Podcasts about telefilm

Annemieke Bosman in gesprek met regisseur & scenarioschrijver Isis Mihrimah Cabolet. Voor de Telefilm-reeks maakte zij de film Wheelie. Wheelie is een tragikomische coming-of-age film over de 21-jarige skater Reza die volop van het leven geniet en weigert zich te laten definiëren door zijn dwarslaesie. De 21-jarige Reza weet niet wat hij met zijn leven wil doen, behalve skateboarden, joints roken, meisjes zoenen en rondhangen met zijn vrienden. Wanneer zijn beste vriendin wordt toegelaten tot een prestigieuze opleiding in Maastricht, begint het hem te storen dat hij zelf geen plannen voor de toekomst heeft. Zonder enig idee wat hij verder met zijn leven wil doen, boekt hij een reis naar Thailand in de hoop daar antwoorden te vinden op al zijn levensvragen. Wheelie gaat over de misvattingen, het gebrek aan kennis en de vooroordelen over mensen met een lichamelijke beperking. Wheelie gaat ook over het loskomen van je familie, zonder ze af te wijzen. Over liefde ontvangen en geven.  De Telefilm Wheelie is komende zaterdag 1 maart te zien bij BNNVARA op NPO 3 en NPO Start.

In cui Alice, Andrea e Alice celano la propria identità, indossano una parrucca, sfoderano gadget ultratecnologici e vanno in missione segreta sotto copertura in una località esotica per rispondere a una domanda fondamentale, e probabilmente salvare le sorti del mondo da una misteriosa e ramificata organizzazione maligna: oh, com'è che ci sono così tante serie con le spie in giro ultimamente?Se ti è piaciuto questo episodio dacci ⭐⭐⭐⭐⭐ su Spotify e su tutti i POSTIDIPODCAST, consiglialo a tutte le persone che conosci, seguici su Instagram e supportaci su ko-fi!

È forse THE PERFECT COUPLE la serie perfetta? Assolutamente no, è tipo l'opposto, una specie di disastro ambulante tra la soappona e il mystery scrauso. Non si può dire, però, che non ci abbia suscitato FORTI EMOZIONI - e comunque ammirazione per la capacità di Nicole Kidman di sfruttare le serie tv come copertura per ottenere vacanze in posti di extra lusso, e nuove parrucche.Se ti è piaciuto questo episodio dacci ⭐⭐⭐⭐⭐ su Spotify, consiglialo a tutti e seguici suInstagram, perbacco!

Actress Nathalie Boltt and Riverdale's Penelope Blossom don't have all that much in common, despite the fact that the former portrayed the latter for all seven seasons of the wildly popular teen drama, but one thing they DO have in common is that both make a habit of defying expectations. This is particularly evident in Nathalie's lengthy filmography, which includes memorable roles in an array of seemingly disparate genres and projects, including District 9, the BBC's Inspector George Gently, The Astronauts, and 24 Hours to Live. Nathalie is also an experienced screenwriter, producer, and director who received a Leo nomination in 2022 for screenwriting in a short drama for A.T.A.C.K., a comedy about Actors Typecast As Crooks and Killers (hence A.T.A.C.K.), and she recently received funding from Telefilm for Holy Days, her feature film (a New Zealand - Canada co-pro) that will go to camera later this year. Besides being a phenomenal actress and storyteller, Nathalie is also an activist who cares very deeply about numerous issues related to the health of our planet, whether she's speaking out on the devastating impacts of palm oil farming and harvesting, bringing attention to missing and murdered Indigenous women, or advocating for Wetsuweten land defenders. On October 8, Nathalie will host the 9th Annual Sustainable Production Forum, a conference for change-makers in the film and television industry who want to ensure that the entertainment industry does no harm to our planet. In this fascinating interview with Sabrina Rani Furminger, Nathalie talks about growing up under apartheid in South Africa, her reaction to Riverdale's many transformations, the benefits of sitting in discomfort, what matters to her as a filmmaker, and combatting waste in the film industry. Episode sponsor: UBCP/ACTRA

Quanto è accurata l'antica Roma di “Those About to Die”?In questo episodio del podcast di ArcheoTraveler, esploriamo insieme "Those About to Die", la serie TV di Roland Emmerich ambientata nell'antica Roma dei Flavi e girata nella nostra Cinecittà.Analizzeremo la fedeltà storica della rappresentazione della dinastia Flavia e discuteremo sulle licenze artistiche prese dagli autori.Scopriremo le verità storiche dietro i personaggi di Vespasiano, Tito e Domiziano, e le curiosità sul mondo dei gladiatori, degli aurighi e del Circo Massimo. Attenzione però: questo episodio contiene spoiler sui dieci episodi dello show, per cui ArcheoTraveler avvisato, mezzo salvato, poi non venite a dirmi che non vi avevo avvisato!Ascolta ora l'episodio per un viaggio affascinante nell'antica Roma!Trovi il progetto "ArcheoTravelers, viaggiatori nel passato" sui maggiori canali social tra cui Instagram e Facebook, oltre che sul sito internet ad esso dedicato www.archeotravelers.com.Qui trovi l'approfondimento all'episodio di oggi -> Roma dei Flavi: storia e finzione in “Those About to Die"

(00:00) Introduzione(01:09) Settimana 27- Docuserie: Sprint e The Man with 1000 Kids(03:04) Film: Space Cadet, Un Piedipiatti A Beverly Hills - Axel F(07:05) Film: Horizon(11:02) Film: Woken e La Memoria Dell'Assassino (13:41) Serie TV: La Terra Di Tanabata, Una Parte Di Me, Red Swan(17:49) Settimana 28 - Serie TV: Vikings Valhalla S3, Sunny (anche noto come Emiglio È Meglio), The Emperor Of Ocean Park(22:22) Film: Immaculate - La Prescelta, Descendants - L'Ascesa Di Red, Svaniti Nella Notte(26:46) Docuserie: Mastermind: To Think Like a Killer(28:22) Settimana 29 - Serie TV: Cobra Kai S6, Sweet Home S3, Master Of The House, Lady In The Lake, (30:57) Serie TV: Those About To Die(34:21) Film: Padre Pio (37:53) Film: L'Ultima Vendetta, Twisters, The Well(40:13) Settimana 30 - Serie TV: Elite S8, The Decameron(42:09) Film: Deadpool & Wolverine

(00:00) Dietro le quinte: da come Aldo e Fabrizio sono entrati in Recenserie alla nascita del podcast, passando per curiosità varie ed eventuali(25:35) La Top10 delle puntate più ascoltate di sempre (37:15) Bonus Track: Temuera Morrison Ti Odiamo

Joeita speaks to scriptwriter and disabled TV producer Ophira Calof about the Disabled Producers Lab a new program designed to teach production skills to disabled women and trans creators. Part 1 of a 2 part series. HighlightsDisability Stereotypes - Opening Remarks (00:00)Introducing Ophira Calof – Writer, Performer & Facilitator (01:54)Cripping the Script (04:00)Shifting Our Structures (05:00)The Role of the Storyteller (06:51)Representation & Disability Narratives (10:18)Disabled Producers Lab (12:46)Addressing Barriers, Ableism & Broader Structural Issues (19:50)Increasing Disability Representation in the TV Landscape (23:07)Disabled Producers Lab Application Process (25:17)Show Close (27:01)Guest Bio - Ophira Calof (pronouns: they/she) is a multi-award winning Disabled writer and performer who is drawn to character driven stories that combine humour and heart while subverting narrative tropes and works to “crip the script,” centring disability knowledge and experience. Their recent credits include One More Time (CBC), Rubble and Crew (Treehouse TV), PUSH (CBC), Shelved (CTV), Dino Dex (Amazon Prime), Welcome Series (Titan1Studios), and their solo show Literally Titanium, which has been featured in both academic and performance spaces as a case study in accessible production.Ophira is also the creative director for the Accessible Writers' Lab, a national initiative presented by AMI, RAFFTO and sponsored by the Canada Media Fund and Telefilm, to experiment with what an accessible tv writers' room might involve. Ophira was the accessibility process lead for AccessCBC, and the curatorial committee lead for the 2022 ReelAbilities Film Festival Toronto. They have taught workshops and provided mentorship internationally on storytelling, writing, music, accessibility and disability narratives, and created the courses Sketch Comedy with Ophira Calof and Crip Storytelling, a series in partnership with Centre of Independent Living Toronto and the Miles Nadal Jewish Community Centre.Additionally, Ophira has created a number of disability arts projects including the series Making Space: Stories of Disabled Youth Past and Present (Myseum Toronto/RAFFTO) and Dis/Play, a public arts project that projected the stories of over 50 Deaf and Disabled creatives onto exterior building walls across the city (MNJCC/RAFFTO/ArtWorxTO: Toronto's Year of Public Art 2021-2022).Ophira graduated from Second City's Writing and Sketch Conservatory programs and the Buddies in Bad Times Theatre Emerging Creator's Unit. They were featured in the Second City 2018 Toronto Diversity Fellowship Showcase, are the 2018 recipient of the Tim Sims Encouragement Award and received the 2021 Cahoots Theatre Promising Pen Prize. They were also named a TV writing fellow for the 2022 RespectAbility Lab for Entertainment Professionals with Disabilities and are currently taking part in the 2023 Warner Brothers Discovery Access X Canadian Academy Writers Program.Disability Screen Office: The Disability Screen Office is a national, not-for-profit organization that works with the Canadian screen industry to eliminate accessibility barriers and foster authentic and meaningful disability representation throughout the sector.We are excited to help make the Canadian media industry more inclusive, and look forward to amplifying the voices of people with disabilities across the Canadian media landscape.Disabled Producers Lab: The Disabled Producers Lab is a part-time, online program designed as a space for disabled producers marginalized by gender across Canada including, but not limited to, transgender women, cisgender women, transgender men, non-binary people and many other gender identities.Up to five participants will enter the lab with a completed short film script (up to 10 minutes or 10 to 11 pages) and be paired with an industry mentor to support them in developing a comprehensive production binder for the film featuring a realistic schedule, budget, accessibility plan and pitch package.This lab aims to strengthen the skills and knowledge required to be a successful producer and create systemic change within the production industry by fostering an environment where accessibility is at the forefront of production practices, challenging and reshaping industry norms.  About The PulseOn The Pulse, host Joeita Gupta brings us closer to issues impacting the disability community across Canada.Joeita Gupta has nurtured a life-long dream to work in radio! She's blind, moved to Toronto in 2004 and got her start in radio at CKLN, 88.1 FM in Toronto. A former co-host of AMI-audio's Live from Studio 5, Joeita also works full-time at a nonprofit in Toronto, specializing in housing/tenant rights. Find Joeita on X / Twitter: https://twitter.com/JoeitaGupta The Pulse airs weekly on AMI-audio. For more information, visit https://www.ami.ca/ThePulse/ About AMIAMI is a not-for-profit media company that entertains, informs and empowers Canadians who are blind or partially sighted. Operating three broadcast services, AMI-tv and AMI-audio in English and AMI-télé in French, AMI's vision is to establish and support a voice for Canadians with disabilities, representing their interests, concerns and values through inclusion, representation, accessible media, reflection, representation and portrayal. Learn more at AMI.caConnect on Twitter @AccessibleMediaOn Instagram @accessiblemediaincOn Facebook at @AccessibleMediaIncOn TikTok @accessiblemediaincEmail feedback@ami.ca

(00:00) Intro, brodo di pollo scozzese e malattie veneree(02:55) Opinioni politicamente scorrette su The Acolyte(13:08) La fine di Inside No. 9 e altre serie british mai arrivate in Italia(20:25) La fine di Sweet Tooth(26:16) Serie non consigliate della settimana: Under The Bridge e Outer Range(37:50) Presumed Innocent e i poteri forti dei parenti assunti nelle stesse produzioni

Fri, 21 Jun 2024 07:00:00 +0000 https://efm-industry-insights.podigee.io/60-arctic-indigenous-filmmakers-on-climate-change-first-hand-perspectives 7eb108c5f6a3f70277b8b738215e9757 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by Curator and Impact Producer Nadia Denton, it delves deep into the rapidly evolving film industry. Featuring the insights from film creatives and professionals from Sápmi, Canada and Yakutia, this episode will shine a light on the ground-breaking work of the Witness Program, a film training and mentorship programme for emerging Indigenous filmmakers from the Circumpolar Arctic that is the fruit of a collaboration between Telefilm Canada and the Arctic Indigenous Film Fund (AIFF). Designed as a professional development opportunity that allows Arctic Indigenous filmmakers to share their authentic perspectives on how climate change is affecting their communities through their own storytelling and in their own filmic and spoken languages, the programme supported a first cohort of 6 filmmakers who produced 5 films and were mentored by 3 Indigenous long-feature film producers and filmmakers, under the guidance of Liisa Holmberg, CEO of the AIFF. These conversations unpack the way in which these first-hand narratives convey the sense of urgency of climate change which Arctic Indigenous communities have been witnessing for decades and the ways in which their filmmaking practices can embody acts of resistance, resilience and language revitalisation. Key to understanding these films is the notion of a worldview. The speakers, Liisa Holmberg, filmmakers Sadetło Scott and Svetlana Romanova and mentor Danis Goulet, all share their experiences of how their communities' worldview, connection and deep relationship to the land are expressed in these and other films, which they made in a context of challenges to the land and Indigenous storytelling through the compounded effects of climate change and colonization. Film commissioner Liisa Holmberg (she/her) is working in International Sámi Film Institute (ISFI) in Norway. Liisa Holmberg is a Sámi film maker originally from Finnish side of the Saamiland. She has worked in the film business as a producer, production manager and film consultant from the year 1994. Big part of her work as a film commissioner is working internationally with Indigenous film makers in Alaska, Canada, Greenland, Sápmi and Russia to establish an Arctic Indigenous Film Fund (AIFF). Holmberg is a member of European Film Academy from the year 2018. Sadetło Scott (she/her) is a Tłı̨chǫ Dene filmmaker, who grew up and lives in Sǫǫ̀mbak'è, Denendeh (Yellowknife, Northwest Territories, Canada). Sadetło has a B.A. in Indigenous Governance and a Certificate in Heritage and Culture from Yukon University, and Certificates in Motion Picture Production and Cinematography from Capilano University. Sadetło's work, such as “Edaxàdets'eetè” aims to educate on the importance of Indigenous language and the Indigenous experience. Svetlana Romanova (Sakha/Even) is an artist and filmmaker born in Yakutsk, the capital city of the Sakha Republic, Russia, located south of the Arctic Circle. Her practice centers on the importance of Indigenous visual language, particularly in the Arctic regions and gravitates towards critical self historization. Writer/director Danis Goulet's films have screened at festivals around the world including Berlinale, Sundance, MoMA and the Toronto International Film Festival (TIFF). Her award-winning feature NIGHT RAIDERS premiered in the Panorama section at Berlinale and also screened at TIFF in 2021. For television, Danis has recently directed for the acclaimed FX series RESERVATION DOGS. She is Cree/Metis, originally from northern Saskatchewan. The host Nadia Denton is a film industry specialist with over a decade of experience as a Curator, Impact Producer and Author. Her focus has been on cinema of the African diaspora, she specialises in Nigerian Cinema and is author of two books The Black British Filmmakers Guide to Success and The Nigerian Filmmaker's Guide to Success: Beyond Nollywood. Nadia is also an official V&A African Heritage Tour Guide. As a Partner of Choice, Telefilm Canada is a Crown corporation dedicated to the success of Canada's audiovisual industry, fostering access and excellence by delivering programs that support cultural resonance and audience engagement. With a lens of equity, inclusivity and sustainability, Telefilm bolsters dynamic companies and a range of creative talent at home and around the world. Telefilm also makes recommendations regarding the certification of audiovisual coproduction treaties to the Minister of Canadian Heritage, and administers the programs of the Canada Media Fund. Launched in 2012, the Talent Fund raises private donations which principally support emerging talent. AIFF is a film fund dedicated to films and filmmakers with Arctic Indigenous origins. We believe it's vital to spread knowledge about Indigenous cultures, climate change, the environment, and land rights by the means of art. That's why we are committed to building capacity for Arctic filmmaking. We advance filmmakers' possibilities to produce and distribute their films by funding productions and offering training programs. Our aim is to promote high-quality film projects that enhance the cultures, languages and societies of arctic Indigenous peoples. Part of our mission is also to support cooperation among Indigenous filmmakers. We bring together the most talented filmmakers, help them to achieve the best possible production terms and encourage co-production and exchange of expertise. The Witness Program is a professional development opportunity that allows Arctic Indigenous filmmakers to share how climate change is affecting their communities, to tell their own stories, and to meet and work with an international network of Indigenous filmmakers. This initiative aims to empower Indigenous filmmakers across the Arctic through training and workshops. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. This episode has been developed in partnership with Telefilm Canada. full no Indigenous Filmmakers,Climate Change,Film Business,Entertainment Industry,Future Trends,Berlinale,European Film Market,Collaboration Film Industry,Media Industry European Film Ma

Sie produzierte über Jahre hinweg den ARD-Tatort aus Saarbrücken: Die Firma Telefilm Saar. Dann wird das Unternehmen in den 2000er Jahren selbst Schauplatz für die Ermittler: Ein Betrugsskandal, der bundesweit für Schlagzeilen sorgte. ​

You may say you'll never do it but, if you're an indie filmmaker, chances are at some point you're probably going to wind up producing your own work. In this fun and frank episode, actor, writer, director, and producer Ana de Lara really tells it like it is: Why ultra low budget films are so tough to produce, how she ended up producing in the first place, and why producing  isn't fun! An accomplished actor, Ana also shares what it's like to be flown to Prague for a Cascade commercial, and being cast as everything from Chinese to Indigenous...when you're a Filipina-Canadian. Ana de Lara has 17 awards and 5 nominations for her award-winning short films and the two features she's produced: All In Madonna and Open for Submissions. A Women in the Director's Chair alumna, she won Telefilm's New Voices Award, Talent to Watch, Whistler Film Festival MPPIA Award, Vancouver Women in Film Matrix and Best Narrative Short awards, Broad Humor Film Festival's Best Director, and Asians on Film Best Comedy and Best Screenplay Awards.Watch a few of Ana's shorts: Vimeo: https://vimeo.com/anadelaraYouTube: https://www.youtube.com/channel/UCqXaXMzVXEqtTt3ttNY6tvAMore about Ana: IMDb: https://m.imdb.com/name/nm1891405/LinkedIn: https://www.linkedin.com/in/anadelaraonline/WIDC: https://www.widc.ca/director/ana-de-lara/Subscribe to catch the latest episodes of Push In on Apple Podcasts:https://apple.co/2S5WB7q Podcast Production Team:·      Technical Director: Paul Ruta·      Sound Editor: Michael Korican·      Host, Researcher & copywriter: Joyce Kline·      Co-Producers: Joyce Kline, Michael Korican, Paul Ruta

NEWS:   pubblicato il trailer per Alzara: Radiant Echoes,nuovo JRPG inspired che richiama i fasti di Golden sun, Final Fantasy IX e Lost Odyssey, con Motoi Sakuraba alle musiche (tales of, star ocean, golden sun, Dark Souls) e Yoshiro Ambe come Main Character Designer (Fire Emblem heroes, trials of mana, genshin impact) PlayStation ha scelto i nuovi sostituti di Jim Ryan Ciao Hiroki Totoki ti volevamo bene. Cinematic Trailer di Assassin's Creed Shadows (aggiunta: ubisoft conferma che non solo per giocare, ma anche solo per installarlo servirà una connessione online, perchè cito testuali parole “noi non siamo da meno di sony, chevvicredete”) Telefilm di Tomb Raider da Amazon Prime Video. Phoebe waller bridge sarà scrittrice e produttore esecutivo. nuovo trailer per Greedfall 2 (con le bestemmie di Federico annesse) (ma perchè?!) The Divsion Heartland ufficialmente cancellato. (titolo F2P nel mondo di the division). anche perchè il 21 maggio esce XDefiant che è sempre un F2P multiplayer con vari cameo delle serie ubisoft.  Deadlock sembra essere il nuovo gioco di Valve, svelato in immagini e dettagli da un leak come rendere un bel gioco ancora più bello? il 23 maggio arriva il dlc gratuito per Dave the Diver (zitto Eric) , come contenuto aggiuntivo ci sarà pure Godzilla, insomma godzilla eccheccazzo Kriz ti tocca aspettare hades 2 uscirà dall'ea se va bene a fine anno, ma se va bene, porta pazienza e ancora più pazienza dovrai aspettare per gta 6, Take2 dice autunno 2025, però Rockstar assicura “creerà un'esperienza di intrattenimento senza precedenti”, e dio voglio creder loro,cioè sarà uguale agli altri gta eh però sarà ancora più gta non vi fanno paura gli avvocati di nintendo e volete giocare invece a zelda la maschera del maggiore a 4k 60fps? adesso su pc si può, grazie a dei fighi che verranno uccisi nel sonno dai ninja proveniente da kyoto, se quindi non avete paura di quella bulla di nintendo dovrete recuperare la rom originale del gioco ed un pacchetto che per ora si trova facilmente in rete dai sempre a parlare di licenziamenti, sì ce ne sono stati di nuovi anche questa settimana, ma diamo risalto alle buone notizie,  fondazione di un nuovo studio da parte di activision,  Elsewhere Entertainment, composto da veterani di Naughty Dog, CD Projekt Red e Ubisoft, dovranno tirare fuori un nuovo tripla a sfavillante, altrimenti li licenziano , ovvio no? fine ottobre 2025 uscirà anche il sequel del reboot di mortal kombat , il film si intende, stesso regista, ma nuovo scrittore, sarà quello che ha scritto Moon Knight e lo so dopo questa notizia non potete fare altro che fremere di desiderio a proposito di film potete calmare questi fremiti il 13 giugno con Bad Boys: Ride or Die, perchè ci serviva un altro bad boys (il primo era carino dai) no? soprattutto visto che dal trailer sembra un damn clichè rete in giubilo per la season 4 di diablo 4  (che cacofonia), i giocatori entusiasti, Diablo non è mai stato così bello Kriz? confermi il team di total war a lavoro su di un titolo basato su star wars, pronti a guidare un esercito di Jar jar Binks? poi io fossi in voi metterei questo trailer lo guarderei e lo commenterei live https://www.youtube.com/watch?v=5h4P-26kHAw&t=87s SI PARTE  Marco: sound & Fury (by sturgill simpson)    Kriz: Diablo Season 4, The Iron Claw, Nuova TVGaul: fall guy___riassuntazzo

When you're on set and your film deals with the potentially triggering subject of suicide, how do you provide for the physical and emotional needs of a diverse cast and crew? This was the challenge that led filmmaker Ana de Lara to collaborate with Women In the Director's Chair to develop a ground breaking new program called Safer Creative Spaces. In this episode, Ana shares how the program helped her create a more caring environment on the set of her upcoming web series Best Friend Me. Ana de Lara has 17 awards and 5 nominations for her award-winning short films and features All In Madonna and Open for Submissions. She's a Women in the Director's Chair alumna, winner of Telefilm's New Voices Award, Talent to Watch, Whistler Film Festival MPPIA Award, Vancouver Women in Film Matrix and Best Narrative Short awards, Broad Humor Film Festival's Best Director, and Asians on Film Best Comedy and Best Screenplay Awards.More information on Women In The Director's Chair: https://www.widc.ca/Watch a few of Ana's shorts: Vimeo: https://vimeo.com/anadelaraYouTube: https://www.youtube.com/channel/UCqXaXMzVXEqtTt3ttNY6tvAMore about Ana: IMDb: https://m.imdb.com/name/nm1891405/LinkedIn: https://www.linkedin.com/in/anadelaraonline/WIDC: https://www.widc.ca/director/ana-de-lara/Subscribe to catch the latest episodes of Push In on Apple Podcasts:https://apple.co/2S5WB7q Podcast Production Team:·      Technical Director: Paul Ruta·      Sound Editor: Michael Korican·      Host, Researcher & copywriter: Joyce Kline·      Co-Producers: Joyce Kline, Michael Korican, Paul Ruta

Lindsey Campbell and Mark Davies discuss the film BLACKBERRY as part of their series THANKS TELEFILM. This is where they examine federally funded films. Will they say "Thanks Telefilm!" OR "Thanks Telefilm?"In BLACKBERRY, Matt Johnson (Nirvana the Band the Show) explores the incredible growth and tragic collapse of the world's first smartphone and how it smashed huge enterprises before surrendering to Silicon Valley's fiercely competitive companies. It's not a conventional tale of modern business failure by fraud and greed. The rise and fall of BlackBerry reveals the dangerous speed at which innovators race along the information superhighway. It stars Glen Howerton, Jay Baruchel and Michael Ironside.

Is your concept brave enough to be “not safe, taboo," or “mean and awful”?  Filipina/Canadian filmmaker Ana de Lara thinks it just might make a great comedy! In Part I of our interview with this multiple award-winning actor/writer/director/producer, Ana tells us about Best Friend Me — her six-episode comedy web series about the topic of ... suicide? Learn from this comedy pro how she  works with family, knows when an idea has legs, and how you too, can “make anything funny.” Ana has 17 awards and 5 nominations for her award-winning short films and features All In Madonna and Open for Submissions. She's a Women in the Director's Chair alumna, winner of Telefilm's New Voices Award, Talent to Watch, Whistler Film Festival MPPIA Award, Vancouver Women in Film Matrix and Best Narrative Short awards, Broad Humor Film Festival's Best Director, and Asians on Film Best Comedy and Best Screenplay Awards.Watch a few of Ana's shorts: Vimeo: https://vimeo.com/anadelaraYouTube: https://www.youtube.com/channel/UCqXaXMzVXEqtTt3ttNY6tvAMore about Ana: IMDb: https://m.imdb.com/name/nm1891405/LinkedIn: https://www.linkedin.com/in/anadelaraonline/WIDC: https://www.widc.ca/director/ana-de-lara/Subscribe to catch the latest episodes of Push In on Apple Podcasts:https://apple.co/2S5WB7q Podcast Production Team:·      Technical Director: Paul Ruta·      Sound Editor: Michael Korican·      Host, Researcher & copywriter: Joyce Kline·      Co-Producers: Joyce Kline, Michael Korican, Paul Ruta

Wed, 31 Jan 2024 13:00:00 +0000 https://efm-industry-insights.podigee.io/48-global-voices-local-roots-producers-blazing-the-way f48362ae565f46d2b5efdb909fe42420 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by filmmaker Yazmeen Kanji, it delves deep into the rapidly evolving film industry. In this episode, join us as we delve into the creative journey of four trailblazing producers from equity-seeking groups; Darcy McKinnon, Gilbert Mirambeau Jr., Inuk Jørgensen and Rolla Tahir. Discover how these producers are not only making a mark on the international stage but also actively supporting and nurturing local film cultures. Gain valuable insights into the challenges they have overcome, the lessons they have learned, and the impact they aspire to make in the cinematic landscape. All four producers and the moderator, Yazmeen Kanji, are alumni of the EFM Toolbox Programmes, an initiative aimed at creating pathways into the global film industry for producers from equity-seeking groups and the Global South. Every year, around 60 feature producers from around the world take part in the programme; you can discover the 2024 Fiction & Documentary cohort here and on the EFM Producers and Project Pages. Inuk Jørgensen is award-winning short film writer/director with a Masters' in Film from Aarhus University. Inuk has been making home movies and animations since his childhood in Greenland. As an Indigenous filmmaker he has a focus on aesthetic images and personal stories that touch upon the identity, history, and culture of the Greenlandic Inuit people. Gilbert Mirambeau Jr. is a creative producer, writer and activist based in Haiti. He is the general manager of Muska Group, a leading production company specialized in advertising, producing commercials and institutional films for more than 10 years. In 2014, he wrote and produced his first TV series for children, Lakou Kajou. In 2015, he co-founded Muska Films to tell stories that matter. ''I believe cinema is a powerful weapon to convey stories, reflect, shape and challenge people's perceptions and beliefs.'' In 2017, he produced his first short film, Kafou, which won several awards and nominations (e.g., Best Film at Austin Film Festival, Orlando Film Festivals 2017). Thanks to Kafou, he was selected as one of the 25 screenwriters to watch in 2018 by Movie Maker Magazine. In 2021, he executive produced the short documentary, Brave, pre-selected at Cannes for the Directors' Fortnight which won a few awards and nominations, and another short in 2022, Port of a Prince which had a few selection (American Black Film Festival, Pan African Film Festival, Austin Film Festival). For years, Gilbert has been working on his first feature film that he cowrote and produced, Kidnapping Inc., selected to premiere at Sundance in 2024. Today, Gilbert is focused on his next two documentary projects,The Other Side (2025) and The Picture (2026), and his next fiction, Knox (2026). Gilbert is an alumni of several producer's Labs such as the Fiction Toolbox at EFM (2022), Open Doors at Locarno (2022), Producers under the Spotlight at Cannes (2023) and Eurodoc (2023). Rolla Tahir is an independent filmmaker and cinematographer based in Toronto. She's lensed short, narrative and experimental films, which screened in Canada and internationally and is currently in pre-production on her first feature film, Jude & the Jinn, through Telefilm's Talent to Watch & New Dawn. Darcy McKinnon is a documentary filmmaker based in New Orleans, whose work focuses on the American South and the Caribbean. Recently released projects include Roleplay (SXSW, 2024) Commuted (PBS, 2024), Algiers, America (Hulu, 2023), Under G-d (Sundance 2023), Look at Me! XXXTENTACION (SXSW, Hulu, 2022) and The Neutral Ground (Tribeca, POV, 2021), recipient of LEH Documentary of the Year 2022. Current projects in production include Katie Mathews' Roleplay, Jason Fitzroy Jeffers' The First Plantation, Matthew Henderson's A King Like Me, Abe Felix's Turnaround, CJ Hunt's Unlearned and Suzannah Herbert's Natchez. Her work has been on POV, Reel South, LPB, Cinemax and Hulu, and has screened at Sundance, Tribeca, SXSW, CPH:DOX and more. Darcy is an alum of the Impact Partners Producing Fellowship and the Sundance Institute Creative Producing Fellowship, and a recipient of American Documentary's Creative Visionary Award in 2023. The host Yazmeen Kanji is a Muslim Indo-Caribbean filmmaker, Hot Docs Accelerator Fellow, the podcast host of Breaking The 4th Wall powered by BIPOC TV & Film, and the CEO of Films With A Cause - a consulting firm for authentic on-screen storytelling practices. Yazmeen's first documentary, From Syria To Hope (2019), was awarded Best Short Documentary at the 2019 Toronto Short Film Festival. Her short documentary, With Love From Munera (2020), won the audience choice award at the 2021 Breakthroughs Film Festival, was an official selection at TIFF (Toronto International Film Festival) Next Wave 2021 and is now available to stream on the digital TIFF Bell Lightbox site. Yazmeen is currently developing her first documentary for broadcast in-part funded by the Hot Docs CrossCurrents Fund. The project investigates systemic racism in healthcare through a story of Sickle Cell Disease, for which she took part in the European Film Market's Doc Toolbox Programme in 2022, also attending EFM with the Hot Docs Cohort in 2023. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Film Industry,Filmmaker,Yazmeen Kanji,Toolbox,European Film Market,Equity Seeking,Inuk Jorgensen,Rolla Tahir,Gilbert Mirambeau,Darcy McKinnon European Film Market 2576

Beauty case, Telefilm, Bloc Notes, Pullman e, in ultimo, Smart Working. Tutte parole che, apparentemente, sembrano inglesi, ma che in realtà sono completamente inventate da noi o comunque utilizzate in maniera scorretta. Prendono il nome di pseudoanglicismi, e per parlarne oggi ci avvaliamo del prezioso supporto di Marco Maisano, autore e conduttore del podcast “Ma perché?”. Che è anche il nostro capo.See omnystudio.com/listener for privacy information.

(00:00) Lunga diatriba tra chi ha capito/amato il finale di Attack On Titan (Aldo, Fabrizio) e chi non l'ha capito/apprezzato (Federico)(34:00) Il gran finale della 2° stagione di Loki(39:37) Opinioni sparse su Gen V(48:53) Il finale di Gen V come quella porcata del finale di Indiana Jones E Il Quadrante Del Destino

In cui Alice A. e l'ospite d'onore Ilaria Feole si sbrodolano addosso parlando di Mike Flanagan e tutti i suoi orrori: i fantasmi, i vampiri, i preti e i ricchi, finendo per decidere che piangere perchè quei ragazzini sono traumatizzati a vita è la cosa migliore dopo la sensazione che da aver trovato tutti i fantasmi nascosti nelle ombre.This is now a Mike Flanagan stan podcast. Se ti è piaciuto questo episodio dacci ⭐⭐⭐⭐⭐ su Spotify e su tutti i POSTIDIPODCAST, consiglialo a tutte le persone che conosci e seguici su Instagram!Questo show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1925693/advertisement

Quando eravamo a casa con la febbre, noi millennials, non avevamo smartphone e tablet su cui scrollare reel e tiktok, dovevamo solo avere pazienza, perché dalle 8:30 e fino all'ora di pranzo, su Italia1, c'era una maratone di telefilm spettacolari.MacGyver, Supercar, Hazzard... poi a merenda c'era La Tata, Otto sotto un tetto, Smallville ecc...Quanti di noi hanno desiderato far parte della comitiva di Beverli Hills 90210..."Non ce la faccio, troppi ricordi..." (cit.)DISCLAIMERTutto il materiale è trasmesso a scopo celebrativo, non si intendono violare i diritti d'autore.

In cui Alice e Alice inaugurano un nuovo format di analisi dei premi Emmy come fotografia di un industria in perenne evoluzione partendo da un anno clamoroso, il 1999, ricco di serie piccole e irrilevanti quali The Sopranos (HBO, 1999-2007) e Ally McBeal (Fox, 1997-2002), per capire la tv di oggi attraverso la tv di ieri.Se ti è piaciuto questo episodio dacci ⭐⭐⭐⭐⭐ su Spotify e su tutti i POSTIDIPODCAST, consiglialo a tutte le persone che conosci e seguici su Instagram!Questo show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1925693/advertisement

CPAC President & CEO Christa Dickensen, who joined CPAC from Telefilm almost exactly one year ago, joins us on Broadcast Dialogue - The Podcast to talk about her return to the channel at a time when journalism is in jeopardy and the broadcast landscape undergoing complex transformation.Under the mentorship of Rogers' Vice-Chair Phil Lind over the past year, she also talks about carrying on the late CPAC founder's legacy to uphold the torch of democracy.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

AUNTIE: Wa'tkwanonhweráton Sewakwékon. On this edition of The Aunties Dandelion we visit with Danis Goulet – a Cree-Metis, award-winning director and screenwriter who is best known for her 2021 film Night Raiders which is set in a dystopian future. The widely popular movie had the highest budget of any Indigenous-led Canadian film and stars Elle-Máijá Tailfeathers as a mother who joins a resistance movement to save her daughter. In Night Raiders – as in all of her films – Danis focuses on how Indigenous worldview can bring new insight and practice to an industry largely devoid of human care and community. DANIS: The film industry was built to exploit and so if you want to work in the film industry. So if you want to go into the film industry how do we do this in a way that is driven by values and then obviously in Indigenous production you'd be looking at what are your values that come from your community or your specific culture that can inform the film process.  AUNTIE: Danis spent years advocating for Indigenous creators in the film industry and co-authored a 2013 report for Telefilm with Kerry Swanson that helped lay the ground work for funding, offices and initiatives that now support Native filmmakers – including The Aunties Dandelion – Nya:wen. Danis is a passionate visual storyteller who creates strong matriarchal characters and weaves her own Cree language into her productions as a spiritual guide. DANIS: It is good for the spirit and any time there is a chance to put it on screen its like those are my favourite things to shoot to hear it. To commit it to screen where you know it is going to live on through this medium.  AUNTIE: I'm Kahstoserakwathe and we are Yéthi Nihsténha ne Tekarónyakénare. The Aunties Dandelion. We're focused on revitalizing our communities through stories of land, language, and relationships. And we want to say Nyá:wenkò:wa – or big thanks – to Canada's Indigenous Screen Office – teyonhkiwihstekénha – for making this podcast possible through their New Media fund.  We make space here for real conversations to unfold like when we visit in our communities. So take a breath, make some tea –  and listen to your Aunties. And when you are done – please follow us, provide some feedback, and share these visits with others. It helps us continue these visits together.    

(00:00) Opening e introduzione al tema: le serie dell'estate(02:10) Amazon Prime Video: Good Omens(07:05) Amazon Prime Video: The Horror of Dolores Roach(10:44) Apple tv+: Foundation (2° stagione)(11:31) Apple tv+: Invasion (2°stagione)(15:08) Disney +: Futurama, il ritorno(24:18) Disney+: Only Murders In The Building (3° stagione)(24:48) Disney+: Ahsoka(28:28) FX: What We Do In The Shadows? (5° stagione)(29:50) HBO: Full Circle(36:02) HBO: Winning Time (2° stagione)(39:00) Netflix: Painkiller(42:19) Netflix: One Piece(51:30) Paramount+: Special Ops: Lioness(56:24) Peacock: Twisted Metals(1:01:05) Showtime: Billions (7° stagione)(1:04:25) TBS: Miracle Workers (4° stagione)

Lindsey Campbell & Mark Davies present another edition of THANKS TELEFILM where they examine films funded by Telefilm. This time it's writer/director/producer Chandler Levack's film I LOVE MOVIES.In I LIKE MOVIES Lawrence Kweller is an irascible, self- and movie-obsessed teenager living in the wilds of early-2000s Burlington, Ontario. He's the kind of guy who, when he buys a movie ticket, mentions the director's name just to show that he's there for the right reasons. He dreams of NYU, where he'll be mentored by a grateful Todd Solondz. But for Lawrence, who delivers every statement with utter certainty, this isn't a mere dream: it's locked in — as long as he can make thousands of dollars working part-time at his local video store.

(00:00) Secret Invasion, il mezzo-ritiro di Tom Holland e Bryan Cranston e polemiche varie(04:55) Intro della puntata ed un product placement inaspettato(07:35) Commento sulla 2° serie di Zerocalcare: Questo Mondo Non Mi Renderà Cattivo(13:33) Il finale di serie di Barry(21:29) È finalmente finito quello schifo di The Flash(30:45) Anche Succession chiude qui la sua corsa con un episodio che è praticamente un film(38:05) È veramente terminato anche Ted Lasso?(50:02) La fine delle avventure de La Fantastica Signora Maisel

Kevin Hartford is a writer/director based in Halifax, Nova Scotia.He is a two-time alumnus of the Atlantic Filmmakers Cooperative (AFCOOP's) FILM 5 program and twice received their nomination to Telefilm's Talent to Watch program for his feature film To the Moon, which will go to camera in 2023 with support from Telefilm's Production Program.His shorts Charlie's P.O.C. and Disco Apocalypse aired on the third and sixth seasons of CBC's Reel East Coast and streamed on CBC Gem.Check him out @noirgang

(00:00) Introduzione al tema della giornata e al nuovo supereroe Occhio di fAldo(04:26) Sigle, richieste della WGA (Writers Guild Of America) e il motivo dello sciopero degli sceneggiatori(09:35) Il vantaggio di Netflix e delle serie sviluppate in Europa, Asia, India e Sud America(11:53) L'assenza di un accordo per le royalties dei colossi streaming ed il cambio di mentalità circa la funzione dello sceneggiatore(14:05) Le mini-room: cosa sono e perchè sono una delle cause di tutti i mali(21:02) Differenze e conseguenze con il precedente sciopero degli sceneggiatori del 2007-2008. E i film?(26:25) L'impatto delle Intelligenze Artificiali (stile ChatGPT e Bard) su serie tv, film e recensioni di Recenserie(32:07) Gli altri scioperi degli sceneggiatori dimenticati: 1960, 1981 e 1988

Berkley Brady, based in Calgary, Alberta, is a producer, DGC director, and writer, known for her work in film and television. Operating under the corporate entity Nika Productions Inc., Brady draws inspiration from cinematic and art history, hip-hop culture, and the natural landscape. With a passion for storytelling on screens of all sizes, Brady's creative pursuits reflect her diverse influences.Raised in a family of storytellers and night owls, Brady's multicultural background as a Metis on her father's side and predominantly Scottish on her mother's side shaped her early experiences. A vivid childhood memory involves sitting under a restaurant table, captivated by her father's animated storytelling, which brought laughter and joy to the listeners.In 1986, Brady relocated to Calgary, a city nestled between the Rocky Mountains and the prairies, where she discovered her teenage passions for books, snowboarding, and indulging in the mystique of brooding boys with baggy pants. Her dedication to snowboarding led her to compete in half-pipe competitions, even achieving a notable third-place ranking in her province in 1994. Brady's connection to snowboarding extends beyond the sport itself; she views its physicality, flow, and rhythm as influences that shape her directorial approach. The mathematical curves and musicality inherent in snowboarding inform her intuitive collaboration with actors and her pursuit of fluid camera work.After completing university, Brady embarked on a journey as an assistant to documentary and experimental filmmakers, immersing herself in projects such as editing documentaries on the International Criminal Court and capturing potlatch ceremonies. These early experiences kindled her passion for narrative filmmaking, leading her to pursue an MFA in film directing at Columbia University in New York City. During her six-year stay in the city, she absorbed its vibrant cultural landscape, exploring various art forms, including dance and the legacy of hip-hop. Brady's time at Columbia involved working as a Teacher's Assistant at Barnard College and collaborating with different production companies as a reader. Additionally, she produced her first award-winning short film, "The Immaculate Reception," which premiered at Sundance Film Festival, marking her inaugural visit to the renowned event.Brady's accolades continued to accumulate as she won the prestigious Alfred P. Sloan award, which provided the opportunity to create her debut short film, "Blow Out." This atmospheric piece delves into the story of a lone geologist battling her crew on an isolated, snow-blown oil rig.Despite being inspired by the creativity and ambition surrounding her in the United States, Brady decided to return to Canada in 2016, driven by love. She is happily married to Ian Lister, a notable Canadian cinematographer. Brady cherishes the artistic landscape of Canada and directed her first two episodes of the upcoming TV series "Secret History of the Wild West." With the support of Telefilm funding, she ventured into feature film directing, completing her debut feature, "Dark Nature," in the autumn of 2022. The film premiered at Fantasia in Montreal, marking a significant milestone in her career.Currently, Brady's creative focus lies in directing horror films infused with adventure and evocative emotions. For her, the perfect film is one that elicits laughter, screams, and tears. With a desire to offer guilt-free escapes, Brady aspires to craft stories that employ genre conventions to tackle significant and sometimes challenging ideas.Connect with the Film School'd Podcast:– Facebook: https://www.facebook.com/filmschoold– Instagram: https://www.instagram.com/filmschooldpod/– Twitter: https://twitter.com/FilmSchooldPod– YouTube: https://www.youtube.com/channel/UCdgrswiL4AGviAOcbzfYCAwContinue the Conversation in the Official Film School'd Discussion Group: https://www.facebook.com/groups/filmschoold

Since we're discussing Louis Gossett Jr. this week in Black History Month, I'd figure I'd let loose with a brief solo review of his TV movies, The Inspectors!                   MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/          SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222      

Nadine Pequeneza & Face2Face host David Peck talk about her new film Last of The Right Whales, conservation and general ocean health, hope, despair, joy and plankton, plant intelligence, cohabitation, community and grass roots movements.Watch it on CBC and find out more information here about the film.Blurb:These gentle giants no longer die of natural causes. Instead, they are run over by ships or suffer lethal injuries from fishing gear. Over the past decade they've been dying at a rate of 24 per year. This staggering death toll is fueling a movement to save the first great whale to face extinction. Last of the Right Whales is the story of a disparate group of people - a wildlife photographer, a marine biologist, a whale rescuer, and a crab fisher - united in their cause to save the North Atlantic right whale. By joining forces these formidable allies are determined to stop the world's first great whale extinction. The film combines the 4K cinematography of a blue-chip nature film with the character-driven, vérité storytelling of a high-stakes drama. With unprecedented access to film the migration of the North Atlantic right whale from their calving ground off the coast of Florida to their new feeding area in the Gulf of St. Lawrence, this feature documentary brings a message of hope about the most at-risk, great whale on the planet.About Nadine:Nadine Pequeneza is an award-winning Producer/Director specializing in character-driven films that offer unique access to stories about a wide range of topics from criminal justice to global finance, to wildlife conservation. With more than 15 years international experience her work has garnered worldwide recognition, including a Canadian Screen Award for Best Writing in a Documentary Program, nine CSA and Gemini nominations, Gold and Silver Hugos from the Chicago International Film Festival and a Silver Gavel Award honourable mention from the American Bar Association. Through her company HitPlay Productions Nadine produces, directs and writes feature documentaries: The Invisible Heart, Next of Kin, Road to Mercy, 15 to Life: Kenneth's Story and Inside Disaster: Haiti. HitPlay's broadcast and funding partners include CBC, SRC/RDI, PBS, ARTE, SWR, TVO, Knowledge Network, Canal D, Telefilm, Ontario Creates, NFB, Rogers Documentary Fund and the Bell Fund. Nadine is immediate past Chair of the Documentary Organization of Canada and a graduate of the Fledgling Foundation's inaugural engagement lab. Her most recent work Last of the Right Whales is a story with far reaching implications about the endangered North Atlantic right whales.Image Copyright and Credit: Hit Play Productions.F2F Music and Image Copyright: David Peck and Face2Face. Used with permission.For more information about David Peck's podcasting, writing and public speaking please visit his site here.With thanks to Josh Snethlage and Mixed Media Sound. Hosted on Acast. See acast.com/privacy for more information.

Telefilm historian Amanda Reyes

It's easy to forget how much beautifully strange Canadian cinema is out there in the universe.On this episode we are diving into the origins of the godfather of Canadian outsider cinema as we take a look at Guy Maddin's "Tales From The Gimili Hospital: Redux' which just had a 4K restoration, debuted at the Toronto International Film Festival ,  played at the Lightbox and is now available on demand with our friends over at Hollywood Suite.In Maddin's surrealist, Manitoban-set feature debut Tales from the Gimli Hospital, a lonely fisherman stricken with smallpox (Kyle McCulloch) embarks on a fierce competition with a fellow patient (Michael Gottli) to vie for the affections of Gimli Hospital's angelic young nurses. As part of Telefilm's Canadian Cinema – Reignited initiative to restore and re-release Canadian films of historic and cultural importance, the Toronto International Film Festival hand-picked the restoration of Tales from the Gimli Hospital to premiere at this year's festival..If you haven't already signed up for Hollywood Suite, what's stopping you?  They are stalwart champions of Canadiana which this film unquestionably is.  We had the pleasure of talking with Guy a little after the festival about the origins of the film the restoration process and so very much more.

Dove Alice, Andrea e Alice cercano di raccapezzarsi tra il proliferare di piattaforme streaming con un + alla fine del nome e scoprono che c'è sempre meno gente capace di fare davvero lo showrunner. Ma alla fine mettono in fila alcuni titoli di serie belle!Qui l'articolo citato: https://www.vice.com/en/article/epxeze/television-is-in-a-showrunning-crisisSe ti è piaciuto questo episodio dacci ⭐⭐⭐⭐⭐ su Spotify, consiglialo a tutti e seguici suInstagram: https://www.instagram.com/pilota.podcast/e Twitter: https://twitter.com/PilotaPodcastSe vuoi sostenere Pilota e gli altri podcast di Querty, associati! https://www.querty.it/chi-siamo/

The Two Gay Geeks

Randy Rogers is the president of Telefilm, Inc., a Los Angeles based production company. His career spans four decades of working in the newspaper, television and motion picture business. During that time, he has covered every type of major news event from George McGovern's 1972 election bid to the Exxon Valdez Oil Spill in 1989. His company, Telefilm, has handled the promotion of the world's biggest motion pictures including The Matrix, Harry Potter, Pearl Harbor, Batman, Superman, Shrek, Toy Story, Iron Man and Indiana Jones. Growing up in the western Pennsylvania steel town of Johnstown, Randy asked for his first camera from a Green Stamps catalog on his 10th birthday. That camera started him on a life long path as a photographer. His first part time job in 1969, as an usher at the State Theatre, subtly foretold where that path would be heading. From that day forward, Randy worked in the news and motion picture business.*** AND NOW ***The ‘X' Zone TV Channel on SimulTV - www.simultv.comThe ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com Now listen to all our XZBN shows, with our compliments go to: https://www.spreaker.com/user/xzoneradiotv or www.xzoneuniverse.com *** AND NOW ***The ‘X' Zone TV Channel on SimulTV - www.simultv.comThe ‘X' Zone TV Channel Radio Feed (Free - No Subscription Required) - https://www.spreaker.com/show/xztv-the-x-zone-tv-show-audio The ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com (Free)To contact Rob McConnell - misterx@xzoneradiotv.com

Darcy Waite is a Producer/Tv Host based in Winnipeg, MB. He's currently the goofy host of ATPNs youth series THAT'S AWSM. Darcy is one of Canada's fastest-rising producers. He recently joined the board of directors of the CMPA. Darcy produced his first feature film through Telefilm's Talent to Watch program – Ruthless Souls. The feature premiered at ImagineNATIVE in 2019 and was a part of the Telefilms Canadian Perspectives Program in Berlinale in 2020. Darcy produced the award-winning CBC Short Docs film Zaasaakwe which played at the ImagineNATIVE Film Festival. He produced the short, Lost Moccasin for APTN, which also played at ImagineNATIVE. Darcy was also an Associate Producer on the CBC Short Docs film Fourth Period Burnout, and Rainbow Ice. Darcy won 2017 ImagineNATIVE Web Series Pitch Competition as the Producer of Madison Thomas' web series Color of Scar Tissue, starring Star Slade, Mary Galloway, and Kaniehtiio Horn. The series premiered at ImagineNATIVE. In the spring of 2021, Darcy will produce his second Telefilm-supported feature through Eagle Vision, Madison Thomas' Finality of Dusk. Outline of the Episode: ● [02:18] Introduction about Darcy Waite. ● [08:57] Where did passion for Writing and Producing started? ● [11:58] What is one of the factor of choosing that school to expand your writing? ● [13:32] Stand up comedy ? ● [22:48] Activities during Covid? ● [32:21] Reason behind skipping the Episodes? ● [34:00] Every project is Different. ● [42:07] What is the peice of Information that you learned is illegal to know? ● [43:02] Anything that alot of people do but you can't ? ● [44:39] Life Hack? Catch Darcy Waite Facebook: https://www.facebook.com/darcy.r.waite Website: https://www.darcywaite.com/ Instagram: https://www.instagram.com/darcy.waite/ Connect with AmigosPC! Website: https://www.amigospc.net Facebook: https://www.facebook.com/TwoandahalfAmigos Instagram: https://www.instagram.com/amigospc Twitter: https://twitter.com/AmigosPC Check out Official AmigosPC Merch at: https://www.teepublic.com/stores/amigospc?ref_id=24626 Join the conversation with the Amigos by becoming a member of Amigos pc get direct access to our discord and other cool free stuff https://amigospc.supercast.tech/

Dove Alice & Alice decidono che è ora di basta con le discriminazioni e le ingiustizie e gli snobismi che ammorbano questo mondo e dunque si dedicano anima e corpo a riabilitare il vituperato genere televisivo della soap opera. Che, nato esplicitamente per vendere sapone alle casalinghe americane, quatto quatto s'è IBRIDATO con le serie tv e ha trasformato il piccolo schermo, un improbabile colpo di scena (o mille) alla volta.Abbiamo parlato di:- Beautiful- Sentieri- Una Vita da Vivere- Grey's Anatomy- Virgin River- Hart of Dixie- Sweet Magnolias- Yellowstonee un sacco di altra robaSe ti è piaciuto questo episodio dacci ⭐⭐⭐⭐⭐ su Spotify, consiglialo a tutti e seguici suInstagram: https://www.instagram.com/pilota.podcast/Twitter: https://twitter.com/PilotaPodcastSe vuoi sostenere Pilota e gli altri podcast di Querty, associati! https://www.querty.it/chi-siamo/

Our guest this week is Toronto-based executive producer, producer TERESA M. HO! Teresa has over 25 years of experience underneath her belt in production finance and management, along with over ten years as a Producer in Canadian Television.  She has produced four seasons of CBC's FRANKIE DRAKE MYSTERIES and two seasons of Corus's DEPARTURE. Teresa also managed the hit Netflix Series ANNE WITH AN E, and multiple units on NBC Universal's reboot TV Series HEROES REBORN.  Teresa recently launched on a CBC Gem original HELLO (AGAIN). A rom-com short-form nine episode series created by Simu Liu and Nathalie Younglai, with the support of CBC Gem, the Bell Fund, the CMF and Ontario Creates.    Teresa founded 100 Dragons Productions with the newest branch 100 Dragons Media launched in 2015.  100 Dragons focuses on cultivating and gathering diverse people and inclusive ideas to create innovative programming for the world.  Teresa is currently developing a feature film 15 KINDS OF CAUSAL SEX which was selected for the WIFT Toronto NBC-Universal Development Incubator, it was also selected for the National Screen Institute – EAVE on Demand Access Program and it was awarded development funds from the Harold Greenburg Fund and Telefilm.  She is also developing WILD WILLIE with Nathalie Younglai who will be writing the feature.  WILD WILLIE received financing through the new Telefilm development stream for Racialized Persons.  When Teresa isn't racing around sets, you can find her racing around the tennis courts working on her service game.   Twitter: @thetho Instagram: @teresa.m.ho https://100dragons.com/ HELLO (AGAIN) @watchhelloagain #watchhelloagain @cbcgem Watch: https://gem.cbc.ca/media/hello-again/s01 Podcast Team Head Producer and Editor: Winnie Wong @wonder_wong Editor:  Shayne Stolz @shaynestolz Graphic: Vicki Brier @brier2019 To listen to the podcast: https://linktr.ee/firecrackerdept Subscribe to our newsletter at https://www.firecrackerdepartment.com and follow us @firecrackerdept!

A wheezing grinding sound fades away as we close in on Christopher Eccleston wandering around in a moptop on the set of "A Hard Day's Night".     Perhaps it is the plot for a lost episode of "Doctor Who", but it is also early on in the telefilm "Lennon Naked".     Jon and I review the film, compare the reenacted scenes to their real-life counterparts (surprise!    It's pretty good, for the most part), continuing on from last week's look the theatrical "Nowhere Boy".

Giorgio Locuratolo, attore e doppiatore, parla con Jack di doppiaggio, recitazione, Supercar, David Hasselhoff, teatro, radio e televisione.

Ascolta subito la nuova puntata del podcast in cui Alice, Andrea e Alice parlano del podcast in cui Alice Andrea e Alice parlano del podcast in cui Alice, Andrea e Alice parlano del podcast... no amici non si e rotto niente, è solo che in questa puntata del podcast sulle serie parliamo di serie in cui c'è un podcast. Pazzesco, eh?Abbiamo parlato di:- Only Murders in the Building- Limetown- And Just Like That...- Scream- The Shrink Next Door- Homecoming- Midnight GospelAccenniamo anche a:- Truth Be Told- Archive 81- Dr. Death- Dirty JohnSe ti è piaciuto questo episodio dacci ⭐⭐⭐⭐⭐ su Spotify, consiglialo a tutti e seguici suInstagram: https://www.instagram.com/pilota.podcast/Twitter: https://twitter.com/PilotaPodcastSe vuoi sostenere Pilota e gli altri podcast di Querty, associati! https://www.querty.it/chi-siamo/

Watch Heartland Season 1 here: https://amzn.to/3BWUGUNWatch George A. Romero's Diary of the Dead: https://amzn.to/3DX04YJOn This Episode of the Film School'd Podcast, Eric Skwarczynski sits down with actress Michelle Morgan.Michelle is the fourth of six children from a Chilean-Canadian family. Born in Calgary, she grew up in Toronto and Vancouver. After studying Theatre and Classical Literature at the University of Toronto, Michelle went on to pursue a career in theatre and film.Michelle stars on the hit CBC series, "Heartland", where she plays the character Lou Flemming, the prodigal daughter who returns to Heartland from New York after her mother's death.With over 15 years of experience acting in film and television under her belt, Michelle Morgan has enthusiastically begun a trajectory towards directing and writing. Her first short film, "Mi Madre, My Father" (2017), was selected by Telefilm for the "Not Short on Talent at Cannes" for the Cannes Film Festival short film corner. Recently Michelle directed three episodes of the new CBC digital series "Hudson" (SevenTwentyFour), a spin-off of the long-running series "Heartland". Michelle's second short film, "Save Yourself", is a romantic comedy set on the beaches of Tofino, BC. Recently, Michelle was selected to join the Women in the Director's Chair, Story & Leadership Program where she will develop her feature film project, a post-apocalyptic western titled "The Plains".

Marco Villa, scrittore e autore televisivo, parla con Jack di libri, serie tv, show televisivi