Podcast appearances and mentions of Tom Fontana

The annual Commodity Classic is a big deal for agriculture, bringing together voices from across the industry to talk about what lies ahead. In this episode of the Ohio Ag Net Podcast, Farm Director Dusty Sonnenberg brings you insights from the recent Commodity Classic 2025, featuring updates from a wide range of key agricultural commodity organizations. From market trends and trade discussions to sustainability efforts and transportation challenges, this episode covers it all. Featured interviews in order of appearance: Jed Bower, National Corn Growers Association (NCGA)​ Tyler Drewes and Jared Cox, Ohio Corn & Wheat Growers Association (OCWGA)​ Caleb Ragland, American Soybean Association (ASA)​ Rusty Goebel, Ohio Soybean Association (OSA) Jerry Bambauer and Tom Fontana, Ohio Soybean Council (OSC) Tom Verry, Clean Fuels Alliance America​ Janna Fritz and Jim Sutter, U.S. Soybean Export Council (USSEC)​ Phillip Good and Brent Gatton, United Soybean Board (USB)​ Mike Steenhoek, Soy Transportation Coalition Planting season is just around the corner, so listen to this episode for a one-stop place to hear what issues farmers face that could impact your crops in the field.

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Susanna Styron is a writer and director for film and television, and a documentary filmmaker.  Her latest documentary short, MY FATHER'S NAME, won Best Documentary in the NYWIFT Online Shorts Festival and is on the 2024-25 festival circuit. Susanna's documentary feature, OUT OF MY HEAD, premiered in MoMA's Doc Fortnight and went on to win Best International Documentary at the Melbourne Documentary Film festival. Her other documentary credits as writer/director include 9/12: FROM CHAOS TO COMMUNITY; IN OUR OWN BACKYARDS; and SUSPENDED SENTENCE. She began her documentary career as an Associate Producer for ABC-TV's documentary division, Close-Up. Susanna's debut feature, Sony Pictures' SHADRACH, starring Harvey Keitel and Andie MacDowell, which she directed and co-wrote, premiered at the Venice Film Festival and was one of New York Press critic Armond White's top ten films of the year. She wrote and directed for Sidney Lumet's TV series 100 CENTRE STREET, and wrote for Tom Fontana's BORGIA. Susanna co-authored several TV movies for Hallmark Hall of Fame and Lifetime, including an adaptation of Ann Tyler's BACK WHEN WE WERE GROWN-UPS, with Blythe Danner, Peter Fonda and Faye Dunaway; and the award-winning TAKING BACK OUR TOWN, with Ruby Dee. Her dramatic short, HOUSE OF TEETH, which she wrote and directed, won numerous awards on the festival circuit, aired on Shorts TV, and is available on Amazon. She directed several episodes of Brooke Adams and Lynne Adams' web series ALL DOWNHILL FROM HERE. Susanna's personal essays have appeared in The Yale Revue, SPIN Magazine, The New York Times and Real Simple magazine. She serves on the Special Projects Committee of the Directors Guild of America, and the Executive Committee of the Writers Guild Initiative, where she conducts writing workshops with underserved communities such as caregivers of wounded veterans, undocumented immigrant youth and LGBTQ asylum seekers, among others. She currently has projects in development with The Levinson/Fontana Company, Cinetic Media, and EP/Showrunner Carol Barbee.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

“I had to sleep on people's couches for a while, because I had no money. And I remember saying to God or whoever… ‘if I can make a living as a writer, I promise you I will write every day.' So I made this deal with the universe and now I'm stuck with it.”Today's episode is a special, old-school 10,000 NOs format longform sit-down conversation with legendary television writer and showrunner, Tom Fontana. His awards and accolades are a mile long, but what you'll hear is a guy from humble beginnings in Buffalo, who loves to write, loves to ask questions, and loves to give back and mentor others the way his mentors helped him.10,000 NOs podcast is now in it's 2.0 phase: after a long pause from late 2021 to late 2023, it has returned in a more raw format: shorter episodes, like the Monday Morsels of yesteryear (they may be short, solo riffs by Matt on central themes of the pod, excerpts from Matt's 10,000 NOs Insiders Community Zooms, or excerpts from Insiders VIP sessions with VIPs from the entertainment interview and beyond). Be on the look out as, every now and then, we will likely drop some old school, long-form, classic 10,000 NOs interviews as bonus episodes.10,000 NOs is here to inspire you and help you realize you are not alone if you're battling to overcome rejection in your career or life.So, if you're an actor, writer or filmmaker and you like what you hear in the snippets from our Insiders Acting Community zooms enough to want to be a part of it, CLICK HERE.Remember, “failure” is just opportunity in disguise, and you can flip the script to make your setbacks serve you.Prefer to WATCH (versus listen)? SUBSCRIBE to 10,000 NOs YouTube Channel HERESHOW LINKS:10,000 NOs: THE BOOKSUBSCRIBE TO OUR (WEEKLY) NEWSLETTERFOLLOW MATT ON SOCIALFIND OUT HOW YOU CAN BE A 10,000 NOs INSIDER

Hope may be hard to come by in any corner of the world these days. But writer-producer Chap Taylor and producer Evan Astrowsky try their level best to help us keep our chins up in our first show business roundtable for season 3. Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Evan Astrowsky Evan is a seasoned film and commercial producer with ad agency , production company and film producing expertise. After graduating NYU Film School as the Lew Wasserman Fellow Evan went on to produce 10+ independently produced feature films including Cabin Fever, Fanboys, Ironclad, The Lazarus Project, and Mini's First Time. Evan now finds himself firmly in the brand world where he has produced commercials for companies like Microsoft, Bud Light, Chevy, Verizon and Oracle. Evan is part of the ‘abled-disabled' community in LA where he lives with wife and two kids. IMDB Instagram Twitter Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film.   In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. MAX launched the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in July 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via nextchapterpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Homicide: Life on the Streets, the critically acclaimed police procedural set in Baltimore, is coming to streaming (Peacock) for the first time. The show, which ran for seven seasons, is based on a book by David Simon, from before he created The Wire. In an appreciation of the show, we're listening back to interviews with some of the people behind it: Executive producer and writer Tom Fontana, actor Andre Braugher, and actor Clark Johnson.And film critic Justin Chang reviews Alien: Romulus.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Homicide: Life on the Streets, the critically acclaimed police procedural set in Baltimore, is coming to streaming (Peacock) for the first time. The show, which ran for seven seasons, is based on a book by David Simon, from before he created The Wire. In an appreciation of the show, we're listening back to interviews with some of the people behind it: Executive producer and writer Tom Fontana, actor Andre Braugher, and actor Clark Johnson.And film critic Justin Chang reviews Alien: Romulus.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

On this week's show, we... nerd out over my all-time favorite TV show, Homicide: Life on the Street, as its finally avaiable to stream. spin copious amounts of music that was featured on the show. spend quality time with the farewell record from X and Orville Peck's new all-duets record. All this and much, much less!Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

[SPOILERS: entre 01:19:46 e 02:30:15] No quarto episódio do Terapia Remota a Mónica Moreira, o Miguel Tomar Nogueira e o Ricardo Correia falam de OZ [1997-2003], de Tom Fontana. Série do próximo mês: Breaking Bad [2008-2013], de Vince Gilligan. Música utilizada: OZ: Main Title Theme, de David Darlington and Steven Rosen.

In this episode of the Ohio Ag Net Podcast, host Matt Reese of Ohio's Country Journal and Joel Penhorwood of Ohio Ag Net talk with Aubree Topp of Botkins FFA and Alexis White of Fort Frye FFA who are serving as student reporters at the 96th State FFA Convention. They talk about their experience as student reporters and about their agricultural background.   More in this week's podcast:    Tadd Nicholson, Ohio Corn and Wheat Growers Association: Dusty talks with Tadd about sustainable aviation fuel tax credits.   Tom Fontana, Ohio Soybean Council: Dusty visits with Tom talking about an update on biodiesel.  Farm Credit Mid - America: Dale talks with the folks at Farm Credit Mid - America about the Fight the Hunger, Stock the Trailer county fair event.    Time Stamp:  Intro 0:00 Tadd Nicholson 3:44 Tom Fontana 8:11 Farm Credit Mid - America 16:28 Main Conversation, Aubree Topp and Alexis White 23:54

Amid a wave of pitcher injuries, Ben Lindbergh talks to Dr. Rich Nye (4:20), a former major leaguer whose career-ending injury became a career-beginning injury when he decided to become an exotic-animal veterinarian (among other occupations). Then (1:07:09) Ben talks to prolific TV creators/writers/producers Tom Fontana and Julie Martin about what might have been for […]

Sugar sur AppleTV+ Une nouvelle série a démarré sur AppleTV+ récemment, avec Colin Farrell (qui en est le producteur exécutif) dans le rôle titre et dont le générique semble droit sorti d'un tableau de Hopper. Il s'agit de Sugar, centré sur un détective privé du nom de John Sugar qui enquête sur la disparition d'Olivia Siegel, la petite-fille du producteur hollywoodien Jonathan Siegel (qui l'a embauché). Alors que Sugar tente de déterminer ce qui est arrivé à Olivia, il déterre les secrets de la famille Siegel et personne ne semble être innocent. Sugar est fan des anciens films noirs (et des Cahiers du cinéma) et la particularité de la série c'est que son comportement est parfois copié des plus grands héros hollywoodiens de l'époque et que ces scènes sont montées dans la série. On va donc avoir quelques secondes de flash en noir et blanc ou de films d'époque qui font honneur au « private eye » typique et rend hommage au cinéma américain. C'est d'autant plus amusant que la famille Siegel est connue pour être des réalisateurs. Malgré sa voiture vintage, son arme des années 60 et son look de gentleman, qu'on ne s'y trompe pas, Sugar se déroule bien de nos jours. https://youtu.be/twvPGxuEOEA?si=iEeW_jHC73fWfKKW [bs_show url="sugar"] Mister Spade sur Canal+ Vous connaissez peut-être le Faucon Maltais et son Sam Spade incarné par Humphrey Bogart, film phare des années 40. Il revient sous les traits de Clive Owen quelque 20 ans après les événements du film dans Mister Spade. Tom Fontana (Oz) et Scott Frank (Le jeu de la dame, également réalisateur) sont les scénaristes derrière ce nouveau Mister Spade, une création originale Canal+. Entre hommage au film noir et murder mystery, Scott Frank et Tom Fontana décalent la figure emblématique du célèbre détective en l'imaginant 20 ans plus tard, alors qu'il a pris sa retraite. Le meurtre de six religieuses l'oblige toutefois à reprendre du service et à se confronter aux fantômes du passé. Spade et Sugar ne sont pas si différents quand on y pense, si ce n'est que l'image parfaite de Sugar est plus idyllique que celle de Spade dont l'âge d'or semble derrière lui. https://youtu.be/WoRPIEtbcBM?si=8kPCjGlGgKReKq83 [bs_show url="monsieur-spade"] Mademoiselle Holmes sur TF1+ L'arrière-petite-fille de Sherlock Holmes ? Tout à fait, elle s'appelle Charlie Holmes, neuro-atypique, policière timide à Nantes (oui, car le détective se serait caché en France quelques années et y a laissé une descendance) et vit avec son grand-père. Sous les traits de Lola Dewaere (Astrid et Raphaëlle), la relève du fameux détective va pouvoir laisser son génie briller quand elle se fait percuter par une voiture. À son réveil, elle s'immisce sur l'enquête menée par son collègue Chris, pour retrouver Anna, une petite fille âgée de 6 ans. Epaulée par Samy, le nouveau stagiaire qui sera son propre Watson, elle va se découvrir des talents d'enquêtrice exceptionnels, hérités de son arrière-grand-père : Sherlock Holmes ! Mademoiselle Holmes joue des duos inattendus dans les séries policières et continue la mouvance lancée avec HPI, Mercato, etc. De TF1. https://youtu.be/n6dJ_67jyvU?si=R3Du_WmqjLuBTHwZ [bs_show url="mademoiselle-holmes"]

Sugar sur AppleTV+ Une nouvelle série a démarré sur AppleTV+ récemment, avec Colin Farrell (qui en est le producteur exécutif) dans le rôle titre et dont le générique semble droit sorti d'un tableau de Hopper. Il s'agit de Sugar, centré sur un détective privé du nom de John Sugar qui enquête sur la disparition d'Olivia Siegel, la petite-fille du producteur hollywoodien Jonathan Siegel (qui l'a embauché). Alors que Sugar tente de déterminer ce qui est arrivé à Olivia, il déterre les secrets de la famille Siegel et personne ne semble être innocent. Sugar est fan des anciens films noirs (et des Cahiers du cinéma) et la particularité de la série c'est que son comportement est parfois copié des plus grands héros hollywoodiens de l'époque et que ces scènes sont montées dans la série. On va donc avoir quelques secondes de flash en noir et blanc ou de films d'époque qui font honneur au « private eye » typique et rend hommage au cinéma américain. C'est d'autant plus amusant que la famille Siegel est connue pour être des réalisateurs. Malgré sa voiture vintage, son arme des années 60 et son look de gentleman, qu'on ne s'y trompe pas, Sugar se déroule bien de nos jours. https://youtu.be/twvPGxuEOEA?si=iEeW_jHC73fWfKKW [bs_show url="sugar"] Mister Spade sur Canal+ Vous connaissez peut-être le Faucon Maltais et son Sam Spade incarné par Humphrey Bogart, film phare des années 40. Il revient sous les traits de Clive Owen quelque 20 ans après les événements du film dans Mister Spade. Tom Fontana (Oz) et Scott Frank (Le jeu de la dame, également réalisateur) sont les scénaristes derrière ce nouveau Mister Spade, une création originale Canal+. Entre hommage au film noir et murder mystery, Scott Frank et Tom Fontana décalent la figure emblématique du célèbre détective en l'imaginant 20 ans plus tard, alors qu'il a pris sa retraite. Le meurtre de six religieuses l'oblige toutefois à reprendre du service et à se confronter aux fantômes du passé. Spade et Sugar ne sont pas si différents quand on y pense, si ce n'est que l'image parfaite de Sugar est plus idyllique que celle de Spade dont l'âge d'or semble derrière lui. https://youtu.be/WoRPIEtbcBM?si=8kPCjGlGgKReKq83 [bs_show url="monsieur-spade"] Mademoiselle Holmes sur TF1+ L'arrière-petite-fille de Sherlock Holmes ? Tout à fait, elle s'appelle Charlie Holmes, neuro-atypique, policière timide à Nantes (oui, car le détective se serait caché en France quelques années et y a laissé une descendance) et vit avec son grand-père. Sous les traits de Lola Dewaere (Astrid et Raphaëlle), la relève du fameux détective va pouvoir laisser son génie briller quand elle se fait percuter par une voiture. À son réveil, elle s'immisce sur l'enquête menée par son collègue Chris, pour retrouver Anna, une petite fille âgée de 6 ans. Epaulée par Samy, le nouveau stagiaire qui sera son propre Watson, elle va se découvrir des talents d'enquêtrice exceptionnels, hérités de son arrière-grand-père : Sherlock Holmes ! Mademoiselle Holmes joue des duos inattendus dans les séries policières et continue la mouvance lancée avec HPI, Mercato, etc. De TF1. https://youtu.be/n6dJ_67jyvU?si=R3Du_WmqjLuBTHwZ [bs_show url="mademoiselle-holmes"]

Susan and Chris are joined by Homicide writers & producers Tom Fontana, Julie Martin, and Jorge Zamacona. Tom Fontana was the co-creator and showrunner of Homicide. Julie Martin and Jorge Zamacona were writers and later producers on the show. In this episode, we delve into the intricate art of crafting and producing gripping episodes of Homicide. We also discuss Julie and Jorge's journey from assistants to becoming writers and later producers on the show. We also get insight into the show's philosophy that made it stand out from other police dramas. We would also like to add that Our hearts are with everyone affected by the collapse of Baltimore's Francis Scott Key Bridge on March 26. The bridge and its elegant structure was long a part of the Baltimore skyline. If you enjoy this podcast, please connect with us and share the episodes on social media You can connect with us here:   BlueSky https://bsky.app/profile/homicidepod.bsky.social Instagram https://www.instagram.com/homicidepod/ Threads https://www.threads.net/@homicidepod Twitter https://twitter.com/homicidepod The Podcast is also available on YouTube https://www.youtube.com/channel/UCHuY_R27YiZeAwMjcQ3dr4w Music for the podcast by Andrew R. Bird Graphics by Luna Raphael Edited and Produced by Beyond Mirrors LTD https://beyond-mirrors.com/

Welcome to "Homicide: Life On The Set", a brand new monthly podcast offering an exclusive peek behind the curtains of the critically acclaimed series "Homicide: Life On The Street." Susan and Chris just wanted to thank you for listening to the podcast and engaging with us on social media. Mark your calendars for our upcoming episode, slated for release on April 4th. Tom Fontana, Julie Martin, and Jorge Zamacona will join us as we delve into the intricate art of crafting and producing gripping episodes of Homicide. This interview was fascinating, and we cannot wait to share it with you. If you enjoy this podcast, please connect with us and share the episodes on social media You can connect with us here:   BlueSky https://bsky.app/profile/homicidepod.bsky.social Instagram https://www.instagram.com/homicidepod/ Threads https://www.threads.net/@homicidepod Twitter https://twitter.com/homicidepod The Podcast is also available on YouTube https://www.youtube.com/channel/UCHuY_R27YiZeAwMjcQ3dr4w Music for the podcast by Andrew R. Bird Graphics by Luna Raphael Edited and Produced by Beyond Mirrors LTD https://beyond-mirrors.com/

Vous connaissez peut-être le Faucon Maltais et son Sam Spade incarné par Humphrey Bogart, film phare des années 40. Il revient sous les traits de Clive Owen quelque 20 ans après les événements du film. Et ça tombe bien, car l'acteur est un grand fan et de l'œuvre et de son interprète originel. Tom Fontana (Oz) et Scott Frank (Le jeu de la dame, également réalisateur) sont les scénaristes derrière ce nouveau Mister Spade, une création originale Canal+, co-produite par Haut et Court et Black Bear Pictures. La série a commencé outre-Atlantique sur AMC et voici les premiers épisodes qui débarquent chez nous sur Canal+ à partir du 26 février avec deux épisodes par lundi pour six épisodes. https://youtu.be/WoRPIEtbcBM?si=c--OJkyKjv_V6C2R Entre hommage au film noir et murder mystery, Scott Frank et Tom Fontana décalent la figure emblématique du célèbre détective en l'imaginant 20 ans plus tard, alors qu'il a pris sa retraite. Cette fois-ci, Sam Spade, à la personnalité tourmentée, à la fois taciturne et mélancolique, vit en France, à Bozouls, un petit village niché au bord d'un immense cratère « le trou », au cœur des années 60. Il y était pour une mission censée être courte, mais sa rencontre avec Gabrielle Larvaron, riche veuve, l'a fait rester par amour. Malheureusement, il se retrouve seul après le décès de sa femme… Le meurtre de six religieuses l'oblige toutefois à reprendre du service et à se confronter aux fantômes du passé, tant les siens marqués par le deuil, que ceux de la petite bourgade qui, au lendemain de la guerre d'Algérie, garde des stigmates de l'occupation nazie. Pour donner vie à cette France d'après-guerre, Scott Frank a entouré Clive Owen d'un casting français et international éminemment prestigieux Denis Ménochet dans un rôle d'autorité, Louise Bourgoin élégante qui donne de la voix, Chiara Mastroianni dans un rôle qui la met en avant, Jonathan Zaccaï, Cara Bossom, Stanley Weber, Matthew Beard, etc.. Un mélange d'anglais et de français. C'est ça le rayonnement national avec des airs de Provence dont on sent les odeurs champêtres à travers les images. Loin des clichés pour une fois, on sent que les scénaristes ont passé du temps sur place. Car oui, la ville de Bozouls où la série a véritablement été tournée, située dans l'Aveyron, n'était pas du tout destinée à accueillir un tournage. Mais c'est Tom Fontana qui avait séjourné dans le passé dans cette ville et qui était tombée sous son charme et de son « trou » qui a eu l'idée d'en faire le décor de la série. Et pour une fois, la France a un air authentique dans une série à moitié américaine. [bs_show url="monsieur-spade"] Avec Mister Spade, on est bien dans un « murder mystery » qui reste assez noir avec un rythme assez lent qui déroule l'enquête de Spade sous nos yeux. Mais les scènes de tirs ne sont pas à manquer ni les courses poursuites. L'ambiance des années 60 est renforcée avec quelques scènes qui se déroulent dans un club de jazz. Malgré toute l'atmosphère rétro, on est dans une série indubitablement moderne. Pas de fioritures, Mister Spade pourra en convaincre plus d'un dans cette revisite du détective dépressif. La série en six épisodes est à retrouver sur Canal+.

Ohio Department of Agriculture Director Brian Baldridge is the featured guest for the first Ohio Ag Net Podcast of 2024, joining hosts Matt Reese and Joel Penhorwood. The three discuss a wide variety of issues, including Highly Pathogenic Avian Influenza, ODA's groundbreaking of the new animal diagnostics laboratory, H2Ohio, the new recommendation to lead the Ohio State Fair and Ohio Expo Center, as well as much more. Director Baldridge also gives a recap of the big items of 2023 as well as the issues that lie ahead in 2024, including farm preservation and even a quick chat about artificial intelligence. Other guest audio in the podcast includes: Ohio Ag Net's Dale Minyo visits with Tom Fontana and Jeanne Gogolski on GrowNextGen Ohio Ag Net's Dusty Sonnenberg hears from Dale Arnold, director of energy policy at Ohio Farm Bureau, about the issues of the day in that changing world. Times: Intro and conversation with ODA Director Brian Baldridge 0:00.000 Tom Fontana and Jeanne Gogolski on GrowNextGen 4:51.299 Dale Arnold on energy 25:17.182 Back with Director Baldridge 28:28.342

Our series of roundtable discussions continues with a Q&A session featuring writers Anthony Jaswinski and Chap Taylor unpacking the state of their craft in the era of digital streaming content. Writer and Producer, Anthony Jaswinski wrote the summer sleeper hit (and box office success) The Shallows starring Blake Lively and Mary starring Gary Oldman and Emily Mortimer. Additionally, Anthony wrote Area 51 for Sony and Atomic Monster with Colin Minihan attached to direct, as well as Sentinel for Atomic Monster with Michael Chaves attached to direct. His script The French Quarter Will Not Be Spared was sold to Lionsgate with The Picture Company and Khalabo Ink Society producing, and he recently sold his spec script The Ascent to Netflix with Lynn Harris and Matti Leshem producing. Anthony Jaswinski  IMDB Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film.   In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. HBO Max will stream the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in January 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howigotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Ohio Soybean Council continues to take students from around the state on virtual field trips to learn about modern farming, Ohio agriculture, biotechnology, and more.In this Voice of Soy, Tom Fontana, director of research and education for shares the benefits of these trips to the students of today, and the potential ag workforce of tomorrow.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Our series of roundtable discussions continues with another conversation about the ongoing Writers' Guild of America strike, this time featuring writer Chap Taylor and producer Evan Astrowsky. Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Evan is a seasoned film and commercial producer with ad agency , production company and film producing expertise. After graduating NYU Film School as the Lew Wasserman Fellow Evan went on to produce 10+ independently produced feature films including Cabin Fever, Fanboys, Ironclad, The Lazarus Project, and Mini's First Time. Evan now finds himself firmly in the brand world where he has produced commercials for companies like Microsoft, Bud Light, Chevy, Verizon and Oracle. Evan is part of the ‘abled-disabled' community in LA where he lives with wife and two kids. IMDB Instagram Twitter Next Chapter Podcasts presents How I Got Greenlit, a new podcast hosted by the Creator of HBO's Project Greenlight Alex Keledjian and Emmy Award Winning Producer Ryan Gibson, exploring how our favorite films got made and how they made our favorite filmmakers. Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film.   In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. HBO Max will stream the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in January 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Pete Musto, Producer/Editor Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howigotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

A little competition never hurt anyone. Corn and Soybean researchers in Ohio are gearing up for a competition to see which crop should be planted first.In this Voice of Soy, Tom Fontana, Director of Research and Education for the Ohio Soybean Council talks about the competition and how it benefits Ohio's soybean farmers.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I dreamt of being a pilot as a child and grew up watching The A-Team and my favourite character was 'Howling Mad Murdock' played by Dwight Schultz. I was obsessed with aircraft so he was the one I wanted to be as his character could fly any plane or helicopter that he had to. Years later I saw him with Jamie Glazov and Anni Cyrus on 'The Glazov Gang' and was intrigued at his strong Conservative Christian stance while delivering common sense commentary. This is the first interview he has done for many years so it truly is an honour to have Dwight join Hearts of Oak on this audio only discussion. (he is the voice king) We talk about those early days treading the boards in the theatre and as a star in Hollywood, working on the biggest TV programme in the world and Dwight shares some stories of how his strong conservative stance got him into much hot water. He truly is a breath of fresh air in an increasingly demonic industry that opposes truth at every turn and mocks all who have a Christian Faith or Conservative Values. (*Peter takes to the skies regularly and has held a pilots licence for many years) A respected performer on Broadway, Dwight Schultz found everlasting fame by playing the certifiable "Howling Mad" Murdock on the action series "The A-Team" (1983-86). A living, breathing cartoon with a seemingly endless selection of voices and accents at his command, Murdock provided the air power for the A-Team's clandestine adventures, provided that his compatriots could break him out of the mental hospital where he resided. One of the show's most popular and memorable figures, Murdock ensured Schultz steady work on television and on the big screen playing Reginald Barclay in "Star Trek: The Next Generation" An accomplished voice actor, Dwight can be heard in numerous hit computer games and in countless animated shows. Interview recorded 21.3.23 *Special thanks to Bosch Fawstin for recording our intro/outro on this podcast. Check out his art https://theboschfawstinstore.blogspot.com/ and follow him on GETTR https://gettr.com/user/BoschFawstin and Twitter https://twitter.com/TheBoschFawstin?s=20  To sign up for our weekly email, find our social media, podcasts, video, livestreaming platforms and more... https://heartsofoak.org/connect/ Please subscribe, like and share! TRANSCRIPT [0:22] Hello Hearts of Oak, and welcome to another interview coming up with Dwight Schultz, Howling Mad Murdock from the A-Team. He came in on a audio. Dwight hasn't done interviews for years. I was absolutely delighted to have him on when you talk to one of your childhood heroes who you grew up watching him in A-Team. And he was my favourite simply because he was a pilot. And I always wanted to grow up and that's what I wanted to grow up to be. But I'm talking to him about being a conservative, being a Christian in the industry, in Hollywood, in the movie industry. And actually we delve more deeply into his Christian faith, Roman Catholic background, and what it means for him to be a Christian in that industry where you're pulled every way and where your faith is ridiculed, mocked, and everything stands against that. So great conversation about some of his experiences and what it is to be a Christian and to be a conservative in the industry. We talk about his voiceovers, I mean his voice is legendary. Talk about that and why he stepped away from doing kind of in front of a camera in 2001, why that was, and all the voiceover and then I think 100 video games, his voice is in a whole other world, a whole other industry. So, I know you will enjoy listening to Dwight as much as I enjoyed speaking with him. [1:48] It is wonderful to have Dwight Schultz with us today. Dwight, thank you so much for joining us. [1:54] Oh, it's my pleasure, Peter, for my reintroduction to the world of podcasting, radio, television.   Well, this is something I've only been doing three years, So I know you have much more experience back in the day, but we'll get into some of that. And obviously I... Remember you fondly growing up. I think I was six when The A Team first came out, which is now 40 years ago. I'm sure I didn't want it when I was six. But your role obviously is as Howling Mad Murdock. So we can take just a little bit memory lane before we go into and talk about actually being a conservative in the industry and what that is like. But I mean, it ran for five seasons, 83 to think 87. Do you just want to let us know how you actually ended up in that role? Well, actually, it actually only went four seasons, real seasons, so it's not technically considered a success. That's true. I ended up in that role because I made a comedy tape at the Williamstown Theatre Festival around 1979, 1980. [3:18] Somewhere in there. And the comedy tape, and for two years, I didn't hear anything. And then suddenly I started getting calls from my agent to audition and to go to Los Angeles to audition. and it was because of this comedy tape. And I found out it had been making the rounds for two years and eventually Steve Cannell and Frank Lupo, his co-writer saw it and requested me to come. Joel Thurm, who was the vice president of NBC at the time, however, he had different ideas about this character. And anyway, I went in and they flew me out to Los Angeles. [4:03] And my wife was out here. She wasn't my wife at the time, but I had been dating her since 79. And she was out here living in Los Angeles, which was difficult. I mean, I was glad to come out here for any reason. And I had never. It was a joy, but I came in and I auditioned and it was a total flop. It was a bomb. I mean, you walk into a small room with 25 people, 30 people, and there was not a single laugh. There was nothing. There was no... And then they sent me out and they sent the director, Rod Holcomb, out with me to talk to me. I came back in, I did the same audition, And everybody was laughing and I had no idea why they were laughing now. And they weren't laughing before, unless someone said laugh when he comes back. You know, that's the way it was. It was just an astonishing thing. And they said, you got the part. [5:02] And then, uh, and this is the, really, this is the nub, right? So, uh, I, they shoot in Mexico and I went down to Mexico. And when we were down there, I was fired. I was fired. I was fired. Rod Holcomb came into my little room and he said, I'm afraid it's not going to work out. And I said, oh, what? He said, it's not Steven. It's not Frank. It's the would-be's at NBC. They just don't think you're quite right for it. And so they took me out of my little room and they put me in with a stuntman who I loved. I just loved him. I mean, it was incredible to work with these guys. And so there I was with the stuntmen for the rest of the shoot down in Mexico. And when we came back to the States, they were editing it and putting it together as we were shooting it, right? [5:58] I got a call from my agent said your dials were great. I said, what are you talking about? I had no idea what they were talking about. This is 82, right? This is 1980. I don't know what you're talking about. He said the dials, the dials, the testing. The audience loved you. You're the best dials that anybody had. So I was written back in. I was rehired before I was fired. And so you can't make this stuff up in life. You can't. So it just turns out that they had a different view of what this character should be like. And I had another view. And Stephen Cannell and Frank Lupo were in my camp. And so they had to write me back into the first five episodes, which they had kind of written me out of. And that's the way it started. And I was, [7:04] as anybody would be, you know, I got to work with some of the finest old actors [7:12] that I had grown up with in the 50s and 60s. And it was a thrill. The four years were a thrill. I mean, it was an absolute thrill. And I got along beautifully with everybody. And Stephen J. Cannell [7:24] was a conservative. I mean, I'm lucky. I'm fortunate there. I was fortunate because some of my other experiences were not so fortunate, working with people who knew I was a conservative and weren't going to have a conservative on their show. That was the way it started back then. But anyway, so it was four years of, we didn't really have a studio. We were working on locations and I got along famously with everybody. And it was a joy. It was four, believe me, it changed my life completely and totally. I never thought I would end up in Los Angeles and never leave. Well, what was I mean, it's intense, I guess, that you're living and breathing it. And most people, I have no idea what that's like. Most people go to a job and they go home, but you're there nonstop. What's that kind of intensity, especially for years with it's the same people? It's the same people. But listen, as an actor, I mean, I've been working I've been working professionally since nineteen sixty nine. This gig, it's over 50 years. Right. So I had, I have before the 18, I never knew what my next job was ever. I never knew what I was doing next. And after the 18, I never have known [8:50] what I'm going to do next. I've never had a consistent job other than those four years. And I thank God for them every night. I hoped it would go longer, but this was not the intention, nor the background of Stephen J Cannell. His shows were two years, three years. And then they name of every single writer that we had in the first year moved on to their own series. They all became producers. And this is not the way you have a successful series for an, actor, which is selfish, right? You want to go at least five years, seven years. But they all, you have to have somebody there who is consistently behind it, pushing it, making sure everything is the way it's supposed to be. But that was not the way it was. But I did everything that you can possibly imagine, I think, on that show. And as the 14-hour days, 15-hour day, I loved it because I knew that there was going to be an ending. I knew the day I started that there was going to be a last day. And so and I think that's the way life is, actually. [10:02] And so take advantage of what you have and enjoy it and hope for the best. But I savour it every minute and I look back very fondly. When you say it wasn't a success, I remember thinking this is the biggest thing ever. This is phenomenal. I watched it as a kid growing up. So it did seem to be the kind of TV show that you would watch. I mean, the only other one I remember at the same time was I think Knight Rider at the same time, but they were the shows to watch.   Yes, they were. But you see, we were on NBC, Grant Tinker and Brandon Tartikoff, and their moniker was quality programming. And Grant Tinker, and well, Tartikoff gave an interview for the New York Times, right? This is not an example of our quality program, right? Really, this is it. That's what he said. You know, their ideas was Hill Street Blues, which they had on. This was their idea of quality programming, not this schlock that's number one. [11:12] This is not it. And I sent Grant Tinker a telegram and George Peppard said, don't do it, pal. Don't do it. Don't do it, Peppard said to me. I sent it to him and I said, this is third rate executive ship. I said, we do the best work we can and we're number one, why are you doing this to us? And then he sent me a telegram back, which I have kept, saying, well, you're assuming that that was true, what you read. And I said, well, I checked with the writer, the journalist, quote unquote, who he said, he talked to you and this is what you said. And indeed he did. And this is a tag to all of this. He, after the show was over, it was cancelled, several years afterwards, I have received a phone call from his assistant saying [12:13] Brandon wants to talk to you. And I said, sure, I'll talk to him. And I met with him in this basement office, 20th Century Fox. And I walked in and there was nobody there but Brandon Tartikoff sitting at a table and he apologized to me. [12:31] His daughter had been in a very serious accident and it changed his life. It was one of these things. And he apologized to me. I'll never forget it. And this does not happen in show business. It does not happen. And I said, thank you. Thank you so much for that. I said, and then I went into my spiel about being an actor. And that I, you know, you do the best job you can, whether you're doing Shakespeare, whether you're doing a show, or whether you're doing The A-Team. You do the best job you can. It is the same job if you're good and you love your work. It doesn't matter. You do the best thing, the best you put. You're not walking through it. I said, that's what we were doing. And we happened to be number one. And why did you rain on the parade? You know, I asked him and he gave me some explanations as to the the exigencies at the top of a TV network. And I, so at any rate, that that that's the experience. That's the beginning and end of that experience, really.[13:43] And I carry with me.   How did you cope with that fame? And you were what, 30, 32, so you weren't young, young. But still, when you're thrust into that level of publicity, how did that affect you personally and how did you cope with that? Well, you know, I was fortunate that I was working since I had been working since 69. I spent 13 years in regional theatre. I spent years in New York, three Broadway plays. I had a lot of experience. [14:17] Really, they walk in the boards, doing all the grunt work, getting there. And I, fame was not a, I was known and all my interests in theatre were to be, this is a joke actually, but never the same actor twice. I mean, that's it. You didn't want to do the same thing. And here I was, and I forced the idea that this actor, this character would be different in each episode, which the vice president of NBC said, that's the way you comb your hair differently. You should be the same. We want you to be polite on this. And I said, no, no, no, no, no, I don't wanna do that. I wanna be different in every show. And so I maintained, I think, because of the work that I had had. When you do the classics, when you're in, and I don't mean this, when you have the great opportunity to play a Shakespearean role. [15:22] You understand something about talent, about what goes into writing, brilliant writing, and then schlock writing. I mean, you see it all. And when you've been given that opportunity, There's a humility that hits you. So fame was never something that I wanted. I wanted to be able to – and I've had this ability. I've been able to go to a department store or take my daughter to a mall and not be recognized, which is – I'm telling you, I have worked with – I mean, I worked with Paul Newman and Paul Newman was, it was not a, he, he told me he couldn't go anywhere. He was a prisoner of his fame. [16:12] George Peppard was a prisoner of his fame. I mean, the closest I think I've ever gotten was somebody said, your voice sounds familiar, do you know my brother? I'll say, no, I don't know your brother. Then every once in a while, somebody recognizes you, but it's a curse. [16:33] It is a curse, really. If you have a family, if you want a family life, if you want privacy, which I think is necessary for survival in this business. I mean, I've seen a lot of actors drop to their knees and open cardboard tubes and pull drugs out. You know, and that's fame. And you ask them, that's it, it's driven. You know, you gotta have that fame, you gotta have that fame, you gotta. And it's not what I wanted. I really am a repertory actor, that's it. I'm a repertory actor. I spent one year in Houston, at the Alley Theatre in Houston, and it was one of the greatest years I've ever had. And I never wanted to leave. And someone told me, that's why you have to leave. I would have stayed there. I could have stayed there. But my agents all told me, you have to leave. You can't stay here, or your career will be over. And I said, but I love this. And they said, you won't love it when it dries up there. You know, you have to go to a bigger, a bigger yard in essence. But I'm really a repertory actor. That's it. [17:47] Your last I think your last TV role was 2001. I will get into the voice side later, but your last 2001. Why did, why did it end there? Was a personal experience? Was it just choice? Oh, yeah. No, it was a really a personal experience. It was CIA. 2001 was... [18:17] I went in for wardrobe fitting, and we were at the Memorial Cemetery, Veterans Cemetery down in Wilshire Boulevard, and that's where it was being shot. And I walked in, and this is nothing, I won't mention the name, I shouldn't have even said what the show was. Just someone in the wardrobe room. We were talking about 9-11. We were talking about what had happened in New York. I had a lot of friends in New York, of course, obviously. And she said, I don't have any connection to that. I don't know why everybody – I just don't have any connection to it, you know? She still connects? And she rubbed it off, you know? And I said, I mean, life was – rules were at that point not easy to come by, actually. And I said I can't do this, you know, I can't work. This to me was a sign, a sign from God. I'm not joking. You look for these things. This was a sign that this was the wave of the future. There was going to be a lot of denial and there was going to be, and it's complicated. I mean, I'm not judging anybody. [19:43] But for me, I had an opportunity to move into another direction, and I decided to do the other direction because I could be anybody, anything in voiceover work. Video games were just becoming big at the time, and the whole business was very big. And voice work was something that, as an actor in the theatre, I always did. If I couldn't find the voice of the character, I couldn't find the character. And so that was it. I mean, the fates came together at that time. And I was doing radio at the time on a fairly regular basis with a friend named Don Ecker. And I just moved in that direction. [20:36] I mean, there were opportunities there, but I knew things had changed at that point. Yeah, well, we'll get into that. I want to pick on being a conservative in the, the movie and TV industry, and that seems to be opposites. We've seen more and more, and I think it probably gets worse. And you're Roman Catholic, you're conservative. And what has been your experiences having a faith and also having a conservative belief? How does that fit into the showbiz industry? What has it been like for you? Well, going back, if you look at, [21:23] if you look at the world that we're in today, the Judeo-Christian world, which is, and I have to say if I have one criticism of modern Christianity prior to today, and I mean going back, because there's a lot of things I could say about today, which we will, I'm sure. But one of the things which always struck me me was about Christians, was their antipathy for the Old Testament, the Torah. It is Judeo-Christianity, and if a Christian doesn't understand that the Old Testament is their testament, there's, a problem. And they don't, indeed. In Bible study, the number of times that I heard Christians say oh, that's not my God. I want to get out of this. I want to get to my God. Well, that's two gods. [22:24] I mean, there is the Trinity, which is three gods in one, right? I mean, we do have that mystery, but we are monotheistic. And Christ's Old Testament was his Old Testament. He was here to fulfil the Old Testament. This is what he said, that it is the Father. You're speaking of your father. This is Christ's father and the Torah, the law as it was laid down is your law. It went on to the New Testament. [22:58] You know, and Catholics, I mean, I was raised a Catholic, and when I found out that it wasn't, thou shalt not kill, but thou shalt not murder, you know, the wheels begin to turn, and you try to think as best you can about these things. But there was a disconnect between the Old Testament in the New Testament. But that has to do with my criticism of my own faith. In motion pictures in the film industry, it was under attack, as it is today. Christianity is—and Judeo-Christian ethic, the West, everything that has been built through the Judeo-Christian ethic is under attack and they want to destroy it. [23:55] And basically at the very front of that is the communist wagon, and it always has been. And you can go back to 1918 or whatever and read about it, and they tried every which way from Sunday to do it, and they always failed, and now they've found another way of doing it. And they have succeeded by going after our children when we didn't know they were going after our children. But as Christians, we're pretending that it wasn't important to be mothers and fathers and the nuclear family really wasn't that important. Well, then why were they trying to destroy it? And why has it been number one? [24:35] Because and I'm going to say something else here in a second, which I'm pointing to, there's a quote. This is the technique that they have used, and you didn't know it, but you felt it all along. You felt this, but you didn't know it. [24:57] A quote by, it's attributed to Oscar Wilde. And I think it is his, I don't think, I don't think, I think it is his quote. And it is pithy and accurate and brilliant and beyond belief descriptive of everything. Everything in the world is about sex, except sex. Sex is about power. And boy, when I read that, I said, is this, did he really say this? Is it? And it hit me from every direction. The entertainment business in every which way is about sex. Novels, books, television, commercials, life itself, clothes, it's all about sex. And it goes back to God's edict to humanity. [25:56] Go forth and multiply. This is the power of procreation, is sharing in the power of creation. That power was given to all of us. We don't know, I mean, people have talked about it, but you don't, we don't know where that came from, except from God. And it is something to, what do we do with these gifts? Do we throw them away? Or do we say these are precious? [26:30] And you see by the people that you meet, those who recognize the gift and those who don't recognize the gift. And you are asked not to recognize it on a daily basis. And as a child, if you think back to your childhood when sexual urges, whether you're—and of course, I can't tell you what a woman goes through, but I can only tell you what a kid goes through—boy, when you're going through puberty, the whistles and gongs are going off, and you're you're having dreams at night and you can't stop it. [27:03] Everything is at the wrong moment and you're not purposefully thinking about it, but it's a force to be reckoned with. And you understand it as you grow older that this force is to bring you to someone else, to love, to have a family and to create the next generation and then everything changes after that. If you can contemplate that greatness, that extraordinary thing, and realize that the world seems to want to distort it, well, you realize the powers that are set up against Judeo-Christianity. And who say, we don't want the Ten Commandments, we don't want that Old Testament rag, we want freedom, free, and of course I went through that in the 60s and 70s in school, and I saw it. I mean, I was part of it in that it bounced off of me at every moment. And being a Christian, you stay in it. [28:10] I stayed in my Christianity. This is another tale. When I got to school, to college, I mean, I had 12 years of Christian education, right? I wanted to be an actor and I went to Towson University, which had a great theatre program. And it was the first time that I was in a purely secular environment. The thing that killed me was that everybody hated their parents. Everybody hated their parents. I mean, nobody wanted to, nobody had a good thing, I loved my parents. And I used to say, I used to have a long bus ride home and I used to sit in the bus looking out the window saying, why do I love my parents and I can't find somebody who loves their parents? What is that? Well, I can't say that I answered the question, but the answer was in the destruction of the family. [29:10] It was in the destruction, and it had started then. Not my mother and father. And then here's the next aspect, and I think that this plays a very big part in all the trouble we're having today. I never wanted to do something that shamed my parents, that they would be ashamed of. I felt shame. I still do. I feel shame. It was given to me by my mother and my father. Now, none of us are perfect. I know my mother wasn't perfect, my father wasn't perfect. I'm not perfect, but I feel shame and shame is rare. Now, look, I was listening to your podcast [29:58] with Father Calvin Robinson. Right.   Goodness, you make me blush. No, no. And no, but he said something. He said he said something about drag queens in the sanctuary. [30:19] I mean, we're talking about there's no shame if you do that. Before, shortly after, I guess we communicated, I went to here in Los Angeles, I went to the Church of the Nazarene in Pasadena, and I saw two, I don't know if you know these individuals, Dennis Prager, do you know Dennis Prager? Dennis is a Jewish scholar. I've been following him since since 1982, when I came to Los Angeles. He had a program called Religion on the Line, one of the great minds and thinkers of all time. In fact, many times after listening to him, I would say to myself, I'm a Jew. That's what I am, I'm a Jew. [31:05] And then there's Eric Metaxas, who is a Christian writer, thinker, and these two were in a program, an evening called ask a Gentile, Ask a Jew. And it was a great evening, two hours of just two brilliant people talking about the state of religion. What was the final outcome, sad outcome of the evening? Metaxas and Prager both came to the conclusion that we, organized religion, has failed us. It has failed us. The churches and the synagogues have failed us. They have not stepped up to defend their own dogma, their own beliefs. And we are left flailing, individuals almost. And we are struggling to connect, which is what you and I are doing right now. [32:08] I was dumbfounded by that, but at the same time, that's what I'm thinking. That's what I've been thinking for quite some time. And all of these things, you know, we are under attack from every direction. And in your own mind, what do you do? Do you throw it away? Do you say, well maybe I'm thinking the wrong thing. No, no, no, that is not the case. Because when you think about why our children, [32:47] and if you've seen this now, why our children are being told that they don't know what their sex is, Metaxas brought this up in the evening that this is one of those key cardinal points. You can see. This is a perversion of reality, because you know what the truth is. If you have a Supreme Court justice, as we do in the United States, who says, I can't define a woman, and that children, 10 year old children, 11 and 12 year old children, secretly, don't tell your parents the hallmark of a lie. Keep it secret. Don't tell anybody. Don't even tell yourself. [33:26] You know the hallmark of concealment, consciousness of guilt, everything that you know is, they are trying to tell you you know nothing and everything you know is not to be believed, but they are to be believed. That children, there are not boys and girls, that men can give birth, that there are, you know, these things that we, it's incomprehensible what's going on and it's all to destroy right from wrong. Well, that's because it's kind of, I look at it a different way. One is the difficulty of living in a society where evil is slightly different, where it's a slippery slope and it may be difficult to distinguish what you believe with something that's slightly different. But we see such a chasm now between what is true, what is right, and the collapse and degradation of society. So in theory, that means it is easier to be a Christian because it's easy to be distinct, because what you face is the opposite of what you believe. And and that's why it's curious and interesting to see churches going down this line whenever there's, [34:38] there's no question of what we see is the opposite of what is written in scripture. Oh, there's no question. You know what you're saying? You can be crushed. You know, you can be crushed at the same time. You have to deny so many things to accept what's going on. And yet you say to yourself, how do I stop it? The war that's going on in Europe at this moment. And this is why I love Bannon. I mean, I just, I adore him. I never got to, I would not, and I'll say this, Andrew Breitbart brought me out of the closet politically, really politically. I was doing a lot of things, but saying a lot of things that were in the basket, but he truly brought me out.   When was this? When was this? . This is a through also through Gary Sinise and friends of Abe. [35:48] Boy, this is this is in the, I have to say nine. I'd say 2000 to 2005, 2006. By 2008, yeah, I have to say around 2005, 2006. [36:09] I was like a Jew wandering in the desert alone and wondering where God was. And a friend of mine who I worked with on Fat Man and Little Boy, a film about making the atomic bomb, called me up, his wife was a casting director, and he said, you know there are conservatives just like yourself who get together on a regular basis. I said, no, I did not know that. He said, would you like to go to a meeting? I said, I would love to go to a meeting of other people. I went and it was Gary Sinise and Andrew Breitbart, and a lot of other extraordinary people who were all, and this is it, seeking, trying to make connections. And so Andrew said, you have to become public. He had big Hollywood and big, you know, all of, he had all of these big websites. And he asked me to write an article. [37:09] He heard me in private describe a situation that I was in, in which I was at the Williamstown Theatre Festival. I had just come back from working with Charlton Heston and I had a long discussion, which was just a wonderful discussion in the hallway at the Amundsen Theatre about Ronald Reagan becoming president, right? And this individual who was a big producer in Hollywood overheard me talking about Ronald Reagan, and he said, Oh, so you're a Reagan a-hole, you know? [37:58] And yeah, that's right. That's right. And I was, I got to tell you, I mean, this was a big guy at the theatre too, that I was working, and I went cold. I went cold. I said, yes. I said, you know, not as a, you know, and I pulled back. I was, you know, he was attacking me, obviously, with his language. And I was shocked. I was totally numbed. And I didn't want to continue with this discussion, because otherwise there would have been a blowout. But that was how in 78, 80, I understood that there was this chasm there. And [38:51] it only got worse as time went on. As I said, fortunate, it is not a zero-sum game. Fortunate there was for me, and I did have an audition for this producer. There was a writer there and a brilliant writer. We had a fallout, but he's just an extraordinary writer. His name is Tom Fontana. He wrote some very, it was St. Elsewhere, producer, writer for St. Elsewhere, The Wire, many wonderful programs. And he did not know about this problem that I had and invited me to read for a part called Fiscus in St. Elsewhere. And I walked in and there was this producer [39:37] who has passed away since now. And Breitbart wanted me to write about him. And I did, and I regretted it, but I don't regret it. But anyway, so I walked in and he was there and he said, oh, what are you doing here? And to this audition, and I said, I'm here to read for the part of Fiskars. He said, it's not gonna be a Reagan blank hole on my show. So you know what that audition was like, right? You know, I mean, and I walked out and I just, I said, God, is this going to be it? You know, is this the way it's gonna be? And at any rate, so, but I finally did write this article about him and I lost a lot of friends for writing it. And then at the same time, and I was one of the first actors for Breitbart to use my name. This was what he wanted because a lot of pseudonyms, writing for Big Hollywood, And which I understand, please, I did not do this, I did this [40:40] for personal reasons, but not because I'm brave or anything of that nature. I just was at the point where I was going to tell the truth. This is the way it's done. And you are excluded on a cocktail napkin. And that cocktail napkin is sent around to other producers and you're excluded. It is not a zero sum game because there was Stephen J Cannell and he hired me. [41:03] But the majority of people will not, unless, of course, you bring in 30 or 40 million dollars over a weekend. And then they'll hire you. But the attack on Judeo-Christianity, the attack on conservatism, which is a hallmark of Judeo-Christianity, is now at its height. It's never been greater than it is today. Well can I, you're obviously being a Christian, being a conservative within an industry within the workplace, but then you had your podcast, then you're doing, you mentioned Breitbart on the Glazov Gang, that's something different. You're stepping outside and actually you're much more public. I mean was that a conscious decision to actually begin to use radio, use the internet, use TV and speak of these issues as a Christian and conservative. Yes, absolutely. And the reason for that was I, you know, if you're, [42:13] make a point, like I would not, as Murdock from The A-Team, go out and evangelize. I wouldn't go out as Murdock from The A-Team, vote for. Right? [42:34] You're taking something that is not related and you're trying to use it to get somewhere. Where it's not as, to me, as honest as separating yourself out, creating a podcast, creating another world. This is where I talk politics. This is where I talk my personal life, my personal beliefs. This is where I do it. And so you come to me and then we go out from there. And I associate with people who talk about religion, and I associate with people who talk about politics, and I talk it there in that realm. [43:19] There's obviously a mixture. You can't divorce yourself from who you are and what you've done, and I don't. But I've never hidden my religion. I've never hidden my Christianity, as some people do. That's not the way to do it either. Yes, I am a Christian. I'm a Judeo-Christian. I believe in the Old Testament and the New Testament. And it's, for me, not a contradiction in terms. And so I express it that way. I express it here on my own podcast when I had it. And if ever anybody wanted to talk about it, I was willing to do it. And I attended every event, and with Jamie and [44:10] the lovely Anni Cyrus, that was just wonderful. That was absolutely wonderful. I went to a David Horowitz retreat, where I met Jamie. I had the great fortune, an opportunity to speak at a Freedom Concert event. Many of my public heroes were there from various political websites. And I got to meet them. And that's where I met Jamie. And he invited me on to engage with him on his program, the Glazov Gang. It's so funny. But, you know, and I met just so many fabulous people. And there are so many things right now, which I see things now and can talk about things that I couldn't prior to coming out with Andrew. And that, of course, is Bannon's big thing, Andrew. Andrew, I mean, he's – and Andrew changed – just brought the world together. I mean, his vision, his understanding of what was really going on was unique. And he was right into – he was dead on about everything. And I still don't agree with most of his friends. [45:38] I have very dark feelings about what happened to Andrew, even though I know he had a heart problem. But when the, I mean, you know what I'm talking about. I don't want to get into that aside, but I know the darkness that's out there and a voice like his had to be stopped. And they don't stop at anything. They don't. And we have now been witness to it in the United States for five or six years. Nothing stops them. Nothing. And they will lie to your face. They do not care because they are the voice of something that is dark. [46:20] That's not a knife you feel in your back. That's me scratching it. Oh, but I feel blood. No, that's not blood. You know, that's it. That's it. Can I finish off with your voice? Now, it is always wonderful to have a guest coming on and the sound is absolutely beautiful, crystal clear. You're coming through. Obviously, your voice is your how you make your your living now. And you've you've moved away from being kind of front of the camera to doing voice. Tell us what that is like, because it means you talked about fame and that means you're not recognized. It is your voice. And I remember watching, you were the one who, again, using your voice in all different ways, even back as in The A Team. But tell us about, how that works in the industry.   Well, in the industry, it doesn't. You have to be very fortunate. One of the first casting directors I ever met was Sylvia Gold, was her name. And she met with me, my first agent introduced me to her, and she said. [47:36] Oh, darling, she said, you don't understand. No one wants to hear that stuff. That's in the theatre. They want to hear you. They want to hear your voice. It's your voice that's important. And I said, no, it's not. I said, that's not what it's not. You know, I'm a vampire. I'm a thief. I listen to other people. I'm a mathematical idiot. And God gave me this ability to hear people's voices. And I said, I remember being seven years old. I was about seven years old, and I remember the first impression I ever did, which was, James Mason in 20,000 Leagues Under the Sea, he had a line, it was, I am dying now, and the Nautilus is dying with me, present as him. And I said this out loud to myself, I am dying now, and the Nautilus is dying with me. And the more I did it, the closer I got. And I would spend time, and I became an Anglophile, and I started listening to Richard Burton and Peter O'Toole, and I found that if I put headphones on, their voice came from the middle of my head, and I could steal from them. I could do impressions of their voice, and even if it wasn't perfect. [48:52] It became another voice, another character. And I began to identify with my relatives that way. I started doing impressions of my relatives and they did not like it. And I started doing impressions of my teachers at school and the kids liked it, but the teachers didn't like it if they heard it. And that's how it started. And I just had an ear for people's voices and dialects in the United States. And that's it. And in terms of, well, if I'm coming across crystal clear, That's because somebody recommended this microphone, the Heil PR-40, which is a dynamic microphone. Most people are wedded to very expensive condenser mics. But this is a rejection, it's a cardioid. People can open the door and come into the room and you won't hear it, you'll just hear me. Art Bell used this mic and he was always extolling the virtues of this mic, and I listened to him. And so, you know, and it's inexpensive, comparatively speaking, so it's available. [50:04] And so I, but I have spent years studying and recording people's voices and listening to them and trying to reproduce them. And one of the great thrills in my life was, I was, I knew somebody who was intimately involved with Laurence Olivier. [50:29] Peter Shaffer, and he wrote Amadeus, right? And he was just an absolutely spectacular man. And he gave me the play Amadeus to read before it was on Broadway and in Great Britain. And he was just a sweetheart of all sweethearts anyway. So I went into a bathroom and I did my impression of Olivier doing the Othello chamber scene. And I gave it to someone who was with Peter and asked them to listen to it to see if I caught any of it. And he said, this friend said, Shaffer listened to it and said, well, he said if Larry was very, very sick. But it was, you know, it was one of those, I, God, to have, you know, I, I, I think I listened, I don't know, I can't, I can't repeat anything that I've ever done myself, but I, I think I listened to the chamber scene from Othello, Olivier's Othello a thousand times. And that's how you learn when you're a young kid. That's how you learn. And you say, oh, my God, every comma. I followed it along, and he followed the text. [51:49] Amazingly, he followed the text and was dead on. And those are the kinds of things that I became very attuned to people's voices, and recorded them. And I have a lot of recordings and sometimes I still listen to Burton's Hamlet. And Gielgud, of course, directed it. [52:21] And it was considered a disaster on Broadway, but there's some great, there's just to capture, it is a miracle that I can sit here and listen to people who have passed away as if they're in my room. It is, it is a miracle, a technical miracle, but a miracle, or listening to the great choruses, motion picture choruses from 1958 and 60, and I listen to these grand voices, and I say, most of these people are not here now, But I'm listening to them and I get emotional about it. So anyway...   You've also embraced just finally about. I think I looked through and you've done the voice for like 100 video games. Well, yeah, I guess that's just if you're you're good at something, then that can be used across different, different industries. Oh, exactly. and video games are bigger than motion pictures now. And the hardest thing I was ever asked to do, and we were asked to do this periodically, you know, these great actors, right? [53:31] Sir Ian McKellen, Patrick Stewart, right? Those two individuals. Do impressions of both of them, to do them in the same thing. They were in X-Men, right? So I can't do them because they're so close. And you just do. You're asked to do it. They can't make it to do a pickup, right? So they ask an actor to come in and do a line, half a line. That's it. I can't do Ian McKellen and Patrick Stewart at the same time. But I can't. I can't do it because they're too close. And yet they're different. But I have not been able to. I mean, you know, you in Ian McKellen with Bilbo Baggins, you know, he's called the essence. [54:19] Patrick is done it. Patrick is down there, too. But I can't do them together. I cannot do them together. I have to do them separately. And Patrick is he was a delight, by the way. Very liberal, very liberal. But one of the great things about Star Trek is my greatest experience that I've had in Hollywood, because there was little to no politics on that set, and everybody was a delight to work with. Everyone, absolutely everyone. And walking around on the great Paramount lot was a thrill. Anyway, sorry, I'm getting side-lined. I loved all those people. I did. I really did. Dwight, I so appreciate you coming on. It's absolutely wonderful to speak with you and hear about your experiences in the industry. So we really do appreciate your time today.   Well, it's my pleasure and I am very grateful. It's been a long time since I've done anything like this.   Oh, maybe it'll become more regular. Well, thank you, Peter.   Thank you so much, Dwight. Thank you.   Bye-bye.

Pour cette reco du weekend, on commence à retourner dans le passé avec des titres cultes, pas tout à fait récents. Cela fait maintenant un mois que Paramount+ a débuté en France, il est encore temps de profiter des sept jours d'essai gratuits pour tester ces trois séries incontournables. Blue Bloods Blue Bloods est une série qui fait son bout de chemin avec 10 saisons qui courent toujours. Le drame de CBS a redonné un nouvel élan de carrière à Tom « Magnum » Selleck. Se déroulant à New-York au sein de la famille Reagan, policier de père en fils, vous assisterez à la corruption, aux crimes et à la pression familiale de par leur situation. La formule CBS est tout de même respectée, il y a un aspect gentillet dans Blue Bloods qui peut faire rager malgré des affaires qui montrent la dualité des hommes. En effet, la série cherche à donner une morale positive aux spectateurs, qu'il faut avoir des principes à respecter même si on n'a pas toujours ce qu'on veut dans la vie. Cela fait une présence familière et familiale avec des personnages attachants auxquels on se raccroche comme à un phare en plein milieu de la nuit. Les acteurs sont excellents et les histoires de vie ne décrivent pas la police comme toute rose. https://youtu.be/bwaCTpIhHfM Oz Les six saisons d'Oz sont également disponibles sur Paramount+. Considérée comme l'une des OG des séries de criminels sur HBO, Breaking Bad ou Sur écoute pourraient passer pour des petits joueurs à côté. Bienvenue à Emerald City (ou le centre pénitencier Oswald), une zone expérimentale de la prison créé par Tim McManus qui souhaite améliorer les conditions de vie des détenus. Or, dans cet univers se recrée une société terrifiante où dominent la haine, la violence, la peur, la mort. Du jour au lendemain, tout peut basculer, de ses libertés à sa propre vie. La violence est vraiment omniprésente (d'ailleurs la série est interdite aux moins de 16 ans) mais pourtant elle parait naturelle dans un tel milieu. Créée en 1997 par Tom Fontana (probablement à ce jour sa série la plus connue), aujourd'hui encore les thématiques semblent toujours d'actualités avec cette violence, ce racisme et cette politique de plus en plus obstinée. Nurse Jackie Souvent considérée comme le pendant au féminin de Dr House, Nurse Jackie Peyton est une infirmière urgentiste expérimentée qui est aussi une droguée. C'est en 2009 que sort une nouvelle série médicale sur laquelle on ne misait pas forcément dans un paysage télévisuel où Urgences touchait à sa fin, Grey's Anatomy avait conquis les cœurs et Dr House était le petit prodige fraîchement arrivé. Jackie est accro aux anti-douleurs mais aussi au travail, elle passe sa vie aux urgences. Edie Falco trouvait un personnage sur mesure pour elle après son rôle inoubliable des Soprano. La dramédie a aussi été un tremplin pour Merritt Wever qui a décroché de nombreux autres rôles après la fin de la série dont Unforgettable. Jackie navigue dans sa vie dans le flou et contrairement à d'autres personnages, n'a pas envie forcément de se reprendre en main. Pourtant les aléas vont faire en sorte qu'elle change, tout en impactant ses collègues. https://youtu.be/aDFZhixDfxU Blue Bloods, Oz et Nurse Jackie ont chacun marqué les séries à leur manière et il serait dommage de passer à côté alors qu'elles sont toutes dispos sur Paramount+.

Nina K. Noble, is an American television producer. She was an executive producer for The Wire.Before entering television she worked extensively in film. Initially she was a production assistant and then became a second assistant director after joining the Directors Guild of America in 1984.[1] She worked as a freelance assistant director for ten years and worked with several notable film-makers including Alan Parker, Paul Mazursky, Ron Shelton, Stephen Frears, Paul Verhoeven and Ivan Reitman.[1] In 1995 she began producing and production managing television projects for Barry Levinson and Tom Fontana.[1] They introduced her to writer David Simon in 1999 when he was developing his book The Corner: A Year in the Life of an Inner-City Neighborhood for the HBO network.[1] She collaborated with Simon and Robert F. Colesberry to produce the Emmy award-winning The Corner for HBO.[1]Noble continued her collaboration with Simon and Colesberry on their next project The Wire. She was involved from the beginning and was credited as a producer for the show's first season.[2] She retained her role for the show's second season and her credit was upgraded to co-executive producer.[3] For the third and fourth season she was credited as executive producer alongside Simon.[4][5] She continued in this role for the fifth and final season.[6]Noble is married to David Noble. Her brother, Michael Kostroff played defence attornery Maurice Levy on The Wire.[7][8] She has two sons, Nick and Jason.photo creditThe Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. SPONSORSDoubledutch Boutique: Boutique featuring a curated selection of modern, retro-inspired women's designer clothing. Check out the shop's gifts for holidays for him/her, including items from local makers and new modern lines from abroad and as well as vintage treasures by going to doubledutchboutique.com SPONSORSDoubledutch Boutique: Boutique featuring a curated selection of modern, retro-inspired women's designer clothing. Check out the shop's gifts for holidays for him/her, including items from local makers and new modern lines from abroad and as well as vintage treasures by going to doubledutchboutique.com ★ Support this podcast ★

Dusty and Dale talk with Tom Fontana, Director of Research and Education for the Ohio Soybean Council, about the GrowNextGen Project. Then, Dale Catches up with John Motter to discuss high oleic soybeans. Peter Gehres, of Jeff Martin Auctioneers, chats with Matt about an auction outlook. All this and more thanks to AgriGold!  00:00 Intro and OCJ/OAN Staff Update  10:04 John Motter - High Oleic Soybean  11:52 Peter Gehres - Jeff Martin Auctioneers  26:39 Back with Tom Fontana 

“Piuttosto morire che il disonore” queste le parole che Anne di Bretagna ha voluto venissero aggiunte al motto già esistente dell'ordine cavalleresco della sua terra. Una donna caparbia e orgogliosa, che a lungo, troppo a lungo, è stata alla mercè del gioco di potere degli uomini attorno a lei, ma che per le sue forti convinzioni è diventata un simbolo di resistenza. Rivendicata, abbandonata, riscossa. Il destino di questa donna è stato per tutta la sua vita legato a doppio nodo alla terra che rappresentava: la Bretagna. Nelle epoche successive alla sua morte la sua figura è stata più volta presa in causa e le sue vicende cambiavano sempre a seconda delle necessità di propaganda. Forse non sapremo mai chi sia stata veramente Anne di Bretagna, ciò che però sappiamo è che l'amore verso la sua terra e la forza con cui ha voluto proteggerla le hanno garantito un posto nella storia. Sitografia: -       https://it.wikipedia.org/wiki/Anna_di_Bretagna -       https://www.valledellaloira-francia.it/castelli-della-loira/il-castello-dei-duchi-di-bretagna-museo-di-storia-di-nantes/da-non-perdere-il-castello-di-anna-di-bretagna -       https://www.rotaryclublorenzoilmagnifico.it/anna-di-bretagna-e-carlo-viii/ -       https://www.valledellaloira-francia.it/castelli-della-loira/castello-e-parco-di-langeais/curiosita-il-matrimonio-della-pace -       https://www.ilfoglio.it/gli-inserti-del-foglio/2016/08/22/news/viaggio-nel-castello-dellamore-potere-e-tradimenti-103052/ -       https://www.morbihan.fr/actualites/qui-est-anne-de-bretagne -       https://fr.wikipedia.org/wiki/Anne_de_Bretagne -       https://fr.wikipedia.org/wiki/Cadi%C3%A8re_d%27Anne_de_Bretagne -       https://www.collegeannedebretagnerennes.ac-rennes.fr/spip.php?article158 -       https://patrimonia.nantes.fr/home/decouvrir/themes-et-quartiers/anne-de-bretagne.html -       https://francearchives.fr/fr/pages_histoire/38675 -       https://it.frwiki.wiki/wiki/Trait%C3%A9_du_Verger -       https://it.frwiki.wiki/wiki/Anne_de_France -       https://www.herodote.net/19_aout_1488-evenement-14880819.php -       https://www.persee.fr/doc/shf_0000-0000_1904_num_5_1_1000_t2_0179_0000_13 -       https://www.histoire-pour-tous.fr/histoire-de-france/3949-jeanne-de-france-1464-1505.html -       http://www.causesanti.va/it/santi-e-beati/giovanna-di-valois.html -       https://www.studenti.it/carlo-8-francia-vita-pensiero-politico-discesa-in-italia.html -       https://it.wikipedia.org/wiki/Luigi_XII_di_Francia -       https://fr.wikipedia.org/wiki/Ordre_de_l%27Hermine_(Bretagne) -       https://it.frwiki.wiki/wiki/Ordre_de_l%27Hermine_(Bretagne)   Bibliografia: -       P. Tourault, Anne de Bretagne -       M. Nassiet, Anne de Bretagne : Correspondance et itinéraire -       C. L'Hoer, Ane de Bretagne: Duchesse et Reine de France -       R. Gaston, “Anne and Charles: Passion and Politics in Late Medieval France. The Story of Anne of Brittany's Marriage to Charles VIII -       R. Gaston, “Anne and Louis: Passion and Politics in Early Renaissance France. The first years of Anne of Brittany's Marriage to Louis XII -       R. Gaston, “Anne and Louis Forever Bound: The final years of Anne of Brittany Marriage to Louis XII of France Filmografia e Serie TV -       “I Borgia” di Tom Fontana, stagione 2 episodi 7, 8, 9 e 10 -       “Isabel” di Jordi Frades

Welcome to Part II of our conversation with Chap Taylor. Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Next Chapter Podcasts presents How I Got Greenlit, a new podcast hosted by the Creator of HBO's Project Greenlight Alex Keledjian and Emmy Award Winning Producer Ryan Gibson, exploring how our favorite films got made and how they made our favorite filmmakers. Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film. In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. HBO Max will stream the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in January 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Edgar Camey, Audio Editor Pete Musto, Editor Robert Cappadona, Producer Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts.

Chap Taylor has written screenplays and television pilots for all of the major Hollywood studios. He's worked for such producers as Brian Grazer, Scott Rudin, Irwin Winkler, Arnold Kopelson, and for directors Wes Craven and Ridley Scott. He co-wrote the Paramount feature film Changing Lanes, starring Ben Affleck and Samuel L. Jackson, as well as uncredited work on National Treasure, Behind Enemy Lines and the remake of the horror classic, The Omen. Chap created the comic book series Haunted City and (in 2021) is currently adapting it into a television series for producers Tom Fontana and Barry Levinson. He served as Consulting Producer on the NBC/Sony Pictures Television drama The Blacklist and wrote episodes #407 and #414. In features, he most recently re-imagined the classic John Ford western The Man Who Shot Liberty Valance for producer Matt Jackson at Paramount. He is currently (in 2021) developing projects with eOne, Doug Liman's production company Hypnotic, Levinson/Fontana Television and Jay Carson, creator of The Morning Show. Chap Taylor IMDB Twitter Next Chapter Podcasts presents How I Got Greenlit, a new podcast hosted by the Creator of HBO's Project Greenlight Alex Keledjian and Emmy Award Winning Producer Ryan Gibson, exploring how our favorite films got made and how they made our favorite filmmakers. Alex Keledjian Alex Keledjian is the creator of Project Greenlight, a documentary television series where executive producers Matt Damon and Ben Affleck gave first-time filmmakers a chance to direct their first feature film. In 2018, Alex wrote and directed the film High Voltage starring David Arquette and Luke Wilson. Ryan Gibson Ryan Gibson is an Emmy-award winning producer of such films as the critically acclaimed Woe and the upcoming film Slotherhouse. He has worked for over twenty years in all aspects of film development and production. HBO Max will stream the latest season of the Emmy-nominated TV series Project Greenlight from executive producer Issa Rae and Miramax Television in January 2023. How I Got Greenlit Instagram Twitter Podlink Credits Alex Keledjian, Host Ryan Gibson, Host Edgar Camey, Audio Editor Pete Musto, Editor Robert Cappadona, Producer Jeremiah Tittle, Producer Experience more of How I Got Greenlit via ncpodcasts.com For guest inquiries, sponsorships, and all other magnificent concerns, please reach How I Got Greenlit via howIgotgreenlit@gmail.com For inquiries and more information on Next Chapter Podcasts info@ncpodcasts.com New episodes go live every Tuesday. Please subscribe, rate & review on Apple Podcasts, Spotify, Stitcher, wherever you listen to podcasts.

In this Best of Voice of Soy, brought to you by Ohio soybean farmers and their checkoff dollars, Tom Fontana, director of programs and development for the Ohio Soybean Council Foundation says one of the most important investments they make is in their scholarship program.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Investing in plant research helps farmers increase yields, reduce costs, protect the land and water, and maximize return on investment.In this Voice of Soy, Tom Fontana, director for research for the Ohio Soybean Council shares why investing soybean checkoff dollars matter.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“So, the end is here, eh?” Devlin remains in a stable condition following Clayton's attempted assassination, forcing Leo to face the press and make a crucial decision. Mobay is tasked with finding the illusive Cecil Brand, whom The Trustee's suspect as being Oz's undercover narc. Augustus however has his own suspicions as to the narc's identity, something which could place the entire Undercover Operation in jeopardy. Despite receiving her Release of Commitment document from The Church, Pete continues to go back & forth on her decision whether to leave The Convent. A chance meeting and some wisdom from an unlikely source could make it for her though. Everything's coming up roses for Busmalis as he and Rebadow bury the hatchet and following a successful letter-writing campaign is finally off to meet with Miss Sally…or does he? As Em City's foundations begin to crumble, Ryan and Keller hatch a plot to cause friction between Adebisi, Supreme and Querns. As Said puts his plan to bring down Adebisi into motion, Poet informs him about Adebisi's hobby for videotaping his depraved antics. In order to retrieve the crucial evidence, Said must get into Adebisi's pod, an arrangement with consequences which will alter Oz forever. Also on this episode: A brief history of TV's You Bet Your Life, Mondo develops an attitude towards The Trustees, Tom Fontana gets naked, Miss Sally's Schoolyard beats out the NBA, Beecher gets acquainted with a Desk, Keller rambles on about his Vegas Honeymoon, Ryan's mysterious scar sends me back to previous episodes and an announcement regarding the upcoming Series 4(B). All of this and more on the Series Finale of Inside Oz as we look at Series 4(A) Episode 8, You Bet Your Life. Follow the show on Instagram & Twitter - @insideozpodcast Email The Show – insideozpodcast@gmail.com #InsideOz ‘Memory' Instrumental Cover performed by Musical Theater Accompanist ‘Oz Actor Gano Grills Claims to be God, Starts Cult Called Galighticus' – Be Scofield, December 18th 2018 - https://gurumag.com/oz-actor-gano-grills-claims-to-be-god-starts-cult-called-galighticus/

Welcome to The Sunday Turnaround! In this weeks episode Sam Jefferson chats with UVM's Alcohol and Drugs Initiatives Manager Tom Fontana about his journey to becoming a counselor (4:37), parenting during the social media era (24:15), and finish off chatting about whether Tom would reincarnate as a dog or cat (38:15). If you have any suggestions for next week's guest feel free to DM @turtlejetpodcasts on Instagram. Enjoy!

The Ohio Soybean Council Foundation advances science and education in the soybean industry.In this Voice of Soy, Tom Fontana, director of research and director of programs and development for the Ohio Soybean Council Foundation details some of the programs the foundation funds.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Rebecca Chaiklin contacts us about doing a big cat version of Blackfish Hi Carole,  A phone call from a lady named Rebecca Chaiklin, a feature film producer.  She's doing a feature documentary on the wild life trade and is interested in coming out to BCR to film and interview you.  Her contact info is RebeccaChaiklin@gmail.com 917-439-6639. Call came in on 7/16 at 11:30 am. Diana Rao - Sent from my iPhone.    Fisher Stevens, The Cove Movie, RealTVfilms coverage of the Kat Kramer's screening of "Films That Change The World" at Bronson Studios Hollywood. Distributed by Tubemogul.  URL: http://www.celebritynetworth.com/watch/jzHVGUC9w-s/fisher-stevens-cove-movie-realtvfilms/   Academy award producer (The Cove) and actor Fisher Stevens and producer/director Rebecca Chaiklin are in Berlin film Festival after Sundance to present their new documentary ANOTHER WORLD.  Rebecca was both Director and Producer on The Party's Over (Last Party 2000), a feature documentary on the 2000 presidential election starring Philip Seymour Hoffman, which premiered at the Locarno Film Festival in Europe and SWSX in the US - and was released theatrically in over 30 cities around the US, as well as both theatrical and television broadcast throughout Europe.   Rebecca is the Producer on Poster Boy, an independent feature which premiered at the 2004 Tribeca and Locarno Film Festivals. Rebecca was the Producer on Men Make Woman Crazy Theory, a Zoe Cassavettes directorial debut, which premiered at the Sundance Film Festival, and broadcast on Shotime.   Rebecca was the Producer on Hardball, a feature documentary on the first series of baseball games between the Cuban National Team and MLB, The Baltimore Orioles, Produced by Barry Levinson and Tom Fontana. Chaiklin was the Producer on Midnight in Cuba, a feature documentary chronicling the hopes and dreams of Cuba's younger generation, which premiered at The Berlin International Film Festival.   Currently Chaiklin is finishing The King of Soho, as both Director and Producer, a documentary film featuring Michael Pompa, an older Italian-American man who lives in New York City and has not travelled outside of 8 square blocks in over 54 years. Chaiklin is also directing a film on the war on drugs and hip-hop impresario Russel Simmon's campaign to reform the Rockefeller Drug Laws.  Rebecca asked for photos of me which ultimately led to a scrapbook about my mom in Dec 2018.   Hi, I'm Carole Baskin and I've been writing my story since I was able to write, but when the media goes to share it, they only choose the parts that fit their idea of what will generate views.  If I'm going to share my story, it should be the whole story.  The titles are the dates things happened. If you have any interest in who I really am please start at the beginning of this playlist: http://savethecats.org/   I know there will be people who take things out of context and try to use them to validate their own misconception, but you have access to the whole story.  My hope is that others will recognize themselves in my words and have the strength to do what is right for themselves and our shared planet.     You can help feed the cats at no cost to you using Amazon Smile! Visit BigCatRescue.org/Amazon-smile   You can see photos, videos and more, updated daily at BigCatRescue.org   Check out our main channel at YouTube.com/BigCatRescue   Music (if any) from Epidemic Sound (http://www.epidemicsound.com) This video is for entertainment purposes only and is my opinion.

A look back at the groundbreaking series OZ, which debuted in 1997 as HBO's first original one-hour drama. In this special ATX retrospective, creator Tom Fontana and cast members Terry Kinney, Lee Tergesen, Dean Winters, Harold Perrineau, and Kirk Acevedo reflect on the show's creative and cultural impact, their favorite on-set memories, and the enduring friendship that resulted. This panel originally aired on June 14, 2021, as part of ATX TV Festival Season 10. PANELISTS:Tom Fontana (Creator/EP)Terry Kinney (Director/Cast)Lee Tergesen (Cast)Dean Winters (Cast)Harold Perrineau (Cast)Kirk Acevedo (Cast)MODERATOR: Eric Deggans (NPR)SUBSCRIBE to our ATX TV YouTube Channel for more panels, conversations & events with your favorite TV creatives and casts.Follow ATX TV: @ATXFestival on Twitter, Facebook, and InstagramFor more information on ATX TV Festival, visit: atxfestival.com

Host Dan Wilson is joined by Tom Fontana, Director of Research and Education with the Ohio Soybean Council to discuss GrowNex Gen - designed to work with teachers to make the connection of science and agriculture in their classrooms.soyohio.orggrownextgen.org

Host Dan Wilson is joined by Tom Fontana from the Ohio Soybean Council to discuss GrowNextGen that brings agriculture science to the classroom by providing real-world educational tools to engage the next generation workforce. Also Brent Maas from Wilson Trailers to discuss their goose-neck stock trailer products and the history of the company as well as their relationship with Midway Trailers & RODOC here in Ohio.

本期主播：狂人 | Dio这一期，与友的聊主播Dio联播。文稿隔日发布。本期书单：凶年 Homicide：A Year on the Killing StreetsHBO的内容战略 Inside the Rise of HBO : A Personal History of the Company火线宇宙（大卫·西蒙）其他作品片单：1 Homicide: Life on the Street (NBC, 1993-1999 - creator, developed by Tom Fontana)情理法的春天2 The Corner (HBO, 2000 - co-created with Ed Burns, developed with David Mills.)街角3 Generation Kill (HBO, 2007 - developed with Ed Burns)杀戮一代4 Treme (HBO, 2010-2013 - co-created with Eric Overmyer)劫后余生5 Show Me a Hero (HBO, 2015 - developed with William F. Zorzi)黑色乌托邦6 The Deuce (HBO, 2017-2019 - co-created with George Pelecanos)堕落街传奇7 The Plot Against America (HBO, 2020 - developed with Ed Burns)反美阴谋Michael Kenneth Williams相关Viceland Black marketsBlack Market with Michael K. Williams（2016）How i met your mother S8E08 Lily致敬OmarBoston Legal 波士顿法律 S2E09Anthony Bourdain: No Reservations S5E13 Felicia 'Snoop' Pearson当集嘉宾

本期主播：狂人 | Dio这一期，与友的聊主播Dio联播。文稿隔日发布。本期书单：凶年 Homicide：A Year on the Killing StreetsHBO的内容战略 Inside the Rise of HBO : A Personal History of the Company火线宇宙（大卫·西蒙）其他作品片单：1 Homicide: Life on the Street (NBC, 1993-1999 - creator, developed by Tom Fontana)情理法的春天2 The Corner (HBO, 2000 - co-created with Ed Burns, developed with David Mills.)街角3 Generation Kill (HBO, 2007 - developed with Ed Burns)杀戮一代4 Treme (HBO, 2010-2013 - co-created with Eric Overmyer)劫后余生5 Show Me a Hero (HBO, 2015 - developed with William F. Zorzi)黑色乌托邦6 The Deuce (HBO, 2017-2019 - co-created with George Pelecanos)堕落街传奇7 The Plot Against America (HBO, 2020 - developed with Ed Burns)反美阴谋Michael Kenneth Williams相关Viceland Black marketsBlack Market with Michael K. Williams（2016）How i met your mother S8E08 Lily致敬OmarBoston Legal 波士顿法律 S2E09Anthony Bourdain: No Reservations S5E13 Felicia 'Snoop' Pearson当集嘉宾

Rich Halke and William Lucas Walker joined me to talk about their influences (William - Dick Van Dyke & Gilligan's Island and Rich HBO Comedy Hours); family members and friends who are funnier than you; Rich Rosenstock; David Lloyd & Jay Sandrich; how writing for The Jackie Thomas Show got William a job on Roseanne; Norm MacDonald; the Gilligans Island - Roseanne mash up; starting Sundays at 7; Rich meets Carmen Finestra; Eddie Maxwell; Fred Fox Sr,; George Balzer; Sidney Resnick and the importance of family; bringing a baby to the Friars Club; Leonard Stern; Carl Reiner tells many stories, one about Danny Simon's sons head size; Treva Silverman; the genesis of The Mary Tyler Moore Show; Treva saves the day on MTM many times and gives great notes; Bob Carroll and Marilyn Pugh Davis; Korby Siamis & Tom Fontana influence Bill; Rich helps start the Television Academy Interview webpage; William talks about working with June Lockhart & Milton Berle; William's Frasier episode Roz's Krantz & Gouldenstein Are Dead; James Earl Jones; Irma Kalish writes Maude's abortion, Bob Newhart nixes one on his show; Garry Marshall; Michelle Pfeiffer's hands; Ed Asner; David Lloyd saves Frasier; Allan Burns, Treva Silverman saves Kathleen Turner; Home Improvement's pilot; casting decisions; Michael Fishman; Glenn Quinn; how to write a spec script; what these dinners mean to them. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week The TV Boys sit down to discuss J.K. Simmons. He has been in so many fantastic TV shows that we’re only able to mention a fraction of them. One of our favorites is his performance as Howard in Counterpart, as well as Howard in Counterpart and no, that’s not a typo. Check it out!

For Video Edition, Please Click and Subscribe Here: https://youtu.be/9axD5iVMmZM https://www.facebook.com/steven.wishnoff The extent that he grew up at all, Steven Wishnoff did it with a colorful, extended family in Rockland County, New York. His early obsession with musical theatre and classic television made him a prepubescent entertainment nerd. At 15, a close family friend who owned the Apollo theatre, gifted him with his first piano.  The pursuit of a BFA in acting for Musical Theatre led him to productions in dozens of regional theatres, tours and of course in NYC (a couple of la Cage aux Folles, a few Chicago’s, a bunch of South Pacific’s and others plus Howard Crabtree's Whoop Dee Doo). Others might have retired after doing a drag strip tease for Mike Nichols while singing I’ve Got To Be Me, but not Steven. Steven voiced The Crimson Chin Shorts (Nickelodeon- Fairly Odd Parents), the daily horoscope reports for AT&T, and many commercials.  And then there was a five-year-run on Tom Fontana’s OZ for HBO where he worked with many of his idols from Broadway. As a writer, Steven wrote the LA Emmys for 5 consecutive years. He was the Creator/Executive Producer of the pilot/web series "Life Interrupted" (released 2/14/16) that stars Mason Reese, Alison Arngrim, Dawn Wells, Erin Murphy, Robbie Rist and Michael Learned. The show garnered nearly 20 Festival Awards including Best Web Series at The San Pedro International Film Festival, and multiple awards for the Principal Actors, Direction, Editing. 

As far as we can tell, TV writer Kevin Deiboldt sort of just fell into the whole TV writing thing. He took a theater class in high school “on a whim” and met Pat Kautter, “one of those teachers who changes the trajectory of your life (whether you know it or not).” This trajectory led to an education which exposed him to all aspects of theater creation, from acting to set design to running the box office. Eventually this same trajectory landed him an apprenticeship under legendary television creator Tom Fontana and spawned a wonderfully eclectic career writing on shows like “Copper,” Borgia,“ “Kevin Probably Saves the World,” and currently “The Walking Dead.” When it comes to storytelling and making art, what Kevin cherishes the most is the collaboration. Kind of makes sense when you think of how he got to where he is. Tune in (Cardigan optional). #theDopeShit Radio Zamunda is on all the podcast platforms. Like and subscribe. You can email us at RadioZamunda@gmail.com Music “Time's Up” (Moodswing9 Remix) -O.C. “Seasons (Waiting on You)” -Future Islands “Thriller” -Michael Jackson “Brand New Day” -Ryan Star --- Send in a voice message: https://anchor.fm/radio-zamunda--podcasts/message

I found Justin's reporting to be clarifying and insightful amid the murkiness and confusion. In fact, his reporting reminded me of the work of another Baltimore based journalist who covered that very same beat on those very same streets three decades ago. That journalist was David Simon, who went on to give birth to the iconic Baltimore-based Crime TV series Homicide: Life on the Streets, The Corner and The Wire. You can read my four-part interview with David here. My interview with David's fellow Executive Producer on The Wire, George Pelecanos, is here. And my interview with Homicide: Life on the Streets Showrunner, Tom Fontana, is here.You can find a transcript of this interview at CrimeStory.com.

L'équipe de JVDDVA reçoit Marc Duret, comédien.https://www.marcduret.com/Diplômé du Conservatoire National d’Art Dramatique de Paris, Marc Duret a aussi poussé les grilles du Rose Brudford College (UK), du Performing Theater Art Center à SUNY Albany (NY State University) & du Stella Adler Conservatory (New York City). Révélé par Luc Besson dans le « Grand Bleu », nommé aux Césars pour sa prestation dans « Nikita », Marc Duret trace son chemin dans « Faut-il aimer Mathilde » (E. Bailey), « La Haine », (M.Kassovitz - prix de la m.e.s. à Cannes), «Doberman » (Y.Kounen) ou encore « Arrête de pleurer Pénélope » .En Italie, il est Martino dans « L’esigenza di unirmi ogni volta con te » de Tonino Zangardi (« Getaway of love ») avec C.Gerini/M.Bocci et Marcel dans « Il Commisario Maltese » (Rai 1). Il joue dans les séries internationales : « The man who lived at the Ritz » (NBC), « Star Hunter » (Canal+), « Dalziel & Pascoe » (BBC), « The Philanthropist », « Borgia » de Tom Fontana où il est le machiavélique Cardinal Briçonnet ... Puis « Outlander » de Ronald D. Moore, où il est l’épicurien ministre, Jo Duverney. Il tourne « Au nom d’Athènes » (en Grec Ancien) réalisé par Fabrice Hourlier qui l'engage ensuite pour le rôle de Napoléon dans « Napoléon, la Campagne de Russie », un Docu-Fiction de prestige pour Arte. Marc Duret est l'invité de JVDDVA : c'est l'occasion de parler de son métier de comédien, de la préparation de ses personnages (le travail sur un AVC), du rôle de Luc Besson dans sa carrière, d'anecdotes de tournages (Edgar Givry et le doublage, par exemple) et de son actualité. Bonne écoute.Alain, Cyril, Laurent.www.jvddva.com

Musique, Ciné, Bouquins et Culture en Vrac !Emission #50 animée par :
 Jérémie Grima, LeBon Deun, Bertrand Pinsac, Wilhem Hørn et Michel Jovet.Au programme :CINE ZONE :
* The Last Starfighter, de Nick Castle (film)* Serpico, de Sydney Lumet (film)* Oz, de Tom Fontana (série)* Du Plomb dans la Tête, de Walter Hill (film)TALK SHIT, GET SHOTGAME ZONE* Lust for Darkness

For 25 years, Johnathon Schaech held a secret very close to him, he'd been sexually assaulted on his first film by the famed Italian director, Franco Zeffirelli. In 2018, at the peek of the MeToo Movement, Johnathon shared his story with the world. But going public, fighting for those who don't have a voice, plunged him further into darkness, anger, and shame. It wasn't until he discovered a program for sex and love addicts that he found recovery, peace, and the tools to live a shame-free life.______If you or someone you know is a victim of sexual violence, please call the RAINN sexual violence hotline 1-800-656-4673Or if you or anyone you know is struggling with addiction, depression, trauma, sexual abuse, we've compiled a list of resources at secretlifepodcast.com.______Johnathon Schaech exploded onto the scene as one of Hollywood's most handsome leading men in Jocelyn Moorhouse's How to Make an American Quilt and Tom Hanks' directorial debut That Thing You Do! Since then, Johnathon has shown incredible versatility as an actor. Over the last twenty years, he's starred in over one-hundred and sixty Hollywood productions. Working opposite some of the most acclaimed and awarded actors, producers, writers and directors including Gwyneth Paltrow, Kenneth Branagh, Ed Harris, Idris Elba, Antonio Banderas, Bruce Willis, Tom Fontana, Gary Goetzman, Neil Moritz, Greg Araki, Cary Brokaw, Roy Lee, Jessica Lange and Bill Paxton. Schaech recently captivated television audiences as the eccentric movie-star in Showtime's hit series Ray Donovan (2014) and has portrayed comic-book legend Jonah Hex on the first three season's of DC's Legends. (2015-2018) Having aged into a ruggedly handsome man, he's fast becoming one of Hollywood's go-to stars for action roles. Starring in Renny Harlin's 5 Days of War (2014), Todd Robinson's Phantom (2015), Roland Joffe's Texas Rising (2016), Steven C. Miller's Marauders (2017) and soon takes the lead opposite Frank Grillo in the action-packed Reprisal (2018). Johnathon now uses his national voice for dyslexia, working with Harvard University accredited NoticeAbility.org; a nonprofit dedicated to helping students with the brain-based difference identify their unique strengths and build their self-esteem. Johnathon has a four-year-old son, Camden, newborn Lillian Josephine with his wife of seven years, internet influencer Julie Solomon. Johnathon’s latest movie Blue Ridge opposite Sarah Lancaster and Graham Greene is now exclusively available on Vudu (@vudofans) #Vudu! #BlueRidge - Imagicomm EntertainmentConnect with Johnathon (@JohnSchaech): Instagram & Twitter______TOPICS IN THIS EPISODE INCLUDE addiction, recovery, sex, and love addiction, molestation, career, acting, relationships and repairing damaged relationships.______If you or anyone you know is struggling with addiction, depression, trauma, sexual abuse or feeling overwhelmed, we've compiled a list of resources the Secret Life Podcast Website.______HOW CAN I SUPPORT THE SHOW?Tell Your Friends & Share Online!Subscribe, Rate & Review: Apple PodcastsFollow & Listen  Spotify |  Stitcher | Google PodcastsSpread the word via social mediaInstagramTwitterFacebook#SecretLifePodcastDonateYou can also support the show with a one-time or monthly donation via PayPal (make payment to secretlifepodcast@icloud.com) or at our WEBSITE.Connect with Brianne Davis-GanttInstagramFacebookTwitterWebsite

The cafeteria inside the Oswald State Correctional Facility is THE fictional restaurant inside the hit HBO show, OZ. There is no one better to talk about the importance of the cafeteria than the show's creator, Tom Fontana. This is the review and our interview with the legendary TV writer.

In this episode Peter @Russian98 and Logan @Hogey99 give you their NHL 2020 Nominations and Awards, and talk about the new Coyotes President and CEO Xaveir Gutierrez (NHL's first Latino CEO) and EASportsNHL's statement on Black Lives Matter. Peter interviews Tom Fontana who is an Insurance Broker, a Sabres fan and has had Covid-19. Visit our site at JablamSports.com

Mark O'Brien is an award-winning actor and filmmaker. He is an English major with a Bachelor of Arts from Memorial University of Newfoundland. His mother was a nurse and his father a truck driver. Mark also has three older sisters. He married actress Georgina Reilly on January 6, 2013 after meeting on the set of the hit show Republic of Doyle. Mark O'Brien best known for his the roles as Des Courtney in Republic of Doyle and Tom Rendon in Halt and Catch Fire. He won the Canadian Screen Award for Best Actor at the 8th Canadian Screen Awards for his performance as Terry Sawchuk in the biographical drama film Goalie. Mark O’Brien can next be seen starring in Panoramic Pictures' THE RIGHTEOUS, which he wrote and will direct. He recently wrapped BLUE BAYOU opposite Alicia Vikander and Justin Chon for Macro and can be seen on the Showtime series CITY ON A HILL opposite Kevin Bacon, Aldis Hodge and Jonathan Tucker and produced by Matt Damon, Ben Affleck, Tom Fontana and Jennifer Todd. He previously starred in the Amazon series THE LAST TYCOON opposite Kelsey Grammer, Lily Collins and Matt Bomer and recurred for three seasons on the critically acclaimed AMC series HALT AND CATCH FIRE. Some of Mark’s recent film credits include Jason Reitman’s THE FRONT RUNNER, opposite Hugh Jackman and Vera Farmiga; the Denis Villeneuve Academy Award nominated feature ARRIVAL opposite Amy Adams and Jeremy Renner; the Andrew Niccol’s film ANON, alongside Clive Owen and Amanda Seyfried; STATE LIKE SLEEP, opposite Michael Shannon, Luke Evans and Ben Foster; KIN, opposite James Franco, Dennis Quaid and Zoe Kravitz; the Fox feature film THE DARKEST MINDS opposite Mandy Moore; Netflix’s HOW IT ENDS, opposite Theo James and Forest Whitaker; and GOALIE, opposite Kevin Pollak. Mark also stars in the critically acclaimed Fox Searchlight film READY OR NOT, opposite Samara Weaving and can be seen in Noah Baumbach’s feature MARRIAGE STORY opposite Scarlett Johansson and Adam Driver. Make sure to subscribe to AfterBuzz! - http://youtube.com/afterbuzztv #Podcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this episode of Personally Speaking, Monsignor Jim Lisante is joined by Emmy Award winning writer and producer, Tom Fontana.Support the show (https://www.gofundme.com/f/help-support-msgr-lisante039s-radio-showpodcast?utm_source=customer&utm_medium=copy_link&utm_campaign=p_cf+share-flow-1)

Eric worked with noted director Francois Ozon early in both of their careers on the films See The Sea and Sitcom. He also worked with director Patrice Chéreau, on Those Who Love Me Will Take the Train, Intimacy, and Persecution. Some of Eric's other film scores include the animated film Zombillennium, and The Attack and The Insult for Ziad Doueiri. His television work includes the long-running French series, A French Village, as well as the Tom Fontana series Borgia. Some of Eric's more recent projects include: The Breitner Commando, SamSam, and the upcoming, Des Son Vivant.

Over the twelve days from Monday, December 23 and concluding on Friday, January 3, we will present special Re-Podcasts of my Crime Story Podcast interviews with storytellers in the world of crime and justice. Each interview will be presented in its entirety, and so interviews that were previously offered in multiple parts can now be accessed in one download or streaming session. This is Day 8: a conversation with Tom Fontana, ground zero in the explosion of this golden age of television. Tom served as executive producer of St. Elsewhere, Executive Producer and Showrunner of Homicide: Life on the Streets, and Creator and Executive Producer of the first prestige drama of the cable television era, Oz. Tom is currently the Executive Producer and Showrunner of the Showtime crime drama City on a Hill. In this conversation, Tom and I discussed the people and forces that shaped his creative thinking, and we zeroed in on his experiences as a pioneer in expanding the artistic possibilities for the prestige drama as the network era transitioned into the premium cable era.

We begin with Oz creator Tom Fontana telling us about how Oz landed at HBO, and about the freedom and responsibility that came with creating the first Pay TV drama.We then hear from The Wire creator David Simon, telling us how his first creation The Corner landed at HBO.Next, The Sopranos creator David Chase assesses how different his experience at HBO was from his profoundly unsatisfying experiences in the network television landscape, and how The Sopranos was in many ways a response to the Consumerism promoted by network television.And finally, The Night Of Creator Steve Zaillian speaks of how his influences come from the film world and how HBO offered him an opportunity to bring filmic sensibilities to television without any knowledge of the conventions of television.You can find the audio and transcripts of my interview with Tom Fontana here.You can find the audio and transcripts of my interview with David Simon by clicking here for Part 1, here for Part 2, here for Part 3 and here for Part 4.You can find the audio and transcripts of my interview with David Chase by clicking here for Part 1 and here for Part 2.You can find the audio and transcripts of my interview with Steve Zaillian here.

At 33 years old, Chuck MacLean has worked with some of the biggest talents in Hollywood like Brad Pitt and Antoine Fuqua.  Currently, he collaborates with major players Ben Affleck, Matt Damon, Tom Fontana, Jennifer Todd and Kevin Bacon with his critically-acclaimed Boston Cop Drama, City on a Hill.  What I enjoyed most in sitting down with him is his ability to say it like it is without worrying what others will think of him.  Sure, it might warrant an "explicit" rating (F-bombs abound), but you'll feel like you're back on the streets of Boston with this self-described "shitbum from Quincy" who pulled off "the biggest con of all" by hitting it big in Hollywood as a screenwriter.  If he can go from being bloody and chased by cops to creating a major hit in under 15 years, maybe you can too.  His "no" stories may just be funnier, and more dangerous, than yours!   SHOW NOTES: Wanting to write male-driven dramas but learning early on that no one wanted them unless they were placed within a genre film, (4:55). The culture shock moving from Boston to LA, (6:18). "It was thing where I realized, 'oh, to really make a successful story, you just need to care about the characters and the story can be kind of secondary.  Even if you're using a basic genre element, a basic genre structure... if the character's good, no one's really paying attention to that," (7:57). The whole City on a Hill story, starts with that movie 'Black Mass', (9:29). The joys of working with Ben Affleck as a producer, (11:05).  Being hired by for his particular voice by Ben Affleck, (13:50).  The best moment of Chuck's career, at Ben Affleck's house, (15:43).  The surreal quality of success in Hollywood coupled with the blunt truth of how hard the work is, (17:21). The best advice I got early on was that it doesn't cost anybody anything to call you a genius", (18:17). The effortless beauty of Kevin Dunn's acting, (19:22). The influence of Chuck's grandfather on his desire to be a writer, (21:59).  Story about doing grandfather’s eulogy, (23:28).  The responsibility of writing because he knew his parents were broke, (27:00).  Being terrible at everything else and falling back on writing, (27:24).  Chuck’s college experience, (30:04).  "The only thing that made me happy was getting myself out of trouble", (35:15).  Using people’s doubt as fuel, (37:24).  Realizing that normal people don’t get drunk on Friday nights and get into fights and how that freed up much more time to pursue a dream, (39:44). Chuck’s daily writing routine, (44:13). How Chuck approaches fictional stories, (46:55).  "So, like, if I'm gonna go write a cop show about Boston, right?  What does the audience expect that to look like? ...  'okay, well how do I come in from the left then?  And hit them sideways?'" (50:23). The pragmatic, almost mathematical problem-solving aspects of screenwriting, (52:21). “I usually do it based on whatever I’m going through, ‘cause that’s what I’m gonna be interested in writing about”, (54:52). Chucks massive body of work, including short stories, (55:34). “10% of my job is actually writing... 90% of it is just dealing with bullshit”, (1:00:28).  "Big time agent read it, guy's been around forever... he flipped out.  He sent it to an editor and that guy flipped out... they were so excited about the whole thing, and then... nothing ever happened.  It got shot down everywhere," (1:02:23).  Chuck’s “Sicilian” take on how the brain works, (1:08:09). “That’s what I would say to that kid, “believe it or not, it’s gonna work out kinda the way you think it is,”(1:20:14). Bonus Hollywood horror stories, (1:21:14).   LINKS: Purchase 10,000 "No"s Apparel Here to Support the Show Matt's Amazon Influencer Page (shop thru this site for items mentioned in interviews to support 10KNos at no extra cost to you.) IMDB: Chuck MacLean Film / TV Credits Instagram: @chiefj137 The Godwulf Manuscript (Wikipedia)IMDB: David Lowery (IV) Film / TV Credits   RELATED PAST EPISODES OF 10,000 “No”s: Ep 53: Emmy-Award Winner Richard Schiff, of The West Wing & The Good Doctor Ep 47:  Goliath Showrunner, Lawrence Trilling Ep 61:  Elite Hollywood Producer, Jennifer Todd Ep 104:  City on a Hill Actor, Mark O'Brien   If you like what you hear, please Subscribe, leave an iTunes review and spread the word. You can also listen to all episodes at www.10000nos.com          

Join your host Ryan Perez and guest Dean Winters as they discuss how Dean went from bartender to actor, how Dean met producer/director Tom Fontana, and why Keanu Reeves is the coolest guy in the industry. See acast.com/privacy for privacy and opt-out information.

You can find a transcript of my interview with Tom here.

Join your host Ryan Perez and guests Tom Fontana and Dean Winters as they discuss the creation of HBO's OZ, the show's original ending, and the importance of mentors in the film and television industry. See acast.com/privacy for privacy and opt-out information.

This podcast is the second part of a four-part interview with David Simon. (You can find part one of the interview here.) You can find a complete transcript of this interview here.

David and I met when he came in to HBO to pitch The Corner as a television series. The Corner is a book that he wrote with Ed Burns about the year that they spent in an inner-city Baltimore neighborhood ravaged by drug abuse and distribution. Together with his book Homicide, The Corner was the foundation for David's series The Wire, which has been widely acclaimed as one of the great television series of all time. My aim in sitting down with David was to try to dig into where his storytelling instincts and values come from and how they manifest themselves in his work on Homicide, The Corner, and The Wire… three classics in the crime drama genre.You can find the full transcript of part one of the interview here.The Crime Story Podcast has been ranked as the no. 10 Criminal Justice Podcast by  the "Content Reader" company Feedspot. 

Caroline sat down with the one and only Tom Fontana (for his very first podcast!) to discuss his writing process, running less-than-traditional writers' rooms, mentoring writers, his latest series - CITY ON A HILL, and much more. Tom Fontana's extensive résumé includes writer, producer, showrunner, and (co-)creator credits on several groundbreaking television series, including OZ, HOMICIDE: LIFE ON THE STREET, THE PHILANTHROPIST, COPPER, and Netflix’s BORGIA. He has received international recognition for his writing, including five Writers Guild Awards (three for Episodic Drama and three of the East's honorary awards), three Emmy Awards, four Peabody Awards, and four Television Critics Association Awards. He is currently the showrunner for CITY ON A HILL, the crime drama series created by Chuck MacLean which recently premiered on Showtime. CITY ON A HILL—a fictional account of the 1996 "Boston Miracle" that changed the city's reputation for violent criminals, racism, and corrupt law enforcement—follows Brooklyn-raised Assistant District Attorney Decourcy Ward as he and forms an unlikely alliance with corrupt yet venerated FBI veteran, Jackie Rohr. Together, they take on a family of armored car robbers in a case that grows to involve, and ultimately subvert, the entire criminal justice system of Boston. -- Read shownotes, transcripts, and other member interviews:www.onwriting.org/-- Follow us on social media:Twitter: @OnWritingWGAE | @WGAEast Facebook: /WGAEast Instagram: @WGAEast

The Ohio Ag Net Podcast, brought to you by AgriGold, joins Dale and Joel outside (as you can hear from the singing birds) as they recap this week in agriculture. Interviews in this week's podcast include a chat with Tom Fontana regarding Ohio Soybean Council Foundation's numerous scholarships awarded to promising students. Dale also talks with Wilmington College's Jenny Shaw following their recent spring visit day where young people took a look at what the school has to offer in agriculture. Joel recaps a recent tour of the Anheuser-Busch Columbus Brewery where the company is putting on display their active use of agricultural commodities (including corn) from Ohio farmers. Also turkey season starts up and Dale details some tips for hunters out there. Tune in to the Ohio Ag Net Podcast!

Writer/producer Elle Johnson is currently an Executive Producer on the Amazon series Bosch. Previously she has worked on other TV series including CSI: Miami, Law & Order, Ghost Whisperer, Saving Grace and The Glades. Listen to this episode to find out how a New York City parole officer's daughter became a Los Angeles TV writer. Watch episodes of Bosch. Read more about The Passionistas Project. ----more---- FULL TRANSCRIPT: Passionistas: [00:00:00] Hi and welcome to the Passionistas Project Podcast. We're Amy and Nancy Harrington and if you enjoy listening to the show, please consider becoming a patron. Just a small donation of one dollar a month can help us keep the project going and you'll get rewards like buttons, access to premium content and invites to Passionistas Project events. Today we're talking to writer/producer Elle Johnson. In addition to her current role as Executive Producer on the Amazon series Bosch, Elle has worked on the TV series CSI: Miami, Law and Order, Ghost Whisperer, Saving Grace and The Glades. So please welcome to the show Elle Johnson. Elle Johnson: Thank you it's really wonderful to be here. Passionistas: What are you most passionate about? Elle Johnson: [00:00:40] This is going to sound bizarrely selfish but I am most passionate about telling my stories. I have gotten to a point in my career, in my life, where I realized that the way I best communicate with the world and also the way I best process life is through telling stories. Writing them down. I came to writing late in life, or later I wasn't one of these people who started out as a kid and knew that I just wanted to be a writer. I had to discover that for myself. And once I discovered that that was the thing that made me happiest, I just wanted to learn how to be the best writer I could be and tell stories the best way that I could. As I've written I've come to realized that I'm what I would refer to as a method writer in that I like to have an experience with something. So in order for me to write about something I feel like if I haven't already had a personal experience with it or some involvement with it, I like to go out and get that personal experience with it and kind of use that to inform my writing. And so that's enabled me to learn about everything and anything in the world that I want to and kind of insert myself into situations that I have no understanding of or no business being a part of. But suddenly I can learn about another part of the world. And to me that is I think the thing that drives me as a writer is being able to find stories that I can make my own and tell my stories. Passionistas: [00:02:19] How do you translate that into what you do for a living? Elle Johnson: [00:02:23] The great thing about being a television writer is so much of writing TV is exploring other worlds. And I primarily write cop shows. My dad was a parole officer in Manhattan for 30 years. My uncles were homicide detectives. I have a lot of law enforcement in my family and so I'm really comfortable with that world and also kind of with that character. It's a very particular personality who goes into law enforcement. I really feel like I understand that. So while I generally have ended up working on cop show. And when you do a cop show, usually what happens is you have the detectives kind of walking in and out of different worlds. Whoever the victims are, whoever the suspects are you're usually entering their world. And that's what makes it fascinating for me because it makes it, I get to enter worlds. I get to decide OK this this week I want to discover what's going on in the world of fashion or in the world of anthropologists or just whatever it is. And then you get to do kind of a deep dive and really explore that. And the best experience or one of the best experiences that I had in my career was working on a show called The Glades. And we had been approached about or asked by the network if we could find a way to do a story about NASCAR. And I said, "I'm a black girl from Queens. I don't know anything about NASCAR." But I started to do research and I realized it was this incredible world that in many ways was similar to being a writer or being in television in that they worked, most of the year. Like their season was I think you know 10 out of 12 months and the intensity of it and the passion with which they approached it I thought, "OK I kind of get what this world is." And I went to the Daytona 500 as part of my research and NASCAR opened their doors to me. They got me a hot pass. I was in the pits. I was meeting drivers. I was in the garages all of a sudden. And I just fell in love with this world and started going to races. And writing that episode I really had to kind of have my own experience with NASCAR and it ended up being a fantastic experience. NASCAR gave us cars to put it in our show. They gave us the trucks. We shot at a Homestead in Miami. We had four drivers in our episode. And it just ended up taking over my life. But it was such a wonderful experience because I really got to do a deep dive and understand that world. So much so that they invited me at the end of the year to their championship dinner and put me on panels and flew me out to Las Vegas to participate. And it's just like I was included in this family and that's exactly the kind of experience I want to have as a writer where you say, "OK I don't know anything about this world but I'm going to find out about this world." And I really found out about a great. Passionistas: [00:05:25] Tell us your path to becoming a writer/producer. Elle Johnson: [00:05:27] I really didn't know what I want to do after college. And the smartest thing I did. Through all of the mistakes that I've made was saying to myself that I needed to take time to figure out what my passion was. Like what it was that I really wanted to do. So right after college I rode a bicycle across country with a group of students called the Ride for Life and we were raising money for Oxfam America and Save the Children. So it was during that bike ride where we biked back from San Francisco to Boston that I just kind of allowed myself to think about what do I want to do with my life? And being on the road on a bicycle, seeing the country thinking, seeing the country and meeting all kinds of different people and really just seeing how other people lived, helps me to understand that I had stories that I wanted to tell. At the end of the ride, I ended up taking a job working at the American University in Cairo — an intern at the school. And I started my job was to write grant proposals for Egyptian students like soliciting American companies primarily like Raytheon. A lot of kind of defense contractors who were giving money to educate Egyptian students. And so I started, that was kind of my first quote unquote writing job writing those grants and proposals. And while I was in Egypt I just started writing stories about my life in the states like short stories. When I got back to the states I got a job as a technical writer for a small company called Lutan Technologies that had created the computer program that allowed the Bank of Boston to track asset backed securities. I know this sounds crazy. It was that it was the computer program that allowed them to track their home mortgage loans or mortgage loans. And it was one of the first computer programs that did that and it was a startup company. I mean I didn't realize I was in a startup computer company but I was. And I was tasked with writing the technical manual to explain to the bankers how to use the system. I was a fine arts major. So this was not in my wheelhouse at all but I needed to use the system and figure out how to write it clearly so that people could understand. So I sort of started doing a little bit of technical writing and while I was doing technical writing I realized this was not the type of writing I wanted to do. I wanted to write stories and short stories. So I applied for a Rotary scholarship to go to the University of East Anglia in England and learn creative writing. I did that for a year and started writing screenplays and while I was in England I was like, "Okay I've tried all these different types of writing. I want to try to get into film and television." So I went back to New York where I'm from and managed to get a job on a television show as a script coordinator, was my first job in television. I did not know what a script coordinator was but they said don't worry about it will teach you what it is and it's basically using the computer program to generate the scripts that someone showed me how to do it. And all of a sudden I was surrounded by these professional television writers and working very closely with them and taking notes for them and working on the scripts and seeing how scripts come together and I was like, "Okay this is what I want to do." I want to write TV for the reason that I saw that there was so much that you could learn every day as you're trying to write your episode. And also unlike film, television you have to produce a script. Like what you write is going to be produced because they need something for air. So something's going on the air whether it's good or bad and you're going to have something going on the air. And I thought this is great. This is a way to actually get your stuff made. And that was really my entree into writing for television. And when I was writing on this show I met a writer by the name of Eric Overmeyer who became my mentor and has helped me throughout my career. He gave me my very first job in television and he's hired me on other shows including Bosch where he was the showrunner. He also hired me to work on Law and Order. He got me a job on a show called Street Time that was about parole officers and parolees which he knew was in my wheelhouse because my dad was a parole officer. So through that one job basically I found my mentor and kind of got my career. Passionistas: [00:10:05] And what show was that? Elle Johnson: [00:10:07] It was a show called The Cosby Mysteries staring Mr. Bill Cosby as a forensic expert in the NYPD. It was a very quirky show. His character had a housekeeper who had been a dancer and she was a very eccentric woman who never clean the house and she was played by Rita Moreno. He had a sidekick who was a young African-American kid who, the actor's name was Dante Beze and he left the show to become Mos Def. So it was just in terms of the people who were involved with it was kind of incredible. And on that show were a bunch of writers also who who worked on Law and Order. And it filmed in New York on Pier 62 which at that time, before it got built up into the pier that it is now, was kind of well known as a Mafia dumping ground for bodies. Just like abandoned pier situation that has since been refurbished and is now a place where a lot of television shows shoot. But it was kind of like the one hour drama ghetto. Law and Order was filming out of there and a show called Homicide was filming out of there. And Eric Overmeyer who was a writer on The Cosby Mysteries when that show got cancelled went to work on Homicide. And I at that time was just trying to figure out how to actually become a working writer — make the jump from being a script coordinator to a working writer. So I'd moved out to L.A. and Eric Overmeyer and Tom Fontana were like, "Oh okay she's serious about becoming a writer because she actually moved out there." So Eric approached me about writing an episode of Homicide. And I was so grateful for the opportunity to do a freelance. He was doing something that at the time I didn't realize how incredible a gesture it was. He offered to split a script with me. Which I now realize is taking money out of his own pocket to give me an opportunity. But at that time Homicide was an NBC show and it was always on the bubble. They never knew if they were going to come back or not. So he offered me this with the caveat that they didn't know if they were going to have enough episodes or not. And as it turned out they ended up saying you know we can't give you an episode because we have a writer on the show and her grandfather was a writer and he needed a credit to keep his health insurance which is a situation that happens all too frequently in this business. You know it's so hard to have a consistent career and sometimes you just need to do a freelance episode to keep your health insurance. And I totally understood that. So they were gonna give him the episode that was supposed to go to me. His name was Julius Epstein. And if you know anything about writing you know that he is one of the twins who wrote Casablanca. So if I had to be bumped by anybody needed health insurance I was like, that's totally fine go for it. During the course of all of this happening Jerry Seinfeld decided that he was not going to continue with Seinfeld. So he told NBC. And NBC basically panicked and picked up all of their shows including Homicide. So all of a sudden they had more episodes so the guys say Homicide came back to me and said, "Oh we can give you an episode you can have one." I was like great. So I ended up writing the first part of a two parter. It was the ninety ninth episode. It was a big shoot out in the station. And they'd also said to me they wanted to do a story in the world of parole. And so they knew that I was a parole officer's daughter and that I would have a bunch of stories. So I went through my mental file of all the stories my dad had ever told me and came up with this story a very personal story to him that had really influenced him. There was one of the few parole officers killed in the line of duty in New York. He was gunned down in the streets by his parolee. So I kind of knew a little bit of the inside story of who they thought it was and why it had happened. And so I basically just pitched them that story and that was the story that I ended up writing. My first episode of television. It was directed by Kathryn Bigelow. It was a great experience and a great way to get my feet wet in television. Passionistas: [00:14:42] So then how do you make the transition from writer to producer? Elle Johnson: [00:14:46] Making the transition from getting a freelance episode to staff writer is the first difficulty as well. So I was already in Los Angeles when I got this freelance episode. But I was working as a secretary at Sony Animation. And my boss was a lovely gentleman who understood that I wanted to be a writer and that this was kind of a day job for me. And that I was going to get out of there at 5 and go home and start writing. I had written this freelance episode and was in the process of just trying to get a staff job. The writer who helped me was a gentleman named Kevin Arkadine. A friend of my sister's who was in the industry got in touch with him and said, "Will you read this woman's samples and give her notes? She's trying to get into the business." And Kevin said to me later that he does this favor once a year for people. So I was once a year favor of reading my script. He gave me notes. I didn't agree with all of the notes but I executed all of the notes because he'd spent the time to give me notes and I thought I want to show him that I can execute his notes. So he did his notes and gave him the script back and he was impressed. And when he got his own show he called me to come in and interview to be a writer. And that ended up being my first staff job on television. And he'd said to me because I had not only taken his notes but executed them, that he knew that I could do the job because I'd already kind of proven it to him. So it was a show called Rescue 77. It was about firefighters and it was another great experience because we, I knew nothing about firefighters especially firefighters in L.A. So one of the first things that they had to do was go out on ride along with various fire departments. Sleep over in the station houses. I mean it was incredible in terms of doing research. And I went to a bunch of different station houses and rode with the paramedics and the firefighters. And they loved having people because according to them, it seemed busy to me, but according to the firefighters inevitably have when you have a ride along nothing happens. So it was like a superstition like great somebody in a station house so it's going to be quiet nothing's going to happen we'll be able to sit down and have dinner. It seemed busy to me but to them they're like others is the great we're not getting as many calls because you're here. But it was just kind of my entree into the power of being able to call someone up and say, "Hey I'm writing a television show. Can I come and do some research?" And then like the door gets opened and suddenly you're invited into all kinds of people's different worlds. And you can see how they do their jobs and how they live. So that was my first staff writer job and I have been lucky enough to have worked every year since then. I've always had either a job on staff or have managed to sell a piece of development. That show Rescue 77, I think we only lasted five episodes. So this was at a time when it was primarily network television. We were on I think it was the UPN, like the Paramount Network, but there weren't too many choices in terms of television at that time. So we're dealing with a network and it was my first experience of being on a set and feeling the panic when network executive shows up unannounced which I then learned means that you're going to be canceled. Like at first you think, "Oh how wonderful they're coming to check up on your show." And then all of the more seasoned people are like, oh no, this is what this means, because they don't ever come to check up after a certain point especially not like on the fifth episode. So we were canceled when the network executive showed up and everyone's like all right we're canceled. So after that you know I had an agent and my agent was great in terms of getting me onto my next gig. Passionistas: [00:18:55] At what point did you make the step to be a producer as well? Elle Johnson: [00:18:58] So on Rescue 77 I was a staff writer and then I went on another show. I think I was a staff writer again on a show called Ryan Caufield which is a show about a 21-year-old rookie police officer. And that was another show again that lasted I think I think we got canceled after maybe seven or eight episodes. At that point I was able to get on a show called Any Day Now, which was more a character driven show starred Annie Potts and Lorraine Toussant as friends, two women who had grown up together in Alabama during the Civil Rights Movement. And it kind of followed their lives when they were little girls and also adult women. And we cut back and forth between their lives and their stories and it was a great show. I was a story editor on that and I stayed on that show for two years and made it into the Co-Producer ranks before Annie Potts decided that she she wanted to stop acting for a while. I think that lasted for a year and then she did another show. But because that show went down. I kind of ended it as a Co-Producer. And at that point Eric Overmeyer stepped back into my life. He'd met a gentleman who was doing a show about parole officers. The gentleman named Richard Stratton who had been like America's biggest pot smuggler had done 20 or was sentenced to 25 years in the federal pen for smuggling pot and he found a loophole in his sentencing and got out. And of course with that kind of background the only place that will take you was Hollywood. So he was able to sell his show about his experiences being a parolee and being a pot smuggler. And he'd met with Eric looking for writers. And Eric was like I have just the person for you about a show that includes a parole officer and his parolee. And so I met with Richard Stratton and he ended up hiring me to be on the show called Street Time which was a Showtime show that was like completely in my wheelhouse. It was so great we got to tell a lot of my dad's stories. You know a lot of kind of parole stories that I don't think I would have ever been able to put anywhere else because they were so specific. And it was a really interesting experience for me as a young writer. It was a very small room. I think we had I think we had there were only four of us in total. And I was the only writer kind of in a lower level producer range everybody else was an EP or a Co-EP but very seasoned writers but they didn't have the same experience as I did having a parole officer for a father. And a lot of the show also dealt with the families of the parolee and the parole officers. So I know I had a ton of stories and kind of understood what it was like to be raised in a parole officer's house. And in terms of building confidence and navigating that experience I was interesting to be in the room with Richard and myself and then these kind of TV writers who were used to writing cop shows and they'd be like, OK well in this episode you know we had a storyline where one of the parole officers had to kill a parolee in the line of duty. And the other writers were talking about how, "Yeah we want to do a follow up episode where the parole officer is kind of wracked by guilt over having had to kill this parolee and how that affects him." And I remember Richard and I looked at each other and started laughing and we're like, "That's not how the parole officer feels." And we were kind of just talking about from our experiences what we knew would have been going on and the parole officers had it's like it's him or me. This is part of the job. He's not racked with guilt. He did what he had to do. And so it was interesting to be in a situation where even though there's a lower level writer I kind of had experiences that could make the show more authentic. And that was another show where I met met a writer, a wonderful writer named Clifton Campbell who then became definitely another mentor to me and has hired me on other jobs. He was the creator and showrunner of the show called The Glades. That he then hired me to work on because we had such a good experience working together on Street Time. So a lot of it is relationships. A lot of it for me is getting into a room and doing the job and doing the job well with integrity knowing that you are mimicking somebody else's voice. You're there to make the showrunner job easier your job is as much as you want to infuse the stories with parts of yourself and tell your stories which I definitely want to do your main job is to execute the show and help the showrunner and get the voice of the show. So having learned that and having learned how to do that, that's always kind of kept me in good stead because I feel like people value that I'm going to come on a show and really try to give them what they need and what they want so that they're not constantly having to rewrite me. That they know that I'm going to try and hand in a script that's going to be as close to their voice as possible. As network ready as possible. And through that experience I kind of started to develop a set of rules for myself about how to how to be in a room what I wanted to be in terms of a writer. And I remember early on just through observation and how I interacted on a staff. I came up with three rules that seemed to be the way that you had to comport yourself in a writers room. One was even if you didn't respect someone you always had to respectful because I want to be respected. But even if I don't agree with someone or I think you know always treat people with respect. The second thing was to do every note even if I don't agree with the note our I don't think it's going to work. I have to try it and prove it. Like execute the note. If it doesn't really work then at least you can say I didn't. It doesn't work. I tried it. I've really tried it but then it might work. Find a way to make it work. So execute every note. And my last rule was more of a self-preservation one which was the money always wins. Which is you know we're artists we all want to we try to be good craftsmen you want to write something that's artful but at the end of the day you know the Medici is paying for them the Medici is the studio and the network and if they want something you have to give it to them because you'll get the note once and you might be like ah, I'm not going to. I'm not going to do that. And then you'll get the note again and you'll get the note and you'll get the note and you'll get the note until you execute the note or they fire you. So the money always wins. So you know we're there to not only execute the vision of a creator of a show but to provide a brand to provide something that the network is buying. And you have to find a way to maintain your integrity. Tell stories that you want to tell but also give the people who are buying it what they want. Passionistas: [00:26:46] We're Amy Nancy Harrington and you're listening to the Passionistas Project Podcast and our interview with Elle Johnson. Check out Elle's work on the TV series Bosch on Amazon.com, Now here's more of our conversation with Elle. What challenges do you feel like you've faced as a woman and as a black woman in Hollywood? Elle Johnson: [00:27:04] My experience as a woman of color writing in Hollywood has been I am... The reason I get in the room is because they're looking for a woman of color. They are specifically looking to fill that quota. They either feel like they have, there's a female character in the show so they're like oh we need a woman's perspective. There's a minority character in the show that they feel like they need that perspective and I kind of click off a couple of boxes for them. That's the reason that I get the first job usually. But then the reason that I get hired again by the same people is because I'm good. Yes I feel like that in a weird way, it's you know it feels like okay, maybe I'm being hired for something that seems like well it's limiting. But once they get in the door it's like I realized that my responsibility is to prove that I can write the show and write it really well. And also bring a perspective that people might not have. I know some writers feel like oh you don't want to be that person in the room where you're always pitching the black story or their gender story. And I feel the opposite way I feel like that's my responsibility. It's my... because nobody else is going to tell those stories. People are not... and I understand that to a degree when you're in a room and it's predominantly white men. They're not thinking from that perspective. So I have to bring that perspective. And always point out, "Hey there's another way of looking at this situation." Or you know this character has no life. I've been in rooms where you know you have kind of the black female character. She's usually a lieutenant. An interesting thing kind of happens where you're on a show and they're staffing a show and people will realize that they they're not representing women or they're not. You know they want to have a person of color. And that and usually that person is usually delegated to like the lieutenant or somebody who's not there on the periphery there. They're there in a high position. But you don't end up having to tell a lot of stories about them because they're not the main focus. I remember hearing someone joking about how if you watch television you would think that every judge in America is a black woman because that's what they cast because it's like, "oh right we need to put a black woman in here" or "we need to put a person of color." So they stick them into a role that you really don't get to see the full life of that person. There are a mouthpiece. You know they have a position of power but it's in terms of the story it's not really ever the main focus of the story. So I've been in situations and shows where you have the lieutenants or you know that that one character where it's like you don't go home with them. They seem to have no life. It's almost as though they only exist in the gaze of the main lead character who's usually a white man. And I feel like my job is to try to fill that character out. Like what do they do when they go home. I've been on shows where I've said, "If this character for our Christmas episode ends up having Christmas with the main character because they have no family or friends I'm going to slash my wrists." Like this is completely ridiculous. This person has loved ones. They have friends. They have a life outside of this office. Please do not make them show up at somebody else's Christmas. Let's give them a life. And let's make a bigger story for them. So I feel like that is part of my job. To fill out the world of these other characters and say you know there's more going on with them than just the job. Let's do for these characters as we do for all the other characters. Passionistas: [00:30:54] Do you have a mantra that you live by? Elle Johnson: [00:30:57] Over the years I have had several mantras. It's really interesting that you ask that because I I'm a person who likes to make New Year's resolutions. So I like I love the holidays. I love December because I start to close out the year mentally and reflect on what I've done and start to think about what I'm going to do next year. And project into the next year. And over the course of my career, particularly when I first started out, I would come up with these mantras that I'd be like okay this is the mantra for the year going forward. And I remember one of my earlier ones was "You know it you must do. It's inside of you for a reason. Don't deny yourself any longer." And I would say that to myself every day. Like I'd wake up and be like "OK. You know what you must do. It's Inside of you for a reason. Don't deny yourself any longer." And that's how I kind of got myself to be a writer. And one of my other mantras was it had to do with... "There's magic in the ether. You can do whatever you want. And you're responsible for whatever you have or don't have." But I love the idea of you know sometimes you look at a situation you look at like how do I become a television writer? How do I do this? How do people do this? And for me it was there's magic in the ether. You just got to go for the magic. There's there's something out there, I don't know, I can't explain how it happens but I'm going to believe that there's magic in the ether. And I'm going to make it happen somehow. Right now it's you know December I'm kind of trying to figure out what my mantra for the year going forward is. Two years ago my mantra was "This is the year that you're going to fail at everything. And I decided that I was just going to start swinging hard. I knew I was going to fail. This is the year that you can make mistakes. You're going to fail. You're going to fall on your face and it's OK. But you got to take those big swings, big risks for big rewards. So my mantra was "This is the year that you fail at everything." And I really approached it as just try to try and allow yourself to fail miserably and see what happens. Passionistas: [00:33:18] How did it turn out? Elle Johnson: [00:33:18] It was great. You know, that was a year when I believe I had started pitching pilots for the first time. And I sold a pilot like my first time out it was an amazing experience. But I was willing to fail. And that was also one of the things that someone had said to me early on in my career when I first moved out to Los Angeles from New York he said you have to gamble Vegas style. You've picked something that you know it's impossible. There's no reason why you should succeed at this. So you're already gambling. So if you're going to gamble don't do scratch off if you're going to gamble gamble all of it. All of it go all end. Gamble Vegas style. And I was like You're right that's how you do it just go all in. There's no plan B. This is working. I'm spending everything on the table and that mindset of like this has to work because what else I going to do that works. Passionistas: [00:34:24] So the journey so far what do you consider the most courageous thing you did? Elle Johnson: [00:34:29] Moving out to L.A. I know I was... I'm a born and bred New Yorker... Didn't learn to drive 'til I was 21. The idea of having to come to a city where I owned a car and car insurance that alone was like, "How do people do that? What is that? I don't understand that. There's no subway? How will I exist here?" So the decision to leave my life in New York which included a boyfriend who was a neurosurgeon and African-American. My mother wanted to kill me like that relationship. I ended that relationship because I realized I that wasn't my life. I had to try this. I had to come out to L.A. and my parents were not supportive at all. They like you're insane you're ruining your life. We're watching you ruin your life and getting on a plane and coming out to sleep on somebody's couch with no job. And I'm like I'm just going to get a day job and trying right. Passionistas: [00:35:38] Worked out okay. Elle Johnson: [00:35:38] Yeah it worked. It worked out. Yes. Passionistas: [00:35:42] Have you ever thought of quitting? Elle Johnson: [00:35:45] No. Once I started it was like I'm doing this. This is you know I tell people who young writers who are coming up like, "Don't get out of line. Once you're in line don't get out of line because the person behind you is going to take your spot. You're going to move up. Just stay in line and keep doing what you're doing. You only fail when you stop trying. So just don't stop trying. It's still trying. You're still you can still do it. Keep stay in line and keep doing what you're doing." Passionistas: [00:36:16] What's your secret to a rewarding life? Elle Johnson: [00:36:19] Secret to a rewarding life is finding a way somehow to do what I want to do which is write. Finding a way to tell my stories and within my career early on I realized that I had to learn craft to get on shows that would challenge me even if it wasn't exactly the type of show that I wanted to write. Finding a way to express myself and to learn craft and really write well. So that now, 20 years in, I'm at a place where I kind of look around and not that I can pick and choose but that I can be more selective in terms of the things that I do. So you know as I get older I just realizing you only had a limited time and what do you want to spend time doing taking shows that maybe have fewer episodes but you love the material. This last year I've been an Executive Producer on Bosche which is a dream job. A show that I love. It's just writing about L.A. Writing about cops in L.A. Writing the Harry Bosch character. Getting to work with Michael Connelly who's in our room is an amazing experience. And working with Eric Overmeyer again who was the showrunner who brought me on. It just it was an incredible experience. But I only did half a year this year so that I could work on another show... Helped develop another show about Madame C.J. Walker. Which is she was the first African American millionaire in the late 1800s early 1800s. And telling her story of how she created an empire of haircare products for black women. It's just such an amazing story and I had to do it. I've really wanted to work on this show. The only way I could do it was if I spent half of my time on Bosch and the other half working on this show. So I was co-running it with a woman named Janine Sherman Barrois, who runs a show called Claws. We were both in our writers room she was on Claws. I was on Bosch during the day. At 5 o'clock, we meet and start a second writers room to break the Madam C.J. story. But we were both so passionate about this story and the woman who created it. Nicole Jefferson Asher was this incredible feature film independent film writer. So the three of us were kind of like working on other projects full time and then coming together in the evenings to break the story because we wanted to. It's like I want to do this and that's what makes me happy even though it was like you know you're working until 10:00 at night doing two shows at the same time. But we were so passionate about the material and that's what makes me happy. Being able to work on stories tell stories that I want to tell. And incredibly like it having no time at all somehow you figure out how to fit it all in because you just you have to tell these stories. Passionistas: [00:39:23] What's your definition of success? Elle Johnson: [00:39:25] My definition of success is being happy. Being happy doing what you're doing. Being satisfied and being able to pursue something that is of interest and value to you. That's my definition of success. Passionistas: [00:39:42] Thanks for listening to the Passionistas Project Podcast and our interview with Elle Johnson. Check out Elle's work on the TV series Bosch on Amazon.com. And be sure to subscribe to the Passionistas Project Podcast so you don't miss any of our upcoming, inspiring guests.  

Thu, 21 Jun 2018 04:11:00 -0000 full Andy Zodin, Tennis Channel Podcast Network

Tom created the groundbreaking HBO series "Oz" and NBC's "Homicide: Life on the Street," among others. "Oz" set the stage for serialized dramas with flawed characters like "The Sopranos," "Game of Thrones" and more. Tom also is known for "Copper," "Borgia," and "St. Elsewhere." My good friend Tom talks writing at a very young age, like play at the age of 9 and at 11 writing a book where people could get pregnant without touching each other. We discuss his unique writing process -- you gotta hear it -- what he wants people to take from his amazing body of work, how it is much harder to get creative freedom in television these days and much, much more. This is amazing insight into one of the most brilliant writers and producers in the last half century. No joke!

Dans ce numéro nous recevons Marie Roussin, qui a travaillé, entre autres sur l’Hotel de la Plage, Un Village Français et le Borgia de Tom Fontana – MAI 2015 https://archive.org/download/Dialoguedauteurs/06%20Dialogue%20d%27auteurs%206%20%28Marie%20Rouss.mp3

After more than a decade of reporting crime from the streets of Baltimore, how did a career journalist like David Simon learn to navigate a TV writers room? The outcome was in no small part due to the indispensable guidance of veteran TV producer Tom Fontana. Together, they brought Simons realistic characterization to Homicide: Life on the Street. Separately, the two would go on to create series that defined HBO and stand out as part of the TV revolution: Oz and The Wire. Join Simon and Fontana as they reflect on their earlier and vastly different experiences in the realm of 90s broadcast TV. Moderated by Beau Willimon (creator, House of Cards) Recorded at ATX Television Festival on June 11, 2016. Get your badge now for ATX's sixth season, June 8-11 2017, at http://atxfestival.com/

Tom Fontana is a TV writer and producer who worked on St. Elsewhere in the 1980s. The show was a pretty straightforward hospital drama, but Fontana had a mischievous streak -- and a soft spot for crossovers. So when he came up with a trick ending to the show, revealing the entire series had been the fantasy of an autistic boy named Tommy Westphall peering into his snow globe, Fontana had no idea that episode would lead to a unified theory of television. With Keith Gow, Tom Fontana, Bill Lobley and Robb Pruitt. A version of this piece first aired on PRIs Studio 360.  Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

Hear about these unique writers' experiences and practices on The Sopranos, Boardwalk Empire, The Wire, Treme, Oz, and Homicide: Life On The Street. How are our current top TV shows created? How do the writers interact? How is the process completed? What is the writers' room like? Who is in control? Why is television a writer's medium? Television drama has come to rival cinema in its sophisticated narrative form and high production values. At the heart of this success is the writer, and TV has become the home of some of the most exciting and high quality writing. The NY-based showrunners from some of the biggest American TV dramas of recent years-Tom Fontana, Eric Overmyer and Terence Winter-will offer a window into the inner workings of the writers' room.

Hear about these unique writers' experiences and practices on The Sopranos, Boardwalk Empire, The Wire, Treme, Oz, and Homicide: Life On The Street. How are our current top TV shows created? How do the writers interact? How is the process completed? What is the writers' room like? Who is in control? Why is television a writer's medium? Television drama has come to rival cinema in its sophisticated narrative form and high production values. At the heart of this success is the writer, and TV has become the home of some of the most exciting and high quality writing. The NY-based showrunners from some of the biggest American TV dramas of recent years-Tom Fontana, Eric Overmyer and Terence Winter-will offer a window into the inner workings of the writers' room.

Fontana talks about his experiences with working on Oz and Borgia. He also discusses the benefits and challenges of working with international partners.

Der amerikanische Autor Tom Fontana betreut als mächtiger Writer/Producer derzeit die neue Serie "Borgia."  In der Vergangenheit verantwortete er Erfolge wie "Homicide: Life on the Street" oder  "Oz." Der VDD und die HFF Potsdam luden ihn zu einem Publikumsgespräch ein, das von VDD-Vorstandsmitglied Dr. Peter Henning moderiert wurde.