheim musical. Right. But he had a very distinctive, you know, heavy, very textured, heavily accented voice. And I figured, okay, he's just doing his voice. And I remember there was one episode where they cast him as a secondary character mm-hmm. in the episode. And I remember thinking to myself, oh, Jesus, what are they doing? Uhhuh, his voice is so dis. I mean, that's like casting the rock in two characters in a movie. Right. You know, like, nobody's gonna get fooled. But he blew my mind and taught me a masterclass because what he did was, he did not completely transform his voice, but he acted the second character from a completely different perspective. You know, Lowe's dead, you know, complete, he performed it completely differently than he performed Aku the villain, Uhhuh . And I, and when you watch the episode, you can't tell it's him.Michael Jamin:You can Right. You can't tell.Phil LaMarr:Now, part of that has to do with the art, you know, because you're change your changing your voice, but they're also changing the drawing.Michael Jamin:Yeah. That, that's true. But I wonder how much work do you on your own at home? Like, how much do you think about other voice? Do you pra you go, do you hear a voice and you go, Hey, that's an interesting thing. Maybe I should, you know, do you practice at all? Do you, I don't know. Are you, are you constantly trying to invent new, new voices for yourself?Phil LaMarr:Well, I'm, I'm not a singer, but I've always had an ear. Right. For speech. It, I do a lot of impressions. Uhhuh, , you know, comedically and sometimes just job wise. Actually, weirdly, 10th grade, my second year of acting, I got the part in our, one of our high school plays. We did a production of Play It again, Sam.Michael Jamin:Okay.Phil LaMarr:And in 10th grade, I played Humphrey Bogart .Michael Jamin:Okay.Phil LaMarr:And I spent the entire production trying to do my best impression of Humphrey Bogart. If that plane leaves and you are not on it, you'll regret it. Maybe not today, maybe not tomorrow, but soon. And for the rest of your life. And so I watched a lot of, you know, videotapes of Humphrey Bogart. And I, and I also had to learn how to do that impression and projectMichael Jamin:It Right.Phil LaMarr:In a, in a theater cuz there was no microphone. But I think maybe that helped start me right on the, you know, aping People's Voices thing. Which, when I started doing sketch comedy Right. I leaned into that too. Oh, I'm gonna do a Michael Jackson sketch. You know?Michael Jamin:Right. Cause you, so how is that you're talking about, so that, that brings us to Mad tv. So there goes your, I dunno, how, how did you get that that audition? What did you bring, what did you bring to that audition, you know, for yourself?Phil LaMarr:Well, I, when I was in college I was part of a improv comedy group that started and I loved it, you know, having been taught that the, you know, the key to drama is conflict, but then being introduced in your late teens, early twenties to this concept of Yes.Michael Jamin:And, and yes. And yeah.Phil LaMarr:You know, improv is collaborative theater, make your partner look good. Right. Work together, you know, all of this very positive energy. It's like, huh, wow. This isn't just about performance. This is a great life philosophy. Yeah. So after graduation, and I came home to LA and I started taking classes at the Groundlings Theater mm-hmm. , the sketch, comedy and improv group. And, and I did that not for the career, but because I wanted improv back in my life.Michael Jamin:Right.Phil LaMarr:And doing improv that led me into sketch comedy and writing.Michael Jamin:Right.Phil LaMarr:Because that's what the ground wings do. It's like, okay, that's a great improv. Write it down.Michael Jamin:Right. .Phil LaMarr:Yeah. Now do that character again. Come up with another scene for him.Michael Jamin:And so that's what you, you brought to the audition, like what, three different characters or something?Phil LaMarr:Y well, by the time Mad TV came around, I had been doing sitcoms, you know, from the early nineties to the mid nineties. This was 95. Right. So I went to audition for mad TV and the people at Fox had seen me guest on a bunch of shows. Right. And in fact, I went to audition for Mad TV in what they call second place because I had done a pilot for Fox right before Mad. So it's funny because I went in there thinking, no, this pilot is gonna, is amazing. We're gonna be the new Barney Miller. Alright, fine agents, I'll go for this sketch thing, whatever. I've been doing Sketch for six years, but whatever. And so I went in and they said, okay, bring in some, some of your characters.Michael Jamin:What Century is calling ah, . That's your phone from 1970, right?Phil LaMarr:?Michael Jamin:Or is it an alarm clock?Phil LaMarr:Ah, no, it's, I forgot toMichael Jamin:What's your phone? It's your iPhone.Phil LaMarr:It's my agent calling. Oh, you, you don't need to talk to them.Michael Jamin:That's Hollywood.Phil LaMarr:Yes.Michael Jamin:I can't believe your agent actually calls you. Mine doesn't call .Phil LaMarr:Alright, let me, let me go back.Michael Jamin:Yeah.Michael Jamin:We're gonna put all this in. This is all funny. .Phil LaMarr:Well anyway, I went to audition for Mad TV having done several years at the Groundlings and having been voted into the main company of the Groundlings, alongside Jennifer Coolidge. So youMichael Jamin:Were perform Oh, so you were, that's great. So you were performing regularly on stage. Yeah. Okay.Phil LaMarr:So, so sketch comedy was solidly in my backMichael Jamin:Pocket. Yeah.Phil LaMarr:And, you know, I'd been, you know, I'd finally started making a living as an actor. I didn't have to do my day job, you know, just doing guest spots and whatnot. And I went in there without any sense of desperation. I don't need this.Michael Jamin:Right. I'vePhil LaMarr:Already got this pilot. And they said, okay, bring us your characters and a couple of impressions and we'll show you a couple of our sketches. You know, so there were three steps to each audition, Uhhuh. And it's funny because later after I got the job, I talked to the showrunner and he said, oh man, you were so relaxed. We loved it.Michael Jamin:Oh wow.Phil LaMarr:You know, cuz I remember when we had a, a callback and there was somebody from the studio. This woman was sitting there like this. And I said, oh, I'm sorry. Did I wake youMichael Jamin:? And then wow. I mean, good for you. And then, but what became of that pilot, it didn't go to seriesPhil LaMarr:The other. No.Michael Jamin:Boy, had you known that ? IPhil LaMarr:Know. Well, and when we, when we got the call back from Mad tv, I'm like, what the heck? And might have said, yeah. Yeah. somebody at Fox said, don't worry about the second position.Michael Jamin:Right. Oh wow. Wow. . So, right. So you did that for a number of years. And then, and what, what along the way, when did pulp Fiction occur during this?Phil LaMarr:Actually I did Pulp Fiction before Mad tv.Michael Jamin:Okay.Phil LaMarr:It's funny cuz the first episode of Mad TV had a Pulp fiction parody in it. AndMichael Jamin:Did you play yourself?Phil LaMarr:Yes. They pitched me playing myself. OhMichael Jamin:My God, it was so fun. I mean it's such a classic role. I mean, do, do you, and does, do people want to talk to you about that all the time?Phil LaMarr:Not, not really. What I, I find that people only bring up Pulp Fiction around the time when a new Tarantino movie comes out.Michael Jamin:Okay.Phil LaMarr:But I mean, there are some people who, you know, are big fans of it. But the funniest thing is there will be a friend, somebody I've known for several years, but it's the first time they've watched Pulp Fiction since we met.Michael Jamin:Right. OhPhil LaMarr:My God, Phil. I didn't realize that was you.Michael Jamin:That's so great. I mean, so Right. Just to remind people again. So that was a scene was, it was Samuel Jackson and and John Travolta. They, yes. I guess the, the pla that plot line was a bunch of like straight-laced kind of college kids, kind of up, you know, they, you know, good kids who probably made one bad decision. Right. But they weren't troublemakers. They were good kids. And then they owed money and then, and then I guess they, you know, so they shoot, I guess they come into the apartment Right. And they they wind up shooting up the place and they take you, I guess they, they're gonna take you to the big guy, you're hostage and then he, you're in the back of the car and they got a gun trained on you and it hits a bump and they accidentally blow your head off . Right.Phil LaMarr:Well, well actually, the backstory that Quent and I talked about is that cuz my character is Marvin, he's the kid who gets his brains blown out in the back of the car. Right. but we decided that the story was Jules Uhhuh knew somebody who knew Marvin and arranged for Marvin to, that's why Marvin gets up and opens the door.Michael Jamin:Okay. AndPhil LaMarr:Lets them in. He's on their side.Michael Jamin:Oh, is that right? Is that, I should watch that again. I don't, I didn't pick that up at all.Phil LaMarr:And so he's not, they're not taking him as a hostage. Cause actually, Sam's like, how many, because John asked him how many are in there? It's like, well, there's, oh,Michael Jamin:There'sPhil LaMarr:Five plus our guy.Michael Jamin:Oh, I gotta watch that again. I missed that. Okay. It's been a while. Okay. So,Phil LaMarr:So the idea is that Jules knew somebody who knew one of the kids that took Marcellus briefcase. So he made a connection and was like, okay, we figured it out. He's our man inside is gonna open the door for us at 7 45. We're gonna come in, we're gonna get the briefcase. But of course, in my head, the idea is that Marvin didn't realize they were gonna kill everybody.Michael Jamin:Right. Right. He thought theyPhil LaMarr:Were just gonna take the briefcase.Michael Jamin:Right. So he'sPhil LaMarr:Freaked out.Michael Jamin:And so how many days is, were you, how many days of a shoot is that for you? Is that a week or what?Phil LaMarr:I spent about two weeks. There was the car scene and the apartment scene. But the, the most ironic thing was I shot my scene after they had shot the Harvey Kittel cleaning up my body scene.Michael Jamin:Right. So whenPhil LaMarr:I came onto set, everybody was looking at me like they recognized me because they had been see, looking at me dead for two months.Michael Jamin:. But how? Wait, but but when you say looking at you dead was, were there photos or something or what? No, no.Phil LaMarr:They built, they built a dummy. The dummy. Oh. Because there's a se there's a sequence where the Harvey guy tell character comes to clean up Yeah. And then carry the body out of the car into the Tarantino character's apartment. YouMichael Jamin:Know, that must been freaky. SoPhil LaMarr:Everybody been looking at this body in the trunk body, you know, and then when I walked on, they were like, it's, it's the same thing of like, when you walk into a room and you forget you're wearing a name tag.Michael Jamin:Yeah. Did you know how great that movie was gonna be at the time? Yes. I mean, you, you can tell. How can you tell? IPhil LaMarr:Couldn't tell how successful it was gonna be because, you know, reservoir Dogs was really good. Right. But it wasn't, you know, it was a big indieMichael Jamin:Movie. Yes.Phil LaMarr:Right. But when you read the script for Pulp FictionMichael Jamin:Uhhuh,Phil LaMarr:It leapt off the page.Michael Jamin:Right.Phil LaMarr:It's funny because like, when I went to audition for it, after meeting Quentin Tarantino, we did a Groundlings improv show.Michael Jamin:Oh, is that right? BecausePhil LaMarr:He's, he was friends with Julia Sweeney, who was a Groundlings alum. Right. And she invited him to come do a show. I was in the cast. Right. And when he was casting pulp Fiction, he was thinking about Marvin. He told the casting lady, Hey, there's this black guy at the Groundling, he's go find him.Michael Jamin:Right.Phil LaMarr:And I remember preparing for the audition, reading through the scene three times. It jumped into my, I w I had it, I was off book by the time I memorized. Because the way it's written, even though it's not everyday life, every line follows exactly what the one before it would say. And it feels natural, even though it is such a heightened world he's created.Michael Jamin:Yeah. He really is. I mean, you know, he's a master with, with words. He doesn't, does he, he doesn't, I can't imagine allow much improv. I mean, it seems like he knows what he wants, right?Phil LaMarr:Oh, yeah. No, no, no. Yeah. The, the script is like a Rosetta Stone. It is carved, yes. Actually, the, the only two things that changed in the script were one a line of Samuel Jackson's character about porkMichael Jamin:Uhhuh ,Phil LaMarr:Because originally they're talking about a pig and he is like, oh, that's the Kerry Grant of pigs. And Sam was like, no, Manam my guy. I don't think this guy would ever think Kerry Grant was cool.Michael Jamin:Right. So theyPhil LaMarr:Changed it to the, the reference to the the at Albert showMichael Jamin:Oh, oh green Acres. Green Acres, yeah. Yeah, yeah. Right.Phil LaMarr:Yeah. It's like the pig on Green AcresMichael Jamin:. And,Phil LaMarr:And the o and the other moment that changed from the script to what, what we shot was because of what a thought that John had.Michael Jamin:Uhhuh GunPhil LaMarr:Travolta. Yeah. Oh. Because, because this was a low budget indie movie. They made this movie with all those stars for only 8 million.Michael Jamin:Are you kidding me? Really?Phil LaMarr:Yeah. And part of that saving money was we rehearsed the entire movie on stage before we started shooting. Right. And I remember going to a sound stage at, at cul in Culver City on Sony and meeting John Travolta and Samuel L. Jackson for the first time in rehearsal.Michael Jamin:Right.Phil LaMarr:And I remember walking in there and it's like, Quinn's like, oh, hey Phil, this John Sam, this is Phil. And John Tra goes, oh geez, this is a guy. I had to kill this guy. The eyes is gonna hate me.Michael Jamin:That's a pretty good Travolta sound just like him. . Oh, thanks.Phil LaMarr:And he just, I thought he was just joking. But eventually he talked to Quintin. Cuz originally in the back of the car, the gun is supposed to go off accidentally. Yeah. And shoot Marvin in the throat.Michael Jamin:Okay.Phil LaMarr:And then he sits there g gurgling while they go back and forth bantering, oh, dad, what are we gonna do? Right. Well, we can't take him to the hospital. Well, I don't have nobody in the valley. Well, alright. Put him out of his misery. When I, on the count of three, I'll hit the horn. And so John's character was supposed to shoot me the second time on, and John said, no, no. Quentin Quinn. Quinn. If my character kills this kid on purpose, it's gonna ha people won't, won't like him. And he was right. It would've negatively affected his sequence with Umma Thurman.Michael Jamin:That's absolutely right. But do you think he was, Travolta was interested in protecting the character or protecting himself as an actor? You know, like how people saw him? What do you think?Phil LaMarr:I think it was, he had a connection to the audience, which I guess was mostly through him, but also through the character. Because I mean, I mean, I guess, you know, Quintin's could have just said No, no, the character's just, he's a nasty, you know, junky. Yes. He does nasty stuff. But I think John was like, no, no, no. This whole sequence with the girl, he's not nasty.Michael Jamin:Right. So, right. I see. And andPhil LaMarr:Quintin agreed with John Yeah. His take on the character.Michael Jamin:Yeah. That's so interesting.Phil LaMarr:Isn't thatMichael Jamin:Wild? Yeah, that is. See, it's so funny listening to you, you can so hear like how thoughtful you are about acting, how mu how much, how it's not, it's a craft, it's a, you know, you, I really hear that from you, how much you put how passionate you are about the craft of acne. Not just being on stage, not just you know, doing voices, but the craft of it. You know? Exactly. Yeah. How do, do you miss, or do you get a chance to perform on stage a lot? Because that was your original lovePhil LaMarr:Mm-Hmm. . Yes. Thankfully. I'm still holding on to my performance foundation. My friend Jordan Black, who is another Groundlings alum Uhhuh about what, 12 years ago now, created a group. And we do a show monthly live on stage, an improv show at the Groundlings Okay. Called the Black VersionMichael Jamin:Uhhuh. It's,Phil LaMarr:It's an all black cast, and we take a suggestion from the audience of a classic or iconic motion picture, and then we improv the black version of it. ButMichael Jamin:What if you're not familiar with the, the classic?Phil LaMarr:Well that's the tricky part is our director Karen Mariama mm-hmm. , who was one of my teachers at the Groundlings and is now one of my peers, has an encyclopedic knowledge mm-hmm. , she can take a movie from the black and white era and know the entire structure or something that dropped that dropped on Netflix last week. And she knows everythingMichael Jamin:But you, but if you don't know itPhil LaMarr:Well what we do, what she does is she, she, as the director, she guides the scenes Uhhuh . Okay. Alright. Phil, you are gonna play this, you know, like let's say we're doing the black version of Princess Bride. Phil, you'll, you are this you know, swordsman who is incredibly skilled audience, what do you think his name? Okay. In Negro Montoya, that's your name.Michael Jamin:That's funny. AndPhil LaMarr:Like she'll assign the characters Right. And then guide us from scene to scene. But, you know, our choices, you know like when we did the black version of Princess Bride, it was called her Mama and them, and Prince Humperdink was Prince Humpty Hump. Right. You know, and sometimes the choices will change the, the, you know line, line of the story. But she tries to keep us, you know, take us through the iconic scenes.Michael Jamin:Right. And this is once a month you do this.Phil LaMarr:Yes.Michael Jamin:Yeah. That's a big commitment.Phil LaMarr:Yeah. And for 12 years. Yeah.Michael Jamin:Yeah. I mean, you must, you probably took a break during the pandemic for a little bit. Yes,Phil LaMarr:Yes, yes, we did.Michael Jamin:But Wow.Phil LaMarr:And recently we've you know, we've built an audience and a reputation and we've started booking on the road. We've we've played the Kennedy Center in Washington DC twice now.Michael Jamin:So you take it on the, and, and how were you able to sell tickets on the road? I mean, so easily.Phil LaMarr:It's, I I think it's, it's the, the venues and also you know, somewhat just the, those of us in the group. I mean, Jordan was a writer on SNL and part of the guest cast on community Cedric Yarborough from Reno 9 1 1, and tons of other shows. SoMichael Jamin:Just your name. Just your name. So it's kind of just your names people like, Hey, we want, you know, we recognize these names, we wanna go see it. If you, you know this.Phil LaMarr:Yeah. I, I mean, I'm, I'm not exactly sure how we managed to sell out, youMichael Jamin:Know? That's amazing. All overPhil LaMarr:TheMichael Jamin:Place. That sounds like a lot of fun.Phil LaMarr:It's so much fun.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Wow. I mean, is there a limit to how much you can, I mean, just organizing that to get everyone to get the time off. I mean, that's gotta be logisticallyPhil LaMarr:Gotta be hard. Yeah. The, the tours aren't that we don't do them that often because, you know, Gary Anthony Williams from, you know, Malcolm in the Middle and stuff, everybody in our cast works a lot. Yeah. So we can really only guarantee the show once a month. Right. but sometimes when we tour, not everybody goesMichael Jamin:Because Yeah, you have to, I mean, if someone books apart and you're shooting that at night, what, what are you gonna do? That's the way. Right.Phil LaMarr:Or you or you have to fly to Vancouver for six months.Michael Jamin:Yeah. Right. Right. And that's part of, that's, I mean, that's part of the, the plus of, of the do for you for doing a lot of voice acting is that, you know, you probably get to lead a pretty sane in life if for an actor it's, it can be very hard, you know, being onPhil LaMarr:Their Well, and, and it's also one of the wonderful things about the progress that has come since we started the show, because part of the reason Jordan created the show is because those of us in the improv world, you know, who are people of color, oftentimes spent the majority of our time being the one.Michael Jamin:Yeah.Phil LaMarr:But over the years, the, you know, the numbers, the diversity in the improv world, you know, expanded, it used to be a very suburban art form.Michael Jamin:Yeah.Phil LaMarr:But now, you know, I I I credit this mostly to Wayne Brady doing whose lives in anyway.Michael Jamin:Yeah. Right. Yeah. And so that really opens up more opportunities and more of what Yeah. That, that's, that's interesting that, you know, that really has changed a lot. How, how have you seen it change your opportunities in the past, I don't know, whatever, 20 years, 30 years, you know, however long?Phil LaMarr:Well, it's, it's, it's changed be in a lot of ways. One, when I got voted into the Groundlings in 1992, I was the first black person to get voted into the company in its 18 years of existence.Michael Jamin:You're kidding me. Yeah. That's crazy. That's crazy.Phil LaMarr:And now the pool of, you know black people, you know, who are Groundlings has expanded. It's not just one every 18 years.Michael Jamin:Yeah. Right. But, and in terms of more, you know, more opportunities for you even, you know, I mean, everything's, everything's really opened up for you. Right. I mean, I imagine Well,Phil LaMarr:Well, because we have, you know, the, those of us in entertainment have expanded. Yeah. You know, what we consider will work. You know, I was talking my son just graduated from NYU and one of his classmates is the son of the woman who directed the woman king. Okay. At Viola Davis, you know. Right. Action movie. Right. And I remember watching and thinking, oh my god, when I was 18, no studio in the world.Michael Jamin:Right. Would touch that. Right. Would'vePhil LaMarr:Would've, you know, green lit Yeah. A action movie, you know, about black women.Michael Jamin:Yeah. Right.Phil LaMarr:And, and the fact that, you know, it's out there now and is just another big movie. It's, it's not considered, you know you know, a once in a lifetime thing anymore. That's the progress and the fact that we have, you know, middle-aged women mm-hmm. leads of s of TV series. Yeah. You know, back in the old days, the only lead of a TV series was one beautiful person or one famous, you know, hilarious person. Yeah. But now they've opened it up.Michael Jamin:I wonder, is your son planning to going through the arts now that he graduated from nyu?Phil LaMarr:Yes. Yes. He's, he's musician. He oh, writes and sings and dances and raps and produces, and he's part of the Clive Davis recorded music program where they teach them music and the music business.Michael Jamin:Yeah. Wow.Phil LaMarr:One of his teachers was Clive Davis's daughter. Wow. Who's a lawyer.Michael Jamin:And do, I mean, it's, but it's, the music is different from what you do. I wonder, I wonder if you're able to, does it all feel like, I don't know how to help , you know? Yeah.Phil LaMarr:Yeah. There's a lot of that uhhuhMichael Jamin:Like,Phil LaMarr:Dad dead. Because when your kid goes into, you know, show business, you think, well, I've been in show business for 40 years, like, you haven't been in the music business. I'm like, you're right.Michael Jamin:That's true. So interesting. Wow. Wow. And, and, and so what about, I guess, you know what's next for you? Is you just, is it more of the same? Is there more, well, actually I know you have a pilot that you, that you were, you're working on, you know, you're getting into the writing side of the business. Yes.Phil LaMarr:More so. Yes. And that actually over the last couple of years has been a, a slight shift you know, having been performing. Yeah. You know, for so long now, since the eighties. I've also, and I've also been writing since the nineties when I started at the Groundlings. Right. I was writing sketches and I wrote on Mad tv. But just recently, earlier in this year, I took a job as a professional writer on a television show for the first time.Michael Jamin:Right.Phil LaMarr:And it was pretty wild to have 30 years of sitcoms under your belt and then suddenly see it from a completely different angle.Michael Jamin:And what, and what was your impression of that?Phil LaMarr:It, it was wild to cuz like you were talking about the way I look at acting and break it down. Yeah. And, you know, look at all the subtle distinctions. I had never looked at, you know, TV writing that way. Okay. But to suddenly be in a room with people who look at who see it that way for decades, you're like, oh wow. How do I feel like a rookie at 56?Michael Jamin:Yeah. Right. And so there's a lot of catching, a lot of catching up little Yeah. You know, that's so, and, and are, are you enjoying it as much or as much as you thought? Or what do you think?Phil LaMarr:Well it, the challenge part was, was a little bit, you know, tough. Yeah. But it was great to be working on a really good show with great, talented people and to be learning something new. It's like, yeah. Oh, like for me, like when we would write sketches at the Groundlings Uhhuh, you didn't think about anything about like, well, beginning, middle, and end. Right. Three minutes.Michael Jamin:Right, right.Phil LaMarr:You know, but now you have to think about, you know, character arcs and the, you know, okay, well if you introduce the character's father, we have to think about their entire family. Is the mother still a alive? You're like, oh, right. When you write a sketch, you don't have to think about,Michael Jamin:You don't think about any of that. Right. And when you, and when you're acting the part you, you know. Yeah. Yeah. And so it's, it's so interesting cause I always say like, acting and writing are really, they're two sides of the same coin. It really helps to study both whatever you want to do, study both. Exactly. it's all, and so yeah, that, that finding that emotional arc and, you know, it's all, it's all new for you, but yeah. I wonder, you know, but you're enjoying it.Phil LaMarr:Well and, and working alongside, I mean, cuz there were people who, you know, one guy at show run Will and Grace, another guy worked on Arrested Development. I mean like, you know, one guy was showrunner on five other shows to, to watch how they mm-hmm. . Cause for me, I would like, Hey, I would just pitch out a joke. I'm just gonna say something I think is funny. Right. But they had this like s you know, Superman MicroVision where they could take that joke and see Yeah. How it could affect the mm-hmm. the entire scene, the entire episode and the entire season.Michael Jamin:Yeah. Right. It's like, where does that, but offPhil LaMarr:The top of their head.Michael Jamin:Right. And where does it go? Where does that moment go into the script, into the, you know, is it act one or is it Act three? And so that Yes.Phil LaMarr:Yeah. That yes. I mean I'm sure you have that, that x-ray vision too. Yeah. Where you can look at a script and see the act structure Yeah. And you know, and or just even the structure of just the scene. Yeah. Like what does this character, where do they start and where do they finish?Michael Jamin:Yeah, that's right. Well we were, we ran a show for Mark Maron for four years and you know, he was one of the writers in it and he would pitch an idea, cause I wanna say this, and then we'd put up Neck one and then I remember at one point , we were talking about it and we said, mark, I don't think this can go in Act one. Is it okay if we put a neck three? And he'd say, oh, I don't care where you put it is. Right. long as in the script,Phil LaMarr:I'm just thinking about what the character would say.Michael Jamin:Yeah. That Right. I was like, was like, oh, that's a relief. I thought you were gonna get mad for, you know, you didn't care about that. So funny.Phil LaMarr:Right. Yeah. Just cuz as performers we are not looking at the app structure.Michael Jamin:Right, right. You know,Phil LaMarr:Most of us, I, I may imagine there are some people who do like, well I wanna build up from act two to act three, you know? Yeah. But most of us don't. We're just, what is the guy feeling in this scene right now?Michael Jamin:Right. And how to get to that, the truth of that, how difficult is it for you to make yourself vulnerable like that on stage to like, to go there, you know, whatever, maybe it's crying or whatever it is. How difficult it is for you just to allow yourself to go there?Phil LaMarr:Well, it's not necessarily easy. It's definitely something that I had to, you know, a skill set to build Uhhuh . You know, I was not one of those people when I started acting who could make themselves cry on cue, UhhuhMichael Jamin:,Phil LaMarr:You know. But I remember I had to do a scene on a, a Steven Boko show called Philly. And it's like, okay, well this character is really, you know, emotionally, you know, I gotta figure out how to make sure I'm putting that out there. Right. So I thought about something sad and let it, you know, something different than what the character was thinking about mm-hmm. . But it's again, like, you know, with the voice acting like what sounds bey you also have to think about your face, what looks Yeah. Sorrowful and how do you make yourself look sorrowful. Right. You know, although one of the things that helped me learn where to, to try to go was working on Pulp Fiction with Samuel L. Jackson.Michael Jamin:What he what? Go on. He gave you some great advice or what?Phil LaMarr:No, he just, what he showed because you would stand there offset talking to this cool old guy who was amazing, you know? Yeah. He's just talking about golfing or his daughter. But then when the camera started rolling Yeah. The person you were just talking to disappeared. Right on set. I looked over and I was looking into the eyes of someone completely different than Samuel L. Jackson. Right. And I remember standing there in my twenties thinking, oh my God, he transformed himself internally. And so that it shows externally. Yeah. That's like, I gotta learn how to do that.Michael Jamin:And then how did you learn how to do that?Phil LaMarr:Well, I, I'm still haven't gotten to his level , but what I learned is you have to figure out one, how you look and how you get, it's, it's like a map. Mm-Hmm. , you know you know, if you figure out how to guide your internal self to a place where your external self does what's on the page, that's what acting is. You know, otherwise you would just be reading words to be or not to be. That is the question. You know, it's not just about the words. It's how do you express the feeling? And Sam taught me there is a way where you don't have to do nine minutes of to get into character.Michael Jamin:Okay. IfPhil LaMarr:You know the root within yourself, you can do it like that. Right. So I, I realized it was about learning your internal, you know, where do, where do you put your sadness? Where do you put your anger and where's, what's the difference between your anger and this character's anger? Guide yourself there and then, you know, connect the two.Michael Jamin:And do you have moments where you feel like, I I didn't do it. I didn't get there. You know. Well,Phil LaMarr:I mean that's the, the one good thing about on camera work and what we were talking about about the rehearsal Uhhuh is you can find, take the time to find it, but yes, no, there's, there's always, you know, not every job is a home run. Mm-Hmm. , you're like, oh, I wish I had gone a little bit deeper with that. Right. You know and sometimes you feel it there. Yes. Other times you don't realize it until after you see it. And maybe it's, they picked a take that Right. You didn't No. That wasn't the best one. Why didn't they, you know, not nothing is ever perfect.Michael Jamin:Right, right. YouPhil LaMarr:Know,Michael Jamin:And, but do you, like sometimes I'll watch, I'll be on set and I'll watch an actor do something. Usually it's drama and or a dramatic moment. Right. And, and they let it all out. And after you, you'll cut. I'm always like, I wonder if they need a moment alone. You know what I'm saying? It's like Right. I mean, what are your, what's your take on that?Phil LaMarr:Well, I mean, I'm not a, a method guy. I don't put myself into, because Yeah. You, you hear a lot about that, about a guy's like, yeah man, I had to play this character and my girlfriend hated me for a month because when I went home I was still part of that dude. Yeah. You know? And I don't know if it's my improv and sketch background where I take my character off like a hat,Michael Jamin:Uhhuh . IPhil LaMarr:Don't take them home and, you know, I, I try to embody it during the performance, but I don't feel it's, you know, required to have to be the character.Michael Jamin:Right. But if you spend a whole day as a character,Phil LaMarr:It can, it can be draining.Michael Jamin:Yeah. Right. It can be draining. Right. You have to wash yourself up that if, if you don't like that, you know, if you don't like that person, you have to wash yourself of that. Right. And how do you do that?Phil LaMarr:Yeah. Well, I mean that's, that's about, you know, when you leave the set mm-hmm. , you leave those feelings behind, although some actors don't, but you'veMichael Jamin:Just experienced, you spent the whole day experiencing that mm-hmm. that whatever it is, and yes, I understand you left it, but you spent the whole day angry or, or mournful or bitter or whatever it is. Like how do you, you still have to wash yourself from that, don't you? Well,Phil LaMarr:But I mean, the, for me, I'm not fooling myself. I'm not trying to convince myself that the script and the character is real and me. Cuz that's the thing. Like, if you spend all day with your drunken uncle who's nasty on Thanksgiving, that's not fun.Michael Jamin:Right.Phil LaMarr:You know, and then when you leave, you're like, ugh. You can, you can still be right, you know, upset about it, but you're, you're con but because you're connected to that person. For me, it's about, that is fiction. Right. I only, you know, I'm connected to the fiction while performing. I don't feel like I have to be, you know, like when I play Hermes on Futurama, I don't have to speak in a Jamaican accent for the entire season.Michael Jamin:Right.Phil LaMarr:You know?Michael Jamin:But are there moments, and maybe this is less so for a voice acting, but when you're, when you're on, when you're on camera, are there moments when you're like, you're cognizant that, oh, I'm acting now. Mm-Hmm. , you know, and then you, and you have to, oh, I gotta get back. You know, and you're, you're delivering your lines right in the middle of the line, you realize I'm acting.Phil LaMarr:Well, it, it's interesting because I think part of this mental philosophy I have is, you know, comes from watching Sam Jackson Uhhuh because he wasn't method, he wasn't acting like Jules, you know, acting like a gangster, a man with a gun the whole time.Michael Jamin:Right.Phil LaMarr:And he showed me that. And it's funny because while he was doing that, Frank Whaley who had worked on the doors was telling anecdotes about how when Val Kilmer was playing Jim Morrison, he was the exact opposite. Right. He, before they started shooting, he sent out a memo. Everyone is to refer to me as Jim or Mr. Morrison.Michael Jamin:Right.Phil LaMarr:You know, and he had a tent set where he would, you know, work to be in character and would only come on set as Jim Morrison. Right. He was ne They never s they never spoke to Val.Michael Jamin:Right.Phil LaMarr:Right. So, you know, what about, yes. It's definitely difficult for some people if that's their approach. No, no. My approach is I have to live this character.Michael Jamin:Right. You know, so you're, so you, okay, so that's not your problem. You don't have to worry. That's not something you have to Yeah, no. Interesting. I, I'm so interested in the, the actor's approach to the material, you know? Yeah. Because, you know, we write it, but how do you guys do, how do you guys do it? Because there's a difference. There really is a difference. You know, we hear it one way we envision it, but we can't do it. Do you know what I'm saying? Yeah. We can't get it out of our heads onto, into reality, but you can. And so I'm always like, how did you do thatPhil LaMarr:? Right. Well, it was, it was, it was interesting experience, you know, from the writing, acting, you know, crossover. Mm. I worked on a, I was developing an animated show based on a friend of mine's web comic called Goblins.Michael Jamin:Okay.Phil LaMarr:And my partner, Matt King and I, we were both performers, but we adapted the comic into a script. And I called a bunch of my voice actor friends, cuz we were, we were gonna make a trailer, you know, to bring these, you know, comic characters to life Yeah. In animation. And it was funny cuz Matt and I are actors. We had, you know, written the script and we'd acted out these scenes. And so in our heads we, we thought we knew exactly how they'd sound. But then we brought in amazing Billy West, Maurice La Marsh. Mm-Hmm. , Jim Cummings. Mm-Hmm. Steve Bloom, Jennifer. And it was funny because when they performed the scenes we had written, they took it to a whole other level. Right. Beyond what existed in our, in our heads. Right. Like, oh my God, they made it so much better than I even imagined it couldMichael Jamin:Be. Right, right.Phil LaMarr:And it was wild cuz I'd heard writers, you know, express a similar kind of thing. It's like, oh my gosh, you guys did such, such amazing with, and, but to have it, you know, as someone who'd been a performer, to have someone take your and do that miracle with it was an eye-opening experience. Like, ah, butMichael Jamin:There's something else that you do. Cause you know, there's a handful ofri actors, voice of actors, they always work. You're one of them. But pro you call 'em in and it's, it's knowing, especially in comedy, knowing where, how to hit the joke. I mean, we always say, can they hit a joke? And knowing where the laugh falls, not just somewhere, but which word makes it, makes it funny, you know? Mm-Hmm. , you know. And do you think that's your instinct? Or is that just something you've gotten better at?Phil LaMarr:Yes, I think that's something that has grown from performing, especially in the sense of, in the sense of comedy. Because I remember, you know, starting out on stage doing, you know, plays, then doing, doing improv, which is specific comedy cuz when you're doing a play mm-hmm. , the writer has decided which moments are funny, which moments are dramatic, you know. But when you're doing improv, you and the audience are deciding what's funny. Right. And, and I remember coming, you know, back to LA and pursuing acting and then starting to get work on camera and doing comedy. And I realized, huh. Oh wow. I don't have an audience.Michael Jamin:Yes. And youPhil LaMarr:Have, you have to create a gauge in your head for, is this funny? Because when you're on stage and you're doing a funny bit, you're, you know, you can feel from the audience whether, oh, I need to push that up a littleMichael Jamin:Bit. Right.Phil LaMarr:But when you're working on camera, this, the crew is not allowed to laugh outMichael Jamin:Loud. Right.Phil LaMarr:You know, so you have to create an audience inside you, an internal audience in your head to help, you know, is, is this the timing of this?Michael Jamin:Right.Phil LaMarr:And, and it's funny because I've developed that and a couple of years into it, I remember I got a job working on N Y P D, blueMichael Jamin:UhhuhPhil LaMarr:Playing a guy who was being questioned, you know, interrogated in the police station and then gets roughed up by Ricky SchroederMichael Jamin:Uhhuh.Phil LaMarr:But the, the lines, because this guy's on drugs. And I remember like, oh wow, I gotta be careful. This could be funny . Cause he's like, you know, like, you know, cause Ricky Schroeder, you know, sees blood on his, on his clothes, like, take your clothes off. It's like, and the guy take my clothes. What you wanna do? What you ain't gonna put no boom on my ass. Right. And I remembered I have to gauge the funny way to do this and not doMichael Jamin:That. Yes. Right, right. Because,Phil LaMarr:You know, there was, I, and I realize no, no. Pull back the tempo and lean into the anger, not the outrage.Michael Jamin:Right. Right. So, andPhil LaMarr:Then it'll be, then it'll be dramatic, not comedy.Michael Jamin:It's, again, here you are approaching it really from the craft. It's not Yeah. I just wish it's, when I hear people, I want to be an actor. Okay. Take it serious. Are you gonna study? Are you just gonna, do you wanna be famous? Which, what is it you want? You know?Phil LaMarr:Right.Michael Jamin:And well, let's talk about that for a second. What, what's your relationship with, with fame? How do you, you know?Phil LaMarr:Well, that's a very interesting thing because I feel like that has changed mm-hmm. from the generation, like when you're our age, when we were growing up pre-internet mm-hmm.Michael Jamin:Phil LaMarr:Fame only applied to stars.Michael Jamin:Yeah. Right.Phil LaMarr:Now, you know, I mean, nobody knew voice actors, only voice actor anybody knew was Mel Blank.Michael Jamin:Right.Phil LaMarr:You know, people to this day still don't know what Das Butler looks like. Right. But the now anybody who appears on anything, even a YouTuberMichael Jamin:Right.Phil LaMarr:Has some level of fame. Right. You know, and, and it's wild because, because of the internet, the, you know, it now matters what you say. In the old days, if you were a television character actor, like if you were Richard MulliganMichael Jamin:Yeah.Phil LaMarr:It never, nobody was ever gonna post what you said about something.Michael Jamin:Right.Phil LaMarr:It was only if you were Joan Crawford. Right. Or

Nerd News Jonathan Majors Update, Dune 2 Trailer, The Witcher, Secret Invasion

H Marvel saga οδηγούσε σε αυτό το σημείο: Το Secret Invasion, η σειρά-event στην καρδιά του σύμπαντος της Marvel, ξεκίνησε να προβάλλεται και το POP για τις Δύσκολες Ώρες είναι εκεί για να σχολιάσει. Η Ιωσηφίνα Γριβέα κι ο Θοδωρής Δημητρόπουλος βλέπουν και συζητούν για την κατασκοπική σειρά μυστηρίου που βάζει επιτέλους τον Nick Fury του Samuel Jackson σε κεντρική θέση, στήνοντας γύρω του ένα θρίλερ παράνοιας και αγωνίας που θα κρίνει το μέλλον του πλανήτη. Ξέρετε δηλαδή, τα γνωστά. Πώς όμως φτάσαμε ως εδώ και τι ρόλο παίζουν οι Skrull σε αυτή την περίπλοκη απόπειρα (κρυφής) εισβολής; Υπάρχει τίποτα στο οποίο δεν θα βλέπαμε τον Samuel Jackson; Ή πόσο μάλλον τον Ben Mendelsohn; Τι ακριβώς είναι το κόμικ από το οποίο προέρχεται η ιστορία και γιατί μας ενθουσιάζει τόσο; Τι κρατά η σειρά και τι κάνει διαφορετικά; Στηρίζουμε εμφάνιση Olivia Colman στο MCU ή είναι χαμένη ευκαιρία; Γιατί πρέπει να δει κανείς το Captain Marvel πριν τη σειρά; Τι μας άρεσε και τι μας κάνει να νιώθουμε πως είναι χαμένη ευκαιρία; Και τελικά τι μας κάνει να νιώθουμε για το μέλλον του MCU;

The Kraven trailer, the Flash movie, and the Secret Invasion premier all debuted this week and the Super Talk Podcast is here with the breakdown.  First the guys jump into their review of the Kraven the Hunter trailer released by Sony.  Next up their review of Secret Invasion episode 1.  The series looks like a winner with Samuel Jackson at the helm.  News items of the week discuss the major delays announced by Marvel for their movie release schedule and the continuing saga of Jonathan Majors.  The "Topic of the Week" is their full review of The Flash.  Spoilers abound and their thoughts about the future of the actors and the character.  Email:  supertalkpodcast@outlook.comShow Twitter:  https://twitter.com/supertalkpodBecome a Super Talk Patron:  https://www.patreon.com/supertalkSponsored by Studio G G Studios:  https://www.youtube.com/channel/UC6LW33bFROddd2tYJYthmFg

Which actors have appeared in more sci-fi, fantasy, and comic book movies than any other? Which ones will dominate with fans at pop culture conventions over the next decade? On today's pod, we run down actors with the most “geek credibility.” Names that are synonymous with far-flung futures, magic wands, and caped crusading such as Samuel Jackson, Sigourney Weaver, Karl Urban, Hugo Weaving, Zoe Saldana, and more. We also discuss the careers of actors like Mark Hamill and Linda Hamilton who live in the shadow of popular characters they've played, and how taking those roles has been both a blessing and a curse. 

Don't forget to rate our show and follow so that you never miss out on an episode! If you enjoy our content, please invite listeners to follow and rate the show! Thanks for visiting our Podcast. My name is Sarah Webb and I am a clairvoyant, psychic intuitive, empath, Sound Healing Practitioner and Reiki Practitioner. My husband Travis Webb is a trance channel for the Angels. Our spiritual awakening started at about the same time. I was led to Quantum Healing through my own need to heal from a serious illness, and eventually I decided to become a Quantum Healing Hypnosis pracitioner. While doing a session with Travis, we discovered his channeling gift.  We created this podcast to share portions of my hypnosis sessions and our channelings with the Angels and other high vibrational beings, as these often have helpful and interesting information for those on a spiritual awakening path.  If you enjoyed Quantum Healing with the Angels, please subscribe - and share our podcast with others!  It will help us to continue to bring you new content. For more information on Quantum Healing or how to set up a session with me, please email me at bqhsarahwebb@gmail.com or contact me through my website at www.sarah-webb.com.  Beyond Quantum Healing (BQH), and Quantum Healing Hypnosis Therapy (QHHT) that can help you clear and release patterns, self-heal, explore past lives and much more! Go to https://www.sarah-webb.com/ to schedule your session today!  Please allow 24-48 hours for a response. Thank you! Find all my info at www.beyondquantumhealer.com Or go to each directly:  Email: bqhsarahwebb@gmail.com ⁠Instagram: https://www.instagram.com/beyondquantumhealer/ Tiktok: https://www.tiktok.com/@beyondquantumhealer Beacons: https://beacons.ai.beyondquantumhealer YouTube: ⁠https://www.youtube.com/@sarah-webb To learn Beyond Quantum Healing enroll here: https://www.quantumhealers.com/bqh  Enter promo code SARAHW10 for 10% off.    Sarah & Travis You are a powerful being! SHOW NOTES --------- EPISODE KEYWORDS --------- Happyland, New Earth, Archangel Meditron, Spiritual Significance, Psychic Abilities, Joyful Energy, Cotton Candy Colored Light, Rolling Hills, Butterups, Lilies, Rainbow Colors, Lacquered Look, Bold Colors, Festival Atmosphere, Spirits, Orbs, Prozac, Relaxation, Psychic Skills, Frisbee, Lego Mansions, Beach, Anger, Elimination, Growth, Religious People --------- EPISODE SUMMARY --------- Have you ever felt like you didn't quite fit in here on Earth, but couldn't put your finger on why? Have you been a target of others' anger or hatred, without understanding what made you their target? Join us as we explore Happyland, an enchanting and whimsical kingdom where happiness reigns supreme, and discover how it relates to the feeling of not fitting in. Not just a figment of the imagination, Happyland is a real place, the place where we all come from. My client shares her magical experience visiting this cotton candy-colored world, where people live in beautiful castles and enjoy a festival-like atmosphere, all while connecting with spirit in the form of orbs and essences. Through this captivating conversation, we delve into the importance of embracing happiness and how it can serve as a key to unlocking our psychic abilities. We also discuss the energy of the New Earth - a realm of magical and beautiful energy that Archangel Metatron reveals to be not only our home in the Light, but the template for the future appearance and feeling of the New Earth. Get ready to be inspired as we uncover the mysteries of Happyland and the New Earth, and learn how to tap into the magical energy that surrounds us. In this episode, we also delve into Quantum Healing Hypnosis Therapy and how it can help us access the positive energy and to be happy - even in a world that does not often seem very happy. Our guides and angels are always waiting to help us bring this energy into our lives.  So, sit back, relax, and allow yourself to be transported to a world of joy, peace, and safety. Together, we'll explore the power of happiness within ourselves and learn how to channel our inner Happylandian to create a more fulfilling and magical life. Don't miss this enchanting episode that will leave you feeling uplifted, inspired, and ready to embrace the happiness that lies within. --------- EPISODE CHAPTERS --------- (0:00:02) - Happyland Journey to New Earth (0:10:09) - Journey to Happy Land (0:33:46) - Happy Living in Happy Land (0:40:08) - Finding Happiness in Happy Land --------- EPISODE CHAPTERS WITH SHORT KEY POINTS --------- (0:00:02) - Happyland Journey to New Earth We discussed Happyland, colored light, not fitting in, and the energy of the New Earth. (0:10:09) - Journey to Happyland My client visits "Happyland", a meadow of rolling hills, buttercups, lilies, and vibrant colors, with a festival atmosphere, other beings appearing as spirits and orbs, and a sweet fragrance. (0:33:46) - Happy Living in Happyland Happyland is “home”, it is the home we all come from. My client sees it as a place that is royal, yet whimsical, like a fair or a festival, with a royal feeling to it as well. There are large castles and mansions there. It is a place of perfect happiness, joy and safety. On Earth, she is a Happylandian. This means she remembers her connection to the Light/Happyland. She needed to be reminded that it was a real place, and that she didn't make the memories of it up in her mind. Happylandians are rare on Earth, as many have forgotten their connection to Happyland. They are repelled by those who do remember it. They can sense their lighthearted and joyful nature and because they cannot reach that level of happiness, they hate those who carry the energy and frequency and vibration of Happyland. Happylandians repel those who are in darkness with their spiritual nature. My client learns how those who can't remember “home” manipulate and even try to destroy those who do. We learn it is because of their own pain that they come to be that way. My client has an experience with someone in the home who tries to disrupt the session. The negative energy on earth is able to manipulate these people easily due to their lower vibrational state. They may not realize why they react in this way. My client learns about others in her life who are also Happylandians. She names off several people who are Happylandians. Since she is in a temporary situation where she has to be around some people who have lost their connection and memories of the Light/Happyland, her team led her to find protection through her medication. It is designed as a temporary fix to keep her from becoming too depressed while she is in this situation. We ask her session questions and she gets the answers about her future, where she should move to, what she should to for work, etc.  (0:40:08) - Finding Happiness here on the Earth We explore happiness, psychic skills, the different sides of the ego, anger as a spiritual diuretic, and the essence of a Happylandian.  (0:49:17) - Quantum Healing Hypnosis Therapy The energy of Happyland provides a refuge to find peace in this world. I also discuss that Quantum Healing Hypnosis is real, it can help us to access our own power to heal.  --------- EPISODE CHAPTERS WITH FULL SUMMARIES --------- (0:00:02) - Happyland Journey to New Earth (11 Minutes) My client described an amazing place she went to called Happyland, which she described as the happiest place ever with lots of joy, peace and safety. I shared my own experience of seeing cotton candy colored light for a few days before this session. We discussed the concept of what happens when someone from Happyland meets someone who does not remember their connection to Happyland. I shared my own experience of feeling like I didn't fit in since childhood. Finally, we discussed the energy of the New Earth and the feeling of what it will be like; a place of magical and beautiful energy. (0:11:00) - Journey to Happy Land (24 Minutes) My client's experience of visiting a beautiful open field that she calls Happyland is described as a meadow with rolling hills, buttercups, and lilies, and there are rainbow colors, with a deep purple, indigo, pale sky blue, emerald green, buttercup yellow, and a bold red color. She explains that it's a place where she visits to meet spirit, a place of presence, and that it's like a big village or a kingdom with a festival atmosphere. She senses the presence of others, but they are like spirits and orbs, and everyone is happy. She also says that it smells like cotton candy, strawberries, and lemon grass, and it has a very lacquered look with bold and passionate colors. (0:34:37) - Journey to Happy Land (15 Minutes) We discuss the power of Happyland - a place of joy, safety, and happiness. We discuss how the essence of a Happylandian is a rare thing. We explore how religious people may reject it, why it's important to eliminate the darkness of the past, why energy vampires are so attracted to it. We offer advice on how to feel more prosperous and successful, including engaging with nature and childlike activities. Ultimately, we emphasize the importance of believing in Happyland and the power of joy.  We discuss how hard and shrewd people may hate Happylandians for their spiritual nature, and how the darkness of this world can be repelled by the brightness of a Happylandian. We also talk about how my client's medicine is acting as a temporary buffer and a protector from the dark energy. Finally, we discuss how to become a Happylandian, such as eliminating the waste of all of the years of darkness, and learning to relax and be yourself. (0:49:17) - Quantum Healing Hypnosis Therapy (1 Minutes) Happyland is a place of immense joy, safety, and happiness. It is a state of mind as well. Living in this state of mind can be a refuge for those who feel oppressed. I share that Quantum Healing Hypnosis has changed my life, and how it can help everyone to find answers their our deepest questions and access their own power to heal.   Hi, friends. This podcast is a quantum healing hypnosis session that I facilitated recently that was very special. My client went to a place that she called Happy Land. She described it as basically the happiest place you could ever be. Now, I know that that's kind of a hard thing to put together in your head and what is the happiest place you could ever be, but for her it was kind of like being at a fair, like an outdoor, uh, fair, or. Uh, maybe an amusement park somewhere. Really, really fun. Very whimsical, very, uh, joyful. Just people having so much fun, so much joy and peace and feeling safe. Um, she said it was a very safe feeling place and just happiness. I have premonitions before my sessions and I usually experience a little bit of what the person is going to see or feel. And in this case, for at least two or three days before this session, I was. Seeing all of this colored light, and most of it was pastel light. There were some deep jewel tones, but most of it was beautiful cotton candy. That's what I kept calling it. Cotton candy colored light. I remember I was seeing this light and I kept saying, what are these? What is this cotton candy color that I keep seeing in my mind, you know, in my third eye, in my consciousness? And so when we had the session, it made sense, but it was just beautiful and. The colors are not explainable really. You know, I can say pastel and I can say jewel toned, and I can say saturated and deep, but they were so beautiful that they really are not. Words in our language or any language to explain the beauty of these colors and the feeling that came with them. It was just amazing. Some other things that she saw in this place. She described it as very whimsical. Yet royal at the same time, which is interesting. You don't really find many places on the earth that are. Whimsical and royal as well. So it was whimsical. Yet royal, there were, uh, large buildings. There were like castles. People lived in these beautiful castles, and it was just this place of pure joy and pure happiness. And as we go into the session further, we discover where this place is and we also discover what happens if you happen. To be from Happy Land and you run into someone who does not remember Happy Land, or if you say live with someone who doesn't remember their connection to Happy Land, and you do. And I think. That this information, that it might resonate with a lot of people because many of us who listen to podcasts like this one feel or have felt as if we  don't fit in here. I think, um, many of us have had a feeling like that. I know I have had that feeling since I was a little, little kid, like very young. Like I remember the, the first time someone was, Unkind to me. I, I vividly remember this, and I remember being like, what, what, what is happening? Like, why is everybody so mad? Like, what's the, what is the problem in this place? It's, you know, I don't, I don't understand. And even some people, I know Phil, like there's something wrong with them when there is nothing wrong with them. There is nothing wrong with them. That is the irony of this entire thing. I think that's what hit me so hard is that unfortunately in our society, when you are kind. When you are loving, that can be taken as weakness and it's just such a silly thing. It's really unbelievable that it's so backwards. The other very interesting thing about this session is that. Two days later, we had what I call an impromptu channeling, uh, arc Angel Metron. Came through in the middle of the night and I could hear him having a conversation with Travis, and I realized that it was about this session and Meditron was explaining. That this is not only a place where some people come from, it's where all of us are from. And also that this is what the new Earth is going to be like.  And so that was, it was unexpected and. It was very powerful. Just feeling the energy from the Arc Angels is always powerful, but feeling the energy of the new Earth and what it will be like if there is a word that comes close. To it in our language. It would be magical when you feel that feeling. And I do really, I hope that it will come through, you know, either this healing session or the channeling, but just feeling what that new earth. Feeling what the new earth will be like is just beautiful and magical, and I hope that that comes through for you. I believe that's why they come through and talk to us, to let us feel what it is like. To let us feel the happiness. I know a lot of people right now feel the density of the earth, the negative energy that's here, but there is positive energy too. And if you try to bring that into your life, there are guides and angels and your higher consciousness or your higher self. All are waiting to help you, to bring that into your life and to make life happier, maybe happier than it's been in the past. And the world wants to make that seem impossible and silly and childish even. But it is not. It is real. I can feel it right now. Again, I hope that you can feel it too. I hope that this makes your day better, and with that, I will stop talking and let you listen. Thank you so much for being here. Open, beautiful open field. An open field like a metal, like rolling heels, like on Shrek, the pretty green grass with. The butter cups. Oh, and the yei. The Lillys and yellow flowers. I feel like a swarski. Mm-hmm. S the, the pretty, the crystals Orbs, yes. Just rainbow colors like a clear swan, uh, made of. Swarovski. Mm-hmm. Crystal and just floating beautiful. And everything's in chakra colors, chakra colors. The deep, deep, deep purple and indigo and pale sky blue, and a beautiful emerald green and a just a. Buttercup Dark, pretty orangey buttercup. Yellow and an orange. Orange, mandarin, dark. Mandarin, orange. Orange. And the red is like a, just a, a bold red, like, um, just a really blood red, very red. And it's just translucent. It's. Pretty  translucent. So you're in this open meadow seeing all these beautiful colors. Take a look at yourself. Look down at your feet. Let me know if you have a  body. My body is like an orb, a bubble. Okay. Bloating feels great and safe. So as  this orb, do you know why you're in this place? Do you have any sense of. Why you're in that particular place?  It's the place where I go to meet Spirit. It's the place where I play with God. It's the place where I would imagine us having a day together and just, it's just presence and it's like, um, This huge open space, like, uh, um, a kingdom, kinda like a big village, but it's very open. Uhhuh, like a festival party, not party, but it's like, um, fair. Jubilee Carnival, Julie. Yeah. Jubilee. Where you have booths and just mm-hmm. Everything is just playful. Yeah. And open uhhuh. And it's just big. Oh. Um, like medieval castle's open. Um, it's just, it's very royal. There are people there, but everybody's just, I don't know them, but they're not like people. People, yeah. Their presences. But I know that they're people. So do they are, do they look like you? No, they don't look like me. They are just Do you see them  or, or since,  since then. Since, since, uh, since then. Since then. Okay. And they're, even though they're people uhhuh, they're more like spirits, like orbs, like those right essences of the people. So  what are they doing there,  do you know? They're just around, uh, almost like, um, yeah, and everybody's happy. They're just, Milling around talking. Mm-hmm. Playing, you know, just, yeah. Icking. I  wonder, uh, I wonder what this place is.  Mm-hmm. Home. Home. Is that what you get? That's what I heard home. Mm-hmm. Happy land. Yeah. Happy land.  And so in this, in this place, home or snappy land? Are you just floating around like everyone else?  Mm-hmm. Yeah.  Can you, uh, can you communicate  with anybody? I guess I could if I wanted to. Yeah. But it's almost like I'm observing. Oh. Um, I interact if I wanted to interact, but it's also like I'm looking. Yeah, like, like I'm on a tour. I'm a part of it, but I'm also not a part of it. I wonder why  your higher self brought you to this place.  Because I need to know It's okay to be happy. Yeah. Happy land really is a happy land. It really is. Rainbows, butterflies. Yes. Joy. P, whimsical, idyllic, um, euphoric, Peter Panty, tinker bell-y. Yeah. And it has a, um, it smells fruity like fruit, like cotton candy and strawberries and candy apples, and, Lemongrass floral. Is it like  mini sensations at one time or just every, every, all of that. All  at once. Yeah. Kind of like, like when you're at a fair uhhuh, you can smell the funnel cakes, but you can also smell the cotton candy, the candied apples. You, you can smell, you can smell it. Yeah. Individually, but collectively. Mm-hmm. And it's real flowery, like tulips, everything smells sweet, florally delicate, light kites, um, ballooned. Wow. Everything is floaty. Um, Lorax? I don't know. No. The Lorax shit. Now I gotta go watch that movie. Laura, is that what you said? Or see? I, I just, I just heard Lorax. Lorax, yes. Like the Dr. Sue Lawrence. Not, not the, the beings, but mm-hmm. The colors, the. Atmosphere, the, all the, the fun. Mm-hmm. Uhhuh.  So is that, is that where we  go? Is that, is that home? It's happy land? That's, that's it's happy land and it, it really is happy. Like, wow, for real, for real. Is there  a purpose for you to be there other than just to  know that it exists? No, that's, that's my Wakanda forever. It's my home. Okay. That's why, that's why I can't watch the news. Certain things take me far off. Um, it's like I can't do horror movies because it is not Happy Land. So Happy Land is is Home? Yes. I am a Happy Land Indian? Yes. Okay. Okay. That's why people don't understand me.  Because you're from a magical, beautiful place  of all these colors and love, love and everything, unconditional love. Yeah. That's it. Real love. Hm. Are you seeing anything else? Everybody's happy. It's just like, it's very happy. Medieval. It's very mm-hmm. Kingdom ish. Very, mm-hmm. Idyllic. Um, Huge houses that are like castles and mansions and huge, just everything is big, big and spacious. Everything is like, like peachy and lines. But the, but some of the colors are darker. Yeah. But it's just because it's so intense or different levels not in a bad way. Mm-hmm. It's just like the difference between Diet Coke and regular Coke. Oline water and regular water. It, it's nothing bad. It's just a different scale. Range. Vibrant. They're very beautiful. So they're like deep and saturated and, yeah. Yeah, deep.  I was gonna ask you, is there anywhere, do you wanna explore it, this place a little more? Are you just floating  around right now? I'm just floating around telling you about my, about your home. That's beautiful. My home, I'm a happy land and I have the vibrant colors. Really? There are pastels. Mm-hmm. Um, the soft pastels. Mm-hmm. But mine are darker, but they are. That. What is Lacquer? Lacquer? L A C Q U E R. Lacquer. Lac. Like a er look like? Yes. Very bold, artistic. Um, is it shiny at all? Yes. Yes, very. Okay. Blackard like that. Deep royal, the royal blue. Mm-hmm. The, the colors are really, they're shiny, old, shiny, like lip gloss. They're deep colors. Yeah. Passionate colors. Mm-hmm. And they, and the colors. Vary from one end of the spectrum to the next, but they're, they're all conjoined. Kinda like a butterfly can have a light blue and it has a dark Bluetooth. Mm-hmm. Very, very colorful, vibrant, but everything blends together. And if you have the crystal or kaleidoscopes, the colors constantly change, but just like a. Suki. Yeah, I know Crystal. They, it just, yeah. V O R S K I. I don't know why they got me spelling words and I keep seeing a swan for some reason. I keep seeing this. Beautiful. Yes. White, transparent crystal. Just, I wonder if  that is like the, is it an emblem or do you know  mascot. I don't, that just, I just heard mascot, but mascot.  Okay, so the swan is that? Mm-hmm. Is there anything else we need to know about this place? It's  home. It's home.  Can you bring this into your life here? Can you bring more of this home into your life here on the earth? I  dunno. I  wonder if you can ask, can I bring more of this into my, into  my, oh, that's the conflict. Being in a place where the beauty of happy land tends to be rejected. That's why I don't fit, because, oh, it's like, Knowing you're from Wakanda, but having to act like an American. Now, I understand it doesn't seem like a real place, but it really is okay. That's why I can be extraordinarily happy for no reason and feel conflict and outta sorts and. Because this world does not ascribe to the principles of Happy Land because it's, it's doesn't seem real. Mm-hmm. But it is, my soul knows it. Okay. And that's why I can't, I feel awkward. Okay. Uh, rejected, um, outlandish because  people here don't, don't believe in it. Don't mm-hmm.  Ascribe to it. Ascribe, okay. Ascribe, is that it? The, I just keep hearing ascribe the principles, the ethics, the character, the morals. Mm-hmm. The, the landscape, the structure, the essence of Happy land seems outlandish. Mm. Okay. To this land. This land like that couldn't possibly be. Yeah. Like if you think you're gonna be happy all the time mm-hmm. You're, you're stupid. Yeah. Like you couldn't possibly. Right. Like This's Happy Land. That's Happy land. But that's where you're, it's real. Yeah. That's the, it is me. No matter where I am. No matter where I go, I'm a happy Landy. That's why I don't fit. Okay. Because there aren't very many Happy Land Answer. Not too many. I'm not the only one. They're just rare. That's why he's different. That's why he had to be, that's why he hurts himself cause he's a happy landing and it's like, it's so far from it. It's, it's a right. Yeah. Trapped right. It makes sense now. Okay. Is there anything  else that you. Your higher self wants you to know about this  or see, it's okay. It's okay. That's why we are here Now. The, the other happy lands that are here are here. Cuz so many people don't, they just don't believe it. And they, they, they envious. Ooh. They hate us. They're jealous of us. Good God. Like, like bright light burns vampires. Okay. Our essence X different people on different levels. So they actually react to the happy landing. They, yeah. They. Very repulsed by, she's calling  you in real life. She's calling you? Yeah. Do you want me to count you out so you can go check on her? Yes. We can take you back in. You'll go deeper. Okay. And five completely out. But take it very slowly. Move when you are ready. Open your eyes when you're ready. Oh, that's a trip. They said that's, that's, hold on. I heard it and then it drifted away. Hold on a minute. Ooh. That's what happened. Okay. People who can't get to Happy Land fully embrace Happy Land. Try to find ways to keep people from being there. Okay. Dad was sleep, but she was calling out when I went to her room. Mm-hmm. She sleep. Really? Yeah. Wow. That's what they said. That's what I'm up against. Oh my goodness. Mm-hmm. And it's almost like they don't want me to return to happy land. That's why I have to be aware of my colors. Ooh. That's why I used to only wear black and grays, and now I'm finally where I wear white. Mm-hmm. I used to, wouldn't wear white. I used to wear black and dark colors, but now I'm, I'm being drawn more to my light. Uh huh. That's why I have so many white dresses. So why did you wear the black Black before? Um, because I, I was so far away from home Uhhuh. Okay. Okay. The darkest part, the darkest times in my life was when I was farthest away from who I am. Okay. From my essence, from my truth, wow. This is so from my meanness. This is profound. Yeah, she is totally knocked out. Sleep, like sleep, sleep, sleep. And they told me to tell that if she calls me again, don't answer and to tell him that I'm in a meeting and when I get finished. But stop calling out. Okay. So that's, it's like she knows that's how deep it is. Yeah. That's, that's it. I've been, I've always been different. Okay. And they've, and they've always tried to make it seem like it, so they, they can  see that in your, some on some level. They  know they don't, they, they, They didn't know what to do with it. Uhhuh, so they just tried to kill it. Wow. That's why they used to say, I hope you don't like if I wanted to or whatever. Mm-hmm. I hope you don't because if you hope you do. Hope is the end all, be all to all thing. But if you tell someone, I hope you don't, that's like saying Don't have hope. And my, oh, they say that's why it's raining now. To wash it all away. Cleanse it, refresh, renew. So is that issue rejuvenate for, for you that the rain for Yeah, for us, for everything. Um, cause this area even really leave that, yeah. That area. But this whole area. Wow. Wow. It's a darkness over this area. Yeah. That, that, that means it, it, it's like it's here to destroy. Anything happy? Destroyed. Destroyed. Yeah. So they're  cleansing that  and, and regenerating. Mm-hmm. Renewing. So revitalizing. Oh yeah. They make a joke. They do that. Sometimes they say, that's why I'm packing the Prozac and it start working so quick. Oh. Oh my goodness. With it keeps, it keeps the darkness away. Yeah. That's why my colors are so vibrant. Mm-hmm. On the darker end. Yeah. And they're lad because so much darkness tried to take away the pastel that I was, they can't take me past where I am. They've done all they can. They can't get me black anymore. They can't. They can't. The, when I started wearing the white, that's what. Brought the shine. I have to be intentional about remembering that I am a happy land in. I was gonna ask,  is there a way that you can bring that in or can you go there sometimes to like refresh,  renew, both. Both. It's a state of mind. It's a lifestyle. It's, oh, it is the essence of quantum healing. It's a subtle shift of vibration. Um, it is, like they say, it's like Samuel Jackson. Oh no. What, what? There is a knowing about Samuel L. Jackson in the part he plays, he knows, he's super sure. Um, he doesn't back down. It's like a knowing, you know, you know. No, that's it. Yeah, I think so. It's the answer to everything. Mm-hmm. That's the marker. Like, like a ma to a flame. Like a flame bird by the fire. Mm-hmm. Why are you quoting Janet Jackson? That's what it's like. They're drawn to it, but they're also repulsed by, it's almost like the brightness burns. That's why the vampire thing like, oh, uh, bright light.  So, So it burns.  So it burns, then it burns them. It, it repulse. It repels because they don't wanna accept it. So it repels and repulses and rather than they've been through, oh, snap, they've been through too much. Okay. Even though they know I've been through like, Like, I already know that.  Yeah. Yeah. I, I knew when I  was four. I didn't, that's why they say I didn't, that's why it's so important. Why, why  do you have such a hard time? Feeling, uh, prosperous and successful? Is that part of what we've already learned?  Yes. Or is there more conflict of this world and happy landing? Can we fix that today? Yes. Just remember you're a happy landing. Okay. Are they, do they're, are they  doing some things too, though, like an energetic. Yes. Yes, it sounds like it. That's why I'm not depressed. Uhhuh, even though it's a joke, really, the Prozac is part of the process. Okay. It blocks out. Mm-hmm. It blocks out the dark energy. Mm-hmm. The Prozac is a buffer and a protector. Oh, whoa. That's why it's called. Pro Zach. Really? T r o it pro texts me and it execs away the negativity. So now,  so, so it, so medicine is not necessarily  bad? No, it's a double edge sword. Okay. Okay. Just like weed. It's how you define it. So as far as  the being prosperous and successful mm-hmm. Is there anything in particular that you need to do? That she needs to do?  Get happier. Get happier? They're eliminating the waste of all of the years and years and years of darkness that tried to consume me. Just keep going through the elimination process. Happy Land Indians have it hard because people wanna suck our happiness out of us. Mm-hmm. Yeah. Like, like energy vampires. They really hate us. Oh yeah. They, and they can target us really well too. They can take us out. They can keep us out. Like Suki Suki Stack House Own True Blood. They can smell that fairy blood smell. They can, they can spot you. Can't hide the light. It's the pure essence of a happy land. And they are rare. They're plentiful, but they're rare. You don't see a ferry every day, but. Do you believe in fairies? If you don't believe in fairies, you'll hate a happy landing. If you are like religious. People hate, hate happy landings because happy landings are supremely spiritual. The more hard and shrewd and dogmatic and black and white a person mm-hmm. Is. That's how far they are away from Happy Land, but the more they relax, you cannot be hardhearted and shrewd and be a happy, happy landing glass breaks. But at the same time, it's hard. It holds up happy Indians are. The glass of this world with the multi-facets faceted The crystal.  Like the, like you were saying, the,  yeah. The S word. Uh, are there happy landings  you need to hear this,  or parts of this? Yes. A lot of happy land Indians are hurt or suicidal, have committed suicide. Robin Williams was a happy landing. Okay. Jim Carey is a happy landing. Uhhuh Damon weighing Uhhuh is a happy landing. Marlin, not Sean, not Keenan. We have been too influenced by what others say, and that is the biggest downfall of Happy Lands and why sometimes it's hard for them to get up. You have to just about cancel out the others. You have to cancel out the others and be Samuel L. Jackson, like in your knowing that you are a happy landing and can't no body tell you any different.  She wanted to know why. Why is she here and what is her mission in this lifetime  to believe she is a happy land and she is not crazy. Everything fades in the light. You don't go into a room and turn on darkness. You go into a room and you turn on the light. That's what Happy Lands do, but Happy Lands have to be so powerfully sorely confident in their happiness. That that is the most important thing. How could she improve her psychic skills? Get happy. All of her clears. Mm-hmm. Will become clear when she is happy. And do you  have a final message for her  today? Happy Land is real. Her happiness. Her joy, her belief in the joy is the key, not just her, but all happy Indians. Some have been completely deprived of joy, restricted, strangled, stripped of joy, but joy is the key. Bright colors, fruit, plenty of water. Bright light, sitting in the sun, looking at flowers, using your wonderful imagination, imagining or physically flying kites, balloons, every whimsical, favorite childhood game. Everything that ever made you smile from playing tag to go fish to hide and seek. To riding bicycles, flying a Frisbee, making mud pies, playing with dolls, building Lego mansions, building sandcastles, walking on the beach. Everything nature related will take you into Happy Land. Smelling your favorite, favorite flower, wearing your favorite fragrance. Soft sense, central sense, soft pillows, snugly blankets, all those things that bring peace, joy, tranquility, serenity, whi. That is your, Happy land and we'll direct you into the portals of your happy land. Find your happy place. You'll be in happy land. That's all.  Thank you for that. And I was going to ask if you had a message for everyone, but I kind of feel like  maybe that was it. Just believe, just believe. Don't stop believing the moment you stop believing. It's almost like you exile yourself from Happy Land, euphoria. Call it where, whatever place you want, forges, happy Land, utopia, Zambia, wherever you call it. Marshmallow Island. Whatever name you have for your happy place, that is happy place and it is always beautiful and it is beautiful as each individual is and as specific as each fingerprint. No one has the same fingerprint. No one's happy Land is exactly the same, but the key is you know how you feel when you are happy. The happier you are, the happier you are. The closer you are to happiness, the more woeful and broken and sad, depressed you are. That lets you know how far away from Happy Land you are. Anger is tricky. Anger is tricky. Anger is a tricky emotion. It is. Can you, can you tell me more? Happy Lands internalized, so it takes a lot for them to get angry. So by the time a Happy land gets Ang angry, its buildup and it's usually an explosion of buildup. Anxiety, stress, fear, doubt, double thinking, backwards thinking, overthinking, questioning, doubting, lack of confidence. It comes out as anger. Mm-hmm. And there is an explosion. And then they feel guilt and shame for the explosion only. Now they can understand it's elimination. It is a spiritual diuretic, so it's not the a thing that  people have to feel  bad for. The same way you eat food and you have to eliminate waste. Likewise, even with good emotions, even with good food. You still have to eliminate the waste. Elimination is not bad. Elimination is what keeps you growing. All right. I think  that's all we have. Thank you so much. I think I'll bring her back now. Thank you so much for listening to our podcast today. I hope you enjoyed it. I hope you were able to get a little bit of. The energy of Happy Land, and as you listen to the channeling that I'll be posting shortly, I hope that you are able to feel that as well. It is so powerful and so magical. I think that's what a lot of us need in our lives right now. And also to book a session with me. Just look in the show notes. All of my contact information is there. You can email me, text me. Wait, can you text me? Oh, make sure my phone number is there. You can, um, Contact me through my website. I'm happy to talk to you about what Quantum healing is and what it can do for you. It really is real. It changed my life. And I would be honored to work with you in helping to change your life as well. So with that, I hope you have a great day. Thank you for listening, and we'll talk to you soon. Bye-bye. https://share.descript.com/view/D09R9jULP4T Full Transcript              

Stevie, Pappy, Mikey, Brett and Korey review the anime series Samuel Jackson classic: Afro Samuri! Request an episode here: www.patreon.com/spoilerspodcast Afro Samurai is a Japanese seinen dōjinshi manga series written and illustrated by manga artist Takashi Okazaki. It was originally serialized irregularly in the avant-garde dōjinshi manga magazine Nou Nou Hau from November 1998 to September 2002. Genres: Action fiction, Historical drama, Apocalyptic and post-apocalyptic fiction Studio: Gonzo Demographic: Seinen Directed by: Fuminori Kizaki English network: AUS MTV, ABC2NA SpikeUK Adult Swim, Bravo

Welcome back to Trail Correspondents! This is the moment we've all been waiting for: hitting the trail. While 11 members of this group have boots on the ground and are headed in their chosen direction toward their trail's terminus, today we also hear from one correspondent who has yet to depart along with another who, after a harrowing first day, has made the difficult decision to get off trail.  Each trail presents its own difficulties and challenges and simply showing up on the first day is certainly a herculean feat in and of itself.  So, let's learn about how our correspondents are acclimating to trail life as we hear first-hand about their first days and nights.  In the words of Samuel Jackson, “hold onto your butts.”  To save 15% on CTUG gear head to chickentrampergear.com and use code “TREK15” at checkout. This code applies to all their gear excluding backpacks and camera bags. In today's episode we hear from: Abbey Turnbull Harking from the South Coast of the UK, Abbey, aged 26, is swapping the rolling hills of the South Downs for the mountains of the Pacific Crest. A thru-hike of the JMT last year confirmed what she thought to be true – hiking from Mexico to Canada was her destiny for 2023. Loves good food and wine, Taylor Swift, American hospitality, and mountain vistas. Hates steep downhill slopes, her own unfortunate susceptibility to altitude sickness, and oatmeal. Abbigale (Abby) Evans Abby Evans (she/they) has a hankering to shave their head and hike the AT and now they will get to do both! They will be fulfilling their vagabond-dirtbag-poet dreams and aspire to one day become a creative writing professor. They'll be listening to seventies folk music and reflecting on their life as they wander through all the states they grew up in: they were born in Maryland, grew up in New Jersey and went to college at Virginia Tech. Abby is excited for this Bildungsroman and hopes to celebrate their 23rd birthday (August 24) near Maine. Aly Pagano Aly is local to the southern Appalachians in western North Carolina. She has spent her life hiking, trail running, fishing, foraging, and farming; she aspires to increase her own knowledge and awareness of traditional Appalachian folk medicine, music, and skills as in an effort to live harmoniously with the mountains around her. With a degree in Ecology, Aly focuses on seasonal changes, flora, and fauna while hiking the Appalachian Trail. Iris Hartshorn A queer Alaskan, Iris, aka Panther, strives to build adventure into their life. The last years have been filled with world travel, skiing, packrafting, hiking, backpacking, vanlife, and epic trips across Alaska. This year's highlight is to walk from Mexico to Canada. Or, at least, just to keep walking somewhere. Angelique "Perky"Krohn Angelique (she/her) is a children's librarian, artist, and semi-professional dungeon master, currently residing with her partner and their cat in New Jersey. She thru hiked the Appalachian Trail in 2018, and has been dreaming about hiking the Continental Divide Trail ever since. She is especially looking forward to exploring the different landscapes along the CDT and learning more about the plants and animals that call them home. It is rumored she might finally break the world record for “World's Dirtiest Pair of Glasses” along this trek. David Firari David “Good Soup” is excited to be sharing their northbound Appalachian Trail with you! This is their first ever backpacking trip and they hope all the reading and shakedown hikes they did pay off. In addition to being a novice backpacker, Good Soup is also managing a schedule of recurring medical treatments back home in Wisconsin in order to make this trip happen. Derek Witteman Derek is a 37 years young Northern California native, presently thriving in San Antonio, Texas. In no particular order he is a physician, veteran, hiker, nerd, and jokester. In his free time he enjoys taking selfies with wildlife, and thinking of spirit animals the represent his current mood. Eddie Arriola Eddie is a travel PTA, physical therapist assistant, who's been dreaming of the PCT for four years. In his spare time he enjoys photography, karaoke, and has other eclectic hobbies. He's originally from southern Arizona, Tucson, and is excited to get back to his primary partner and dogs after the trail. Elke Pabst Elke comes from Germany and wants to thruhike the AT with her dog Tilli. It is her first stay in the USA und doesn t hiking before. She has 3 nearly grown up sons and a husband who take care of everything while she is hiking with her 9 year old dog Tilli. Emily Russo Miller Dreaming of being on trail is Emily's favorite pastime. A 37-year-old journalist from Juneau, Alaska, she risked it all a few years ago (left her job, sold all her belongings and moved to the Lower 48) in pursuit of something new and beautiful. She found it in thru-hiking and hasn't looked back since. You may know her as “Bear Spray Girl” from her LASH on the AT in 2021, or “Legs” from her PCT thru in 2022.   Jake Landgraf Jake is currently on the AT attempting his first thru-hike. A proud Wisconsin resident, he enjoys beer, the outdoors, and the Green Bay Packers. On trail, Jake is known as “Radioface” and is obsessed with cosmic brownies.   Mary Garcia Mary is a boring woman who likes to make various things, especially her hiking gear. She also has problems completing a thru hike. She did half the PCT in 2017 and a month on the CDT in 2022.   Summer Midyett Summer has had an adventurous spirit since she was young, having spent her most of her childhood traveling around the world with her family. She's been dreaming of hiking the Pacific Crest Trail since 2020, when she moved to Oregon and fell in love with the mountains of the PNW. While it's certainly shaping up to be an interesting year for the PCT, she's excited to see whatever the trail has in store. Check out Appalachian Trials and Pacific Crest Trials. Click here for more about the Book of Moron Have any praise, questions, praise, comments, praise, or praise for Trail Correspondents? Reach out to podcast@thetrek.co. INSTAGRAM: Follow Trail Correspondents, The Trek, and Badger. YOUTUBE: Subscribe to The Trek. FACEBOOK: Follow Trail Correspondents and The Trek. Sign up for our newsletter Give us feedback on Trail Correspondents here. And remember that you can still save 15% on CTUG gear by heading to chickentrampergear.com and using the code “TREK15” at checkout. Once again, this code applies to all their gear excluding backpacks and camera bags.

Sadly, there was no sequel to the classic 1998 Samuel Jackson movie, “The Negotiator”.  If there had been, I'd like to believe it would have been called, “The Negotiator 2: ...

After some modest early success, Spike Lee announced the arrival of a major new voice with his 1989 film Do the Right Thing.  Funny, controversial, and prescient – anticipating many of the issues that would dominate the next 33 years - this film took a freewheeling look at race relations and violence by both police and protesters in an age long before “woke” culture became mainstream. Our panel of movie lovers young and old discuss how this powerful film affected them, how current it feels a third of a century later, and what it's like to see so many iconic stars early in their careers — Samuel Jackson, John Turturro, Giancarlo Esposito, Rosie Perez, Martin Lawrence and the young writer, director, producer and star, Spike Lee. Hosts: Mark Netter & David Tausik Panelists: Grace Chapman, Jake Flowers & Guy Lewis An ElectraCast Production AFI Greatest American Movies (original list): #36 Original Trailer (restored): https://www.youtube.com/watch?v=yVAD4fYRcvA IMDb (with low-res trailer): https://www.imdb.com/title/tt0097216/ Wikipedia: https://en.wikipedia.org/wiki/Do_the_Right_Thing Original Variety Review: https://variety.com/1989/film/reviews/do-the-right-thing-review-1200428009/ Original New York Times Review: https://www.nytimes.com/1989/06/30/movies/review-film-spike-lee-tackles-racism-in-do-the-right-thing.html Learn more about your ad choices. Visit megaphone.fm/adchoices

When you think of “negotiations”, you probably think of a business deal or a labor dispute.  When you think of “The Negotiator”, you probably think of the 1998 Samuel Jackson ...

Vincent has some beef with Netflix's Beef and Samuel Jackson's hairstyle choices. Len shares a Top Five They Should Be Legend, featuring 'The Black Lucille Ball," and Vincent takes forever and a day to go Six Degrees of D'Urville Martin to Maggie Smith. Then (1:07) the Men of Micheaux visit the 'Should've-Been-Legendary" I Am Legend starring Will Smith as you've never seen him before or since. Rate & Review The Mission on Apple Email micheauxmission@gmail.com Follow The Mission on IG, Twitter @micheauxmission  Leave Voicemail for Vincent & Len Subscribe to the Mission on YouTube  Get your Micheaux Mission SWAG from TeePublic We are a proud member of The Podglomerate - we make podcasts work! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this Episode we review movies, of course we do… Hahaha, the new, the old, the good and the bad alike! Oh and a Badass Punk Rock Documentary called, “The Other F Word!” Can you guess the F word? “Point Break” and “John Wick 4,” sharing our love for Keanu Reeves as a person.“187” with Samuel Jackson! Drew met him.  “I see you” with Helen Hunt! Kat met her. “Demon Slayer” Animae is all the rage with our kids. Yours too? “Passion of the Christ” so emotional, have you seen it? We also saw… “ Dungeons and Dragons”, “Knock at cabin” and “Pearl!” Check out our Podcast, to see Which ONE was the “bad” one… Drew also reads us some “Jesus Calling” discussing the scripture and then play us some RAD PUNK ROCK!! We LOVE You Guys!!!!!! PLEASE, Like, Follow and Share! Thank You So Much for Listening

In this week's episode of SIDEBOOB CINEMA the gang review the Spike Lee film "Chi-Raq" [2015] as part of their annual Black History Month exploration. ---ARTICLES AND LINKS DISCUSSEDChi-Raq [2015] Trailer:https://www.youtube.com/watch?v=rGTuuj-aTJs&t=26s---Chi-Raq: Spike Lee Interview on American Gun Culture with John Cusack:https://www.youtube.com/watch?v=6AznB1kqRTg---FOLLOW THE CONVERSATION ON reddit:https://www.reddit.com/r/sideboobcinema/---SUPPORT THE NEW FLESHBuy Me A Coffee:https://www.buymeacoffee.com/thenewflesh---Instagram: @thenewfleshpodcast---Twitter: @TheNewFleshpod---Follow Ricky: @ricky_allpike on InstagramFollow Jon: @thejonastro on InstagramFollow AJ: @_aj_1985---SIDEBOOB CINEMA produced by Sheila EhksLogo Design by Made To Move: @made.tomoveTheme Song: Dreamdrive "Good In Red"

The Brew Crime guys and I are back with your “daily” BrewVerie Report for this month!We bring you news from all around the world. This episode includes octopuses on molly, tech that can see through your walls, artillery shell shoved up a butt, a pigeon carrying a mini meth-filled backpack, ransomeware group apologizes to children's hospital, Samuel L. Jackson celebrates his birthday on Twitter hardcore, Alex Jones thinks he's too sexy for your party, Carole Baskin roars that her husband is alive, and much more!Follow us on the socials!•BREW CRIMETwitter: https://www.Twitter.com/BrewCrimeInstagram: https://www.Instagram.com/BrewCrimeFacebook: https://www.Facebook.com/BrewCrimeWebsite: https://www.BrewCrime.comContact: brewcrime@pacificbeerchat.com•REVERIE TRUE CRIMETwitter: https://www.Twitter.com/ReverieCrimePodInstagram: https://www.Instagram.com/ReverieTrueCrimeFacebook: https://www.Facebook.com/ReverieTrueCrimeTumblr: https://reverietruecrime.tumblr.comWebsite: https://reverietruecrime.wixsite.com/podcastContact: ReverieTrueCrime@gmail.comSources:https://www.buzzfeednews.com/article/stephaniesoteriou/samuel-l-jackson-twitter-porn-likes-birthday https://people.com/crime/carole-baskin-said-husband-don-lewis-alive-costa-rica/https://news.sky.com/story/these-10-words-have-been-banished-for-2023-and-there-are-some-you-use-12778801https://lawandcrime.com/crime/police-use-taser-to-arrest-john-deere-tractor-driving-suspect-who-led-police-on-slow-speed-chase-in-north-carolina/https://www.cbsnews.com/news/james-beighlie-sentenced-prison-child-pornography-missouri/https://www.huffpost.com/entry/firefighters-rescue-dog-tree_n_63c312a9e4b0d6f0ba0563e2https://nypost.com/2022/12/20/man-with-wwi-explosive-lodged-in-his-rectum-sparks-bomb-scare-hospital-evacuation/https://www.npr.org/2023/01/02/1146569895/2023-predictions-from-1923 https://cwbchicago.com/2022/10/6-days-after-getting-out-of-prison-for-punching-a-woman-and-kicking-a-chicago-cop-in-the-groin-he-allegedly-punched-another-woman-and-kicked-another-chicago-cop-in-the-groin.htmlhttps://www.comicsands.com/alex-jones-women-throwing-themselves-2659213899.html

To follow Tre'vell's labyrinthine explanation of who gets to decide which episode gets chosen for which spot, here's how they described the process:Rules by Tre'vell AndersonWe are going to collaboratively create “FANTI's Holiday TV Watchlist,” a top 5. But we're going to do it alternatingly, each placing an episode on the list. The person that goes first makes picks 5,4,2 (more picks). The player that goes second makes picks 3, 1 (fewer picks, but the #1 pick).The order will be determined by a trivia question, that Laura will ask. We will have 10 seconds to answer Laura. Whoever gets it right the fastest will win, and get to choose if they go first or second. *Also Kwanzaa + other traditions oft-celebrated this time of yearThe Top Five Holiday Episode List5 (jh) The Fresh Prince of Bel-AirS2 Ep 13 - Christmas Show [HBO Max]4 (jh - 2nd choice) Living SingleS3 Ep 14 - Let It Snow, Let It Snow, Let It Snow…Damnit [HBO Max]3 (ta) The Proud FamilyS1, Ep 11 - Seven Days of Kwanzaa [Disney+]2 (jh) Will & GraceS3 Eps 8-9 - Lows in the Mid-Eighties [Hulu]1 (ta) POSES1 E3 - Giving and Receiving [Hulu]jarrett's vetoed selection for #4Living SingleS1 Ep15 Living Kringle [HBO Max]This Episode Is Sponsored ByBrooklinenBrooklinen is the place to get presents that are somehow perfect for all of your people right on time and stress-free. And with their Black Friday sale, you can save even more.Visit Brooklinen.com and get $20 off plus free shipping on orders $100+ with code FANTIGo ahead and @ usEmail: FANTI@maximumfun.orgIG@FANTIpodcast@Jarrett Hill@rayzon (Tre'vell)Twitter@FANTIpodcast@TreVellAnderson@JarrettHill@Swish (Senior Producer Laura Swisher)Laura Swisher is senior producer Music: Cor.eceGraphics: Ashley NguyenFANTI is produced and distributed by MaximumFun.org

In this episode of the podcast Joe welcomes author and actor Dana L. Davis to the podcast! Joe and Dana discuss life, representation in the media, and the art of storytelling. They also get into an in-depth conversation about her latest book "Somebody That I Used To Know". Enjoy! About Dana L. Davis Dana L. Davis is a novelist and Hollywood actress with previous series regular roles as: Carmen Phillips on TNT's Franklin and Bash and modern day mimic Monica Dawson on NBC's cult series Heroes. She currently stars on the animated series Star Vs. the Forces of Evil, Craig of the Creek, and She-Ra. Dana has guest-starred in over 20 prestigious primetime series, including 911, Scorpion, Code Black, Grey's Anatomy, and CSI. She made her film debut in Coach Carter with Samuel Jackson. In addition to her work on screen, Dana has become a motivational speaker for teens. Her stirring assemblies empower and encourage youth, helping them to redefine what it means to win and lose. About Somebody That I Used To Know Make sure to check out the NEW Dtalkspodcast.com website! Thanks to Empire Toys for this episode of the podcast! Nostalgia is something everyone loves and Empire Toys in Keller Texas is on nostalgia overload.   With toys and action figures from the 70's, 80's, 90's, and today, Empire Toys is a one-stop-shop for a trip down memory lane and a chance to reclaim what was once yours (but likely sold at a garage sale)   Check out Empire Toys on Facebook, Instagram, or at TheEmpireToys.com The DTALKS Podcast has also been ranked #9 in the "Top 40 Detox Podcast You Must Follow in 2020" according to Feedspot.com for our work in the Cultural Detox space. Thank you so much to the Feedspot team!  https://blog.feedspot.com/detox_podcasts/

DeRay, De'Ara, Myles and Kaya cover the underreported news of the week— including private schools flushed with private money, pandemic impact on math and reading progress, the conservative evolution of rapper Jay Z, and Samuel Jackson's broadway debut. News:Myles https://www.nme.com/news/music/jay-z-hits-back-at-criticism-of-his-wealth-we-fucking-killed-ourselves-to-get-to-this-space-3303357De'Ara https://www.cbsnews.com/amp/newyork/news/samuel-l-jackson-the-piano-lesson-broadway-august-wilson-latanya-richardson-jackson/Kaya https://www.nytimes.com/2022/09/01/us/national-test-scores-math-reading-pandemic.htmlDeRay https://www.nytimes.com/2022/09/11/nyregion/hasidic-yeshivas-schools-new-york.html

Shot of the Day, Profile This, TV Time with Ted and Headlines!

Hour 4 of A&G on Mini Friday (Or Thursday if you're a simpleton). Joe discusses the dishonesty of American Governors during the pandemc, What causes Americans to stress out at record levels? Samuel Jackson is top 5 for most curses in movies of all time, and we finish strong. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com