Podcast appearances and mentions of Travis Knight

A lot of you will have seen the news breaking today about the donation by Maryse Fitzpatrick and her husband Travis Knight and the new facilities that will be built for Portlaoise GAA club by 2027The new development will commemorate Eoin Fitzpatrick, former senior hurler for the town, and his son Dylan who died tragically on holidays 2 years agoThis a story of rags to riches to rags to riches - this is the story of Portlaoise GAA Club

He-Man is COOKED? Amazon's live-action Masters of the Universe will significantly diverge from the original franchise, focusing on a young Adam's journey on Earth, which raises concerns among nostalgic fans about its appeal and fidelity to the source material. 00:00 Amazon's live-action Masters of the Universe will start on Earth and greatly differ from the original franchise, raising fan concerns. 01:28 Amazon's He-Man movie faces challenges appealing to both nostalgic fans and a new generation, especially without relying on the original source material. 02:48 Jared Leto's Skeletor casting sparks worries about the He-Man movie straying from the source material, despite promising direction from Travis Knight. 04:59 Amazon's He-Man movie will follow a 10-year-old Adam on a journey of self-discovery on Earth before battling Skeletor, diverging significantly from the original animation. 07:40 Amazon's He-Man movie will take a significantly different approach from the original material, reflecting a more progressive direction that has sparked both interest and backlash. 08:45 Amazon's He-Man movie will greatly diverge from the original, potentially alienating fans to attract new viewers. 10:13 Amazon's He-Man movie faces challenges from past failures but has potential with new casting and fan interest in merchandise. 12:00 Amazon's He-Man movie may face delays due to uncertainty surrounding Mattel's future.

11 film, amiért már tényleg Nagyon vártuk az év végét Joy     2024-11-23 18:01:00     Film A listát mi már összeraktuk, szóval neked csak annyi a dolgod, hogy sorban mindet kipipáld! Egy biztos: nem fogsz unatkozni 2024 utolsó heteiben. A 21. század tíz legjobb vallási horrorja Player     2024-11-23 17:36:07     Film Mozi Vallás A héten kerül a magyar mozikba az Eretnek című horror, melyben két hittérítő egy pszichopata csapdájába kerül. Idris Elbával jön 2026 egyik legjobban várt filmje Mafab     2024-11-23 21:39:02     Film Amazon Idris Elba Idris Elba (legutóbbi szerepei a cikkünk galériájában) is csatlakozik a Travis Knight által az Amazon MGM számára rendezett Masters of the Universe szereplőgárdájához. A színész Duncan, más néven Man-At-Arms szerepét fogja játszani. November 24-én történt kultura.hu     2024-11-23 23:06:03     Film Nemzet Művésze Nyolcvankét évvel ezelőtt ezen a napon született András Ferenc, a Nemzet Művésze címmel kitüntetett, Kossuth- és Balázs Béla-díjas filmrendező, forgatókönyvíró, producer. Az idén tavasszal elhunyt alkotónak olyan korszakos filmek fűződnek a nevéhez, mint a Dögkeselyű vagy a Veri az ördög a feleségét. Christoph Ransmayr az Egy félénk férfi atlasza című könyvében feltárja a világ lényegét egy villanásnyi időre Librarius     2024-11-24 08:00:52     Könyv Christoph Ransmayr műve Mélységesen emberi alkotás, a teljességet vágyva átölelni. Mindenségszagú tágasság. De figyelem! Nem gyors olvasmány. A kassai bombázás és a háborúba lépés titkai – Olvass bele Ungváry Krisztián új könyvébe! Könyves Magazin     2024-11-24 00:15:18     Könyv Ukrajna háború Szlovákia Horthy Miklós Ungváry Krisztián 1941 júniusában egy rejtélyes bombázás Kassán olyan döntéshullámot indított el, amely Magyarországot a Szovjetunió elleni háborúba sodorta. Mi vezetett Horthy kormányzójának elhatározásához, és kik mozgatták a szálakat a háttérben? Valóban a "közvetlen veszély" kényszerítette ki a hadba lépést, vagy pusztán ürügy volt egy előre eldöntött tervhez? U Sanyi felnövéstörténete mindannyiunk számára megkerülhetetlen lecke WMN     2024-11-24 08:36:00     Film Dokumentumfilm Sanyi történetével a KIX című dokumentumfilm kíméletlenül töri át a buborékunk falát és tolja az arcunkba a valóságot. Macskajaj – Milliók imádják és utálják Emír Kusturicát: tudja, hány éves már a legendás balkáni rendező? Blikk     2024-11-24 07:17:00     Film Mozi Cigányság Balkán A "Balkáni fenegyerek" – így ismeri a mozi világa Emir Kusturicát, az ikonikus rendezőt, aki 70 éves lett. Utánozhatatlan egyedi produkcióival sajátos színt hozott a filmvilág palettájára az Undergrounddal, a Cigányok idejével és a Macskajajjal. Igencsak ellentmondásos az élete és a produkciója is, tulajdonképpen az élete is egy kalandregény. Az X-faktor egy év kényszerpihenő után visszatért, de minek? – Megnéztük a "tehetségkutató" új évadát refresher.hu     2024-11-24 09:20:00     Film X-Faktor Az Rtl-nél beköszöntött az ősz, és visszatért a hírhedt tehetségkutató is, ami sok új meglepetést nem tartogatott és minden igyekezete ellenére is érthető, hogy miért volt szükség egy évnyi pihentetésre. Szentgyörgyi Zénó véleménycikke. Már a premier előtt bejelentették, készül A sakál napja második évada Igényesférfi.hu     2024-11-24 11:04:57     Film A SkyShowtime saját gyártású sorozata, a The Day of the Jackal (A sakál napja) izgatottan várt bemutatója előtt a SkyShowtime bejelentette, hogy a dráma/thriller sorozat máris megkapta a második évados berendelést. Nagy Gábor élete 10 képen: Bob herceg minden lány vágyálma volt Story     2024-11-24 07:00:28     Bulvár Még főiskolás volt, amikor szerepet kapott A fekete város című sorozatban. A 75 éves színész ma már boldog nagypapa. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

11 film, amiért már tényleg Nagyon vártuk az év végét Joy     2024-11-23 18:01:00     Film A listát mi már összeraktuk, szóval neked csak annyi a dolgod, hogy sorban mindet kipipáld! Egy biztos: nem fogsz unatkozni 2024 utolsó heteiben. A 21. század tíz legjobb vallási horrorja Player     2024-11-23 17:36:07     Film Mozi Vallás A héten kerül a magyar mozikba az Eretnek című horror, melyben két hittérítő egy pszichopata csapdájába kerül. Idris Elbával jön 2026 egyik legjobban várt filmje Mafab     2024-11-23 21:39:02     Film Amazon Idris Elba Idris Elba (legutóbbi szerepei a cikkünk galériájában) is csatlakozik a Travis Knight által az Amazon MGM számára rendezett Masters of the Universe szereplőgárdájához. A színész Duncan, más néven Man-At-Arms szerepét fogja játszani. November 24-én történt kultura.hu     2024-11-23 23:06:03     Film Nemzet Művésze Nyolcvankét évvel ezelőtt ezen a napon született András Ferenc, a Nemzet Művésze címmel kitüntetett, Kossuth- és Balázs Béla-díjas filmrendező, forgatókönyvíró, producer. Az idén tavasszal elhunyt alkotónak olyan korszakos filmek fűződnek a nevéhez, mint a Dögkeselyű vagy a Veri az ördög a feleségét. Christoph Ransmayr az Egy félénk férfi atlasza című könyvében feltárja a világ lényegét egy villanásnyi időre Librarius     2024-11-24 08:00:52     Könyv Christoph Ransmayr műve Mélységesen emberi alkotás, a teljességet vágyva átölelni. Mindenségszagú tágasság. De figyelem! Nem gyors olvasmány. A kassai bombázás és a háborúba lépés titkai – Olvass bele Ungváry Krisztián új könyvébe! Könyves Magazin     2024-11-24 00:15:18     Könyv Ukrajna háború Szlovákia Horthy Miklós Ungváry Krisztián 1941 júniusában egy rejtélyes bombázás Kassán olyan döntéshullámot indított el, amely Magyarországot a Szovjetunió elleni háborúba sodorta. Mi vezetett Horthy kormányzójának elhatározásához, és kik mozgatták a szálakat a háttérben? Valóban a "közvetlen veszély" kényszerítette ki a hadba lépést, vagy pusztán ürügy volt egy előre eldöntött tervhez? U Sanyi felnövéstörténete mindannyiunk számára megkerülhetetlen lecke WMN     2024-11-24 08:36:00     Film Dokumentumfilm Sanyi történetével a KIX című dokumentumfilm kíméletlenül töri át a buborékunk falát és tolja az arcunkba a valóságot. Macskajaj – Milliók imádják és utálják Emír Kusturicát: tudja, hány éves már a legendás balkáni rendező? Blikk     2024-11-24 07:17:00     Film Mozi Cigányság Balkán A "Balkáni fenegyerek" – így ismeri a mozi világa Emir Kusturicát, az ikonikus rendezőt, aki 70 éves lett. Utánozhatatlan egyedi produkcióival sajátos színt hozott a filmvilág palettájára az Undergrounddal, a Cigányok idejével és a Macskajajjal. Igencsak ellentmondásos az élete és a produkciója is, tulajdonképpen az élete is egy kalandregény. Az X-faktor egy év kényszerpihenő után visszatért, de minek? – Megnéztük a "tehetségkutató" új évadát refresher.hu     2024-11-24 09:20:00     Film X-Faktor Az Rtl-nél beköszöntött az ősz, és visszatért a hírhedt tehetségkutató is, ami sok új meglepetést nem tartogatott és minden igyekezete ellenére is érthető, hogy miért volt szükség egy évnyi pihentetésre. Szentgyörgyi Zénó véleménycikke. Már a premier előtt bejelentették, készül A sakál napja második évada Igényesférfi.hu     2024-11-24 11:04:57     Film A SkyShowtime saját gyártású sorozata, a The Day of the Jackal (A sakál napja) izgatottan várt bemutatója előtt a SkyShowtime bejelentette, hogy a dráma/thriller sorozat máris megkapta a második évados berendelést. Nagy Gábor élete 10 képen: Bob herceg minden lány vágyálma volt Story     2024-11-24 07:00:28     Bulvár Még főiskolás volt, amikor szerepet kapott A fekete város című sorozatban. A 75 éves színész ma már boldog nagypapa. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

On this episode of THE HOT MIC, Jeff Sneider and John Rocha discuss the big entertainment news of the week including Spider-Man 4 tapping Destin Daniel Cretton to direct, Sneider's review of TIFF and his Spider-Verse Drama, Lanterns casting with Josh Brolin turning down Hal Jordan, Jared Leto in talks to play Skeletor for He-Man movie, Tyreek Hill's arrest and Tua's concussion, The Apprentice, Wolf-Man and Salem's Lot trailers, their tribute to James Earl Jones, Michael B. Jordan directing Thomas Crown Affair remake, Rebel Ridge review and more!PLUS, Jeff and John answer all your questions. To send in a question or comment for John and Jeff, go to: streamlabs.com/johnrochasays/tip#marvel #starwars #DC ____________________________________________________________________________________Chapters:0:00 INTRO and Rundown2:45 Destin Daniel Cretton in Talks for Spider-Man 49:43 Josh Brolin Turns Down Hal Jordan in LANTERNS18:40 BEYOND THE SPIDER-VERSE Controversy and Sneider's Reaction to It All43:00 Wolvering Rumored to NOT Be in the MCU X-Men Movie44:48 Jared Leto Offered to Play Skeletor in Travis Knight's HE-MAN Movie49:46 Francis Ford Coppola Sues Variety for Libel Over Sexual Assault Allegations56:10 Sneider's TIFF Rundown - Favorite Films, Performances and Duds1:05:51 JAMES EARL JONES TRIBUTE1:11:22 THE APPRENTICE, WOLF MAN, and SALEM'S LOT Trailers1:15:48 Michael B. Jordan Remaking A THOMAS CROWN AFFAIR1:19:15 REBEL RIDGE Review1:21:14 Tyreek Hill vs Police Situation, Tua's Concussion Issue1:27:01 Streamlabs and Superchat QuestionsFollow John Rocha: @therochasays Follow Jeff Sneider: @TheInSneider  Become a supporter of this podcast: https://www.spreaker.com/podcast/the-hot-mic-with-jeff-sneider-and-john-rocha--5632767/support.

The Transformers Franchise (6 of 7). Henry seeks refuge in Travis Knight's Bumblebee (currently available via Paramount+). Get the full franchise show now @ FilmBuds.Bandcamp.com!Subscribe / Buy Bonus Shows / Contact

Get ready for an epic conversation with the one and only Jon Bailey, the voice behind Honest Trailers and one of the voices of Optimus Prime. Jon shares his unique journey into voice acting, from his unexpected start and overcoming the early hurdles of being labeled "just a YouTube voice" to establishing himself as a renowned actor in the industry. We discuss the importance of performance background and how platforms like YouTube have become integral to shaping modern voice-acting careers. Authenticity and resilience are the cornerstones of lasting success in the entertainment industry. This episode illuminates how maintaining a genuine persona can inspire others, with practical advice on consistency, branding, and leveraging mentorship. 00:01 - Anne Ganguzza (Host) Hey, bosses want to be that well-rounded talent that's always in demand. I offer coaching in a variety of genres, including commercials that grab attention, medical narrations that educate, corporate scripts that inspire and e-learning modules that engage. Find out more at anganguzacom.  00:24 - Intro (Host) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss a VO boss. Now let's welcome your host, anne Ganguza.  00:43 - Anne Ganguzza (Host) Hey everyone, welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and I am so excited to have a very special guest in the studio with me today Epic voice guy of the four-time Emmy-nominated Honest Trailers, the sixth voice of Optimus Prime and over 20 other Transformer characters and voices for Marvel, disney and many, many more and the credit list just goes on and on, but this is a finite amount of time that I have with you, so I am going to let you talk. Welcome, Jon Bailey.  01:17 - Jon Bailey (Host) Thank you. It's good to see you again after 100 years. I said 500.  01:21 - Anne Ganguzza (Host) So, yes, we go way back. At least we were just discussing it like 16 years it is. I said 500. So, yes, we go way back. At least we were just discussing it like 16 years, gosh, when you first got into voiceover and I have watched you over the years become this incredible success. Bosses I mean, this is the VO Boss podcast. We are talking very boss-like. We are talking very boss-like strategies and hard work. Jon, I am so, so happy for all of your successes and so proud of you, my gosh, because I know in the beginning it was a struggle for you. So maybe for the bosses I don't know anybody that probably doesn't know who you are, but in case they don't, tell us a little bit about how you got into the world of voice acting, it's good to be back.  02:06 - Jon Bailey (Host) Thank you for having me back on. It's been a hot second. Yeah, it was all kind of accidental. I had background in performance from school, all the way from, I would say, kindergarten, through college and public speaking and improv and things like that.  02:23 - Anne Ganguzza (Host) In fact, I think that's how we met is through Rebecca's love. That, oh, yes, that's right. Oh my gosh, I feel like that had something to do with it.  02:27 - Jon Bailey (Host) It's been so long ago I don't 100% remember, but I feel like that may have been how we connected. So that was back in my R&D days, which was two years before I even did anything professionally and, like you had said, before, we started the show. Seriously, I would go in, for my first manager kind of found me on the Internet by accident because I'd started YouTube out of boredom.  02:47 - Anne Ganguzza (Host) really, Little did you know?  02:49 - Jon Bailey (Host) Yeah well, the main reason why I did it was because I saw other people taking old cartoons and dubbing over them and making funny things out of them. I was like, well, that's what I wanted to do. If they can do it, then why can't I do that? And I had this small following just based off the comedy stuff that I put together involving Transformers and the movie trailer voice, the inner world guy and my first manager, family from that video. And then I ran into the problem with him, like he pitched me to Sony because I would feel like we've heard your voice before and something. I'm like, oh, cool. I was like, well, I did this little tiny thing online and caught on his trailers and they, oh, because you're not a real voice actor, you're a YouTube voice actor. And I was like there's a difference.  03:30 And it's so funny how much just changed in a decade, because now that's considered a major platform.  03:36 - Anne Ganguzza (Host) That is what is so impressive, Jon. You just forged through, because I remember that they're like oh yeah, honest Australia's. You're not a real voice. I remember that and I remember your struggles and your frustration with that, and you have like a trillion followers. I mean literally.  03:50 - Jon Bailey (Host) Not that I'm inflating.  03:51 - Anne Ganguzza (Host) But you got what?  03:52 - Jon Bailey (Host) over a million, over a million, yeah, combined across all platforms, which is impressive. For voice actors, yeah, who haven't been the main character in some major popular anime or cartoon or whatever game? I kind of coined the phrase recently where it's like I'm the guy everyone's heard but no one's heard of, right.  04:10 Because I'm so in everything like my manager, my agents, whoever, or sometimes just directly from the clients. They just throw everything at me and I'm just willing to give everything a shot. I know that can't hurt to try, so as long as it doesn't violate my personal faith. There's some things I'm just like no. And other things I'm like well, I'll check it out, but I can't make any promises and some stuff. I'm just like you know, don't bother me with this stuff because I'm not going to work on it.  04:35 - Anne Ganguzza (Host) Yeah, so you've worked on such a wide range of projects. I mean, what would you say, say I mean outside of? I know in the beginnings were really like getting started and getting your feet wet and getting known. Talk about some of the biggest challenges that you've had as a voice actor, because, gosh, we all run into what we think are challenges. But I feel like just with the amount of exposure and the amount that you've grown over the years, I mean your challenges I feel must equal almost sometimes your follower size.  05:04 - Jon Bailey (Host) I think my challenge is there's been a lot of them, but I'd say if I had to narrow it down for an interview with you, I would say that you really need to have some organization to your personal life, because if you don't have the availability for this job, you're wasting your time because you really can't do anything else.  05:24 You have to find a way to work around their schedule instead of your own and be available for them, and that often leads to that thing between voice actors where it's like why did they get the job instead of me? Well, it might've been because they had a home studio and you didn't, and they had immediate availability and you didn't. Or they might've decided to move to a town like Los Angeles rather than the middle of nowhere, because sometimes it doesn't matter how great you are for the job, it really doesn't. For some reason, some people out here are just too scared of change and they would rather have a real human person that can show up at their studio at a specific time and day and record the thing. And unfortunately, you have to sacrifice a lot. I mean, you have to kind of give up your freedom, so to speak, and I'm thankful that technology has changed, where there's mobile options now, where I don't feel like I'm stuck in this particular physical space 24-7.  06:18 - Anne Ganguzza (Host) Yeah, I was just going to ask how much do you actually go in studio now?  06:21 - Jon Bailey (Host) Still probably more than me, I would say it's more than it used to be only because I'm booking more, but I would still say, you know, 90% of the time it's still here. In fact a good percentage is. Just to look at the bookings for this coming week, I have four bookings the first week of June and half of those are in studio and half of those are home studio. So it sometimes varies, but I would say the majority of the time I still feel like the majority of it is here. But certain projects they really want to work with just the studios that they've already recording all their other actors at, because they want the quality to sound the same. It makes sense to me, but at the same time people's home technology has gotten so good they don't really need it anymore.  06:58 - Anne Ganguzza (Host) COVID kind of proved that. Yeah, exactly Now. Did you have to do any upgrade? I'm sure you probably had a great studio already, but did you have to do any upgrading to your studio?  07:08 - Jon Bailey (Host) I mean it's still the same booth. It always was this one I've had, for I would say I've had this one for at least five or six years. Todd Haberkorn's misfortune was my fortune. He got this booth for his place, which is not too far from here, and he moved here from West Hollywood, which it fit perfectly fine in his old place, but it just happened to be a few inches too big for his new place. So he had to sell it for a third of what they normally run and I'm like well, I can make payments.  07:36 - Anne Ganguzza (Host) And he was cool with that.  07:36 - Jon Bailey (Host) He just wanted to get rid of it because it takes up so much space and it's so heavy and so bulky and big. It's bigger than I need. It's an 8x4 and I don't recommend anything bigger than 4x4. But the truth is you really don't have to have a booth that looks like yours, no offense, but it looks beautiful on camera. That's great.  07:52 That's one of the main reasons why I had it, because if I want to make content and look like a pro, it needs to look like a pro. And no matter how great the audio quality is, no matter how many studios or clients that you've worked for, when it looks like the inside of a closet you don't look like a very good pro and I guarantee people out there it sounds better in that ugly closet than it does in that fancy studio of yours. Even the guys from VoiceOver Body Shop they recommend you don't have to have a whisper room, you can just have that freaking closet. But I figure that half my career is content creation. Freaking closet, but I figure that half my career is content creation. Half my career has been voiceover, so it might as well upgrade that because the opportunity presented itself for such a low price.  08:31 - Anne Ganguzza (Host) Yeah, and I agree with you that image, I mean, it's how you present yourself really.  08:36 - Jon Bailey (Host) They don't teach you about how much branding is important.  08:38 - Anne Ganguzza (Host) Back in our day, when we first started.  08:40 - Jon Bailey (Host) Branding was not part of the education. It was all about the voiceover, the career. They never really talked about, like your social media presence or having a color scheme. Well, you were developing that. We were still figuring it out.  08:51 - Anne Ganguzza (Host) We were, and I remember like first time physically meeting you at a VO Peeps meetup. We were talking about how important it is to start branding and things were just getting popular on the internet. They were starting gosh. We're talking back in our day when we walked to school 10 miles. I know it's funny, that was only 10 years ago I know, I know, and it's incredible how it's grown.  09:12 And you know, you mentioned content creation, which, wow, I mean, like I said, you were ahead of your time back in the day on YouTube, and so I concur, yeah, you were ahead of your time, and I like to think of myself as being a little ahead of my time because I was broadcasting from my living room back when people weren't broadcasting on the Internet.  09:31 My VOP's made up and, that being said, I feel like we're kind of pioneers together, forging our own little paths in our business, which is why I'm so excited that we're talking today and you mentioned content creation. So let's talk a little bit about content creation and what it takes for you on a day-to-day basis, creating the content that you do, because, gosh, I've been following you for the longest time. And then I have another question that I'm going to talk about in a minute, because you have transformed. Not only have you voiced transformers, but you have transformed yourself. But let's talk a little bit about content creation and how important it is for bosses today and people wanting to build a successful business. What does content creation mean for that business?  10:11 - Jon Bailey (Host) Well, the one thing I learned and I have always been a trial and error person People always ask me every freaking day. I would have said you need to find reliable, trustworthy coaches that are affordable and just get coaching, instead of trying to do this the cheap, free way and learning it all the hard way through trial and error and just free research on the internet.  10:38 - Anne Ganguzza (Host) It can be done.  10:39 - Jon Bailey (Host) I'm proof that it could be done, because I didn't get any coaching until I'd already been at this job for like almost a decade and I just didn't see the point because I'd been. Unfortunately, a few not so great coaches can ruin it for everybody else. I'm like I don't hear anything here that I couldn't find on the internet.  10:55 I personally have a theory that when we got started, people were gatekeeping the information. I think people were only telling they were so insecure in their own careers they were afraid if they shared this information, this is going to create more competition, which is going to screw me out of work, and I don't think that this is the kind of career where you should have to worry about that because it's so freaking huge. There is enough room for everybody in this job.  11:19 And if you're great at the job and you do a good job and you take the time to grow your brand and create content, do all the things that you need to do in order to be able to show what you're capable of, you'll be able to get work. There's no doubt in my mind. I've always been kind of ahead of my time, but I've been that guy that like I'll do it and until some huge voice actor does the same exact thing after they've seen me do it, then all of a sudden it becomes popular. I was one of the first voice actors to stream my own video games on Twitch. It didn't really go anywhere and I was like you know what and I told a few other voice actors about it. I said this is a great idea. Now all of them are actually making a separate income from doing the same thing I was doing, but nobody even showed up for me.  11:57 I was also one of the few people out there like I should create content about what I do, or just do career centered content. That's entertaining slash, maybe a little informational way to show what I do, just to promote myself. Because the thing, like I started off, the thing that I learned by making content, was that your representation. They will never represent you as well as you can represent yourself. And when I found out that my agents only just get the auditions and sometimes they'll have some relationship with clients and they'll pitch you to somebody they're never going to know you until you get out there and show them who you are. So take whatever thing that you do and just formulate your content around what you're best at, whether you're best at creating creatures or you're best at doing impressions. Whatever Impressions won't get you anywhere in professional voice of a career.  12:48 - Anne Ganguzza (Host) but they're fantastic for content.  12:48 - Jon Bailey (Host) That's not the advice I got 12 years ago. I was told you will never get anywhere in this business doing impressions. That's not true, because you can grow a brand and all of a sudden you're so popular Clients can't do anything except they can't ignore you once you have millions of followers and you're like, oh man, we should hire this guy because people will buy our brand or at least consider our product or service or whatever, just because this guy has so many people.  13:08 - Anne Ganguzza (Host) Absolutely. I love that.  13:15 - Jon Bailey (Host) So growing your brand and making content is a way for you to represent yourself and not just sit back and sit on your hands and wait for your agents to do it, because they're not. Your representation's primary job is to make you look good and let people know what you're booking even if they didn't book it for you, and get you auditions and opportunities. They're not out there promoting you specifically, they're not putting out visual audio demos of you doing stuff and working on things, and everything is content Everything.  13:39 - Anne Ganguzza (Host) Now question for you because you create so much content and now that you have so many followers, I would imagine yes, of course. Now you're getting sponsorships. You're getting people who want you to talk about their things, because you do have a big follower base. Do your agents have control over the type of content? How careful do you have to be now creating your content?  14:00 - Jon Bailey (Host) I think that agents representatives have to be careful depending on their talent. I think if their talent is smart and they're wise, obviously they're going to hit me up and say you can't post that, you need to take that and sometimes I just have to kind of self regulate.  14:15 I'll give you a perfect example of that. There was a project that was coming out and I thought it would be funny to make a prank video because it's a project that I have been known to work for in the past. So for an April Fool's joke, I created a fake thing for this thing and posted it on the Internet and all of a sudden it reached a point because my content has gotten so big and my career has grown so much that people were using that as a potential news leak of some nondisclosure stuff. I'm like oh crap, I've reached the point where I can't just be regular Joe fan that makes funny stuff for the internet. And then they're like oh, that's so.  14:54 I had to be way more thoughtful and because of, like I said, I learned everything the hard way because of some NDA scares and because of some reprimands from some agents in the past. Over the last decade and a half I've learned like what is okay and what's not, and I'm just always very careful because it does help. I've been working for Hasbro for eight years. Eight years I've been doing voices for the same company, for the same franchise, and only within the last couple of years? Did they even know I was working for them?  15:15 - Anne Ganguzza (Host) Wow.  15:15 - Jon Bailey (Host) Because when you have a massive corporation they drop down all those little jobs down to other companies that are lower on the pole. So they can just like look, we're just going to license this brand out to you. You tell us what you're going to make, you do the entire production, We'll approve, and then you know it's got our official stamp on it. They have no idea who's working for them. So when I get out there and I start making content, I'm really starting to push something like Transformers, for example, because I remember that.  15:39 I do remember that, so they'll send me products or they'll send me news, information or images, digital assets whatever to repost because it makes sense for me, and the more that I do that, the more that people are associating me with my favorite brands that I already work for or it's making other companies go wow, he does a really good job for them. As long as there's no conflict between clients, maybe we should get them to check out our stuff or whatever. So, for example, for Transformers specifically, I have probably four different companies that send me stuff that I don't have to pay for, that I can make content with, or I can resell or give away. There's a lot of different ideas that you can do. You just have to think outside the box.  16:37 It's all about thinking outside the box and doing the best you can to represent yourself in a way where your reps don't have to worry about what you make because they're afraid that you're like oh my gosh, you said you're not a chub on that, I mean, I even had to think about that whenever it came to anything marvel related, because when I started booking sound likes for some of these actors for marvel, I'm like does that mean I can't make comedy, marvel content or whatever, because that might be a spoiler for something that I don't even know about because I'm not working on a project. But I feel like anything I'm doing to help it boils down to this. This is the very, very important part. It boils down to only doing positive things about the clients, brands, products, whatever that you want to work with or that you're a fan of, whatever Because let's just say you like.  17:18 Snickers. If you like Snickers, you don't want to do negative Snickers things. You want to show yourself eating a Snickers, show yourself talking about Snickers, making funny things based on Snickers, and eventually you get enough followers and enough people are like this is really funny, this is really entertaining. This makes me like Snickers. This makes me want to support you by getting whatever. Eventually, snickers is like hey, you know what, we'll send you some free Snickers, send you money in a brand deal. The important part is to do it positive. Don't do anything negative about a brand that you like.  17:46 - Anne Ganguzza (Host) I was just going to ask you. There's the other side of the coin, where any publicity is good publicity, so sometimes negative.  17:52 - Jon Bailey (Host) True, but I feel like you're playing it safe and smart if you just stick to only things that, for example, if something comes out, that's not that great, but it's for a company that I like. That's the truth. But it's also about growing your brand, about being seen by enough people to be considered like, oh, and it's also about showing all the things that you do, whether it's your skill set, whether it's your sense of humor, whether it's just your perfect, whatever it is that you're doing it helps them understand like this person has all these positive traits that we like. We would like to continue to work with them, or we'd like to start working with them.  18:33 - Anne Ganguzza (Host) I like that. I like that a lot.  18:34 - Jon Bailey (Host) The whole Mint Mobile ad with Ryan Reynolds. It did not come from my voiceover stuff, it came directly as a result of social media stuff. I was one of the first people out there doing an impression of Ryan Reynolds, because I've seen people out there doing impressions for decades. They started doing it on YouTube when it was first brand new a thing. People were trying to do it as some kind of bit where it's like here's this tiny little cartoon picture in the corner and here's one second of me doing this character. Like I could do 500 cartoon characters in three minutes. And I was like, okay, I see what you're doing, but it's also terrible. It doesn't mean you're a good voice actor, it just means you've made clever content that a lot of people watched.  19:09 But wouldn't it be better, instead of doing those impressions, to just take your skill set and promote yourself in a different way and do something nobody else is doing? So I started looking. It's like man, my gosh. All these voices are old. These characters are ridiculously ancient. It's always Mickey Mouse and Kermit the Frog and stuff that anybody pretty much could do, because the guys who came up with those characters they didn't want to stray so far from their own voices. They were just doing whatever. So I was like you know what? I should just look at who's popular right now, who's the number one top dogs right now? So I started looking at the A-listers. I'm like nobody's doing Chris Hemsworth Nobody's doing Ryan Reynolds.  19:43 Nobody's doing.  19:51 - Anne Ganguzza (Host) All of a sudden.  19:51 - Jon Bailey (Host) Now everybody's copying that pattern. It's just one of the first out there and because I did such a good job with Ryan Reynolds' voice and I made positive, funny, entertaining content, it eventually got the attention of Maximum Effort who reached out to my agents, said we really like Jon, we have this funny idea. We don't really know what we're going to do yet, but we'd them on commercial. There's a good paycheck for it involved, also good social media. Because he's smart enough to know, because Maximum Effort is very good about this. They think like I do. They're like there's a potential for this stuff. It's all in the internet and how you present this More people to see that than you can by throwing this up on a television commercial. So, yeah, it just kind of became that formulation of is it positive? Does it show off my skill set well, does it make me look like we should work with this guy and want to work with this brand? Would this brand be like? This is a unique or entertainer insert thing here of a way to promote our product. We'd like to work with this guy more or continue to work with him. So, yeah, it's going to be, became the whole mindset and the main goal was always not to make money from.  20:49 I make hardly any money from social media, just next to nothing, because the primary goal was not to make money. If I wanted to monetize, there's a very particular set of rules that you have to follow in order to make money from social media. My goal was to get more eyeballs on it, get more followers, because at some point you want to be indispensable, you want to be invaluable to people and like well with me. Not only do you get 16 years of professional experience, all these credits, all these working with all these great companies or clients or studios or whatever. You also get somebody with over a million followers on social media who will promote your project and make content about it for no extra money, just because that's what he already does, because that also helps. It's a cycle. It helps me get bigger, which helps me book more jobs which helps me get bigger, which helps me get more jobs.  21:32 It all works together and it does kind of feel like you're working half your time for free, but that's why you should do things you enjoy. Make your content something that you enjoy, based on things that you like. Just build it around your skillset around your talent.  21:44 - Anne Ganguzza (Host) Sure, I love that and I love the whole positive spin that you put on things, as well as authenticity. To take a moment to talk about authenticity you have been very authentic, having known you for so many years now, about things like in your personal life, like your transformation right In your family, and so let's talk a little bit about what authenticity means as well in terms of I feel as though it's not a put on to get more followers. I just really identify with you through your stories. I think you and I have a similar story about, let's say, our body change, our health. We've transformed a little bit in that way, and I've seen a lot of posts from you about that and also stuff about personal struggles that you've had. Let's talk for a moment about the authenticity and how important that is.  22:30 - Jon Bailey (Host) Well, I think you should keep the majority of your personal life offline. Nobody needs to know all your personal business. But I do feel like, when people have been supporting you for so long, they feel an attachment to your story and to you and they want to root for you. They want to be in your corner, they want to see you succeed. Some of them even live vicariously through you. But a lot of people are just looking for inspiration. They're looking for somebody else to give them justification for whatever it is that they're going to decide to do, and when they see somebody like me give up, it makes them want to give up. When they see somebody like me keeping on and pushing on and just never quitting, it makes them not want to give up.  23:09 I inspire other people and, as a person of faith, that's kind of half the reason why I do what I do, because I feel like it's better to be genuine and be yourself, because if you have to mask, eventually it'll all fall apart. You won't be able to keep that up for forever because it's not really you. Jim Carrey's talked about this a lot because he used to be that guy. He thought he had to be like this all the time. That was a persona that he created. It was just a different version of himself where he literally was not Jim Carrey, he was whatever character he was portraying.  23:38 That was Jim Carrey. And when he finally dropped the mask and started being himself, he felt better. And yeah, he's not a super energetic I mean, he's still funny, but he's not that crazy, energetic, over-the-top, ridiculous guy all the time. He's actually just a normal human being who happens to have a very clever mind and sense of humor, et cetera, et cetera. And he talks all the time about how the word depressed has the words deep rest in it and how our brains can't keep up with that fake facade.  24:05 And I know exactly what he's talking about, because my personal life is not rainbows and skittles all the time. I don't go into great detail about it, but people do know. They know that I'm on the spectrum. They know that my son is very much on the spectrum and he's had a lot of issues. They know that my home life has not always been a hundred percent fun. And they also know that financial struggles and all I go through the same thing everybody else does.  24:29 There's a really great interview with Larry King, with the actor who played Abed in Community, which is one of my favorite TV shows and I did promos for it, which is how I became a fan and he was being interviewed.  24:40 Larry King's like give me a luxury that you can't live without. He's like cup of coffee. He's like no, no, no, a luxury. He's like a warm pair of socks. He's like no, a luxury, you know. Like a private place, like I work on duck tails, larry. It's like people don't get that. We're struggling just as much as I don't think, until the strike came forward. This feels like the first time ever that a strike has actually finally got people to realize we don't make a lot of money, we're not sitting around floating in a pool of money and everything is fancy and expensive.  25:09 I literally live from paycheck to paycheck. I don't know how I get from point A to point B except through faith and hard work. That's all there is to it. And you have to find things that work with your schedule in order to stay in this career, because you can't just go get a grocery store job or whatever and be able to make it. You'll only be able to work when you're free. These clients don't care when you're free, they only care when they're free. So so you have to make yourself available until you get to the point where you've reached the career level, we're like no, no, no, we'll wait for you, we can reschedule for you, don't worry. That didn't used to be the case when you first start off like next, because they have a million other people that can do what you do. No-transcript, how fast they can get it done, reliability, all these different things that are factors they're going to succeed. They see that, they can just tell, and part of it is that I am a really hard freaking worker and I'm very genuine and open about.  26:09 I'm just always going and doing stuff, but it's gotten a little better with content creation wise, because while I'm still just being me, I do take the time to like look ahead and see, okay, what's coming out. What am I working on? What am I allowed to talk about? What am I not allowed to talk about? What's trending right now? Since right now, I only have this free time on Saturday, and that's it. I'm going to make a whole bunch of stuff that week, and then I'm just going to drop it online whenever I have time, rather than so.  26:34 it's not like I'm making stuff all day long, every day. I can't do that. I can't keep working for free because people don't realize if they're not sending gifts or they're donating to your social media you're doing it out of the goodness of your heart on what little spare free time you've got. I don't have all day long to stream and et cetera. Content creation is. I absolutely agree with you, it's no small feat it is a full-time job that does not pay.  26:59 No small task at all, but it does pay off in jobs, in exposure.  27:02 - Anne Ganguzza (Host) Yes, absolutely, and that's interesting. My next question was going to be what's your best tips for people starting out in the business? You just gave it to me in that last Well, I got a lot more tips than that, but I loved it because hard work and I'm going to say determination, and especially now that the industry has shifted, I mean and evolved and I think you, more than anyone, really understand how to roll with the changes and to really evolve.  27:23 - Jon Bailey (Host) Well, you've brought up challenges, and that's what the challenge is that this job has become far more public. It's gotten much bigger. It was already big, but the career itself is already bigger and we have all these factors to be concerned about now, like AI replacing jobs like ADR.  27:50 And the competition has increased by a ton because now people understand technology is caught up, where you can pretty much do this anywhere with a decent Internet connection, which makes a big chunk of the industry going to be much tougher. But if you do all those things in conjunction, if you get training, get training from good, reliable coaches that are honest, trustworthy and affordable, you'll spare yourself years of research and development. Start creating a brand. I say this to people when I coach and all of a sudden it's like people realize all this stuff is just common sense stuff.  28:06 Make your profile picture Be the same. Make your bio Be the same across all your platforms. Just be consistent with making something. Find free time, bank up a bunch of free stuff. Post it when you don't have time, because you may not have time to make stuff later, but be showing what. Like I said, everything is content. If all I have time to do is be in the booth doing my job, then I'm going to record myself in the booth doing the job.  28:29 Add some different audio to it, so I don't break non-disclosure agreement when I'm recording auditions and just post something else over that and make that into a video to show people like I'm freaking, working, I'm doing this stuff here, I am in my booth, or just take a picture, do something, but make content and keep something going out there. Yes, it helps if you stay up with current trends, if you have a particular genre. I'll give you a couple of examples, because people probably think that this is just confined to well, you work in cartoons and movies. It's easy for you because you have all this stuff. That's not necessarily true. You never know which horse is going to win the race.  29:00 I would have thought that Mad Max would have been a great thing to post content about, but it's not doing as well as I thought it would do. So all the other stuff that I do content for is like okay, well, I can keep making that, but you just kind of have to keep an eye on it. But you have inspirational stuff, you have creepypastas, scary stories. There's just so many things that you can do and it be your brand, as long as you keep consistent and keep making something. And in the meantime you're doing auditions, you're out there, whatever, and as you're growing you can start adding that to like oh well, if you book me, you also get this.  29:30 I have a protege. I would love for you to interview her sometime. Her name is Hunter and she did not know what a voiceover was before she met me, but she did have performance experience. She used to be a haunter in haunts and let me tell you something it is harder to be a haunter in a haunt than it is to do stand-up comedy, Because you have an infinite amount of time that you're going to be doing this little performance. You've got about 10 minutes In a haunt. You're in there for hours coming up with characters, terrifying people, improvising, doing all the makeup and stuff yourself too. So there's on-camera stuff as well and you develop crazy skill sets that she didn't even know was a valuable skill set. She can create creature sounds that I've never heard a woman do before.  30:10 - Anne Ganguzza (Host) I've only heard Dee Bradley Baker, do what she's done.  30:13 - Jon Bailey (Host) And, like you, have any idea how special that skill is in this industry.  30:17 You need to make content and show people what you do, and especially if it's something that you can do that they cannot do and all of a sudden, within three months of just doing a little voiceover coaching with me showing you the stuff that I know after 16 years, she was booking work, which proves that you don't have to have two years to 16 years to book that kind of stuff. If you have the information and you work hard and you supply the stuff that you learn, you can book stuff right away. This industry is easy to get into. My biggest problem and I'm going to hurt a lot of people's feelings right now my biggest problem is that people come to me with their hands out and that's all they ever do hey, what can I do to blah, blah, blah.  30:52 And I tell them they're like that doesn't sound like I'm just going to be able to do it without you giving it to me. So I'm like if you don't want it, if you're not willing to work for it, then don't ask. It's not a job where you can just go get an answer and I give you a key and you go open the door and you receive the rewards for it. It took 16 years to do that, yes, yes, it can be condensed down to shorter amount of time. When you find somebody like me who coaches and I've made all those mistakes already in 16 years' time I've gone through every version of how not to do the job, then finally figured out the right way to do the job wouldn't it make sense to invest a little bit of money and save yourself a lot of years to get that information and actually use it and apply it and just work hard at the job? It's kind of like Shawshank Redemption All it takes is time and patience.  31:33 - Anne Ganguzza (Host) Absolutely Well, before we go, I do want to talk to you about your transformation.  31:42 - Jon Bailey (Host) You look amazing.  31:43 - Anne Ganguzza (Host) I imagine you must feel great. I feel a lot better today, not so much because I injured my shoulder.  31:45 - Jon Bailey (Host) I'm sorry, that's right, but again, like I said, everything is content and I'm like you know what. A lot of people are already supportive. They want to see me succeed and I wanted to show them that if I can do something, anybody, if you just put your mind to something and you're just consistent at whether it's your health or your career or whatever, if you're just consistent at it, that's all it is. People just fall out of it because they go too hard, too fast. Whether it's your physical health or whether it's the career, they think that, okay, all I have to do is this one thing and then when it doesn't work out in a couple of months, people just quit. Or a couple of weeks, they just don't give it enough time. You don't get healthy in just a couple of weeks.  32:20 - Anne Ganguzza (Host) It took years of back and forth and bouncing up and down, you and I both know, because we both been there.  32:25 - Jon Bailey (Host) I remember, I remember.  32:27 - Anne Ganguzza (Host) You look like a different person too.  32:29 - Jon Bailey (Host) I've lost an entire person at this point I'm down 145 pounds.  32:33 - Intro (Host) I haven't had my biggest, I was 335.  32:36 - Jon Bailey (Host) That was around the time when you and I met I was literally that.  32:39 - Anne Ganguzza (Host) No neck guy and my overall goal was 170 pounds, but still is wonderful.  32:42 - Jon Bailey (Host) Thank you. I've only got 25 pounds left to go.  32:45 - Anne Ganguzza (Host) Good for you. I still have some to go too, and it's funny People are like what? But I need to continually have that challenge. I feel like I'm like you in that way.  32:53 - Jon Bailey (Host) I'll give everybody something that really helped me, and it's going to seem like a silly thing, but if your health is important to you and you have people that depend on you and need you to be around, then you should make it a primary thing. Number one. Everything is content. You can film and take pictures of your progress. My progress stuff gets more traction than my professional career stuff does Mine did too my picture of me shrinking. Those are just pictures not even a video.  33:20 Those pictures had over 3,000 likes and I don't even have that many followers on Instagram. People want to see you succeed and it also inspires them and makes them want to do better for themselves, which is great. So you can literally make that as part of your journey, and I remember incorporating it into my routine. I'm like you know what, instead of it feeling like it's a job and that I have to go lose weight and I have to go hike and I have to go to, I'll make content while I'm out there. I'm make videos of me doing the thing, or make I did different celebrities going to the gym, you know, or working out or exercising, and it became where it was fun and eventually I'm multitasking. At that point, I'm making content and I'm working out.  33:57 At the same exact time, I'm also finding cool locations while I'm out doing whatever that like you know what. This would be a cool place to make a thing. There's so many different cool factors involved in just doing things better for yourself. The gym that I got for the backyard I was like you know what this would make great if I want to do gym videos because they have a very strict policy about making content inside of a gym, so having a gym in my backyard makes it a lot easier for me.  34:21 But it also I got it from another voice actor. Dave Fennoy got rid of his old gym because his studio flooded and he did not feel like putting it back in there.  34:30 - Anne Ganguzza (Host) So I got a great deal on it. Oh, that's awesome. I didn't realize that was Dave Fennoy. It helped me network more with yeah it helped me network with Dave Fennoy who's?  34:37 - Jon Bailey (Host) also a local to Memphis, which you know, I've only known two or three other voice actors that came from where I came from. So there's so many positive things about. Everything is interconnected, everything's all part of one big giant thing and it does sometimes feel a little bit like a video game because you're just like this doesn't feel real, but it's just all the parts working together and just looking for opportunities. I'll put it to you this way there's a movie I hate to bring up Jim Carrey again, but the movie yes man. I don't live quite that strictly to that kind of policy, but I do feel like you should say yes to every opportunity that comes your way. Unless you have a very solid like there, unless you have a very solid like, there's just no way I can. If it feels like there's resistance, then don't do it, but unless there's just something that instantly red flags, I'm just trying to be like yeah, I'll, absolutely. I'll do my best. I'll give it my best freaking shot, whether it's my health, whether it's my content, whether it's a voiceover job.  35:29 - Anne Ganguzza (Host) And I've been shocked at how many times that has worked out for me.  35:31 - Jon Bailey (Host) Just give it a chance. So many people are not confident in themselves. They don't have security in themselves. I don't think people understand the term fake it till you make it. It's talking about acting. It's literally talking about pretending to be okay and pretending to be fine and acting like you're good even if you're not good, even if you are nervous. This will change your entire life and I'm only going to give this one, and this is just an example of what you get when you coach with me. By the way, if you can pretend to be another person when you go into an audition, it completely changes things, because when you're already acting like you already got the job, you're going to do a better job performing the job. So, whether it comes to in-person auditions or whatever, or social situations or networking situations, you can literally just get comfortable acting like the person who is confident and who is a success until you are that's what faking it do to make it move.  36:22 People on the spectrum and voice actors and actors and performers. We're all very good at masking, and does that make us an exceptional liars? Probably All of us are not like that in our personal lives.  36:33 - Anne Ganguzza (Host) But when?  36:34 - Jon Bailey (Host) you're very good at pretending to be someone else. You can make that into a viable career and it works for your content. It works for your overall brand. It works for your auditions. It also works for your booking. When you actually get the job, People will like you better, when you act like you belong there. In other words, when you go into a session, don't sit there and go. I'm sorry, let me do it again. I'm sorry.  36:53 - Anne Ganguzza (Host) I'm sorry. I'm sorry, I messed up.  36:55 - Jon Bailey (Host) Hang on. I messed up. Hang on. I'm sorry you shut your mouth. Just say let me try that one more time.  36:59 I got a better one in me Change your mindset, change the way you speak, change the way you act. You're faking it till you make it, because eventually you'll start booking those jobs and it's just. I hate to keep using nerd references, but I am one it he could do it because he saw himself do it, and this is exactly. There was a life changing moment for me when I went into record Bumblebee for the third time and it's one of my favorite movies that I've ever worked on. It's my favorite franchise, my two favorite characters that I got to voice. I had no idea who I was working with in that studio. I didn't have a clue. Nobody told me that anybody from the movie was going to be there. The only people that I saw that were famous were some of the other voice actors that were working. So on the third session I was like I wonder who the director of this film is. And I looked it up and it was the guy I'd been working with for three sessions.  37:48 I didn't even know he was the director of the movie. I thought he was just the engineer at Paramount and it was like dude. I was nailing it, not even knowing I should be nervous. So why even be nervous? The next chance I got to work with another director, it was Michael freaking Bay. I wasn't even concerned anymore. Everybody was warning me. He's hard to work with. He's difficulty blah, blah, blah. I'm like dude. I worked with Travis Knight, didn't even know I was working with Travis Knight. I'm fine Because I can just act like I belong there and and people will believe it because I'm being very confident. Even though it's fake confidence, it's still confidence and eventually you'll start to believe your own confidence.  38:22 - Anne Ganguzza (Host) It's kind of manifesting.  38:24 - Intro (Host) Manifesting that it's faking it till you, make it I didn't understand.  38:27 - Jon Bailey (Host) I heard people say that for years and years and years until I realizing it's just faking confidence until you're actually doing that job, because you really kind of need to prove to everybody else and yourself that, yeah, you can do this, and once you can do it you don't need to worry about it anymore.  38:40 - Anne Ganguzza (Host) And what I love is knowing you for so long Like I've seen this happen. I've actually watched you become this incredible success, confident, and it's. I love it. I'm just so, so happy for you.  38:54 - Jon Bailey (Host) I appreciate that it really is just about kind of like learning all the cheat codes. It takes me a little longer than most. I had friends tell me like it takes 10 years to get into cartoons. I booked an anime in eight and thought I was doing good, but then it was just crickets for another four years. So you just never really know. But then when I started realizing it really is all about faking that confidence and just believing in yourself, even if you don't believe in yourself. If you can fake it, other people will believe it.  39:17 - Anne Ganguzza (Host) I'm signing up to coach with you, but actually this is a great segue into, first of all, how can people follow you If they don't know they should know because you're all over the place and then how can people work with you.  39:29 - Jon Bailey (Host) I recently. I won't say it's finished yet because I'm trying to add a couple more pages to it, but I recently overhauled my website thanks to my awesome mentor who also does website design. So if you need a voiceover website, I know somebody and the contact page. There's a section on coaching. My rates are all there. I've expanded from when I first started. You probably remember this. There was a long time I did not want to coach because I didn't feel like I had enough experience for it, because I was like I've only been at this five years. Even though I'm doing great, I don't feel like I've got anything to say to anybody. Brand new, because I'm brand new Now. I don't feel I've got a decade and a half plus two years of research and development.  40:01 I've worked for the biggest studios out there. I have gone through every version of how to do this job wrong, just like Thomas Edison inventing the light bulb wrong 99 times. I figured out the right way to do it by doing it wrong so many different ways. So I haven't named it yet, but it's kind of like the gamer's guide to voiceover.  40:17 - Intro (Host) It's a little cheat code magazine.  40:18 - Jon Bailey (Host) Love it. So, yeah, I'm really easy to find Epic Voice Guy on every major platform and you can contact me via my website page or any DMs across any of the social media. I'll probably still sling you over to my website because it goes straight to my email address, but my coaching rates are ridiculously affordable compared to most people and you won't have to keep coming back for more coaching sessions unless you want to, because I didn't like that when I got started. I think we had this conversation before. I was very against the overall coaching community because I felt like so much of it was predatory. They were giving some of the same information over and over that you can find on the Internet for free. And now they have a website. D Bradley Baker God bless his soul created Iwanttobeavoiceactorcom, and now I don't even have to like look, if you don't want to pay me, spend a few weeks on this free website. No skin off my teeth, you don't have to pay me a dime.  41:07 - Anne Ganguzza (Host) If they're not willing to look at that website for a couple of weeks because there's a lot of information there, then they don't really want to do this job and that's my number one go-to thing.  41:12 - Jon Bailey (Host) But yeah, I coach and I also do other stuff too. I also offer, if they want, fan stuff, a little bit of everything Awesome.  41:19 - Anne Ganguzza (Host) Yes, you do. I remember that you were doing that back 16 years ago too.  41:23 - Jon Bailey (Host) Yeah, I try to look at the industry and see where the gaps were and see where is something missing. It's like, oh, I started realizing these brands that reached out to me like, oh, we realize, you make a lot of Transformers content. I was like, well, you know, as a voice actor and having a professional page, I should freaking have a shop page.  41:39 And then call those companies and say hey, would you like to advertise for free on my website? Duh Three or four, I'm like, yeah, we'll give you some free ads and we'll even throw you a commission if they buy some stuff through the way I mean.  41:49 - Anne Ganguzza (Host) there's so much opportunity.  41:51 - Jon Bailey (Host) We just don't. Nobody really takes the time to think they're just looking at insert job here in the voiceover business and they don't think about all this other stuff.  41:59 - Anne Ganguzza (Host) It's the business mind too.  42:01 - Jon Bailey (Host) Yeah, the simplest way I can put it, because I know your time is valuable too. The simplest way I can put it is if you're going to fish because you're starving to death and it's your only option, you have plenty of opportunities to fish, but you have a boat and you have a place to fish Do you put one hook in the water or do you put them all in if you have the opportunity, to put them all in there If you have a chance to catch more fish? Look for every single chance, every single opportunity, whether it's a YouTube and a TikTok and a Twitch and a whatever. If you're a gamer, game, if you're a reactor, react but do something. Build it around your skill set, make content on every platform out there. Look for every opportunity networking opportunities, voiceover meetups like what Anne and I used to go to the coaching sessions from people that are reliable free website resources.  42:47 There's a ton out there If you just put in the freaking effort. That's where you guys make me angry. Put in the freaking effort.  42:52 - Anne Ganguzza (Host) This podcast is a resource.  42:55 - Jon Bailey (Host) Exactly, I've been doing this podcast for eight years, eight years weekly. So yeah, I just celebrated my eight year and you guys are not paying for it. This is free resources that are extremely helpful, Jon.  43:05 - Anne Ganguzza (Host) Bailey, john Bailey. Oh my gosh, it has been so wonderful. We should have like five more, no, 15 more episodes.  43:11 - Jon Bailey (Host) I mean I would if I didn't have a game to record I know right.  43:14 - Anne Ganguzza (Host) I could go on and on and on and I have a session I got to get to myself. I take that back. Five sessions.  43:19 - Jon Bailey (Host) I forgot one. I just booked another one today. Five sessions and two out of five are at home. That's not normal though.  43:25 - Anne Ganguzza (Host) But I did want to be fair and honest. That means you got to drive three out of the five too, so that's time involved as well. Knowing this area.  43:32 - Jon Bailey (Host) Oh, that's aed. There you go, there you go, oh my gosh.  43:46 - Anne Ganguzza (Host) John, it's been amazing. Thank you so, so much for this. Bosses out there, follow John and coach with John. I'm telling you, you were like a fountain. You're a fountain of wisdom and information and again, thank you I keep telling people they should go to me.  43:54 - Jon Bailey (Host) I've got living proof. If you want living proof of how far you can come with a little information for me, if you are properly motivated and you work hard, go to VoxyDitch on any of the social medias. That's my mentee. I'm mentoring her and look how quickly she has people coming to her asking her for voiceover advice. Awesome, only being in this job for a few months.  44:15 - Anne Ganguzza (Host) Awesome. Well, John, thanks again. Bosses, I'm going to give a great big shout out to our sponsor, IPDTL. You too can network and connect like bosses like John and myself. Find out more at IPDTLcom. Everyone have an amazing week and we will see you next week. Bye.  44:33 - Intro (Host) Join us next week for another edition of VO Boss with your host, Anne Ganguza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.   

In this episode, we dive into the exciting news that Nicholas Galitzine has been cast as He-Man in Amazon MGM's upcoming live-action "Masters of the Universe" film. Directed by Travis Knight and set for a worldwide theatrical release on June 5, 2026, this movie promises to bring the iconic franchise to life like never before. We'll cover the details of the film's production, the history of the "Masters of the Universe" franchise, and what this casting means for fans. Don't miss out on this thrilling update! Nicholas Galitzine, He-Man, Masters of the Universe, Amazon MGM, live-action movie, Travis Knight, Mattel Films, He-Man casting, He-Man movie 2026, Masters of the Universe film, action figures, iconic franchise #HeMan #MastersOfTheUniverse #NicholasGalitzine TagsHashtags

Welcome to Multiverse News, Your source for information about all your favorite fictional Universes. Everyone's favorite villainous character actor Giancarlo Esposito made waves by announcing he has been cast in an MCU film with the added caveat that it is not a role fans have speculated about. Actor and writer Paul Walter Hauser - who has been in the news a lot lately - is also joining the MCU in Matt Shakman's Fantastic Four movie in an unknown role. The casting news comes on the heels of Bob Iger's comments today about shrinking the volume of the MCU to three films and two television series per year. May the Fourth has come and gone, but with it Lucasfilm provided a full trailer for June's new live action series, The Acolyte. Fans of the franchise who enjoyed seeing The Phantom Menace back in theaters last weekend were also treated to an extended look at a scene from the first trailer featuring Carrie Ann Moss. James Gunn took to social media, rather than the sky, and debuted a first look at the Superman costume that will be donned by David Corenswet. Set against a Metropolis that looks to be in distress, Corenswet appears to be getting ready to go to work as the new Man of Steel. The baddest superheroes around will soon be back.  The Boys Season 4 trailer dropped this week showcasing a crossover with characters from Gen V. Late Gen V actor Chance Perdomo's character Andre Anderson will not be recast in that show's second season, according to a joint statement from the producers. A24 has secured the rights to produce Checkmate, a project centered on a book proposal by Ben Mezrich, the author whose books were adapted into films such The Social Network and Dumb Money. Checkmate will reteam Nathan Fielder and Emma Stone to direct and produce and will tackle a recent public chess cheating scandal between chess players Magnus Carlsen and Hans Niemann. Paul Walter Hauser is set to play Captain Ed in director Akiva Schaffer's untitled new Naked Gun film that Paramount Pictures plans to release July 18, 2025. Hauser will star opposite Liam Neeson and Pamela Anderson. Anna Sawai, the breakout star of the hit FX series Shōgun, revealed to The Hollywood Reporter that she was forced to turn down an audition for the part of Katana in the 2016 film Suicide Squad because the company behind FAKY, the J-Pop girl group to which she then belonged, forbid it. The upcoming live action adaptation of Masters of the Universe finally has a release date of June 5, 2026. Bumblebee director Travis Knight will direct. Netflix announced the sixth and final season of Cobra Kai will consist of 15 episodes, with the season split into three, five-episode blocks. The first five episodes will premiere on July 18th. Kristen Stewart and Oscar Isaac are set to star in Flesh of the Gods, an 80's vampire thriller to be directed by Panos Cosmatos, the filmmaker best known for his hallucinatory 2018 horror movie Mandy. Wheel of Time and Gone Girl star Rosamund Pike has joined Lionsgate's Now You See Me 3, the upcoming installment in the magic heist franchise. Steve Carell is set to star opposite Tina Fey in the upcoming Netflix comedy series Four Seasons. The series is based on a 1981 film of the same name. A24 has picked up Onslaught, the upcoming horror action film from director Adam Wingard. Wingard is fresh off directing Godzilla x Kong and Warner Brothers hopes that following the filming of Onslaught, he will return to direct another chapter of the monsterverse. Hugh Jackman and Emmy winner Jodie Comer are set to star in The Death of Robin Hood, a dark reimagining of the legend of Robin Hood. A Quiet Place Day One director Michael Sarnoski will write and direct the feature. Ahmed Best who played Jar Jar Binks in the Star Wars prequel films, will return to voice Darth Jar Jar, a Sith version of the character for an upcoming Lego Star Wars special titled Lego Star Wars: Rebuild the Galaxy, which will debut on Disney+ on September 13.

The long-anticipated live-action reboot of "He-Man and the Masters of the Universe" is finally making strides toward the big screen with a set release date of June 5, 2026. Directed by Travis Knight, known for his work on "Bumblebee" and "Kubo and the Two Strings," the film is expected to offer a fresh take on the iconic hero's origins. Knight will be teaming up once again with Chris Butler, who has been brought on to rewrite the script, promising a potentially vibrant and imaginative retelling of Prince Adam's transformation into He-Man. This project has shifted through various studios over the years, including Warner, Sony, and a brief stint at Netflix before landing at Amazon MGM Studios. The development journey reflects a mix of excitement and skepticism, given the numerous failed attempts to revive the franchise in live-action form since the 1987 film starring Dolph Lundgren.

Sejam bem vindos a mais um episódio do Pauta Quente, o nosso programa semanal onde abordamos as principais notícias da semana envolvendo o melhor da cultura pop! Nesse episódio: Séries do Homem-Aranha da Sony, Ridley Scott vai dirigir cinebiografia dos Bee Gees, Novo filme do Gore Verbinski, Prime Vídeo aumenta o preço e recebe processo, Ben Wang se junta a elenco do novo Karate Kid, Travis Knight vai dirigir filme de Mestres do Universo, Nova imagem do filme do Michael Jackson, Trailers da semana e Muito mais! Não se esqueça de acessar o nosso site, se inscrever no canal e seguir a gente nas nossas redes sociais :) Ouça o podcast também no nosso canal do ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Nossos contatos e redes sociais: YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Fórum Nerd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@nerd_forum⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠forumnerd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Tik Tok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Fórum Nerd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ E-mail: siteforumnerd@gmail.com Participantes: Charlie Brown (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@CharlinhoBrown1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) Bruce/Luís (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠lufeer_⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) Edição e Arte da Vitrine: Charlie Brown --- Send in a voice message: https://podcasters.spotify.com/pod/show/naoeumacopia/message

This week on The Nerdpocalypse Podcast, the guys return to discuss Apple TV's latest crime show "Criminal Record," A24's "The Iron Claw," Marvel Studios officially announces the cast of their "Fastastic Four" film, director Michael Giacchino rumored to direct an upcoming "Midnight Sons" film for Marvel Studios, non-shocking abysmal reviews Sony's latest attempt at a Spider-Man universe film, "Madam Web," director Travis Knight is the top choice to helm Mattel's "Masters of the Universe" aka "He-Man" movie, trailers for Twisters, The Fall Guy, Godzilla x Kong: New Empire, Deadpool and Wolverine, X-Men '97, and much more!CHECKED OUTCriminal RecordThe Iron ClawTOPICSMarvel announces cast of Fantastic Four castMichael Giacchino rumored to direct “Midnight Sons”Director Travis Knight Circling New ‘Masters Of The Universe' MovieTNP STUDIOS PREMIUM$5 a month or $50 for the yearAccess to premium slate of podcasts incl. The Airing of Grievances, No Time to Bleed, The Men with the Golden Tongues, Upstage Conversation, and full episodes of the Look Forward political podcastWTF? by JayTeeDee from the “Edit That Out” PodcastTerrence: http://tinyurl.com/1cmwideJay: http://tinyurl.com/uscabaTRAILERSThe Fall GuyGodzilla x Kong: The New EmpireTwistersDeadpool & WolverineX-Men ‘97

We have a nerd filled Valentines episode for all of you! Major Marvel mews across the board! The Super Bowl was the most watched telecast in history, and movie trailers were a plenty! Plus we have major updates from Sony and PlayStation, Ubisoft is not afraid of GTA 6, and Xbox jets off to Arrakis. That and more!

On this episode of THE HOT MIC, John Rocha and Jeff Sneider discuss the news that Tom Cruise is circling Quentin Tarantino's The Movie Critic, the Super Bowl trailers recap and thoughts, Coyote vs Acme backlash with a special drop in from The Wrap's Drew Taylor, David Leitch leaves Jurassic World, Josh Safdie directing an Adam Sandler special, Denzel and Spike for High and Low Akira Kurosawa remake, Top 10 Female led action films and more!____________________________________________________________________________________Chapters:0:00 Intro and Rundown3:52 Tom Cruise Rumored for Tarantino's Final Film12:08 Rebecca Ferguson's Mission Impossible Future15:58 Josh Safdie to Direct Adam Sandler's Comedy Special20:50 Why David Leitch Dropped Out of Jurassic World Directing Talks30:12 Streamlabs Questions36:45 Coyote vs Acme Updates and Controversy49:07 Special Guest The Wrap's Drew Taylor Talks Coyote vs Acme and Mission Impossible1:01:55 Travis Knight to Direct Live Action He Man Movie1:04:40 Super Bowl Trailers Discussion1:08:02 BREAKING: Kingdom of the Planet of the Apes Test Screenings Disappoint1:10:59 Deadpool and Wolverine Trailer Reaction Causes Battles Online1:13:34 Ben Affleck's Dunkin Donuts Commercial Discussion1:15:31 Spike Lee and Denzel Washington to remake High and Low from Akira Kurosawa1:19:30 TOP 10 FEMALE LED ACTION MOVIES1:34:53 Streamlabs and Superchat QuestionsFollow John Rocha: https://twitter.com/TheRochaSaysFollow Jeff Sneider: https://twitter.com/TheInSneider

On this week's episode, Writer Adam Pava (Boxtrolls, Lego Movie, Glenn Martin DDS and many many more) talks about his writing career, and why sometimes when he writes features, he doesn't always get credited. Tune in for much more!Show NotesAdam Pava on Twitter: https://twitter.com/adampava?lang=enAdam Pava on IMDB: https://www.imdb.com/name/nm1106082/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptAdam Pava:I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can. I think that's the first thing, but to get those open writing assignments, I think it's just a cool errand to even try because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things and then they'll seen you've done it. You're listening to Screenwriters Need to Hear This with Michael Jenman.Hey everyone, it's Michael Jamin. Welcome back for another episode. I may be retitling the name of my podcast. So I'm, I'm going to be vague for everyone, but I'm here with my next guest, Adam Pava, who's a very talented writer I worked with many years ago on show called Glen Martin, d d s, and he works. We'll talk. I'll let you speak in a second. Pava, you just relax. I'm going to bring you on with a proper introduction because you've worked a lot, lot of features, a lot of animation. So I'm going to run through some of your many credits. Some of them are credited and some of them just are not so credited. We're going to talk about that even though you've done the work. So I think you started early on on shows like Clone High, Johnny Bravo, I'm going to skip around.You worked with us on Glen Martin d d s, but then you've also done Monsters versus Aliens Dragons. I'm going to jump around, but wait, hold on. I'm skipping a lot of your credits, Pavo, a lot of the box trolls you've done, you work a lot with Lord and Miller on all their stuff, all the Lego movies, goblins. You have something in the works with Leica, which is one of the big animation studios which you're attached to direct as well, and then also some other shows. Let's mention My Little Pony dreamland. What else should we talk about? A bunch of the label, it's hard to talk about the credits because so many of 'em are things that are either in production or development that they're not supposed to talk about yet, or they're things that I was uncredited on. And so it's a weird thing.And why are you uncredited? How does that work? It's super different from TV and movies. So back when I worked in tv, I did tv. I mean, back when we worked together it was like what, 10, 15 years ago? Something like that. But I did TV for the first decade of my career and everything you work on, you're credited, even if you're just like the staff writer in the corner who says three words and doesn't make, get a joke into the script. You're one of the credited writers. Movies are a different situation. It's like one of these dirty secrets of Hollywood where they always want to credit one writer or a team of writers. Sometimes it'll be two writers that get the credit if both of 'em did a huge chunk of the work. But the thing that usually happens these days on big studio movies anyway is they will go through three or four writers over the course of the years and years of it being in development and all those writers who worked on it before the final writer or sometimes just the first writer and the last writer will get credit and all the ones in the middle won't get credit.Or it's like the W G A has these arbitration rules where it's like, unless you did a certain percentage of the final shooting script, you're not going to get credit at all. So even though the guy who brings catering gets credit and every person on, so will you arbitrate for credit or do you go into these projects knowing that you're not going to get credit? Usually I go in knowing that I'm not going to get credit or I will. Sometimes there'll be a situation. I did about a year's worth of work on the Lego movie, the first Lego movie, and Phil and Chris, Phil Lauren and Chris Miller who directed that and wrote the first draft of the script and the final draft of the script. They're buddies of mine and so I'm not going to arbitrate against 'em and I want them to hire me in the future and I love them and they really wanted, they're written and directed by title, and so of course I'm not going to arbitrate in that sort of situation.And also to be fair, I don't think I would win that arbitration because they wrote the first draft and it was already the idea and it was brilliant and it came out of their minds and it was awesome. And then they had me do four or five drafts in the middle of there where I was just addressing all the studio notes and all the notes from the Lego Corporation and all the notes from Lucasville and all that kind of stuff while they're off shooting 21 Jump Street and then they come back. So you were just doing it to move it closer and then they knew they were, yeah, exactly. They knew they were coming back onto it and they were going to direct it and they would do another pass. They would do multiple passes once it goes into storyboarding once it's green lit. So I was just trying to get it to the green lit stage, so they had written a draft and then I did a bunch of drafts addressing all these notes and then we got a green lit off of my drafts and then they came back on and they started the storyboard process and directing process.And the story changes so dramatically during that process anyway that the final product is so far removed from the drafts I did anyway, but it was a valuable, my work was needed to get it to that point to where they can jump back onto it. But very little of that final movie is anything that I can take credit for and I wouldn't want to take credit away from them on that. So I do a lot of that kind of work. Did they have other writers that worked on Legos movie as well, or just you? On the first one, it was them and me. There was these two brothers, the Hagerman brothers who had done a very early treatment, but that had set up the original idea for the movie of Allego man sort of becoming alive. So they got a story by credit, and then they definitely always have a stable of writers that they bring in to do punch up work and to just watch the animatic and give notes and stuff like that.So there's a whole bunch of people that are contributing along the way. Funny, they come from tv, so they really run it. They run it as if they're still on TV a hundred percent. They have their writers. And so I've gotten to work on a lot of their projects as one of their staff writer type people basically is the idea. So it's all uncredited work, but it's great work. They're such great guys and you're working on really cool things every time. And so now there's a new, in the last few years, the W G A started this new thing called additional literary Material credit. And so if Lego were to have come out now, I think I would've gotten that credit on it, but at the time, that didn't exist, so I got a special thanks. And how did you, oh, really? Okay. And how did you meet these guys?They gave me my first ever job before I knew you. I mean, I had written a movie script that was an animated movie. This is like 99 or 2000. I was just out of grad. I wrote it while I was in grad school. And Wait, hold on. I didn't even know you went to grad school. Did you study screenwriting in grad school? Yeah, I went to U S C screenwriting. Oh, I did not. I hide it from you. Why do you hide it? For me? I don't know. It's a weird thing where I feel like a, it's like I was in this weird secondary program that wasn't part of the film school. It was the master's of professional writing and screenwriting. And so people would get confused and I didn't want to lead them on, but also I just feel like it got me to a place and then I was like, I didn't want be part of a good old boys club where people are just hiring U S C people or whatever.That's the whole point of going to USC for Yeah, people ask me, should I go to film school, get an M F A, and my standard answer is, no one will ever ask for your degree. No one caress about your degree. The only thing they care about is can you put the words on the page that are good a hundred? But why did you, but what it did offer me, and I'll get back to how I met Phil and Chris in a little bit, but this is a good side conversation. It gave me an opportunity to do some internships on a couple of TV shows. And that was super, super valuable. So when I was at U SS C, it was 99 and 2000, and so I interned my first year on a little show called Friends, which was still on the air. I was on the air at the time.I was just the stage intern. So I was moving the chairs around during the rehearsals and fetching coffees and getting frozen yogurt for cast members or whatever, just shitting my pants, trying to be a normal human being around all these superstars and was not, I wouldn't say it was the best experience of my life. It was definitely one of those things where I was like, everybody was super intimidating and everybody was really busy and the cast were in the middle of a renegotiation, so they're all showing up late. It just felt like everyone was angry the whole time. And I was like, dunno if I want to work in tv. But there was one writer's assistant who was just like, yeah, because on the stage you're a writer, you need to be in a writer's room, you should be an intern in a writer's room.And I was like, oh. And then so I was able to get an internship on Malcolm In the Middle, which had just sold, it was in his first year, so it was a summer show. So I jumped onto that in the summer and was able to do that. And then in that writer's room, I was like, oh, these are my people. These are actual, wait, you were an intern. They let you sit in the writer's room one. It was like for doing all, getting the lunches and making the coffee and all that stuff. Linwood was nice enough to let me just observe in the room for one day a week just to, well, if I didn't have other stuff I needed to get done. So it was super nice as long as I didn't pitch or say anything and I was just, I never would.But it was cool to, that experience showed me that show was so well written and it was so tight and those writers were all geniuses or I thought they were all geniuses. And then I'd go in the room first, I would read the scripts and I would think, oh my God, I'd never be able to do this. And then I got in the room and I'm like, oh no, they're just working really, really hard and banging their head against the wall until they come up with a perfect joke. And then by the time it's done, it seems like it's genius. But it all was just really hard work, really long hours to get to that place. So that taught me like, oh, maybe I can be one of those people. If I'm just one cog in this room, I could do that. And so that gave sort of the confidence to do that.So I had done those. Getting back, I can loop back into the Phil and Chris thing now because this actually connects really well. I had done those internships. I graduated U Ss C and I had this script that I'd written as my final project or whatever, and it was an animated movie, and I thought you could just sell an animated movie, but I didn't know, they didn't teach me this in grad school that at the time they developed 'em all. It was like only Disney and Dreamworks were doing 'em at the time. This is 2000. And they just hire directors and sort of were an artist in-house to sort of create the stories or back then that's how they would do it. And so I sent it to some agents and the response was always like, Hey, you're a really funny writer. This is really good.I can't sell this. I don't know anybody that buys animated movies, but you should write a live action movie if you can write it as good as this. And so I wrote another movie that was Live Action, but it was silly. It seemed like it might as well have been an, I go back and read it now and I'm like, it's basically an animated movie, but it didn't say it was animated, it was live action human beings. And I submitted it to a small boutique agency at the time called Broder. I don't know if you remember them, Broder Crow, we were there. Yeah. And so Matt Rice was an agent there at the time, and he had on his desk, his assistant was Bill Zody. I dunno if you know him, he's a big name agent now, but he was an assistant at the time.He read that script that I wrote and was like, oh, you know who this reminds me of these other clients that Matt has, Phil and Chris. And so he passed it on to those guys and they were looking for a writer's assistant on Clone High because they had just sold their first TV show. They were a young hotshot writers that were just deal. And so I met with Phil and Chris, and they hired me as the writer's assistant on Clone High, which was like, they were the same age as me. They were just like, we don't know what we're doing. But they're like, you've been in a writer's room, you've been knock on the middle and I friends and you, I didn't know anything. I didn't know what I was doing at all, but it said on my resume that I had had these experiences.So they thought I would be a good writer's assistant for that reason. But they were the coolest dudes from the very beginning. They were just like, you're the writer's assistant, but also you should pitch in the room. You should act like you're another writer. We have a really small staff, we have seven writers, and you're going to get episode eight. I mean, it was crazy. They were just like, they gave me a lance and that never happens anymore. How did they get an overall deal when they came? Oh, it's the craziest day. So they went to Dartmouth, they made each other at Dartmouth and then they were doing cartoons while they were there studying animation. And one of Phil's, I think it was Phil, I think it was Phil won the Student Academy Award for a student film that he did. And it was written about in the Dartmouth Alumni magazine.And there was a development exec at Disney whose son went to Dartmouth and read that article and was like, Hey, called them in their dorm room. And we're like, if you guys ever go out to la lemme know. We'll set a meeting. And they literally, the day after they graduate just drove to LA and then called 'em up and we're like, we're ready to get hired. And it worked and they got hired, it worked. They got hired just to do Saturday morning stuff, and they did that for a little bit and everything they were doing was too crazy for Saturday morning, but it was like Disney. But then Disney was like, well, you can start developing stuff for adult Disney or for primetime stuff. And so they came up with the idea for Clone High, and it originally sold to Fox as a pilot to be after the Simpsons or whatever, but then it didn't get picked up and then M T V picked it up and then they had a show.So it's crazy what a trajectory their career has. Yeah, I know. And now they're running Hollywood. Yeah, pretty much. Pretty much. Yeah. They were good guys to meet right away mean honestly, it was like to become friends with them and just to ride their wake and get some of their sloppy seconds and some of the stuff that they don't want to deal with, it's honestly, it was great. Did they call you a lot with stuff like that? Hey, we don't want to do this. It's yours less now than they used to. I mean, there was a point where I was one of their stable guys that they would call. I think they have met a lot of people in the 20 years since then, but early on it was like, I mean, even their first movie was Claudio with a Chance of Meatballs, and they brought me on to help rewrite the third act at one point.And it was just from then on, they would always send me their scripts and just add jokes or to give feedback or whatever, and they've always been like that. And then I've noticed the last maybe six or seven years as they've gotten these huge deals and all their projects are now just these massive things, it's not quite the same relationship where they would just text me or email me and be like, Hey, read this. Now. It's like they have a whole team of people. They have a machine now, but we still are friends. And then things will come up where they'll hire me for things here and there. I wonder, honestly, I don't want to make this differe about them, but it's so interesting. I kind of think, I wonder what it's like to be that busy. It almost feels like, oh my God, I'm too busy.They're so busy. They're the hardest working people I know. It's like people always wonder how this stuff comes out so good. And it's not that, I mean honestly, it's just good because they stay up later than everybody. They never stop tinkering with things. They're never satisfied. They always think the next thing they do is going to ruin their career. And so they run on this fear that propels them that, I mean, they harness it. It's not like it's a secret. They know that this is what makes them great and utilizing all their friends utilizing, they're the kind of people that are the best idea in the room wins. If you could be the PA or the head of the studio and if you have a great idea, they're like, let's try it. And they also try a lot of stuff that doesn't work and they're given the leeway to go down a lot of dead ends and then realize that's not the answer, and then back up and then try it again and try it again and try it again.And that's how a lot of animated movies are done. And so it drives everybody crazy, but also creates amazing product. That's what, because I've interviewed a couple of guys who worked at dreamworks, which John Able who does a lot of the kung movies, and he describes it the same way. I was like, wow, it's so different from writing live. It's so different from writing live action. The whole experience sounds exhausting to me. Do you find it the same? Yeah, I mean when I first started in it, I was like, this is ridiculous. Why don't they just write a script and then shoot the script? And then over the years, I've learned to love the process. I mean, I was frustrated early on when I would realize how much gets thrown out and how much changes and how much. It's just, it's out of the hands of one writer.And I think a lot of it is also just ego thinking that you could do it better than everybody. And then once I embraced, oh no, you have a bunch of really brilliant storyboard artists and you have a bunch of really brilliant character designers and head of story and a director and all these different people who, and layout artists and even the animators themselves, they all add something so vital and valuable to it, and you learn stuff from each of their steps and then you're just given the leeway to be able to keep adjusting and adjusting until you get it right. And that's why animation comes out so much tighter often than live action is just because you've been able to see the movie so many times and keep tweaking and tweaking until you get it right. Now there is a point where sometimes I feel like you can take that too far and then it just becomes like, oh, we had a great version, four drafts to go and now we've lost our way, or we're just spinning our wheels or whatever.See, that's why I get lost sometimes. I've been in shows where you rewrite something to death and then someone says, we should go back to the way it was, and I'm like, what was the way it was? I don't even remember anymore a hundred percent, and I've stopped ever thinking You can do that. I used to think I would hold out hope though they'll realize that the earlier draft was better. They'd never do. It's like everybody forgets it, and then you just have to have the confidence to be like, well, we know we'll come up with something better together that it'll be from the collaborative mind of all of us. And then I think now I've seen actually the last few years, there's a little bit of a tightening of the belt budgetarily, and that leads to faster schedules. And so instead of having seven times that you can throw the story up from beginning to end on the storyboards, like the reels and watch this movie, you can only do it three times or so.That gives you a little bit more of a window of like, okay, we got to get it right in three drafts or whatever, in three storyboard drafts. And who's driving the ship then in animation? Is it not the director in this case, it's Lord Miller, but they're the writers. Well, Lord Miller are often the directors, and so when they're the directors, they're in charge when they're the producers, they're in charge When they're on the Spider Verse movies, for example, they're the writer or Phil writes them and then they hire directors. But Phil and Chris are the producers, but they're sort of like these super directors. They're very unusual. Yeah, it's not, yeah, that's an unusual situation. But other movies somebody do at dreamworks and there's somebody do at Leica Leica, it's like the director and the head of the studio, Travis Knight, who it's his sandbox and it's his money because he's a billionaire that funds the studio.He has the ultimate say, and so the directors are always working with him, but it's always collaborative. It's always like you get in a room. When I'm working at Leica, it's always like me, the director and Travis trying to figure it out, and he's trusted me to be, I feel like he doesn't trust a lot of people. He is kind of closed off in that way, but once you earn his trust, you will be in that room and you'll figure it out together or whatever. But every movie's different, and sometimes I'm on a movie just to help fix it for a little bit, and then I'm just a fix it person that comes in for a little bit. Sometimes I just add jokes. Sometimes I just, there's been movies where it was a mystery animated movie and they're like, can you just rewrite the mystery?I was like, what a weird assignment. But I had three weeks still. But in this case, they're calling you. How are you getting this work? Just reputation, they're calling you out of nowhere? Mostly now it's reputation. I mean, sometimes I'll be submitted to it. I mean, the first time it's always like you have to be submitted. And I mean, I can tell you how I got hired on box rolls. That was a big breakthrough to me. I mean, it was after I'd done, so Lego was obviously just having known and worked with Phil and Chris forever, and then they got hired on Jump Street, and they needed somebody that they trusted to dear the ship for a while while they're gone. And so I was able to do that, and that was a huge big break. It was like, you couldn't ask for that. I just, I'm the luckiest guy in the world.But after that, at Leica, they had a draft of a movie before it was called box Rolls, it was called Here Be Monsters, and it had been in development for years and years and years and gone through a bunch of writers and they hadn't quite figured it out. It was kind of a mess. It was a big sprawling story that had a lot of moving parts to it, and they had heard that on Lego, I was able to harness a lot of the crazy ideas that Phil and Chris had and put it into a structure that made sense. And so they asked me to come in and do the same thing, or before they even did that, I did a punch up. I got hired to do a punch up on that movie, and I knew that it was going to be a huge opportunity to impress them.I really, really wanted to work at Leica because at the time, they had only had Coralline come out and I loved that movie. And then I had seen maybe ParaNorman had come out or it hadn't come out yet, but it was about to, whatever it was, I knew it was a new animation studio doing really unique original stuff, and I got asked to be part of this round table, and it was all these heavy hitter Simpsons writers. It was like J Kogan and Gamo and Pross, all these people that you're like, these are all legends. They've done a million shows and they get hired to do punch up all the time. That's like their bread and butter, right? I'm not so sure anymore, but okay, no, no, but this is in 2011 or whatever.And I was like, I am going to take this script and analyze it and come up with character moments and come up with, I'm not going to be able to compete with those guys with the best joke in the room necessarily. I'll have good jokes to pitch, but I'm going to have like, oh, what if we adjust the character to be more like this? And where those guys were all, not those guys specifically, but the room in general, these were all guys who were maybe reading five pages ahead and then pitching off the top of their head. And I spent a couple of days writing jokes in the margin and ideas in the margin, and I killed in that room. I got a lot of stuff in and to the point where a few months later when they needed a big overhaul, they asked me to come in and do sort of what I had done on Lego, just take this big thing and hone it down into, so it was a rewrite job at the beginning, and then it turned into three years of working with the director in the studio to change that story.We threw everything out and started over basically a couple times over the course of those years end up, but how are you get paid? Are you getting paid on a weekly scale? Because I don't know how that would work. Do you get paid? It starts off with a draft and then it'll be a typical thing like a draft in two rewrites, but you quickly run through those and then they keep needing your work. At least they're not getting free work out of you. They're picking no, then it turns into either a day rate or a weekly rate, and that's where I bought my house.I made so much money on my day rate. They would literally just, Leica would call me and just be like, oh, we're going to record an actor in a few days. Can you just go through all their scenes and write three or four alts for every joke? Just have a bunch of stuff. And I would spend a few days doing that, and then a day rate, you get paid really, really well, that stuff adds up. Or they would be like, we just need one more pass on the third act, or we just need to go through the whole script and remove this character. And so all these little weekly assignments, and then you're just like, that was very lucrative doing it that way.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Adam Pava:You usually, because done so much animation and it sounds like you always set out to do animation, is that I did set out to do it, and then I didn't set out to only do it. I thought I could do both, but you kind of get pigeonholed a little bit. It's hard. I've gotten hired to write a few live action movies, but there were always a live action movie that had an animation element to it. It could be a hybrid movie or be a family movie that they think, oh, because you've done family work, you can do this. But nobody would ever hire me to just do a horror movie or whatever. And I don't know if I'd be the right guy for that either. I think my sensibility tends to be more animation based, but also, I think movies are such a different thing than TV where there's like, they're so expensive.If you're spending $80 million or whatever, you want to hire somebody that's done it before. So it's really, really hard for the studio bosses or even the lower level executives to fight to hire you if you've never done that kind of thing before. And so you get, it's not pigeonholed. I love doing it and I love the work, but it's also, I get why I get hired for certain things and not for other things. But also I feel super lucky because animation is one of the only parts or the only genres of film that has not shrunk over the years. Movies in general, they've stopped making live action comedies almost completely, except for stuff on streamers. They don't make rom-coms anymore. They barely make action comedies. It's like they make superhero movies and Star Wars movies, but then animation movies are evergreen. And so I feel really lucky that I sort of fell into this area that there is still work to be had.So yeah, I mean, you really have put together a really pretty impressive career. And I know not all your credits, not all your work is credited, so what I mean? Yeah, well, it's either uncredited or there's so many projects that died Vine. So it's like you read my, I said you that list of credits and it's like I'm looking at it over earlier today. Oh, it's just a list of debt projects, but that's expected. When you go into it, you go, okay, they're not all going to go. That's expected. It's all right. I was looking at my, I was organizing my, it's a strike, so I have time to do these things, organizing my folders on my computer and putting everything in, and I had over 150 folders of each. One is its own project, and not all of those are work that I've done.Some of them are like, I got sent this thing to pitch on, and then I had one meeting and it went away. And some of 'em I did a few weeks on, or some of 'em I just did day work on, but 150 projects over the years. Some of 'em I'm on for a year or two or three years. So it's insane. And so the hit ratio is super low of, I got really lucky when I transitioned out of TV and went into movies. It was like the first two things. Well, I sold a thing to Dreamworks that didn't get made, but then right after that, it was Lego and box trolls. They both came out in 2014, and I worked on both of 'em, and I was like, oh, this is going to be easy. You work on a movie and then it comes out and then it's cut to 10 years later and it's like nothing else is my name on it has come out.I've worked steadily. I've worked really well. I've been very happy. But it's definitely, it's a different thing than TV where you're just working and getting credited all the time. Well, yeah, but it also sounds like, I don't know, it sounds like to me, maybe I'm wrong. It sounds like you don't need to hustle as much doing what you do. No, I feel like it's the opposite because on TV you can get on a show and you're running for years, but on a movie you always know what's going to add, but they're coming to you. People are coming to you with offers, in other words. Oh yeah, sometimes. I mean, yes, the ones that end up happening, that's true. But there's so many that I'm just on a list at the studio, but I'm in a bake off with six other writers and I don't get it.So you put a lot of work so people don't know what to bake off is. So this is when you have to pitch to get the job and you have to put in several weeks of work. That's the worst. That's just the worst. And that's the majority of my life. Oh, is it? That's like, yeah. Yeah. So there's definitely, I mean, between Phil and Chris and Laika, I have, and a little bit of Dreamworks now. I'm doing my third movie for them right now. So that's pretty good over 10 years, three movies. But other than those places, it's always like you're getting sent stuff, but that doesn't mean they want you. It just means they want to hear a bunch of takes, and so you have to try to fight for the job if you really want it. Or I used to spend months or maybe eight months coming up with the take and having every detail worked out.And then I realized over time, they don't actually want that. They want a big idea and some themes and some ideas of what the set pieces are, and they want to know that you, I mean, honestly, it's, I don't even recommend that young writers go out for them because you're not going to get it anyway, because they're always going to go with somebody that has done it before. Especially, I mean, not always, if you might be the rare exception, but so much. Well, then what do you recommend to young writers to do? Dude, I don't know. I mean, I think you have to write great samples. I mean, I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can.I think that's the first thing. But to get those open writing assignments, I think it's just a fool's errand to even try, because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things, and then they'll see you've done, it's not even try to get these big studio things, get a small indie thing if you can, or make your own thing if you can, or just try to work your way up in a smaller way. I mean, all the big name directors out there all started on small indie movies. And I think that's got to be the same for writers now too. So many fewer movies. Is there anything that you're doing on the side just for the love of it that you're creating for yourself? Or is it, I haven't, in the last few years, I haven't.I've just been busy with work, but during the pandemic, I had plenty of time. Nobody was buying movies, and I am wrapped up on something and I had an idea that I thought was going to be my next big sale, and that it was an idea about a virus that went, it was a comedy thing, but it was this idea where it was sort of based on the idea that Christmas is getting longer and longer every year, where people put up their lights in decorations sooner and sooner, and you start seeing the stuff for sale in October or whatever. And so I was like, oh, it felt like Christmas was a virus that was slowly taking over the world. And I was like, what if it's a zombie movie, but Christmas is the virus? And so it was sort of a Christmas apocalypse thing where Christmas takes over the world and one family didn't get infected and had to fight back.So I was like, this is going to be a big seller. And then I was like, and then Covid hit, and it was like nobody wanted to buy a thing about a virus taking over the world, so I literally spent the pandemic. To answer your question, I wrote it as a novel. Instead, I wrote it as a middle grade novel, a y, a novel. Did you publish it? Not yet. We're trying. So we're out to publishers, and it took a while to figure out literary agents, which are very different world and everything, but the idea is to hopefully sell it as a book and then be able to adapt it as a feature. But yeah, it was so fun to write, and it was so freeing to not be stuck in 110 pages and to, I mean, I already had the whole thing outlined from the pitch when I was going to pitch it, so I knew the structure of it, so I just kept it as the structure of a movie, but I expanded on it and got more into the character's heads and that kind of stuff.But I had such a fun time writing that, and I was just like, man, someday when the work dries up, I am going to look forward to writing novels instead. And oh, yeah. The funny thing is when you describe the literary word going out to publishers, it's not that different from Hollywood. You think It is. It's not. It's the same hell. Oh, absolutely. But you and I haven't had to deal with breaking into Hollywood in a long time. And then in the literary world, they're like, oh, you've written movies. We don't care. We don't care at all. So it's starting over. And U T A tried to help a little bit, but they're like, we don't really know what to do. And then, so it's, I've been, my manager has been introducing me to editors and stuff, literary editors, and they've been really receptive, and it's been good trying to find the right one and the person I jive with. But it's very much like, oh, you're starting from scratch all over again. And for less money, no money. I mean, literally, I don't know how you would make a living off of this. I mean, I think we're spoiled a little bit, but what was the money they were telling you? Can you say, I don't want to say you don't, but it was basically about, it was less than a 10th that I would get paid on a movie.It was about my weekly rate. So I was telling you, I do weekly jobs on movies, and it's like if I do a weekly on a studio movie or I could sell a novel, or you could work five years on a novel, and I'm like, oh, this is not a way to support a family, but it was really fun. Someday when I'm just doing it for fun, I would love to do it. Wow, how interesting. Wow. So your best advice, because you're not an animator, you're not even an artist, are you? No, I don't draw or anything. I just love animation. I just always loved animation. So I don't know. I think when I was in seventh grade when the Simpsons started, and that blew my mind, and I was like, I remember telling my dad, I think I want to write on this. It was the first time I recognized, oh, people are writing these jokes. It was very, I think, more self-aware than most comedy was. And I was in junior high and I was just like, I want to be a writer on a show like this. I never was a writer on that show, but a bunch of other stuff.Now, as far as directing, because I know you're attached to possibly direct this project, where does your confidence come from that to direct? I mean, I don't know if I have confidence in it. I mean, I would want to co-direct it. In animation, you often get paired with another, if you're a writer, you'd get paired with an experienced animation director who comes from the visual side. So either an animator or a store wear artist or visual development artist. And I just feel like some of the projects I've been doing, you sort of act as more than just a writer anyway. You're sort of meeting with the creative heads all the time, making these big decisions that affect the projects. And at a certain point, I'm like, well, if I write something, that project that I, that's at life that I was attached to, it probably won't even happen at this point.It's been a few years, and it's kind of sitting there waiting for Travis to decide if he wants to make it. But it was a personal project to me, and it was like this would be the one that I was like, I would really want to see this all the way through. And I'm sure at that studio at this point, he's, Travis himself who runs the studio, is kind of directing all the latest projects anyway, so I would be co-directing with him. And so he would really be in charge, and I would just be, they're up in Seattle, right? Portland? Yeah, Portland or in Portland, yeah. So do you go up there a lot for Yeah, when I'm on a project, so usually it's like if I'm just writing it before it's green lit, which is most of the time I'll just fly up there for meetings just to get launched or whatever, and then go back up after I turn it in to get notes. But if it's in production on box trolls, and then there's another upcoming one that I did a bunch of production work on, they'll fly me up there to work with the board artists and stuff. And that's a crazy, that place is so nice.It's like a wonderland. I mean, it's like this giant warehouse downstairs that they have all the stages and they're all covered with black velvet rope, I mean black velvet curtains. So to keep all the light out and everything. And that's where they're moving all the puppets and everything, the stop motion. And then upstairs it's like the offices, and it just feels like a corporate office building with cubicles and stuff. It's very weird. But you go downstairs and it's like there's people animating, there's this huge warehouse where they're building all the props and they're like armature section where they're adding all the skeletal armature to the You never went with us to, because Kapa was like that in a cup of coffee in Toronto when we did Glen Martin. Yeah, it was amazing though. Similar. But Kapa is doing it on a budget, and these guys are spending so much money, it's not a viable way to make money to make these animated stop motion animated movies.They don't do it to make money. He does it. He loves it. Oh, really? Oh my gosh. Yeah, because Travis Knight is the son of Phil Knight who've gone to Nike, so he's got sort of a lot of money, and it's his hobby shoe money. He's got shoe money, but he is a brilliant animator. He is a super smart, interesting dude who wants to make things that are different than anybody else. And so it's an amazing place to work because nowhere else do you ever have the conversation of like, oh, we could do this if we wanted to do it, where more people would see it, or we could do it this way, which is cool and we want to do this. It's fun and weird.Not that he doesn't care about an audience, he does care about an audience, but it's not most important to him is making something that's awesome to him for the art. And so it's a very different way of looking at things. But I've been in situations there where it's like we're doing upstairs, doing a rewrite with me and the director changing the whole third act or whatever, and then I go downstairs and just tour the stages and the workshops, and I'll meet a puppeteer who's like building this giant puppet who's telling me this is the biggest puppet that's ever been created in Stop motion, and here's the 17 different places where I can articulate it. And I'm just thinking like, dude, we cut that yesterday upstairs. Oh no. And he's been working on it for a month. Oh, no. But I can't say anything. I'm just sort of like, oh, yeah, that's awesome.It's so great. You're doing great work. Anyway, I'm going to get back upstairs. That's so heartbreaking. But they burn through so much money just doing it all by hand. It's so crazy. But it's so beautiful, so I love it. And so you were literally upstairs, they gave you a small office and you just start typing? Yeah, that's literally, I mean, usually when I'm there, it's like they just put me in some random cubicle that nobody else is using or it's not a cubicle, a little office that is or whatever, somebody office. And you'll stay there for a few days or a few weeks or what? Yeah, exactly. Depending on how much they need me. So it either be a few days or a few weeks. And then on box rolls, I was up there. I would be up there for a week, relining some stuff, and then I'd come back home for two weeks and write those pages up.And I mean, I'd be writing in the evenings after the meetings and stuff too, while I was up there. But when we are rewriting, it's a train that's moving and it's like the track is you're running on a track and you got to keep pressure. What did you think of staying there in Portland? Did you like it? I did it. It's hard because my family's here and life is here, but if that movie had gone that I was attached to Coder Act, we were planning on moving there for that for three or four years. That's how it would take. Interesting. Would you have sold your house here or just rented it out? I'd have rented it out, I think. Interesting. Yeah, you, it was like we were having all these conversations, and then it's the longer it goes, we're like, that's probably not going to happen.We don't have to think about this right now. How interesting. That's so key. It really takes that long, man. Oh yeah. They're so long. And then also, it's like there is this weird thing in animation where it's not uncommon for a movie to go through two or three directors over the course of its many years in production. So it's like, why? I know. Just because they're beasts. And sometimes in the same way that you're changing the story so many times over the years, sometimes you make such a drastic change that it's no longer the vision of that director, and it's just not a right fit anymore. And I've seen that happen on a lot of movies that I've been on. I mean, Boxtrolls didn't end up with the same two directors that it started with. One of the two stayed on it, but the other one didn't.Oh, no, this sounds very frustrating to me. It sounds It does. And then other movies up there have gone through different directors, and so I was like, even if I had gotten hired as the director, I was in the back of my head. I always knew this might not last even if I'll do my best and I'll try to make it work. But you haven't even started and you're finding I'm being fired. Yeah, totally. But I mean, it's a weird thing. It's not TV where you're on a show for a year and then hopefully you get the second year if you get one. It's like in movies, they fire and hire different writers all the time, and so directors less, but writers, it really is pretty common. I've been on both sides of it where it's like, I used to take it really harder, fired off a movie.You're like, oh my God, did they not like the draft? I did. And usually it's like, no, we liked it, but now there's a director on it and they want to take a different direction. Or Oh, the director has a friend that they want to work with that they work with as a writer. Or other times I've been that guy that a director has brought on to rewrite somebody else, and I always try to be super nice about it. Now that I've seen both sides of it, I always try to reach out to the previous writer and be like, Hey, I just want you to know it's in good hands. Or sometimes if I'm the one that's fired, I reach out, be like, Hey, if you want to know where the skeletons are buried, happy to get in lunch with you. Just to be like, here's the pitfalls to look out for.This is where people don't realize that people on the outside just don't realize what it's actually like when you're the writer. You're a successful working writer. And I think they have a very different vision of the reality of a hundred percent. I didn't know the job was, I thought the job was going to be writing the whole time. Most of the job is it's playing politics with the studio and the executives and the director and Well, what do you mean politics, getting navigating the notes? What do you mean? Yeah, yeah. I mean, it's like the notes, but also the personalities. It's like a lot of the job I feel like is to go in and to make everybody feel comfortable with where you're taking it. Because you walk into a room and sometimes you could feel like, oh, the director thinks they're making a very different movie than the head of development thinks.Then that's different than what the producer thinks. And that's different than what the head of the studio thinks. It's like I've been in a room where it's like Jeffrey Katzenberg is just like, guys, guys, guys, you're all thinking about this all wrong. And you just have to be like, okay, how can I find solutions that makes everybody happy, that make everybody happy? And that's a huge part of the job. I mean, honestly, when I did the Lego rewriting with Phil and Chris, that's what the whole job was, was just like, how do I make Warner Brothers who didn't know what they had? They thought it was a toy commercial. They were very skeptical of the whole thing, Phil and Chris, who wanted to make some beautiful art. And it was cool with cool ideas. And Lego Corporation who wanted to make a toy commercial and Lucasfilm who didn't want their characters to be in it, and DC who didn't know whether they should be or not.And you're just like, how do I get in a room? And and usually if you come up with a great gag or great joke that articulates the, that illuminates the tone of the thing. So they all go, oh, okay. That's the thing. So the round of notes, like you're saying, oh, it's incredible, but for everybody and everyone's got conflicting. I don't even know walking into that job, and all I care about is I don't want my friends, Phil and Chris to think I fucked up their movie because they're trusting me just so I keep it moving. But I would think even for them, it's like, how do I get this movie made when I have so many competing notes and to their credit account, great, but still that is a hundred percent to their credit, they have a genius ability to, not only are they great writers and great directors, I think more than that, they have this sense of how to make everybody in a room think that the ideas came from them.It's like, yeah, they're great at, they'll go into a room, I think sometimes having some ideas in their pocket, but it feels like the room came up with the ideas together, and then everybody's like, yes, we did it. Pat ourselves on the back. And everybody, the executives' seem happy. But sometimes it actually does come out that, I mean, those brainstorm sessions really do create a new idea, and sometimes it's them trusting the process that that's going to work out. And sometimes I think they literally are like, well, we can go this way or this way, but I know it'll be easier if they think they had the idea. So let's go this way for now. And then later they know it's going to change a thousand times anyway in the storyboards, and then they could figure it out for real later. Because all these see people like that.They're very well paid, but in my opinion, they're earning every penny of this a hundred percent. They're earning every, it's not that easy. This job, I feel like I've gotten better over the years where I've taken my ego out of it. I used to have a much bigger ego, you might remember, but I feel like I can be, now, I can just go in a room and be like, I'm just going to try to help. I'm just going to be like, how could I make everybody feel comfortable? How can I make everybody feel like we're on the right page together and create this thing? I know that it's like the process is going to take years and years, and the relationship is more important than the individual story note or whatever. It's like that's what's going to matter over the long term of this project.It's that we all trust each other and that we can make something great together. And that's more important than fighting for a joke or fighting for a story moment or a take, or even exactly, either. It's about fighting the relationship, and I've said this before, it's about the relationship is the most important thing, and sometimes you have to sacrifice what you think is the best story, the best moment for the greater good of the relationship. A hundred percent. A hundred percent. Wow. I feel like this has been eyeopening even for me, and I feel like my eyes are fucking opened. You know what I'm saying?We've done some movie work, but obviously we work mostly in tv, but the movie side, the movie side was never really appealing. I remember because we shared the same agent for our futures, and I remember he gave us a conversation. I was like, I dunno if I want to work in movies again. It's weird. It sounds hard. It's different because in TV you're the boss, right? I mean, when you're the showrunner, you're the boss. Yeah. You've been there for a long time. And in movies, you're never the boss. I mean, I gave up on, I mean, before I worked with you, there was one TV show I ran and I co ran with my friend Tim, and we were the bosses, and I hated it. I did not enjoy it. It was like all the meetings and all the decisions and the budgets and the interpersonal relationships and all that stuff.I was like, I was not good at it back then, and I don't know if I'd be better now, and I just was like, you know what? I just want to be part of a team and I want to be a writer. And it's like in movies, that's what you are. You're just part of this big team in a different way. I mean, I guess when you're a staff writer or coming up through the ranks and tv, you're part of a team too, but you can be like, you're also a much more integral part of the team, the one writer on it at the time. Or in movies, you're like, when you're the writer, you're the writer and they all look to you for that one job. Or if you're on a staff when I'm on a show with you or whatever, you might look to me for one type of, it's very different. I'm a cog in this room.It's never, you never have to be a hundred percent on your A game every day for you can showing it in a little bit coast. Wow. Adam Paval, what an interesting conversation. This is enlightening for me. Very enlightening. Yeah, man. Are you having everybody on from the old days, Brian? Well, I had Alex Berger on a while ago. We talked a little bit about that script that you guys wrote together. Well, there's two things on Glen Martin. You were always pestering me to do a musical. Yeah, I think, I don't know how to write a musical. And you're like, this is why I've work in animated features. I've written three musicals since I, so lemme let you do the movie. I was like, dude, I don't know how to do so go ahead and knock yourself out. That was fun. And then you guys came back with that Christmas episode. I thought you guys both hit it out of the park. I was like, let's shoot it, let's shoot it.I think it took, because that was all second year stuff and it took a little bit of time to figure out tonally what we were doing and then just to get a little crazier. And then, I mean, those episodes were like, yeah, I could be a little bit more myself of writing the weird stuff that I wanted. I mean, the other one I remember fondly is that weird Funshine episode. Was that the musical one or was that, I don't remember. Dude, fun cine was, it was like the planned community in Florida that was basically celebration Florida and they all realized that everybody was on being drugged and were lactating out of their breast and all that. Oh, that's right. Now I remember the guy, there was a scene where there's a pregnant man or something. It was fucking nuts. And I was like, oh, now we're writing the show that I could write.The first year, I think it was a little bit more like I was a little square pa in a round hole where it was like I didn't have a family at the time and it was a family show. It was about a dad and a mom trying to navigate their crazy kids and I was like, I don't know what the fuck. Crazy in that show. It's a shame. We didn't do more seasons. We weren't nuts. It was fun. It was a fun time. For sure. I got some of the puppies right over there, so see, yeah, I got the one you gave me of me that one from the college episode. Oh right, the college episode. That's right. We put you in. You ran the gauntlet I think, didn't you? I think that, yeah, that's exactly right. Funny. Yeah, funny. Adam, Papa, where can people, is there anything want, we can plug people, find you.Are you on social media? Is there anything? I'm not super active. I'm on Twitter. You can find me on Twitter. Adam Papa or Adam or whatever it's called now. X X, I'm on X, but don't really, I'm not super active on it. I don't have anything to plug. Everything's going to come out in four years. Yeah, right. Yeah. Look for Adam Papa in four years when something drops to the movies. That's the process. Dude, thank you again so much for doing this. This was a really interesting conversation. I haven't talked yet, spoken to anybody about this kind of stuff. You are a wealth of information. Alright. Yeah, it's fine. Everyone, thank you so much. Until the next episode drops, which will be next week. Keep writing.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

Cohen e Tate sono due sicari professionisti, molto diversi fra loro, che hanno la missione di rapire il piccolo Travis Knight, testimone di un omicidio, e portarlo dal loro boss, nella città di Houston. I due killer riusciranno a prendere il bambino di soli 9 anni, ma il viaggio verso il Texas sarà lungo e Travis, molto intelligente e scaltro per la sua giovane età, farà leva sui contrasti dei due uomini per metterli uno contro l'altro. Beh, qui siamo davanti ad uno dei miei road movie preferiti in assoluto, magistralmente interpretato da Roy Scheider e Adam Baldwin e pieno di tensione, nonostante sia ambientato quasi esclusivamente all'interno di un'auto. La regia di Red è pazzesca e senza mai esitazioni, mentre la colonna sonora di Bill Conti è al contempo semplice e terrificante. Un vero e proprio cult del thriller su strada, dove la sceneggiatura e i dialoghi sono un punto di forza assolutamente inattaccabile!

For ten weeks we have suffered, but at long last it's time for an Actually Good movie! We could tell you about our discussion of Travis Knight's rap career, the much-lauded opening, John Cena's character shift, our mildly heated 80s nostalgia debate and how much they get out of no-name villains... But really, The Thing Is... He's Just A Lil Guy.

Tyler and Konnery are joined by culture critic Sean Malin to talk about the 80s-infused Transformers spin-off movie, "Bumblebee"! They discuss Travis Knight's leap from stop-motion to live-action, the loaded soundtrack, some REAL bawdy stuff about Transformers anatomy, and so much more on this VW Bug-driving episode of The Friendchise! What's New: Tyler: Air (Prime Video) Sean: The Way Back (Rental), Wanda Sykes: I'm An Entertainer (Netflix) Konnery: Documentary Now! (Netflix), Barry (Max) Check out Sean Malin's work: https://nymag.com/author/sean-malin/

This week's episode was streamed live in Twitch through Sacramento's own STAB comedy theater. Watch the VOD here--> https://www.twitch.tv/videos/1854780409The gang folds some origami this week as they review Leika Studio's underseen animated adventure movie, Kubo and the Two Strings. Is it underseen for a reason? Or does this one need some revisionist history? No Tyler on today's episode, but he does manage to call in to the show. Listen along, then decide for yourself whether Kubo is worth your timehttp://www.MCFCpodcast.comhttp://www.facebook.com/MCFCpodcasthttp://www.twitter.com/podcastMCFChttp://www.tiktok.com/middleclassfilmclasshttp://www.instagram.com/middleclassfilmclass   Email: MCFCpodcast@gmail.comLeave us a voicemail at (209) 730-6010Merch store - https://middle-class-film-class.creator-spring.com/    Join the Patreon:www.patreon.con/middleclassfilmclass Patrons:JavierListener Stephen: The Maple Syrup DonJoel ShinnemanLinda McCalisterHeather Sachs https://twitter.com/DorkOfAllDorksRyan  CorbinJason  https://www.forcefivepodcast.com/   Brendan BealChris GeigerDylanMitch Burns linktr.ee/MitchburnsJoseph Navarro     Pete Abeyta  and Tyler Noe      

This year's GAIN has come and gone and what an experience it was. On this week's GAINcast Vern and Martin share the biggest learnings at this year's GAIN. Plus they discuss in detail the key characteristics of a training system. For more information on this topic, read the complete show notes at: https://www.hmmrmedia.com/2023/06/gaincast-episode-271-lessons-from-gain/ The following links were also referenced in the podcast or provide some additional reading material on the topic:  The GAINcast is sponsored by GAIN. GAIN 2023 will take place from June 13 to 17 and registration is open. We are also sponsored by HMMR Media. Join HMMR Media to get access to a vast library of online training resources, video, articles, podcasts, and more. Nick Garcia's presentation from from GAIN 2023 can be listened to on last week's HMMR Podcast Episode 302, including some highlights from this year's GAIN. Many of the GAIN faculty mentioned have also been on past GAINcasts. For example you can listen to Paul Kilgannon on GAINcast 253, Grace Golden on GAINcast 197, and Travis Knight on HMMR Podcast 223.

How do you integrate new and beginning athletes into your program? Nick recently presented on this topic at the annual GAIN conference. On this week episode we share some excerpts from his presentation, as well as other highlights from the conference. For more information on this topic, read the complete show notes at: https://www.hmmrmedia.com/2023/06/hmmr-podcast-episode-302-onboarding-athletes/ »  Support the show: join HMMR PLUS to get full access to our coaching resources. More notes This episode is brought to you by HMMR Plus. Become a member for full access to our videos, articles, and podcast archives. This episode was recorded at GAIN. You can learn more about GAIN here, and several past GAIN presentations are available to HMMR Plus Members in the HMMR Classroom. For more on Nick's modular training templates, watch his latest video in the HMMR Classroom: Video Lesson 19 on the training session. You can also learn more about modular training in this article and how it can be individualized. Several other presenters were mentioned on this episode. You can learn more from them on past episodes of the HMMR Podcast and GAINcast, including: Paul Kilgannon on GAINcast 253, Johnny Parkes on Episode 227, Travis Knight on Episode 223. Jimmy Radcliffe has also contributed to the site on GAIN Video 12 in the HMMR Classroom.

Sometimes it's a topic from the Fake Nerd Podcast, sometimes we need the room to discuss films on their own. Either way, they end up here in the Fake Nerd Cine-Files!An archive review pulled from Ep. 123 of the Fake Nerd Podcast, this is just our review of Bumblebee - written by Christina Hodson, directed by Travis Knight.Ryan, Sparkz, Ben, and Brandon got together in 2018 to give their thoughts on the Transformers film: Bumblebee. There was so much to impress them as a step away from the era of Michael Bay films, they really get into what made them so happy with this outing in theatres. You can listen to their first impressions here thanks to the Fake Nerd Archive!Also check out their review of Transformers: Rise of the Beasts! Fake Nerd Podcast is an audio podcast where we offer a more positive take on pop culture with news, reviews and interviews from the likes of Marc Guggenheim and Andrea Romano. Find us at ITunes, Stitcher, Google Play, Spotify, and wherever else you listen to podcasts. linktr.ee/FakeNerdhttp://www.fakenerdpodcast.com/https://twitter.com/FakeNerdPodcasthttps://www.instagram.com/fakenerdpodcast/https://www.facebook.com/fakenerdpodcast/FakeNerdGuys@gmail.comPatreon: https://www.patreon.com/fakenerdpodcastTeepublic: https://www.teepublic.com/user/fakenerdpod ★ Support this podcast on Patreon ★

The 6th film in the series and the first that was not directed by Michael Bay. This film was directed by Travis Knight and stars Hailee Steinfeld & John Cena. The voice includes Angela Bassett, Justin Theroux & Dylan O'Brien. Peter Cullen returns once again as “Optimus Prime”. This film serves as both a reboot of the franchise but the storyline itself takes place prior to the first film, making it a prequel. In 1987, the Autobot known as “Bumblebee”, crashes on Earth after escaping the war on Cybertron. During a fight with a Decepticon, Bumblebee loses his voice and memory. A young teenage girl buys an old Volkswagen Bettle from a junk yard that turns out to be Bumblebee. While Bee and this girl begin a new friendship, 2 renegade Decepticons, arrive on Earth in a search of Bee and any other Autobots. Although this film was the lowest grossing film in the series, it was a hit with the audience and critics. It was the first film since the first one in 2007 to be a hit both financially and critically.

Bumblebee arrives like a breath of fresh air this week! Join us and special guest Bartley Taylor as we discuss the 2018 Transformers spin-off that sets the stage for Transformers: Rise of the Beasts. GET VACCINATED AGAINST COVID-19 https://www.vaccines.gov/ Black Lives Matter Stop AAPI Hate Donate Directly to Stop AAPI Hate https://donate.givedirect.org/?cid=14711 Center for Anti-Racist Research: https://www.bu.edu/antiracist-center/ Colorlines: https://www.colorlines.com/ Star ratings help us build our audience! Please rate/review/subscribe to us on Spotify, Apple Podcasts or wherever you listen, and share us with your Hot Dog on a Stick co-workers! Email us at sequelrights@gmail.com with feedback or suggestions on future franchises! Special Guest: Bartley Taylor.

Starting off a 2 month long streak of Transformers content with the better Bee movie!Enjoy!Visit our Website! https://cathemango.buzzsprout.com/Follow Us on Instagram! Chilling Amongst the MangosJoin Our Discord! https://discord.gg/jsJv6fy8xj

TRANSFORMERS: RISE OF THE BEASTS is almost here! To prepare for it, Brian and Pete are reviewing BUMBLEBEE (2018) . Did they enjoy the Travis Knight directed film, starring Hailee Steinfeld and John Cena as much as they did the first time around? Check out the review and find out! This episode was originally a LIVE YouTube video. Follow this link to see the entire episode: https://youtube.com/live/ytYoYDxhhrQ

TRANSFORMERS: RISE OF THE BEASTS is almost here! To prepare for it, Brian and Pete are reviewing BUMBLEBEE (2018) . Did they enjoy the Travis Knight directed film, starring Hailee Steinfeld and John Cena as much as they did the first time around? Check out the review and find out! This episode was originally a LIVE YouTube video. Follow this link to see the entire episode: https://youtube.com/live/ytYoYDxhhrQ

“I have a question. If I'm Beetle and you're Monkey, why isn't he called Boy?" We are bringing an end to our "Stop Motion Animation" round, so we had to talk about a film from one of the most prominent animation houses in the business, Laika Studios. We are checking out 2016's "Kubo and the Two Strings", the directorial debut from Travis Knight, CEO of Laika. Joined by our very own Honey Boy, Jon from the "Life's But A Song" podcast, we talk about the extremely white voice cast, why this was Laika's lowest performing movie, and what movie we'd pair this with for an Adam Driver Drive-In Double Feature! We also come up with our "Twins in Movies" Rushmore Mountain. Enjoy! Chapters 0:00 Intro 4:52 Film Intro 10:47 First Impressions 24:40 Elevator Pitch 33:50 Adam Driver Drive-In Double Feature 41:46 “Twins in Movies” Rushmore Mountain 49:21 Final Thoughts LIFE'S BUT A SONG⁠ ⁠MOVIE DEJA VU⁠ ⁠⁠⁠⁠OUR WEBSITE⁠⁠ ⁠⁠OUR SOCIAL MEDIA⁠⁠ Music: ⁠⁠Umbels⁠⁠ ⁠⁠Support Us⁠ #threefilmspod #indiepodcast #kuboandthetwostrings #laikastudios #laika #stopmotionanimation #stopmotion #charlizetheron #kuboandthetwostringsmoviereview #kuboandthetwostringsmovieessay #kuboandthetwostringsmovie #kuboandthetwostringsfilm #kuboandthetwostringsfilmreview #kuboandthetwostringsfilmessay #filmreviews #moviereviews #filmessays #movieessays #movies #films #videopodcast #subscribe #patreon #ralphfiennes #matthewmcconaughey #youtubechannel #youtuber #moviereactions #youtubevideos #youtubereactions --- Send in a voice message: https://podcasters.spotify.com/pod/show/threefilmspod/message

The ultimate connoisseur of context, the guru of camera gear - our friend JD Amato makes his triumphant return to the main feed to walk us through the magic and genius of Henry Selick's masterpiece CORALINE. For listeners who never had the chance to catch this film in its original 3D release, we attempt to describe Selick's absolute mastery of the form. We go long on the history of Laika studios, from Will Vinton's California raisins, to the ultimate “nepo baby” Travis Knight's (aka “Chilly T”) ascension to the throne. Plus - JD discovers a tiny door in our new recording studio… This episode is sponsored by: MUBI (mubi.com/check) Stamps.com (CODE: CHECK) HelloFresh (hellofresh.com/check21 CODE: CHECK21)

Travis Knight: https://www.dtknight.com/ Instagram: @travisknight FB: @travisknightdraws Renaissance Life: ⭐️ Leave a Review for the Renaissance Life on Apple Podcast Daily Blog: RenaissanceLife.com Newsletters: Considerations | Bookaholics | Practices Youtube Instagram: @Renaissance.Life Support the Renaissance Shownotes:(coming soon) ★ Support this podcast on Patreon ★

The Video Monsters are joined by Travis Knight – illustrator, designer, art director for the Chattanooga Film Festival, and NOT the director of BUMBLEBEE – to discuss the very first Stephen King TV miniseries, SALEM'S LOT (1979), directed by the legendary Tobe Hooper! We also brought on Corey Simpson to fill in for Eric and Dan, who were conspicuously absent after visiting an antique furniture store… oh well, probably nothing to worry about. So grab your popsicle stick crucifix, lock the windows, and meet us at the Marsten house to open the coffin lid on SALEM'S LOT with special guest Travis Knight! If you enjoy this episode, come join the Video Monsters crew on Discord (https://discord.gg/sjyUQg8phB)!! Hangout episodes are live (and unedited!) every Tuesday night starting around 9:30pm EST. Listen and chat along with us in the Discord chat and we'll even give you a shoutout on the episode! Video Monsters is brought to you by the Chattanooga Film Festival and Central Cinema in Knoxville, TN. Follow them on Facebook, Twitter, and Instagram, or online at chattfilmfest.org and centralcinema865.com. Links for each of these can also be found on our pages, so be sure to follow us at videomonsterpod on Facebook, Twitter, and Instagram as well. music for Video Monsters by Evan Simmons

Cassie Moore. KG in O-Town will be in-studio. Balding. Genetics. Plowsy got his head shaved. KG in O-Town is editing his interview with Cassie Moore. Video editing. Kevin Nealon's hiking show. Blues win last night in OT. Mexican restaurants and Sapphic play. Iggy's career as a coxman/waiter. Travis Knight. Rehashing topics from QFTA. Encounters with stag stars. Ken from Checkers calls in to inquire about the Maitland interview. Darren Pang was impressed with our win over Naegel. 1998 PGA Championship. Bob Bubka. Iggy spins a yarn.

Willy welcomes Mark Few. He is the Head Coach at Gonzaga University and was announced as an assistant coach for the 2022-2024 USA National Team. He served as an assistant coach for ten seasons before reaching the top position. Originally from Creswell, Oregon, Mark boasts of an extensive coaching career. He once worked as a head coach for the 2015 Pan American Men's Basketball team, an assistant coach for the gold medalist 2012 USA U18 National Team, and a court coach for the 2009 USA Men's U19 World Cup/World University Games Team Training Camp. He and his wife, Mercy, have four children, one of them currently playing and studying at Gonzaga University. The podcast begins with Mark returning to his graduate assistant days at Gonzaga University. He describes it as an enriching experience, teaching weight training, basketball, and other sports, and encouraging people to watch the sports games. He took a coaching job and brought the team to the Elite Eight. "The cool thing about it was to see a group of guys who deserved it with all their hard work," he says. He describes it as "pure fun, unadulterated hoops with no pressure." However, the stakes have gotten higher as more is expected from him after that taste of success. He retells the culture shock of having more expectations than before and questioning his situation at that moment. What helped him most was knowing everybody in the program, from compliance to academics, he was able to manage the burden. In the end, his team won the tournament. He reminisces about the moment he became head coach. "It's nice to have the humility and peace to level you out a little bit," he says. He adds that two backbones drive everything they do in Gonzaga: team chemistry and team culture. He prioritizes strong relationships with players with the right amount of fear, "demanding without being demeaning." As a coach, he aims to have his players "play with the most confident they've ever had and still play with unbridled joy." He looks back, seeing Coach Nick Saban's style, thinking he would never want to be in a position where his players are terrified of him. He wants to harness his players' strengths and create an organized model with a common goal and a plan. He talks about Kevin Pangos as someone who loved "working on chemistry instead of just talking about it." He mentions that mental coaching isn't just saying "toughen up and work hard." Working with Travis Knight led them to spend 25-30% of the athletes' time in mental development with Personal Growth Mondays (PGMs) that aided in processing pressure, expectations, lack of confidence, and handling adversities and success.

If you must blink... Do it now! This week, Michael, Jake and Steph clash swords with Travis Knight's directorial debut, the stop-motion samurai epic Kubo and the Two Strings.Join us on Patreon for ad-free and bonus episodes, Discord access and show footnotes and more: Patreon.com/ghibliothequeEmail us: ghibliotheque@gmail.com or follow us on Twitter @ghibliotheque and Instagram @ghibliotheque.pod.@MichaelJLeader – Michael@jakehcunningham – Jake@_stephwatts - StephProduced by Michael Leader, Jake Cunningham, Harold McShiel and Steph Watts. Music by Anthony Ing. Get bonus content on Patreon Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Rob and Jack discuss a big summer week for the Zags including the PK85 bracket, sandy Travis Knight workouts and Malachi Smith content.

Load management is a hot topic with evolving viewpoints in many sports, especially basketball. A few years ago coaches seemed to think of loads as a poison to be avoided, but many coaches are advocating a new paradigm instead: loads are best managed when you are prepared for them. Chris Chase of the Memphis Grizzlies joins this week's GAINcast to discus how he prepares athletes for the demands of the long NBA season, including his use of some non-traditional methods such as flywheel training and constrained movements to find stimulus during the season. For more information on this topic, read the complete show notes at: https://www.hmmrmedia.com/2022/07/gaincast-episode-246-preparing-for-load-with-chris-chase/ The following links were referenced in the podcast or provide some additional reading material on the topic: Further reading The following links were referenced in the podcast or provide some additional reading material on the topic: The GAINcast is sponsored by GAIN. Prior GAIN attendees can renew their membership to get continued access to the GAIN library and this year's talks. If you haven't been to GAIN before, sign up for the GAIN Master Class series for access to 24 in-depth lectures on a variety of athletic development topics. We're also brought to you by HMMR Media. Join HMMR Media to get access to a vast library of online training resources, video, articles, podcasts, and more. We discussed the Exerfly flywheel device on the podcast. Recently James de Lacey wrote an article about developing explosive power with creative solutions for eccentric overload using the flywheel. For more on preparing for basketball, listen to our interview with Ron Adams of the Golden State Warriors on GAINcas 218. We also had Gonzaga basketball strength coach Travis Knight on HMMR Podcast 223, former Warriors coach Lachlan Penfold on HMMR Podcast 62, and private coach Joe Abunassar on HMMR Podcast 184.

Birchip Harness' Travis Knight chats to Andrew Kuuse re Sundays Cup meeting

We're sticking a knife in our SCREAM series (for now) and ending on a high note with the first franchise legacyquel (or, if you're Nathan, legasequel), SCRE4M (2011)! The fourth film brought back creator Kevin Williamson as screenwriter and feels like a redemption of sorts after the disappointing end to the original trilogy. It's also, sadly, Wes Craven's final film. But, the three of us at Video Monsters are all in agreement that it's a fitting swan song for the legendary horror filmmaker because SCRE4M is a complete return to 4orm for the series and easily our favorite of the sequels. The discussion runs the gamut from how much we love the way it uses the STAB franchise diegetically to go more meta than ever and reckon with the SCREAM legacy, to the running commentary of aughts horror tropes, to the clever way it twists the final girl trope, and the prophetic incorporation of social media and online streaming into the motive behind the killings. So grab some lemon squares, step out of darkness, and meet us at Cinema Club because it's time to talk about SCRE4M! Purchase the Ghostface Busters shirt by Travis Knight that Nathan describes at: https://www.teepublic.com/t-shirt/27127243-ghostface-busters?store_id=426381  If you enjoyed this episode, come join the Video Monsters crew on Discord!! Hangout episodes are live (and unedited!) every Tuesday night starting around 9:00pm EST. Listen and chat along with us in the Discord chat and we'll even give you a shoutout on the episode! Video Monsters is brought to you by the Chattanooga Film Festival and Central Cinema in Knoxville, TN. Follow them on Facebook, Twitter, and Instagram, or online at chattfilmfest.org and centralcinema865.com. Links for each of these can also be found on our pages, so be sure to follow us at videomonsterpod on Facebook, Twitter, and Instagram as well. music for Video Monsters by Evan Simmons

Hey everybody and welcome to another episode of The Wrinkled Rabbit Podcast! This week we're talking about Travis Knight's stop motion epic, Kubo and the Two Strings. The film is about a young boy who must locate a magical suit of armor worn by his late father in order to defeat a vengeful spirit from his past. It stars Charlize Theron, Art Parkinson, Matthew McConaughey, Ralph Fiennes, Brenda Vaccaro, Cary-Hiroyuki Tagawa, and George Takei.   Next Week's Movie: The Lord of the Rings: The Fellowship of the Ring Twitter: https://twitter.com/WrinkledRabbit Instagram: https://www.instagram.com/wrinkledrab...

On this episode, Travis Knight, the strength and conditioning coach for Gonzaga University Men's Basketball, shares how authenticity, creativity, and lateral thinking have all been keys to his success as a coach. He explains how the foundation or approach one person set for him early in his journey guided his perspective which he later aligned with in the culture at Gonzaga. Throughout the conversation, it is clear that Travis values thinking outside of the box, values his beliefs, and values the relationships that he has with others.   THE PURSUIT PODCAST Apple: https://apple.co/32XOpcM Spotify: https://spoti.fi/3m8RG0i Google: https://bit.ly/3g4jO19 Stitcher: https://bit.ly/2X12S49 Podbean: https://pursuitpod.podbean.com/   SOCIAL MEDIA Twitter: https://twitter.com/pursuit_pod Instagram: https://instagram.com/pursuit_pod Facebook: https://facebook.com/thepursuitpod

Back from a long work break and the beautiful Cox wedding. We dive right back in with an awesome episode with @williamsamuellevi on the socials. Shout out to Stephanie Marshal for the intro. I had a great time getting to know Sam better and his connection to Travis Knight. I hope you enjoy this episode and I look forward to hearing your thoughts. LOOK OUT FOR SNAKES 

Everyone has to get their start somewhere so this week we take a look at well known actors and actresses that got their start in the world of horror. We also breakdown the past week's movie news including Spiderman back in the MCU, 1 solo movie coming July 2021, 1 appearance in another MCU movie Kevin Feige producing a Star Wars movie Obi Wan series adds Deborah Chow as director (Mandalorian, etc) Birds of Prey trailer Bumblebee director Travis Knight directing Uncharted movie Kingsman trailer Jurassic World 3 adds Sam Neil, Laura Dern, and Jeff Goldblum Madam Webb movie coming set in the Spiderman universe Netflix announces Stranger Things season 4 Be sure to subscribe for all the latest!

On the August 1, 2019 episode of /Film Daily, /Film editor-in-chief Peter Sciretta is joined by /Film managing editor Jacob Hall, weekend editor Brad Oman, and senior writer Ben Pearson to discuss the latest film and tv news, including Universal Studios: Epic Universe, Star Wars: Galaxy's Edge, Scarlet Witch, Ben Affleck's Batman, Venom 2 and Star Wars: The Rise of Skywalker.   Opening Banter: News is slow this week.   In The News: Brad: Universal Studios Announces New Epic Universe Theme Park Coming to Florida Brad: Star Wars Galaxy's Edge at Disney World Will Serve Alcohol Outside Oga's Cantina, Unlike Disneyland Ben: Marvel's Kevin Feige Thinks Scarlet Witch Could Have Taken Down Thanos Single-Handedly Brad: Ben Affleck's Abandoned Batman Movie Would Have Been a Dark Journey Into Arkham Asylum Ben: ‘Venom 2' Director Search Includes ‘Mowgli”s Andy Serkis, ‘Planet of the Apes' Helmer Rupert Wyatt, and ‘Bumblebee's Travis Knight(og Chris): Did Tom Hardy Just Confirm Andy Serkis as the ‘Venom 2' Director? Jacob (og HT): ‘Star Wars: The Rise of Skywalker' Leak Suggests a Different Origin for Rey   Other Articles Mentioned: Is This Spaceship the Key to Unlocking the Biggest Secret of ‘Star Wars: The Rise of Skywalker'?    All the other stuff you need to know: You can find more about all the stories we mentioned on today's show at slashfilm.com, and linked inside the show notes. /Film Daily is published every weekday, bringing you the most exciting news from the world of movies and television as well as deeper dives into the great features from slashfilm.com.  You can subscribe to /Film Daily on iTunes, Google Podcasts, Overcast, Spotify and all the popular podcast apps (RSS).  Send your feedback, questions, comments and concerns to us at peter@slashfilm.com. Please leave your name and general geographic location in case we mention the e-mail on the air.  Please rate and review the podcast on iTunes, tell your friends and spread the word!  Thanks to Sam Hume for our logo.

We're starting to get the hang of the podcasting thing. This week we have Travis "B" Knight on the show. We talk about growing up in Fla, his musical career and he teaches me about some new breathing techniques he learned at the beach that let you hold your breath for up to 5 minutes. He's one of my favorite people on this side of the cosmos and an incredible dude all around. I hope you enjoy getting to know Travis as much as I enjoyed chatting with him. Please give him a follow on the socials@TravisBknight www.Travisknightmusic.com 

Sean answers your Marvel questions!0:26 William Ford-ConwayHey Sean! Hope all is well. Let the countdown to Endgame begin! Allow me to put on the tin foil cap of speculation BUT with the recent release of the "Survivors and Fallen" posters, I noticed that its "official" that all the Iron Man centric characters survived the snap and may have some role in Endgame. Im not one to try to guess who is going to die, but I couldn't help feel that maybe this is a hint that Tony won't make it out OR at the very least will be his last hurrah in some sense. I can just see the movie taking the time to include the Iron Man history the most if Marvel plans on scaling back the Iron Man lore going forward. Thoughts?5:04 Phillip CastroHey Sean! Mind sharing your tips and tricks for making it comfortably though a 3+ hour movie in theaters?! Thank you! Hahaha8:02 Woo S! KimI heard from several people that Flo's Diner at Disneyland/California Adventure is a great restaurant, what is your favourite restaurant at Disneyland and would you be all for an MCU themed restaurant?8:51 Woo S! KimWhat are some of your favourite songs that were non scored music used for the Guardians of The Galaxy in the Marvel Cinematic Universe, for me it has to be “Rubberband Man,” “Ain't No Mountain High Enough,” “Go All The Way” “Mr. Blue Sky” and “Southern Nights.”  What about you, Sean?10:24 William Ford-ConwayDidn't get a chance to mention this on a previous Q&A but words can't describe how happy I am that James Gunn is back for Vol 3 and since that news I have been thinking about the possibilities a lot recently. I know it was a very long time ago, but do you remember a piece of news that some info from the Vol 1 prison lineup might be retconned for Vol 3? Just for fun I've been taking that as a hint for where Vol 3 is going and one possibility I found is that in Rocket's profile it says his associate is Lylla. For those who don't know, Lylla is an Otter from Rocket's homeworld in the comics. Because I have a sneaking suspicion that Rocket will have an even bigger role in Vol 3 (as Gunn as related to him the most it seems) Im wondering if this will be retconned so that Rocket meets her and thus finally meeting someone like him for the first time (completing his story of not feeling alone). Again, some wild speculation but I could totally see it happening. Also for the voice of Lylla, give me Tiffany Haddish!13:21 Paul ShearmanHey Sean and everyone - happy One Month Until Avengers Endgame to you all!! Following on from Alex's question on the weekend Q&A about Kevin Feige directing a Marvel movie, it got me thinking (again!) about how lucky we are to have had Kevin at the helm throughout this 11 year wonder that is the MCU. From listening to interviews with Kevin, we know that he is a huge comics fan, but he always talks about movies being his biggest passion, and that all he wanted to do when he was a kid was to make movies. We know that Kevin has the Midas touch for finding the best storytellers to tell these tales in the MCU, and he has utilised the source material of the comics fantastically well to bring these stories to life, but would you say that it's his expertise in movie-making, above his love and knowledge of the history within Marvel comics, that is creating the golden formula here? And is this why Marvel movies are so much more successful that DC movies (in my opinion, and I would just reaffirm that I love both Marvel and D.C. and always have done). Hope this question makes sense, enjoy the rest of your week (oh, and the “In The Endgame Now” episodes have been fantastic so far, thank you!)23:27 Jeremy WatsonHey Sean and fellow patrons! Hope everybody is having a great week! I am as excited as anyone about Disney bringing back James Gunn for Vol. 3. I am wondering though, do you know why Disney changed course? Was this the plan all along or was there something else behind the scenes that lead to Disney changing their minds? Thanks!28:58 Jessica PritchettHi Sean. A couple of Captain Marvel-Skrull-related questions for you. The movie seemed to make a point of showing us Talos telling his wife to shield their daughter's eyes, and then the daughter ducking around and seeing Talos shoot a couple of the Kree and get shot. I thought that moment seemed too pointed to be a throwaway even at my first viewing. Do you think this could play into a future MCU and/or Captain Marvel movie, and if so, how? Could the daughter be a future villain, for example? The same question for Monica's comment about loving the Skrulls' eyes — do you think that could be integrated into a later movie? Thanks for all that you do!31:56 Jeb WielandWhat would you like to see from the Disney+ shows in terms of plot? Bucky and Sam buddy cop comedy? Vision and Wanda dramatic romance? Curious what you think we'll see and what you'd prefer to see.34:54 Mookie Johnson1)I know Disney/Marvel gave up their July 2020 release date. If a movie is progressing fast enough to be ready for 2020, can Disney/Marvel pick that date back up or can they use one of the dates Fox claimed prior to the merger?37:12 Mookie Johnson2) Can you give your best guess of the upcoming release order of Nova, Sheng-Chi, Black Panther 2, Dr. Strange 2, Captain Marvel 2, the next Ant-Man and Wasp project, Guardians 3, and Dr. Doom (assuming Fox's project is adjusted instead of scrapped)? Best guess, is that the lineup leading into Avengers 5?41:59 Michael WeaselboyHey Sean how is your week going?? I just wanted to ask a hypothetical question, how would you react if instead of saying James Gunn was returning to make Guardians Vol. 3, what if the news was a new director for the film instead?? Just for example lets say Travis Knight was announced as the new director?? Thoughts??43:44 Derek BeebeHey Sean, it definitely looks like Dark Phoenix will indeed be hitting theaters.  Are you confident New Mutants will as well?  Do you have any guess to what they'll gross?46:03 Derek BeebeI realize "Civil War" was titled as a Captain America film for contractual reasons, but do you think it would have made more money if they called it "Avengers: Civil War"?48:37 Derek BeebeLet's say Marvel will only make three FF movies.  What three stories do you pick?49:57 Derek BeebeI just remembered Black Dwarf has Captain Marvel's uniform tied to his belt in Infinity War, which we got zero reference to in Carol's movie.  Do you think Carol's second movie, still set in the past, will show her going up against the Children of Thanos?51:53 AlexDC question: What's your thoughts about Zack Snyder's recent comments defending the creative decision to have Batman kill? I have nothing against Mr. Snyder but I can't help feeling he's fanning the flames with his comments which I can't help but feel are incendiary in nature. Can you see what  Snyder is saying?1:00:26 AlexAnother DC question: Snyder recently talked about his original plans for Justice League in a Q&A for a fan screening for BvS and it got me wondering do you think if Warners had not interfered with Snyder and released original better cut of BvS and left Snyder alone on Justice League do you think the movie would've fared better at the box office or do you think the movie still would've bombed just the same?1:01:57 AlexAnother Question: Also what do you think of Snyder's original plans for Justice League? Do YOU think it would've been better than the movie we ultimately ended up getting or do you think Warners made the right decision to meddle as much as they did, and Snyder's vision just wasn't going to cut it after the lousy reception of BvS? What do you think Kevin Feige would do if he was in the same situation?1:14:29 AlexDo you prefer MCU Doom to have a severely scarred face behind the mask like in the John Bryne version or would you prefer they go with the original Stan and Jack version where there's only a mild scar to an otherwise perfect face. I'm leaning towards the former rather than the later.1:15:16 David RosenHey Sean and Friends, Before we get completely dominated by End Game questions and discussion, I still have a few Captain Marvel thoughts I want to ask about. The movie's box office is just about at $915 million as of today (Tuesday). There are a number of reasons one could come up with to explain the amazing success the movie has had so far, including it being Marvel's first major release featuring a female superhero, it's connection to the events of the MCU, the whole troll review bombing (which I think actually helped bring more attention to it for the mainstream audiences), the Marvel brand, it's the final movie leading up the End Game, and the fact that it's just a really fun and entertaining movie. Of all these, what do you think is the main contributing factor to this movie's success or can it be attributed to a perfect storm of scenarios that helped propel this movie to where it will eventually end up? I don't want to take anything away from this movie, but I think there are better movies in the MCU, but not all have been this financially successful. What's different about Captain Marvel?1:21:06 Brett HeierHey Sean, do you think that because heimdall was not in a poster even though he died but gamora and Loki died and they had a poster mean that they will come back? Also, do you think that giving shuri a black and white poster is just to mislead us?1:23:37 Michael ChavezHey Sean! I feel like it's been forever since I've asked a question, but I hope you're well and all the listeners are enjoying the moment (as you have put it recently) as we gear up for Endgame. Is there a particular reason why Marvel has delayed preordering tickets for endgame? I am assuming it's because theaters were waiting for official runtime to plan for showings and whatnot, but it just seems later than normal. Also a quick side note, I have used some of your points in how to view marvel movies (IMAX and/or Dolby) with family and friends and they're hooked on Dolby. Good advice (in the voice of Whiplash).1:29:15 Rodrigo Valverde IIIHey, Sean, new listener to the podcast and love everything about it!If you could pick one DC character to appear in the MCU who would you pick, and which DC character do you think would fit the best in today's MCU?1:30:41 AlexSean, in terms of comic book movies it seems to me that the  only comic book movies that do  exceptionally well are the Marvel & DC ones so I have to wonder if non-Marvel and non-DC comic book movies will ever reach mainstream popularity. Hellboy I think will flop. It's early tracking so far is is really lukewarm.  1:35:40 Robert ReinekeHi Sean. I know you have a lot of admiration for Short Term 12 and must have thoughts on the signing of Destin Daniel Cretton to direct a Shang-Chi movie. I'm happy for him as I have a lot of admiration for Short Term 12, but I wonder if perhaps Marvel would have been better off with an experienced action director for what should supposedly be a martial arts film. In particular, I think this really needs to have outstanding action direction to connect with the Chinese audience. Regardless, I hope they resist a needle drop of Kung Fu Fighting. What are your thoughts?1:39:59 Brian WhiteHi Sean, I have an interesting theory I've shared on Quora. I think it's originally mine at least. Ego claimed to be a Celestial and he created a planet to contain and protect his Light. Peter Quill as his scion was able to use that energy. We know of the traditional Celestials and they seem to be part of the MCU evidenced by Knowhere being the head of a Celestial and the Collector's presentation of Power Stone users. Maybe a Celestial's armor is merely an advanced and more efficient form of the planet body they start with? What if Odin is a scion of an Ego-like Celestial, Buri or Bor, who created Asgard like Ego created his Moon sized planet? Neither Ego's Moon or Asgard resemble typical planets; the laws of physics seem to bend to their rulers' wills. What if Hela and Thor and all Asgardians in fact are supplemented by the energies of Asgard's Light? Maybe Earth too contains a  Celestial's Light and Thor was born from Asgard's and Earth's Celestial scions. This could explain how Hela would lose her primary source of power when Surtur destroys Asgard, but Thor would seem to be unaffected by its destruction. It ironically makes Peter's jealousy of Thor more hilarious in that they are cousins of a sort. See acast.com/privacy for privacy and opt-out information.

Sean answers your Marvel questions!0:34 Alex WardHey Sean! Happy Fox acquisition day! I may be remembering wrong, but did Disney immediately announce more films when they purchased Lucasfilm? If so, do you think that may be why so many fans are expecting an announcement from Marvel about an X-Men or FF movie's sooner than it'll actually happen? Also, if they did immediately announce new Star Wars films, how was that situation different from this one? Just that Star Wars films were a given? Thanks Sean!7:25 Robert KlauserMaybe the Gunn “leave of absence” could be a silver lining considering James Gunn had interest in characters previously owned by Fox in the past. What are your thoughts that there could be some rewrites for the GotG Vol 3 script to include said characters?10:03 Tom DeMicheleHey Sean and Patrons! I've been re-listening to all the Empire Spoiler Podcasts with MCU directors and creators. In the Civil War episode, the Russo's said they explored many options for the turning point of the airport fight before deciding on Giant-Man. What do you think were their previous options for swinging the fight in Team Cap's favor?12:12 Nick DiTotaHey Sean, I've been a part of the Patreon for about 3 months now and I just want to say that I think it's awesome! I love being able to listen every day while I'm at work. Over the past couple years I've gotten big into reading comics. I've never read any comics about the Eternals and with Marvel making an Eternals movie I'd like to read some to get to know the characters a little more. Do you have any recommendations as to a particular series to read? I figured to get to know them best go right to the source with Kirby's original series but I wanted your opinion. Keep up the awesome work and thanks for everything you do!14:00 Jeremy WatsonAt the end of Iron Man, when Fury is telling Stark that he's become part of a bigger world, we now know that he was referring to Captain Marvel. At that time (2008), do you think that Kevin Feige was referring to her or just the Marvel Universe in general? Thanks15:41 Derek BeebeHey Sean, I know you've talked about them doing Hickman's Secret War as an Avengers movie, but what I really want to see is what leads up to that story, Time Runs Out.  Our heroes struggling in vain against an impossible, universe ending threat, driven to increasingly immoral desperation.  I think this would make a great trilogy of Avengers movies, but how dark do you think our heroes could get in a major blockbuster?  And if they did Secret War, how much time do you think they'll spend with Battleworld?  Personally I thought that was the least interesting aspect of the series by far.  And of course, this entire story requires Doom to be in the MCU.19:37 Derek BeebeDo you regret we didn't get a "Secret Avengers" movie between Civil War and Infinity War, showing what life was like for Cap's team living in exile in Wakanda?  I think that would have been a great story.  And if we did have that movie, do you think they should have avoided putting Tony and Steve together?22:10 Derek BeebeDo you think we need a Captain Marvel 2 taking place before Miss Marvel in order to properly establish Carol as a modern day hero for Kamala Kahn to look up to?23:50 Derek BeebeWhat do you think the line up for Avengers 5 will be?  I'm assuming that none of the original team will be around, though I hope that's not true.  Captain Marvel will be team leader of course.   I'm thinking Black Panther, Ant-Man, Wasp, Doctor Strange... maybe Shang Chi and Sersi?  And do you think a line up like that would be as popular as the original?29:00 Chris FHey Sean! Happy merger day! Was really great to break the news on the discord about the trailer release. I actually had a moment where I was like I wonder if this is what Sean feels like when he's breaking marvel news for us!Also thanks for sharing your idea of a “meditation period” before marvel films. I finally had a chance to try it with captain marvel and it worked great. So my question for the week is since time travel seems to be a factor in endgame is their any particular scene from any past films you would like to see them go back to and change a bit?I for one would love to see the scene of Thor and Loki on the rocks in Germany where Thor knows Loki is dead in the future and it's a bit more emotional. Thanks again for creating this great community!30:50 AlexHappy Closing day Sean! May I ask do you forsee the MCU X-Men and Fantastic Four films having the 20th Centuary Fox logo are does that become null and void once Marvel is making the movies and not Fox?32:10 AlexDo you think anything will in the world of Marvel superheroes world will be as historic as the X-Men and Fantastic Four coming back home back to Marvel Studios or is it as good as it gets? I have a hard time imagining even Marvel eventually gaining the full rights to Spider-Man will be as huge as this considering Marvel already has used Spidey in the MCU before now.33:54 AlexYou've lamented before on the quality of Entertainment journalism in regards to reporting things that are Marvel related but do you worry it can be greatly exacerbated after the deal closes? I see a future of a lot of unsubstantiated rumors about Mutants and Fantastic Four emerging more than ever before.35:03 Michael WeaselboyHey Sean its amazing to realize that now the MCU  can be fully complete. I was wondering do you think we will have Masters of Evil sometime in the MCU as the next Avengers villains?? Do you think Doctor Doom could be the leader?? What other members would you add??37:18 AlexDo you think Marvel gets the rights to Fantastic Four might soften your stance on Fan4stic once you re-watch the movie again at some point(assuming you ever do?)39:14 AlexSean, have you seen Bumblebee yet?  What do you think about it? And if you have seen it and liked it then  do you now agree that Travis Knight would be a  suitable choice to helm FF? I know you have Dee Rees as your top choice to direct Fantastic Four but I think Knight would a fantastic job( dumb  pun intended) with the First Family. 39:54 Brett HeierHey Sean, did you like the all female ghostbusters movie? I loved it and I am very sad there won't be a sequel. Also, did you like Captain Phasma as a character? Do you think we will see her again in the Star Wars Universe? Sorry these questions weren't very centered around the MCU.41:13 Brett HeierHow many more years do you think Scarlet Witch will be in the MCU?41:58 AlexSean, do you think  the Deadpool moves become retroactively canon in the MCU when Wade Wilson enters the MCU or do you think its unlikely? Would you rather  keep Deadpool in his own universe separate form the MCU or are you  of the mindset that he can be integrated into the MCU with little problems.44:54 AlexDo you have any   strong picks for Doctor   Doom?45:37 Jeremy WatsonSean, in the spirit of March Madness, who would your top 4 seeds be out of the major MCU players? Thanks!47:59 Jessica LoutfiHey Sean. Given that the Russo brothers are famous for adding things into their trailers that aren't in the movies...what do you think they added to the new trailer that may not be in Avengers Endgame? Thanks!49:30 Woo S! KimI happen to think Inhumans and Daredevil are the most underrated creations of Stan Lee's iconic career, do you concur, if you don't what do you think is his most underrated creation or creations, Sean?51:14 Woo S! KimIronically enough Sean, there is going to be a lot of What If Questions involving the “What If” Disney Plus animated series so please forgive the puns.  Now let's say for argument sake Disney wanted to do a “What If” episode or episodes that involve Tom Holland's Spider-Man can Marvel Studios/Disney do this or is Tom Holland's Spider-Man technically with Sony Pictures?  Related to Spider-Man do you feel that this “What If” Animated Series is Marvel Studios way of metaphorically dipping their toe into the pool of animation if they get the rights back to Spider-Man in the next two years or perhaps Marvel Studios wanting to release other Marvel characters in animated films released in cinemas that have nothing to so with Spider-Man, could this be the case why or why not?54:29 Woo S! KimIf you ever had the chance to interview Stan Lee did you have any questions you always wanted to ask him, me personally I would just spent the time thanking him for creating Daredevil.55:36 Matt MillerDo you think with the merger closing today thay Marvel studios will rearrange some of their plans and get the FF and X-men movies out before ones currently being planned/ones that are rumored?59:26 David RosenWith all the new properties coming over, and all the likely reboots that are going to happen, how do you foresee Marvel Studios adhering to their “no more origin stories” rule? While we will need some explanation, what do you think the amount of origin we'll get for the characters coming over from Fox? With the Fantastic Four and their fairly well-known origin specifically in mind, do you think it's possible to do something similar like they did with Spiderman, or will they need the classic origin story treatment to get them started? As the MCU continues to grow beyond End Game, and with all the new characters that will be introduced, what is the correct balance the MCU needs to strike in telling new characters' origins so that audiences don't start to get bored and look past the first films for all the upcoming characters?1:01:54 David RosenI know I thought this after the End Game super bowl spot, and I honestly cant remember if I, or some else asking about it then, but considering that the most recent trailer included flashbacks in black and white with the red highlights again, do you think there is more going on here than it just being a stylistic choice?1:03:27 David RosenOne of the reasons that I felt Captain Marvel was so different and refreshing from the rest of the MCU was the lack of an obvious love interest. Why is it that having a love interest has become such a staple of storytelling in the superhero genre? Was it a product of the times that these stories were being written in that the male hero had to have a woman to save and/or fall in love with? Do you think moving forward, Marvel should leave the obligatory, one-off love story behind in favor of other ways of developing characters or will it always be one of those story aspects that we'll just need to deal with sometimes because love is just a part of life?1:08:27 David RosenIn the discussion about whether Captain Marvel is too powerful in the MCU, regardless of whether or not we actually get to see this tested in a movie, if you consider that Wanda is able to use her energy to destroy the Mind Stone, do you think Captain Marvel could be defeated by a Hydra weapon, as they both draw their power from the Tesseract?1:10:38 Paul ShearmanHey Sean and everyone, hope you're all having a good week so far. Sean, pop quiz time! A quick question following your Captain Marvel conversations about the use of Nirvana when Carol went up against the Supreme intelligence (although I agree totally with you that it gets a pass because it's a terrific song!). Because I'm a weird completist about these things (!) I'm interested to know what alternative song you'd use, that fits with the ‘pre-1989 Carol leaving Earth' chronology and therefore not necessarily being aware of that song!In the grand scheme of things, this of course didn't ruin my enjoyment of the movie in any way, but I love to dot the i's and cross the t's..!Thanks as always, and enjoy the rest of your week.1:13:47 Jeremy WatsonSean, with the Fox/Disney acquisition complete, do you foresee any changes to some of Fox's tv content, such as The Simpsons, Family Guy, etc?1:17:11 Robert ReinekeHi Sean. There's some speculation that the latest Endgame trailer includes fake scenes and images that were deliberately altered from what will appear in the actual movie, ala Hulk in Wakanda. Now, I realize that no trailer is the actual movie, with trailers often featuring temp music, scenes and line readings that may end up on the editing floor, incomplete special effects, etc. Not to mention the fact that editing a 2 to 3 hour movie into a 2 minute spot is a deliberate act of distortion, all sizzle, all the time, albeit usually not on the level of trying to make The Shining look like a feel good family film or Christopher Robin look like a horror film. But, I feel that most trailers aren't trying to deliberately lie to me. Is a line being crossed here? I know Jean Luc Godard said that "Cinema is truth at 24 frames per second." and Brian DePalma retorted "Cinema is lies at 24 frames per second." and I'm much more in the DePalma camp, but I feel that I never like to be deliberately lied to. Yeah, I expect it won't ruin my enjoyment of the film any, but we have to hold the creators we like to the same  standards we hold those we don't like.  Did showing the Hulk in Wakanda ad one cent to the box office? I don't think so. Plus, I also feel that it's unnecessary in a film where you have 3 hours of footage and over 20 films to draw footage from, and a few seconds can't be that important. And I feel that this is a trend that ought to be nipped in the bud before it gets out of control, like digitally inserting Avengers into trailers for Eternals. Do you devalue the trailer by making them wholly unreliable?What do you think of the ethics of lying in trailers beyond "caveat emptor"?1:23:49 Angel L AshbyHey there Sean! Do you think that Disney/MCU set the timeline for the Disney/Fox deal so that it would be finalized before Endgame came out and do you believe that there will be a teaser for FF or Xmen in Endgame? Or do you think that Endgame will.. end.. in such a way that it sets up for X-men to be a new introduction in to the universe? (I hope that made sense.) See acast.com/privacy for privacy and opt-out information.

We return to spoiler free reviews to talk about a movie nobody expected to be any good, the Transformers spinoff Bumblebee. Colin is joined by his nephew Ric to go over all the reasons why this movie should not work, and all the reasons it actually kind of works. Was losing Michael Bay all this series needed to succeed? Is this movie just ET as a robot? Why does classic 80s Transformers cameos make us so giddy? Why does Ric think Bumblebee and Charlie are boyfriend and girlfriend? Do we dare say that this movie is touching? If you click the link and download the episode now we promise there will be no rickrolling.★ Support this podcast on Patreon ★

What's Up Cinemaniacs! Join Duane and special guest Tyler Calvert as they review the latest Transformers film "Bumblebee", starring Hailee Steinfeld, John Cena, Jorge Lendeborg Jr, Angela Basset, directed by Travis Knight, and written by Christina Hodson! "Bumblebee" tells us the classic story of 1987 Bumblebee on the run and finds refuge in a junkyard in a small Californian beach town. Charlie, on the cusp of turning 18 and trying to find her place in the world, discovers Bumblebee, battle-scarred and broken and forms a bond with the robot to save the world. Listen and see why critics are calling this the best Transformers film of all time! #Bumblebee #MovieReview Follow us: Facebook Twitter Instagram YouTube Spotify  Follow Duane: Twitter Instagram  Follow Tyler: Twitter YouTube  Cinemania Merch 30% Off: Teepublic   

Alexis is joined by David Francisco and review the divisive new Wizarding World movie Fantastic Beasts The Crimes of Grindelwald They also discuss the new rumors that Kubo and the Two Strings director Travis Knight might direct the now controversial new Guardians of the Galaxy movie plus a deepdive into the surprise announcement that Marvels Agents of SHIELD will be returning for a seventh season months before its sixth season even airs and after much speculation about its supposed inevitable demise, Thank you Peter