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 They put in their cover letter, “Honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.”Rudi Womack is the Director of the Wyoming International Film Festival and the creator of the YouTube channel The Film Festival Guide.In this conversation, Rudi talks about:* What watching thousands of film festival submissions has taught him about good storytelling* The biggest mistake filmmakers make when they submit to festivals* Why transparency matters and why he published all of the submission and acceptance stats for the Wyoming International Film Festival * The importance of a compelling poster and thumbnail* How to write a good description of your movie* The most important questions filmmakers must askHere is a link to Hiike, the new film festival submission platform that Rudi mentioned.If you enjoyed this episode please forward to a friend.Here is an AI-generated transcript of my interview with Rudi. Don't come for me.79. Film Festival Director Rudi WomackBEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. My guest today is Rudy Womack, who is the director of the Wyoming International Film Festival, and also Rudy has a fantastic YouTube page called The Film Festival Guide. So for all my filmmakers out there who are interested in submitting to festivals in this interview and on Rudy's YouTube page, he breaks it down. Enjoy.Rudi, thank you so much for joining us.RUDI: Hey, it's my pleasure to be here. Thank you for having me.BEN: So I always start off with a fun question, and we're entering the holiday season, so very important holiday question. Is Die Hard a Christmas movie?RUDI: Absolutely. A hundred percent. Come on.BEN: I love it. So I, I told you this off Air, I found you through the Rate YouTube channel.You have the Film Festival Guide. Is that the right name? I wanna make sure I get the name right. Yeah. The filmRUDI: festival guide. Yep.BEN: On YouTube Film Festival Guide on YouTube. Please. Any filmmakers out there go and subscribe. The information is so helpful. What, why did you start the this YouTube page?RUDI: I, as a filmmaker have gone through the festival circuit several times and I made a lot of amateur mistakes. I didn't know what I was doing. Definitely fell on my face a couple of times, but I also had some successes. And as I did more film festivals, I started learning more about the circuit.I got invited by a film festival to become a programmer, and so I started reviewing a lot of films and seeing a lot of the submissions. And I think instantly that made me a better filmmaker just because I saw what was working, what wasn't working, and how other filmmakers really brought to, brought their stories to life on the screen.And it, it was truly inspirational. Very long story short, the Wyoming International Film Festival was started by a gentleman named Alan Oi, and he's a, he's a documentarian out of Wyoming, which is where I'm from. I'm from Wyoming. So Alan had the film festival and he had run it for some years and it was going great and everything.But then Alan retired and now he's retiring. He wants to move outta Wyoming and he doesn't wanna run a live event. ‘cause it is a lot of work in his words. And I quote, it's a young man's game. And at the same time, COVID hit and he didn't wanna do the whole online thing and it was just a big mess.So Alan was like, I'm done with the festival, it's done. I'm just gonna let it die. And I was begging him, no, Alan, you can't do it. It's so important for indie filmmakers. And at the time I'm just finding my feet in the festival circuit as well as both a filmmaker and now I'm a programmer.I'm begging him like don't let it die. It's important, maybe I can help out. And he was like, why don't you run it? And I was like, absolutely not, man. What are you talking about? That's crazy. No way. No way. And I was like, I'm going to be your director of programming. That's what I'm going to do.I'm gonna help you get films in so you don't have to do that work. Very long story short, I ended up running it. I ended up taking over the festival from Alan. I did so reluctantly. But when I started working with the festival, working with the community, working with my hometown filmmakers and my home state filmmakers, and just seeing how important a film festival can be for a local community to uplift indie filmmakers to help them along the way I fell in love with it and here I am now, I run the film festival.And your question was, how did I start the YouTube channel? Sorry, I'm getting there. But I got a lot of questions from filmmakers about festivals, like how to navigate ‘em. And there's just so much mystery behind film festivals ‘cause it's so opaque. There's not a lot of transparency from film festivals.Film festivals are sketchy about which films they do select and which they don't. And frankly, there's a lot of misinformation out there about festivals. So I started answering a lot of questions and I started repeatedly answering the same question again and again and again. And I had some friends who told me, you should write a book.But I was like, yeah, but books, there are books, like people have already written books, bluntly, frankly, people far more experienced and knowledgeable than myself have written books. And so if you're not reading those books, then you're probably not gonna read my book. So that's when I decided, you know what, the YouTube channel is a great way to just do very easy outreach.Take one single topic, break it down for 10 minutes, and hopefully help filmmakers along on their film festival journey.BEN: I love it. And you said something for all the filmmakers who are listening. I'm gonna come back to it. Don't worry. You said something about once you started programming and watching so many films, you got a good sense of what works and what doesn't.So I definitely wanna come back to that. I know the filmmakers listening want to hear that. But before that you mentioned 10 minute videos. You strike me as somebody who, does research and takes time to Yes. Before they do something. What did you discover about running a YouTube page?What things work, what things don't work?RUDI: I'm still very early on in my own YouTube development. I'm still trying to learn what does and doesn't work. So I'm probably the worst person on earth to give advice. Definitely that first 32nd hook is so important on YouTube, just like it is on a film that, that intro, how we come into the story, whatever, on YouTube, you can see a massive drop off and apparently it's that way on every channel.Again, I'm not a YouTube guru, so I don't give advice, but that first 32nd hook is a big deal, but also just my presence on camera. I come from the post world. I'm an editor, so I'm not just behind camera. I'm behind, behind the camera. So I'm very much not used to an on-camera presence, so I'm developing that and learning it as well.What kind of energy I can bring. How to make it engaging. But also I don't wanna be zany and too quirky or anything because I am trying to give good guidance to filmmakers, but I also don't want to lecture them and bore them to death. So it's finding that balance of information that's valuable, but also entertaining enough that people don't wanna click off.And it's actually quite a complex thing that I'm still unraveling one video at a time. But the best advice that I saw was some YouTube guru who is just focus on getting 1% better on every single video. So is that little bit better graphics or better delivery, or better audio, or better editing or whatever it is.And after a hundred videos, you're now a hundred percent better. So that's what I've been focusing on. Just very small baby steps.BEN: Yeah, that's such a great way to break it down, right? It just makes it bite-sized, get 1% better.RUDI: I think you can apply that to life in general. There's a lot of things in life just today be 1% better.That's it,BEN: so you mentioned once you start a programming scene, get enough feel for what works, what doesn't, especially with short films, both narrative and docs. What are you seeing that works and doesn't work?RUDI: In the shorts world I'm seeing a couple of things. One, a self-contained story, and this is something that I had a problem with because oftentimes I would go for more of a quote unquote scene instead of a full beginning, middle and in, in a story.So a self-contained story typically is gonna make your short film much more successful. This can be hard for some filmmakers because they're trying to make a proof of concept short film that they're gonna go and get financing for their future. So one of the things that they often do is they just take a scene outta their feature and then just shoot that, which has mixed results.And the problem is the films that have gotten financed and been made from shorts that have done that are the ones that you see. So it's actually a survivor bias, where it's like it, it works for those particular films and therefore everybody thinks it's gonna work for their film. But obviously the films that it doesn't work for, you're never going to see.So you don't understand, actually for the majority of films, it doesn't work. So if you have a proof of concept, I actually say, don't pull a scene outta your feature. I say write its own scene, or sorry, your own short film. That exists in the same world and universe with the same characters as what your feature film is.And I think that's gonna have much more success on the film festival circuit. And that will lean you or lead you to whatever your goal is, financing or distribution or whatever. So that's a big thing with short films that makes ‘em successful is make sure it is actually a self-contained story and it doesn't have any loose ends, so to speak.What doesn't work is something that I myself struggle with, ironically as an editor. And that's things being too long and you need to parse them down. Now a lot of people will say, shorter, the better, which is true, but I actually think that's a result of actually getting to the core of the problem.And that's make your film as concise as possible. Get the idea. The emotion, the story out as concise as you can. And what that does by happenstance is it makes your film shorter. So it's not that shorter is better. I know there's it almost sounds like I'm just splitting hairs here, but I've seen plenty of five minute films that didn't work.I've seen plenty of 10 minute films that board me to death. So shorter isn't necessarily better. It's more concise of your story is better. And sometimes that still manifests as a 20, 30, 40 minute film. But if it's a very interesting 20, 30, 40 minutes, that's not gonna matter.BEN: It's such a great point. And for me, when I get to a certain point in the edit, I like to just bring in a couple friends and have them watch it. And then I just sit there and watch them watch it and whatever feedback they're gonna provide afterwards. 95% of what I need, I can just tell from Body Language as they're watching the film.RUDI: Yep.BEN: You come fromRUDI: theBEN: Go ahead.RUDI: Oh I was just gonna piggyback off that and just say, audience feedback is worth its weight and goal.BEN: Yeah.RUDI: And every filmmaker when you hit that fine cut stage, like you said, get your friends and family together, buy everybody some burgers and fries or whatever.Get ‘em all together. Gather ‘em up in a room, watch them, watch your film. That's gonna tell you more than anything else. We'll be able to about the success of your film and where it's strong, where it's weak, where you can still fix things. And I always suggest do it in your fine cut stage because nothing's locked in and you can still move things around and adjust, or whatever it is you need.BEN: Love it. And I think earlier what you are really getting at is telling a good story. Yes. And I'm amazed at, not amazed, but maybe a little disappointed, especially in today's world, the technical side of filmmaking. Even for an amateur, even for an indie filmmaker that you can, things can be d done so well technically, but there's no story.RUDI: Yes. All the time. So when I get onto Reddit, ‘cause you mentioned Reddit earlier if I go onto our filmmakers, right? Yeah. I don't have to look far to see people just geeking out over the newest Camerons. It's, and it's always cameras. Everybody always talks about. This camera is so fancy and it has so many stops above and this lens can do this and blah, blah, blah, blah, blah, blah, blah.It has this big bit rate, whatever. Everybody gets so excited about cameras and I always say to myself, man, if they got this excited about audio, I wouldn't have to reject half the films that we have to reject because the audio is just blah. So if we're gonna talk tech, if we're gonna talk about the quote unquote quality of the filmmaking, I think what filmmakers need to understand is there are so many films out there we're that is just the foundation.It is the base level, it is the bare minimum that the film looks good. It sounds good. It feels good. So for us, festival guys, we see so many of these films. You're super gorgeous cinematography, you're really fancy, VFX, whatever it is that you think really separates your film from the pack. I don't wanna discourage you, I don't wanna sound jaded or anything, but it's not as impressive to us as you might believe it is, simply because we see hundreds and sometimes thousands of films like that.So for us it constantly falls back to originality and the story. Is the story well done? Is it well told? Is it a new and interesting story that we've never seen before? Is it a story that we've seen before but told in a very unique way, from a specific point of view, that is what is going to move us as festival people.‘cause when I put it into the theater and my audience walks in and they pay a ticket. My audience is used to going down to the theater and seeing a hundred million dollar movies. So for them, quality is just a given. It's just assumed they're not going to be thinking about it for them. They go and watch a movie ‘cause they're interested in, and I think if more filmmakers really dialed in on their story, they're going to find more success.BEN: So many great points there and a hundred percent agree with what you were saying about people get excited about the camera. And so I did my MFA at USC and there were three different times where I was on a set that, that I felt was unsafe. Not that I felt it was unsafe, what they were doing. Geez. And I walked off and it was always to get the cool shot.Like no one's ever hanging off a balcony to get room tone. You know what I mean? It's just, it's always to get the cool shot that, again, if you're not telling a good story, it doesn't matter. And to your point, I've always felt good audio is more important than good video.RUDI: Good image.BEN: Yeah.RUDI: Look at the documentary. Look at the nonfiction world. We see verite stuff all the time. We see stuff people recorded on their phone or, security camera footage or whatever, like at the end of the day in the nonfiction world is a great example of the quality of the shot doesn't necessarily matter so much as the quality of the story and how it's being told and how it's being revealed to us.And the audio is always gonna be very clean, very top notch, even if it's quote unquote found footage or. Veritate footage or whatever, the audio is always peak. I saw that Netflix doc recently, it was super heartbreaking. The perfect neighbor. And most of it is police body cam footage, but the audio is clean so we're able to follow the story so no one sits back and thinks of themselves this isn't a good shot.Of course it's not, it's police potty cam footage. Like it doesn't look good and it's not meant to,BEN: but it sounds good. And so you can follow it.RUDI: Yes.BEN: What what are some tropes that you think you've gotten tired of seeing in, especially in short films?RUDI: So every year it's a little bit different.You would be surprised what things pop up and what don't. The one trope that kind of rubs me the wrong way, I, I don't know how to describe it any other way than filmmaker self therapy. Like they, they're definitely going through something at the moment and they're not focused on creating a good story.They're more focused on using their art form to emotionally process whatever it is they're going through, which fine, you are an artist that makes sense to do, but also I can't sell my audience on that. So while I don't wanna discourage someone from making a film that is very near and dear and personal to them, at the end of the day, it might not be a good fit for film festivals.And so I, I would really think twice about whether or not that is a story that an audience, frankly, needs to see. Filmmaker cell therapy is one that when I get it, I'm always eh I don't know what to do with it. I just, I don't know what to do. Some other tropes that we see very commonly are like.Obviously right now, tech and AI and stuff like that gives a lot of people anxiety. So there's a lot of like evil robot takes over or the big reveal at the end of the movie, they were a robot the whole time, or the whole thing was a simulation or whatever. That's being very well tread right now.For me, I'm I am not a political person and anytime some big thing is in the news, we see tons of films on it. So I understand politics do affect people's day to day and their lives, so I understand that manifest. But man, I probably have a hundred immigration films right now and that's a lot. And I'm not gonna screen that many, so I'm only gonna pick like one, maybe two, so that's a tough one to do.Anything that's like a hot button political issue. We always see a big wave of those come in. And then honestly, romance dramas get tough. It isn't evergreen. We do have an audience for it. We usually do have some kind of a selection of them. Romance dramas have existed since the beginning of time.It's always been a thing. But filmmaker broke up with his girlfriend, so now he has a character who breaks up with his girlfriend. It gets it, it doesn't get very original. I, it just it gets exhausted. So those are some of the kind of general tropes I would avoid. I have heard other festival directors talk about like cancer films and Alzheimer's films and stuff like that.This year I'm not seeing so much of those, but I have seen those in the past. So tho those are some other. Tread stories we'll see.BEN: One of the things that I appreciate about. Your series of videos is your transparency, and you have one video where you literally break down. Here are all the films the number of films, Wyoming International Film Festivals received. Here's how it breaks down, here's how many we, we accepted, et cetera, et cetera.You have another one where you literally show the viewer, this is what we see as a programmer on our film freeway portal. Here's the scoring sheet. I think it's a little bit different from the one you guys use internally, but basically here's what the scoring sheet on film freeway looks like. Why is transparency so important to you?RUDI: Because I'm a filmmaker, because I've been to so many festivals where I have no idea what the hell's going on. I've been to festivals where I think my film is gonna be a good fit. I think based on what I've been able to investigate on my own, digging through their website, digging through their archive.Seen what they've programmed before. I think I'm a good fit, but I don't actually know. And I've submitted to festivals where later on, I see what they programmed or I got rejected or even accepted and then gone to the festival itself and have been a little disappointed when was like I this festival didn't fit my goals the way that I thought it would, or, this festival wasn't going to do the things for me.Or this festival, like really promoted themselves very heavily as this big event. And then you get there and then it's not, and that's a little bothersome. So when I stepped into my role at the Wyoming International Film Festival, I made a whole bunch of changes. But one of the changes that I made was, we are going to be transparent.I don't ever want a filmmaker to submit to our festival, get in, get accepted to the festival, drive all the way out to Wyoming and be disappointed. I don't want them to do that. That's not good for them. It's not good for us. It's not good for the community. It's not good for indie film at large.What's better is if we just be what we are in Wyoming, we're straight shooters. We just say it as it is. So I'm going to tell you exactly how many films were submitted, which films we accepted, what the percentage rates are, how many shorts versus features, how many docs versus narratives, how many music videos, all of this stuff.And we've been releasing the data for the past couple of years. This year, like we went all out with the data it was much more thorough than what we've done in years past. And even me, the director of the festival, I sit back, I look at the data and I can see some weak spots in it. I can see where we need to improve as a festival, where we need to start, bringing in a certain type of film or where other films might be overrepresented or how we can give more of an experience to our filmmakers.Just by boiling it down to numbers and looking at it. I can start seeing some of our weak spots and I want to improve on that ‘cause I want to have a good festival. And I think if more festivals were to do that, I think the filmmaking community at large would be much more appreciative. And I think film festivals need to understand.That if you have fewer submissions, that's not a bad thing because the submissions that you are going to get are filmmakers that really want to be in your festival and that's good for the health of your festival, the community, the filmmakers, everything. So I, I think the only way we get there is by being transparent.And thankfully there are other festivals that are publishing their data, which is great. And that makes me very happy to see. And I hope that trend continues and I hope even more festivals start publishing more of their data and showing how they review films, what their scorecards look like, what they're looking for.‘cause ultimately I genuinely believe that just serves the filmmakers better and ultimately makes everybody have a better experience on the film festival circuit, including the festivals themselves.BEN: When you took over as directorWhat were the biggest challenges?RUDI: So our biggest challenge to this day is our venue.So there's only one movie theater in Cheyenne, Wyoming. It is owned by a company outta Casper, Wyoming. They own pretty much a monopoly of movie theaters across the state, like most of them. And they don't allow anybody into their theaters at all. They don't allow her private screenings or corporate events or, in individuals who wanna screen their film or film festivals.I'm not the only film festival in Wyoming. I talk with other festival directors. They can't get in either. It's funny, the film commissioner of the state can't even get in. You would think the movie theater would at least want to partner with the state film Commission, but no. So for us, the challenge has been a venue and luckily our partners over at Laramie County Community College.Have graciously allowed us to use their facilities for the last couple years. They have a beautiful auditorium that we do some of our screenings in, but we also have screening rooms in a black box theater that they have as well as a conference room. And when I say conference room, most filmmakers like their heart drops a little bit.They're like, oh man, I'm just, I'm going into a conference room. It's not a proper movie theater. And that's fine. We publish that data on our film freeway page on hike. We are transparent about that. So when you submit, you might be in the conference room. But ironically, I think it has some of the best audio and it has some of the best projection.So even though it's the quote unquote least movie theater, like I actually think it has some of the best projection, best color. But venue is probably one of our biggest challenges and we continue to develop that. We continue to. Trying to innovate. We're trying to build our own screening room there on the campus.Like we're trying to use one of their big classrooms for it. And what we wanna do is we wanna turn it into a lounge. We wanna bring in like couches and sofas and comfy chairs where it's like much more of a chill environment in there. And that's the type of film we wanna screen in. There's some you can literally sit back, settle in and relax.So there's things that we're doing to create a better environment for our filmmakers and of course our audience, our guests at the festival.BEN: I love it. What's been the biggest reward?RUDI: The, I get to meet you. That's what the biggest reward is. I get to meet so many filmmakers. I get to hear their stories.I get to be inspired. I get to learn stuff. I was talking with a festival director a couple of days ago. Who asked me about how we do our audience award scores and how we process that and what they do. And I just like I lit up, I'm like, oh my God. It's such a better way, it's more efficient, it's easier on the staff.It's more representative of how the audience actually feels about the film, the way the scores are aggregated and counted. It's so great. I get to meet so many people in this world of film and every single day it's like a new, whole new world is opened up to me and I get to hear so many fantastic points of view.I get to see so many awesome films, like just how many great movies are out there is a cinephile. It's like the most rewarding thing in the world. I'm an addict. I'm totally addicted to it. It's so great.BEN: I love it. I remember I used to coach basketball in my first year as a head coach. I was like, yeah, everybody's gonna be pretty competitive, other coaches and so forth.And they were, and I was. But at the same time, when coaches would get together, it was just so supportive. And people are sharing, this is what I'm doing in practice. I'm looking at this offense, this defense. And I imagine it's the same with other film festival directors and programmers. Oh, yeah. Just a supportive environment comparing notes.RUDI: It is. And the more that I meet, the more I truly do understand. 99% of festival directors out there are programmers, people who work in it. They have some tie to cinema. Most of them are filmmakers. Those who aren't, have a deep passion and love for cinema and for storytelling, and.Everybody's a volunteer. Everybody has a day job. Nobody makes money on this. They do it from the love of their heart. They truly do. And the way that they serve their communities, the way that they serve their filmmakers, some of the cool ideas they come up with there's some really neat festivals out there with like very interesting hooks or events or whatever.And I think it is such an incredible ecosystem and I think I'm truly privileged to be part of it.BEN: What are some lesser known or maybe mid-tier festivals or local festivals that you love to attend?RUDI: Okay, so one of my favorite festivals I guess you said lesser known. This one is not lesser known, but Film Quest over in Provo, Utah, damn man, pe like festival people talk about building community. They're on a different level. They've built a family. Like everybody who goes to that festival is just so tight knit there. There's no other festival like Provo or sorry, film Quest in Provo. It is just, it's on another level. And how well they treat their filmmakers is fantastic.Some years ago I was invited to be a jury member at the Fair Film Festival, which is in Ferazi Kosovo. So that is in southeastern Europe. It's a landlocked country, just a little bit above Greece, a little bit north of Greece and north of Macedonia. And Fari is a small town. And I went to that festival and first off, wow.What a great festival. I strongly suggest you submit your film to fair film. It's so good. But the cool part of being in this European festival, and frankly a small European country, most of the films are international, obviously. And so there's filmmakers coming in from like Jordan and Spain and Germany and Slovakia and Slovenia and like all over the place, Greece, Turkey, you name it.And how interesting it is to have this incredible cross section of languages and cultures and peoples, but we're all united by this one singular thing. And that's our love for storytelling and our love for movies. It had to be one of the most incredible experiences of my life. And the next movie I make, taking it back to cosBEN: Fantastic.Just had a question. What was it? Oh okay. So with the huge caveat of besides making. A good film, a film that tells a story. Besides that, are there any tips or tricks, things on the margins that filmmakers can do when they're applying to festivals to be aware of? Sometimes festivals. Ask for a cover letter orRUDI: Yes.BEN: Press kit, things like that. Okay.RUDI: So with, sorry, my phone is loud. I should turn that down. So obviously with a huge caveat of make a good film or whatever, what's the easiest way to get it? All of the stuff on film Freeway, and I do have a video on this, on my YouTube page if you wanna check it out, where I give you a tour of film, freeway from the festival side of things like what the festival can see and how we see it and how we navigate it.On the festival end of things. We can see your cover letter, your screenings and awards your. Cast and crew information, your director's bio, your director's statement, your photographs, your EPK, that's your electronic press kit your trailer, all of that. All of that. As much of that as you can possibly make, you should make it.It's very important. And you never know which piece is gonna be more important to a particular film festival. For instance, here's something crazy. I was meeting with some of my programmers last night. They had a whole bunch of films that they wanted to recommend to go to the next level programming.And we require films. Tell us where in the world or where in the United States the film was made. And every single one of ‘em was California. California. California. California. California. Which fine, whatever. California has a big film industry. That's, it's a very big state, population wise. Makes sense, right?But I am sitting back thinking, okay. I don't want it just to be a bunch of California movies. We have a big country here. I would like to see something else. And something caught my attention. One of the filmmakers, their address was in Birmingham, Alabama, but the film was shot in California, so I am suspicious.I haven't dug into it myself. I'm suspicious either that filmmaker's from Alabama and they have moved to California, or that filmmaker lives in Alabama and they shot their film in California. So they're answering where it was shot correctly. But for me, I'm like, there you go. When everybody's from California.I want that unique perspective. I wanna see someone's from Alabama and what their perspective is now. I haven't watched the film yet. I don't know if it's what we're looking for. Obviously it's a good film if my programming team has recommended it, there's no doubt in my mind it's good film. Now there's other considerations we're gonna have, but.That alone was something, even my, like I myself did not know that I would be looking for. So filling out all of that data on film, freeway, all of your information that you possibly can, your cover letters your screenings, your awards, whatever it is, the more information you give us as a festival, the more we have to make our selections.And it only benefits you. It only helps you out. So filmmakers don't get lazy. Fill out all of that information. We need it. We use it. It's important. Just do it.BEN: You mentioned a meeting with your programmers last night. Take us inside that conversation. What does that look like? What do you discuss, et cetera.RUDI: So there's. There's a big programming team and it's divided up into two different groups. There's our kind of first round screeners and then there's our senior programmers and the senior programmers pretty much review the films that have gone through that first round of screening that are getting recommended to go onto the next one.So typically when I'm talking with my screeners and everything, it's a very different conversation on the bottom end of it where they're just sorting through all of the submissions versus a different conversation I have with the senior programmers who are on the top end of it. We're now trying to decide how to block films together, how we're gonna organize it, what's the schedule maybe look like, what's the overall tone and vibe of the festival going to be, okay.If we wanna have a sci-fi block, do we even have enough sci-fi films? If we don't. Where else can we find homes for ‘em? Stuff like that. So those conversations are a little bit more high end, if you will. And it tends to be less about the story of the film itself and more about how that film is going to fit into the festival.Whereas when I'm talking with the screeners, it's much more on the story end. Like what about the story did you like or you didn't like? Or what was the unique point of view? Or whatever. So depending on which group I'm talking to it, it's gonna be different. And then of course that divides out further on features and shorts and documentaries and narratives and music videos.So like obviously my conversation with the music video people are gonna be much different than my like short documentary people.BEN: Shout out to short documentary people as a documentarian primarily makes shorts I'll ask a question for us folks. In one of the videos, as I mentioned, you literally show here's what the scoring sheet looks like.Yes. And that was for narrative with, I think one of the categories was acting and so forth. So for a documentary or documentary shorts, what does that scoring sheet look like? What do those discussions entail?RUDI: Film freeway does not allow us to have more than one scoring sheet.So unfortunately, there's just this one scoring sheet that's for everything. What I tell my screening team, and we definitely double check everything, like there's multiple people who look at something. So it's not just one person's opinion. You have at least two, oftentimes three, pretty often four.So for something like documentary they skip over that. That's what they do. So if there's no acting in the film, they skip over that. They don't rate acting if there is no acting. But you'd be surprised. There are documentaries that have acting in ‘em. There are like docudramas or documentaries with recreation In the recreation is like actual scenes and performances and stuff like that.So in those cases, even though it's a nonfiction and a documentary, yeah, we'll still judge it for the acting ‘cause that's what it has. I get the question. I'm gonna hijack your question for a second, but it is applicable. I get the question, do we accept AI in our film festival, we do not have any official policy for or against ai, which scares some filmmakers.But we do rate AI on the same standards as we would anybody else. So when it comes to creativity and originality, guess what, you're getting a nothing. ‘cause AI didn't create it. AI is not original. AI just mashes together a bunch of information from other people. So that's no creativity and originality.Same thing for something like, I don't know, art design. If you have a AI character walking through a scene or whatever you're getting zero on your art design. Nobody built those sets. Nobody costumed that actor. Nobody was the makeup artist or the hair or whatever other art deck or, PD or anything on the set.So we will accept ai. We have accepted one single AI film so far because despite all of its quote unquote handicaps, and it was a music video. It still was successful in other categories that had a good enough score. We as a team sat down, said Yes, that it still is a good film. The audience is still gonna enjoy it.The filmmaker definitely had a vision with it. They wrote out a whole thing on like why they chose to use ai. ‘cause they're also an experimental filmmaker, so it made sense for them and everything. So we were like, you know what? That's legit. Let's put it in. But other AI submissions, like I got an AI children's animation the other day and I'm like they didn't animate it themselves.They didn't voice act it themselves. It's not getting good scores on any of these. So we'll see. We'll see. We'll see if it gets through or not, but already you're shooting yourself in the foot. So don't do ai.BEN: Okay. Couple little. I don't know, around the edges or micro questions. One of the things that you talked about in one of your recent videos was having a good poster and you talked about designing your poster for your film prudence.RUDI: Yeah.BEN: Talk, talk to me about,RUDI: I specifically gave my posters an example, not a great poster,BEN: But talk to me about that.For the no budget or low budget filmmaker that can't afford to hire a a designer to make a poster. Talk to me about poster design and how that impacts the presentation of the film for festivals.RUDI: So I strongly believe that a big part of filmmaking and marketing and packaging your film together, all of that is psychology.And as much as we want to sit back and say, Hey, don't judge a book by its, cover it, that literally goes against human psychology. People are not hardwired to do that. It, it is. In our DNA, it's not just a bad habit, it is literally a survival mechanism. So if you want to stand out, you do need to have everything put together.Your cover letter, your synopsis, your photographs, all of that, and of course all of your key art. That's your poster. That's any banners that you have, that's how you're going to be promoting the film. And you have to understand it's not just about making your film look pretty to get filmmakers to go, or sorry your programmers go, Ooh, and ah, it's a pretty film.We are looking at that as a mechanism for us to advertise the festival. You gotta understand if I have 150 films in the festival, I have to get an audience for those films. And the easiest way for me to do that is through your marketing materials. We don't have the capacity. To design marketing materials for 150 different films.We are relying on the filmmakers to do that so we can go out and promote the festival. So people show up to your screening, which I would presume is what you want if you're going to a film festival. So anything you're trailer, any photographs that you can provide, which some filmmakers only provide BTS photographs, BTS is fine.It's great. Give me some good key art I can also use, please. That's what newspapers, that's what the local news that's what podcasters, whatever, that's what they want to see. So that's what I can provide. And of course, your poster. Now, there are a lot of online tools to help in poster design, frankly, I don't have an excuse for making a bad poster like I did, which is one of the reasons I use it as an example is I am shaming myself being like, this could be better and it should be. But there's a lot of online resources that can help with poster design. And also for filmmakers who are a little bit strapped for cash, you would be surprised what people will do for in kind, service for service.So if you have a friend or if there's someone that you can find that's Hey, they'll design your poster if you can design whatever their website or whatever it is that your skills might be there, there's a lot of exchange that you can do on that part. So yeah your marketing, your packaging, all of that together is actually quite important.BEN: Such a great point. And I've written and published a memoir and through that, I've worked with other authors on, on. Both writing and marketing their books, editing and marketing their books. And I tell people the exact same thing. People judge a book by its cover all the time. And in this day and age, they judge it for listeners, I'm holding my thumb and forefinger part as a thumbnail on a computer screen.Yeah, that's the size. So even for a programmer or a festival director watching it on film freeway through their platform, they're not gonna see the poster like we see it in the movie theater. They're gonna see it as a thumbnail image. Yeah. So it has to work as a thumbnail image. And if you can't read the title as a thumbnail or can't make out what's on the image, what's on the poster as a thumbnail, then you've failed that part of the process.RUDI: One, one of the things that like really clued me into how important a poster is, I went to a film festival, I believe it was Kansas City Film Festival. Some years ago, and they had a bunch of posters of films out, but there was one that was like bright pink. It was like super bright pink and had like very eye popping design and everything on it.And it was like in a whole field of like dark drama posters that are all like gritty and everything. And I'm like that stands out. That really drew my eye to it. And I think that was like my big light bulb moment of like how important this stuff actually is. And one of the things that I've been saying for some years, I've said it on the channel, I think, I don't know, some, sometimes I record things and edit out.So I don't know what I've said on the channel sometimes but one of the things that I say is making a film is half of film making. The other half is marketing, the other half is getting butts in the seats. The other half is getting eyeballs on your movie. The other half is selling your film to an audience or a film festival or a distributor or a programmer or whatever you're trying to do with it.It's getting it out there. So making a film is half a filmmaking. The other half marketing, that's what it is.BEN: I'm just nodding along with everything you're saying and I've always felt both with films and with books, with art in general, you're trying to make an emotional connection from what's in your head and your heart to the audience.And if you don't do your job, getting your film out there and helping an audience come and see your film. Then you're not helping that connection. You're missing sort of the point of making this, unless it's just for yourself. It's for, it's to connect with other people and for other people to connect with your work.And that is marketing.RUDI: It's valid. If you're just making a film for yourself, that's absolutely valid. It's in art form. You can make a film for yourself, but if you're sending it to me at a film festival, you're not you're literally trying to find an audience. So these are the things you need to consider.BEN: I love it. I got two more just in the weeds detail questions.RUDI: Alright, let's do it.BEN: Let's talk description. And what I've seen ‘cause I'm in the middle of applying to festivals. And by the way just for. Listeners, this might interest you. So I discovered Rudi's YouTube page and I was like, this is so helpful.And then I went to the Wyoming International Film Festival page and all the transparency and statistics that, that Rudi puts out, that the festival puts out. And I realized, okay, so the short documentary I have is not a good fit for this festival. Exactly what Rudi's saying. So just for anybody listening, thank you for doing research.RUDI: Thank you. That's good. That's not a bad thing, right? That means it saves you time, it saves you money, it saves you heartbreak. It's so good. Do research before you submit. I'm sorry, but I, it's in, in almost every single one of my videos, I tell filmmakers, do your research before you submit. Find the festivals that gel with your film.And if it, if they don't screen the type of movie that you have, don't submit to ‘em. You're wasting your time, you're wasting your money. And the festival, like the programmer behind the screen, might love your film. They truly might love your film, but they're programming for a very specific audience and they know what that audience's taste is.So that's why they're driving specific films to that audience. So even if they love it, they might not include it, which is why you should always do your homework and do your research before you submit. I'm sorry to interrupt, but it's so importantBEN: And yes. And the flip side of that coin is now I also know what the Wyoming International Film Festival looks for.So in the future, if I have a doc or a film, I'm like, oh, this would be a great fit for this festival.RUDI: Yes.BEN: It helps both ways.RUDI: It does. And it helps you dial in. Which festivals you should target, which festivals are gonna help you with your specific goals. Whatever your goals are with the film it's gonna help you with your budgeting and your travel plans and your own personal calendar.It's gonna help with your mental health. It just, it helps on so many different aspects. And on the film festival side of things, I appreciate it when I hear from filmmakers say, Hey man, I looked into your festival looks good, but you don't have the kind of film that I have. And I'm like, not a problem man.Maybe I can point you in the right direction. Maybe I know some film festival programmers, I can make a recommendation, on your behalf too, that's not a bad thing. We love movies and we want to see them successful, but not every single fest or film and story is going to be successful in every single market.So it's very important to find your audience. And believe me, we are going to be cheering you the whole way.BEN: I want get back to my kind of in the weeds questions, but you've mentioned something that is big picture, that's so important. I feel like I've buried the lead here. And you mentioned this you've mentioned this multiple times in your videos.Is that a Phil, it's key. Maybe the most important part of this process is of the film festival submission process is a filmmaker needs to understand what are their goals in applying to a festival. Yes. So can you just talk a little bit about that?RUDI: So film festivals are a tool. And they can be a tool for many different things, but they are a tool.And just every single tool is not right for every single job, every film festival is not gonna be right for every film and vice versa. So before you go out to film festivals, you just need to ask yourself why? Why am I going out to film festivals? Why am I spending the money, the time, the energy, the effort?What do I want out of film festivals? And that's where you need to identify your goal. And the more specific you can be with the goal, the better it's going to be you going on your film festival journey. So for many filmmakers, a common reason they go out to film festivals is networking. So I'm gonna use that as an example.So let's say your goal is I want to network, I want to meet other. Filmmakers, I wanna meet, directors of photography and producers and other people that I can hire for my projects, or they're gonna hire me for their projects, and I want to build that network and I want to meet more filmmakers.Fantastic. Great. That's your goal. So the first thing that you need to do is you need to be looking at festivals that have networking events. And in this particular instance, you need to ask yourself two things. One, does it have networking? Is there in-person networking parties or networking events?And two, do the types of people that I want to meet actually attend those networking events. So us at the Wyoming International Film Festival, we have a pretty broad spectrum. We have filmmakers that are just beginning their journey. They're totally new, wet behind the ears. They're green they're just starting their journey.That's great. All the way up to every year we have multi Emmy award-winning filmmakers. Like people who do this professionally they're in unions or professional organizations, or they're a member of the academy, motion picture Arts and sciences or the TV Academy or sometimes like the Grammys and stuff like that.I, myself, I'm a professional editor, so there's people like me who professionally work, but they're like below the line. They're cinematographers editors, gaffers, what have you. So if your goal is to meet some like high-end producer that's gonna throw, a million dollars at your movie our festival is not the festival that's gonna help you with your goal.So you should skip over us because we don't have that kind of person in attendance. But if your goal is to meet other filmmakers at your level that you can collaborate with or get hired by or whatever. We're a great festival. We have tons of networking, and we bring in a ton of those filmmakers.We're a great event for you. So when you identify what your goal is and you're very specific about it, it's easier to identify which festivals you should start targeting. I take that one step further, and then once you've narrowed down which festivals are gonna help you with your goal, then you look into their history and see which of them have screened movies like yours in the past.So if you have a, you know I use the example, if you have a seven minute comedy coming of the age film, now you know which festivals have good networking, which festivals have the kinds of people you want to network with. Now you look at which ones have screened short coming of age comedy films in the past, and have a history of doing that.So that's gonna help you filter it even further. And by doing that, you're gonna really start to develop your film festival strategy. Now I do have some exciting news. There is something coming now, it's called Hike, H-I-I-K-E. It's hike with two I. And what Hy is doing, it's a submission platform similar to film Freeway, but among many of the tools that they're giving filmmakers, they're giving filmmakers customized festival strategies and they're scraping all of that data from film festivals, what they've programmed in the past.And when you as a filmmaker, join Hike, you take a little quiz, you tell them what your goals are, what your film is, you know how long it is, what the genre is, tell them about yourself. And they literally have. Data scientist who's built this like machine learning algorithm that pairs the data from the film festival to what the filmmaker provides.That literally gives you a compatibility score. So it's, it comes out and tells you, if you want to network with, professional filmmakers but not mega producers and you have a short comedy coming of age film Wyoming International Film Festival has that crowd screens those types of films and you would have a 90% compatibility.So it actually helps you develop your festival strategy for you.BEN: It's so needed. And Rudi has a great video on how to spot scam film festivals. Yes. That's something that is just prevalent these days. So for filmmakers who are getting ready to submit, I encourage you to watch that video. I'll link to it in the show.I'll link to everything that we're discussing in the show notes. The. So Rudi talked about one goal a filmmaker can have is to network other goals at various points in my, film festival my limited film festival career I've applied to festivals ‘cause I wanted to go to that city, new Orleans Fest, new Orleans Film Festival.TravelingRUDI: is totally legitimate reason to go.BEN: People apply because they want distribute, they wanna meet distributors or financiers for the next film. Although, that's what everybody wants. SoRUDI: you, you would be surprised. So in, in 2018, I had a feature film and my, my goal like most feature films was to land a distribution deal.But I was like, that's not specific enough. There are many steps to land a distribution deal. So what I need is I need good press on my film. So that was a goal. So I wanted to target festivals that had press. I wanted laurels. I wanted to win some awards with it, but I also knew my film was. Small and kind of small scale.So it wasn't gonna win laurels at big festivals. So I was like, okay, I need festivals with press. I need festivals that are legitimate and above board, but also small enough where I'm gonna be competitive. And then I wanted to actually meet distributors. And I know they only go to big festivals, so I actually had to target three different kinds of festivals.‘cause I had three, let's call ‘em conflicting goals with my own film. So that's what I did. I did a split strategy. I targeted festivals where I was gonna be this tiny little fish in a very big pond. And no one's really gonna notice me, but I'm just happy to be there. I targeted festivals where I know that I was going to get very good press and very good reviews on the film.And I targeted festivals that were small, still legitimate, but I was gonna be competitive and maybe bring home some trophies. And so that was my strategy and it worked, and I landed a distribution deal.BEN: That's so great. I, I'd love to do a part two at some point we can talk distribution deals and all of the, yeah.Things like that. But I think for people listening, the big takeaway is even with this multi-pronged goal, three different goals connected to each other. Once you identify what your goals are, then you work backwards and you create your strategy to Yes, to achieve those. Okay. Back to the two in the weeds.Two more in the weeds questions. Yeah. So description, and as I'm looking at other film descriptions, and I saw this at USC all the time as well, and we talked about earlier, filmmakers wanting to sit in emotion or sit in something traumatic and have the audience experience that I notice a lot of times in descriptions of short films.Can so and so come to terms with this? Can, and just as someone who has a little bit of experience marketing stories, where's the action? What's the active what's this person actively trying to accomplish, rather than can they just come to terms with something? Can you talk a little bit about film description, just three or four lines.What pops?RUDI: So just like your poster, just like your marketing and everything, a film description is your way to reach through the screen, grab the audience, grab the programmer, and pull them into your movie. Keep in mind, your whole entire goal is to get people to watch your film, get them excited about your film.And so if you just have a very drab, like description that's just yeah, has to face consequences for a decision they made or come to terms with something when I, that's a good V one, that's a good place to start, but that's not going to get an audience excited about your film.I saw film, I don't know if it was at my festival. It wasn't at my festival. We didn't screen it, but I'm saying, I don't know if it was submitted to my festival or if I saw it at another festival, but I remember one of the descriptions it was great. It was whatever the two character names were, John and Jane, I forget what the characters are, but like John and Jane are on a date, there's a bomb in the other room.I I hope the date goes well, or something like that. Let's hope the date goes well. And I'm like, what is this movie? That gets you really excited for it. You're. It, it creates so much mystery. And also just the cavalier way that it was written immediately tells me this is gonna be a comedy, or it's not taking itself too seriously.It's not some like gritty, dive into the underworld or whatever. Like just how blunt it was about the dis of the film and just that like small little description. I know I'm paraphrasing what it was, but it stuck with me for years at this point. ‘cause I'm like, that is how you write a description for a film.That is how you get someone excited to see what is this movie about? Let's jump in. Piggybacking off a description. Titles are another great way to do that. In, in my own repertoire of films I've had film called Prudence. Okay, fine, whatever. Prudence doesn't really tell you much about that film.I had a film that I'm very proud of. It's artsy, it's a little bit magical realism and it's called in this gray place, and it has that artsy mystique around it in this gray place. And I love that title. I did it, I did a film back in film school. It's terrible, but the title's great.It's called Back to Fort Russell. It was a Western and I, to this day, it's one of my favorite titles that I've ever had. But it tells you something. It clues you into what this film is going to be, what the journey of this movie is going to be. And some films do that better than others. And some films, yeah, it's not necessary.But I, I get more excited when I hear something like the Texas Chainsaw Massacre than I do something that's just like love. Or mom or something.BEN: I think this is the last question. So again, with all these little details, cover letter, talk to me about cover letters.RUDI: It's so interesting you asked me that question ‘cause hearing about four or five days, I'm posting a video on the YouTube channel about cover letters. It's short, it's only four or five minutes long, but cover letters are so important.Should absolutely write a cover letter. And a couple of days ago I was talking with programmers at dances with films, and if you don't know dances with films, look ‘em up. They are an incredible film festival. They are in the big leagues for sure. And I was talking with a couple of programmers and I asked them about covert letters and they said, it's so important it.How the filmmaker is going to put an audience in the theater is very important for their festival. How they're going to get people to attend is very important for them and they're like, a good indication in a cover letter is when they, the filmmaker indicates how they're going to market their film and they use the example of football.Let's say it's a movie about football. They're like, if it's a movie about football and you tell me in the cover letter that you're part of several like football organizations, or you're gonna be reaching out to sports organizations or youth organizations for sports or something like that, to attend the film.That's a very good indication for them in the cover letter. For me, I think a cover letter is very important in that it shows. You're going the extra mile to show the festival you care. You're not just submit and quit. We're not just one festival on a list of 50 that you're submitting to. There is a reason you want to screen with us, and that's a specific reason.Either you feel that your film is good fit for our audience, or there's something that you want to connect with. In Wyoming, I had one cover letter and we did accept this film and it was really funny. They put in their cover letter like their film was a comedy, so their cover letter was also very comedic, but they're like, honestly, we're just gonna go up to Yellowstone around that time and we would love to swing by and show the movie.And I laughed. I laughed so hard at that and I'm like. But that shows me they care. Like they want to be there. And the film was good and it was funny and we screamed it and they were there. So it's a way to show a film festival enthusiasm and it's way to inform the festival about yourself, about your film, and how that's gonna gel with their particular event and their audience.BEN: I love it. And that reminds me, I got one more, I got a bonus question. Yeah. Can you talk about applying early?RUDI: Yes. Statistically, when I look at our own data, statistically, it does seem to be that the earlier you apply, the better chance that you have. And so I don't want to give the impression that if you applied late.You have no chance. I think in the video where I literally broke down the data and the statistics, I think at our festival we had a one in five chance of getting in on the late deadline, which is about a 20% acceptance rate. But it was much higher the earlier it came in. So just with the raw data taking out my opinions, my emotions on it, whatever, just the data itself shows earlier is better.Now, here's where my opinions and my feelings towards it come from. I think it's a couple of things. One, when you get in early, you set the pace for the rest of the festival, you're telling us, okay, it's a drama. We're gonna compare your film against others. Like you have now become the benchmark that we're gonna compare other films to when it comes to like dramas or whatever.What it also does. It's something I'm going to discuss in my video and cover letters, but it also engages something, what's called mere exposure effect in psychology, which is essentially the more that you are exposed to something, the more preference you have towards it. Which means if you get in early, you are exposing yourself, your film, and your story to the programmers more often and more readily than late submissions are.So it's more likely that the programmers form some attachment to your film, and that's just human nature, that's just psychology. There's some practical reasons for it as well. Obviously, earlier submissions, earlier deadlines are cheaper, so it's better to get in. It's just gonna cost you less money to do and then lastly, there are many festivals that are developing their program as they go. So as films are coming in, they're shaping. We got a ton of dramas. Maybe we need two drama blocks, or, we, we don't have enough sci-fi for a sci-fi blocks, we gotta spread it out or whatever. So if you come in late, you're now trying to elbow some other film out of the way in order to find your screening slot.Which don't get me wrong, there are plenty of programmers that are absolutely gonna go to bat for you. They're gonna fight hard to get you in. Doesn't matter if you come in early or late or whatever, but the chances are just better. And the data shows that if you get in early. All that said, a couple of years ago, the very last film that came in with only two hours left in our deadline, we ended up programming it.So it, it is possible.BEN: Rudi, I cannot thank you enough. I can't tell you how helpful this has been. There's so much great information for filmmakers. Filmmakers submitted to festivals, people just interested in going to festivals. So thank you so much for taking the time.RUDI: Hey it's always a pleasure.I always love talking film festivals and for any filmmakers out there, head on over to YouTube hit up the Film Festival Guide. That's my YouTube page. I'm coming out with videos every two or three weeks. That's about what I put ‘em out there for. So if you need any guidance or any, I don't know, insight for film festivals that's where I am.BEN: Film Festival Guide. I'm a subscriber. I can't recommend it enough. Any other social media where people can find you?RUDI: Oh no, I'm terrible on social media. YouTube's enough for me right now.BEN: So Film Fest.RUDI: I will probably expand in the future and I'll probably make some announcement on the YouTube channel.Got it. But for right now, I'm just trying to get good information out there to as many filmmakers as possible.BEN: Thank you so much for doing that. It's such a huge benefit for film.RUDI: Thank you very much for the support and thank you very much for having me on. I enjoyed this. This was a lot of fun.BEN: Me too. This was great. Thank you. And that was my interview with Rudy Womack, director of the Wyoming International Film Festival and creator of the great YouTube page, the Film Festival Guide. Hope you enjoyed this episode. If you did, please forward it to one person. Thank you and have a great day. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Today on What's My Frame I'm joined by Director, Hanelle M. Culpepper. One of Indiewire's television Directors To Know, the energetic and unflappable Hanelle Culpepper's credits range from superhero action adventures to thrillers to genre films to character-driven dramas. As director of the Star Trek: Picard pilot, Hanelle became the first woman to launch a Star Trek series in its 53-year history. In 2021, she won an NAACP Image Award for her work on Picard. In 2022, she was nominated for Netflix's True Story starring Kevin Hart and Wesley Snipes, and again in 2023 for The Last Days of Ptolemy Grey starring Samuel Jackson.Her recent work includes the Disney+ series Star Wars: The Acolyte, Neil Gaiman's Amazon series Anansi Boys, Dan Fogelman's Hulu series Paradise, starring Sterling K Brown, along with NCIS: Origins and Matlock.Hanelle earned her B.A. from Lake Forest College and her M.A. from USC's Annenberg School. After working as the assistant for Oscar-winning writer/director Callie Khouri, she completed AFI's Directing Workshop for Women, launching her as a director to watch. Her short A Single Rose won numerous awards and screened at film festivals worldwide, including the 2004 ICG Showcase at the Cannes Film Festival.A Single Rose plus Hanelle's viral short film spoof Six and the City led to her first feature: the supernatural thriller Within, starring Mia Ford, Sammi Hanratty, Sam Jaeger, Lori Heuring, Brent Sexton, and featuring Aisha Hinds. The film won Outstanding Feature Film at the Big Bear Horror Film Festival and had its television premiere on Lifetime. Hanelle went on to helm multiple thrillers, including Murder on the 13th Floor starring Tessa Thompson.Hanelle's television career took off after NBC Universal's Directing Initiative led to an episode of Parenthood. Her work has since spanned nearly 40 series across a range of genres. In 2019, she was selected for the inaugural class of ReFrame and earned Variety's Inclusion Impact Honor.Hanelle proudly serves on the TV Academy's Director Peer Group Executive Committee, and as an alternate for the DGA's National Board and Western Directors Council. When not on set, Hanelle shepherds up-and-coming directors as the Guest Artistic Director for AFI's DWW+ Class of 2024-2025.Hanelle Official siteFollow Hanelle on Instagram-What's My Frame, hosted by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Laura Linda Bradley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the WMF creative community now!Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? official site⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

In a special episode of The Art of Costume Podcast, Spencer shares something extra special—our very first LIVE episode! Earlier this summer, Spencer partnered with HBO and Warner Bros. Discovery to moderate Sketch to Screen: A Conversation with HBO and Max Originals' Costume Designers.In this exclusive panel, eight Emmy-nominated costume designers take us behind the scenes of their groundbreaking work: Bojana Nikitović (Dune: Prophecy), Kathleen Felix-Hager (Hacks), Caroline McCall (House of the Dragon), Ann Foley (The Last of Us), Susan Lyall (Mountainhead), Helen Huang (The Penguin), Christina Flannery (The Righteous Gemstones), and Alex Bovaird (The White Lotus).Usually reserved for TV Academy and Guild members, this conversation is now all yours. From the deserts of Arrakis to the Seven Kingdoms of Westeros, get ready for a live celebration of artistry, imagination, and Emmy-worthy costumes that make us proud to be costume nerds.

In a special episode of The Art of Costume Podcast, Spencer shares something extra special—our very first LIVE episode! Earlier this summer, Spencer partnered with HBO and Warner Bros. Discovery to moderate Sketch to Screen: A Conversation with HBO and Max Originals' Costume Designers.In this exclusive panel, eight Emmy-nominated costume designers take us behind the scenes of their groundbreaking work: Bojana Nikitović (Dune: Prophecy), Kathleen Felix-Hager (Hacks), Caroline McCall (House of the Dragon), Ann Foley (The Last of Us), Susan Lyall (Mountainhead), Helen Huang (The Penguin), Christina Flannery (The Righteous Gemstones), and Alex Bovaird (The White Lotus).Usually reserved for TV Academy and Guild members, this conversation is now all yours. From the deserts of Arrakis to the Seven Kingdoms of Westeros, get ready for a live celebration of artistry, imagination, and Emmy-worthy costumes that make us proud to be costume nerds.

Featuring Anna Capezzera, Colleen Connor, and Serina Gilbert. This conversation pulls back the curtain on our upcoming Comic-Con panel about audio description. Panelists talk about why they signed on, what matters to them in this work, and what they hope the audience takes away. Each brings a different piece of the puzzle. Colleen trains writers. Anna works behind the scenes on production logistics. Serina ensures quality control at the final stage. Together, they paint a clear picture of what it takes to make audio description accurate, effective, and emotionally engaging, especially in complex worlds like the Marvel Cinematic Universe. They also talk about the bigger picture: why this work needs more attention, how decisions about AD get made, and what happens when it's done well, or not at all. If you're curious about how blind audiences experience media, and the people making that possible, this is worth a listen.

Ike Barinholtz talks about his turn as Sal Saperstein on Apple TV+'s “The Studio,” as well as loosely turning the story of Jeanie Buss and the Lakers into Netflix's “Running Point.” On the Roundtable, we look at ten changes that the TV Academy should consider making with its Emmy categories. Learn more about your ad choices. Visit megaphone.fm/adchoices

https://www.instagram.com/aaron.erol.ozlevi/http://ozlevi.comBio: Aaron Erol Ozlevi is an award-winning, Los Angeles-based director known for his multicultural perspective, born in Turkey to a Spanish-speaking household. He recently won Best Director at the San Francisco International Film Festival, with his film "Exile" receiving multiple accolades, including Best Feature Film at the Niagara Canada International Film Festival. Ozlevi has directed over 100 episodes of TV shows and three feature films, with works like "Romantic Comedy 2" available on Netflix and "Yours Truly" on Amazon Prime. His TV show "Little Lord" was Turkey's #1 most-watched, winning the Golden Butterfly Award. A graduate of Emerson College with a Master's in Film Production, he studied under renowned cinematographers and is a member of the TV Academy and Directors Unit of Actors Studio West. Ozlevi also teaches at USC's School of Cinematic Arts and directs commercials for major brands.Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Rebecca, David, and Richard share their immediate reactions to Wednesday's Emmy nominations, including the biggest snubs (Emma Stone, Cosmo Jarvis) and the pleasant surprises (Selena Gomez, Idris Elba). Plus, they debate why the TV Academy loves The Morning Show so very much and if Baby Reindeer is as much of a frontrunner as they all predicted.

Rebecca, David, and Richard share their immediate reactions to Wednesday's Emmy nominations, including the biggest snubs (Emma Stone, Cosmo Jarvis) and the pleasant surprises (Selena Gomez, Idris Elba). Plus, they debate why the TV Academy loves The Morning Show so very much and if Baby Reindeer is as much of a frontrunner as they all predicted.

In this podcast in partnership with the Galway Film Fleadh, Gemma Creagh talks to Steven McKenna, Writer & Director and Jaro Waldeck DOP of Dreamtown, which is screening at this year's festival (9-14 July 2024). An aging rocker who never realised his dreams is forced to come to terms with his failures as he tries to start a relationship with his estranged son. A coming of age drama in the mind of a 56 year old. Dreamtown screens at Galway Film Fleadh 2024 on Saturday 13th July at 2pm.  https://www.galwayfilmfleadh.com Steven McKenna Steven McKenna is an award-winning filmmaker based in Dublin, Ireland. Since graduating from college, he has been crafting his own films, earning numerous accolades at festivals nationwide. His debut feature film, Dreamtown, which he wrote, produced, and directed, will premiere at the prestigious 36th Galway Film Festival. His recent short films, Rum & Raisin and The Work Party, have won him Best Irish Short and Best Comedy awards, respectively, while his other works have garnered multiple nominations. Another short film, Lover Boy, became an online sensation, amassing over a million views. Steven's passion for film shines through in his creation of compelling, larger-than-life characters whose tragic stories resonate deeply with audiences and leave a lasting impression. An avid movie collector, he brings a rich understanding of cinema to his work. In addition to writing and directing, Steven has composed music for all his films and has been sought after for other projects. Notably, he composed the entire score for the indie feature Follow The Dead. Jaro Waldeck Jaro earned her Bachelors and Masters degrees in Cinematography from Columbia College Chicago and Film and TV Academy of Performing Arts Prague (FAMU), respectively. Her main body of work consists of low budget short live-action films as well as music videos and longer form documentaries. In 2023, Jaro transitioned into features, having worked on the Screen Ireland funded documentary Housewife of the Year and independent drama Dreamtown. Listen to our former chat with Jaro here: https://filmireland.net/2019/07/01/jaro-waldeck-cinematographer/

IN ANGELA'S OWN WORDS:I was in the 3rd grade at an elementary school in rural Oregon, when my teacher Mrs. Peterson gave me the lead role of Little Red Riding Hood in the school play to help me overcome my paralyzing shyness. It worked. If she saw me now, she'd ask me to stand down and let someone else take a turn.Following my 9-year-old acting debut, I auditioned for a nearby musical theatre company with my mom & brother.  They were both cast in the chorus of ‘The Music Man,' and I was asked to stay off-stage and run the spotlight. My lack of singing ability stalled my career as quickly as it started. The acting bug didn't strike again until a modeling gig for a cheerleading uniform company helped me land an agent in Portland. From there came a handful of commercials and lots of dinner theatre.I didn't exactly sprint out of the gate, but I did count my blessings early with a fun role in a Robin Williams movie and a guest-star role on ER, …oooh, maybe I'll meet Clooney!Then there was a big writer's strike. It went on so long my agency shut down and I was, as they say on set, ‘back to one.' (Disclosure-I was and am in full support of my fellow union workers!)Waiting for the phone to ring sucks, so I took matters into my own hands and produced a staged play at a small black box theatre. Surely, if I spent all my hard-earned waitressing dollars on theatrical rights, stage rentals, and hard-to-find props, I'd be discovered.When that didn't work, I decided to by a camcorder and take a film class at the community college. I wrote a short film about the perils of being a struggling actress and managed to convince some friends to help me make it. My mom was even in town and worked as a free cinematographer.The countless short films and web series may not have been seen by Spielberg, but they sure were a blast. And learning about every stage of production and every job on set paid off in ways I'm still benefitting from.  Both in working knowledge & connections.I won best comedy writing awards, best comedy actress awards, and best indie film awards. I got to play all three Kartrashian sisters, Elizabeth Taylor and even dropped my first single complete with a music video. If only auto-tune had been around for that early musical audition!The skills behind the scenes have helped me find a ‘day job' that allows me to share my talents with the local non-profit, Alzheimer's Los Angeles, where I develop and create edutainment that raises awareness and makes a difference in people's lives. Some of the scripted works have received multiple boundary-breaking and innovation awards.Along my journey I met the uber-talented Laura Lee Bahr, who wrote and directed a feature for me to produce and star in alongside the cutest dog in the world, who happens to be mine. It was truly an art-imitating-life story about an actress, moonlighting as a dog-walker who must save an adorable Maltese from some crazy Hollywood characters. We overcame the typical odds of an indie film and secured both national and worldwide distribution.  #humblebragI've schmoozed as a TV Academy member, performed my set on famous comedy stages and finally got to go to the Emmys.I should probably add some more celebrity name dropping and list the high-profile credits, but this bio has gotten a little too long so you will have to click on the resume button on my website if you want to see those.I'm grateful to be able to pursue the things I love and build fabulous relationships along the way. While I may not have my series regular role…YET, I'm certainly living my dream.More info and to contact Angela:  http://www.angelalandis.comPhoto credit:  Danette MitchellMusic courtesy  Zakhar Valaha/Pixabay.To contact Wilkinson- BecomingWilkinson@gmail.com

Rebecca Graham Forde  - 2024 Bio Rebecca is a showrunner in non-fiction television and has written and produced hundreds of hours of TV for ROKU, Netflix, Discovery Channel, MotorTrend, OWN, CBS, A&E, and History Channel, amongst others. Some of her favorite projects include: KINGS OF BBQ with Cedric the Entertainer and Anthony Anderson; KEVIN HART'S MUSCLE CAR CREW; FAST N' LOUD; THE UNIVERSE; and THE ULTIMATE GUIDE TO THE PRESIDENTS. Her work has taken her around the world; from the top of skyscrapers to dangling off container ships.  After many years of discovering amazing true stories in her travels, Rebecca set up her production shingle GRANDI STORIE, Inc. to develop these “great stories” in the non-fiction and narrative space.  She is an active Producers Guild of America member, having once served as a Vice President. She was a long-standing Power of Diversity workshop mentor and a founding member of the PGA Social Impact Entertainment Task Force. She has proudly represented her producing peers on the Producers Executive Peer Group Committee for the TV Academy.  She is a founding partner and head of strategy at the SIE Society, a leading alliance of practitioners of social impact entertainment across multiple media genres, whose mission is to connect, equip, and amplify SIE organizations, creatives, impact producers, CSR, and SBCC practitioners. www.siesociety.org A Colby College alum and east-coaster at heart, Rebecca started her career in Boston producing commercials for brand giants such as Chevrolet, Fidelity Investments, and Pizzeria Uno.  She holds an MFA in Creative Writing from Mount Saint Mary's University and is “this close” to finishing her debut novel.  Her latest venture is a new non-fiction podcast launching in 2024 entitled, “Unraveled: After DNA Discovery,” with host and wellness coach Judy Ben-Asher and former Surgeon General Dr. Richard Carmona. Her first job in entertainment was a singing waitress on the Spirit of Boston.

Bob Bergen, three time Emmy nominee, voice of Porky Pig, and hundreds of other animated characters, has talents that exceed his voice acting! He discusses leadership, mentorship, his initiatives at the TV Academy, home of the Prime Time Emmys, and why perfomers, partiularly AD performers, recognition matters. Professionalism echoes throughout this interview!

Lucho heeft in de Jeugdzorg gewerkt en is daarna voor een periode naar Zuid-Amerika gegaan. Daar heeft hij ervaren wat het belang is van een time-in i.p.v. een time-out. Bij een conflict het kind niet een time-out geven maar juist met de groep samenkomen. Samen bespreken wat er is gebeurd, wat het effect daarvan was en hoe dit opgelost kan worden. Zo wordt het een waardevol moment voor de hele groep. Gezien worden Een belangrijk eigen thema in zijn jeugd was gezien willen worden. Lucho herkent dit heel erg bij de jongeren met wie hij werkt. ‘Bij het binnenkomen vind ik het belangrijk om iedereen bij langs te gaan. Om even in te checken; hoe gaat het met je. En om het kind te laten weten ‘ik zie je'. De dag beëindig ik door alle kinderen individueel te bedanken voor deze dag en dan blikken we heel even terug, wat maakte deze dag fijn.' Lucho vertelt ook hoe belangrijk het is om kinderen te helpen hun talenten te ontdekken. Door ze uit te dagen om nieuwe dingen uit te proberen. Maar ook de kinderen zelf keuzes laten maken. Jij denkt mee, stelt vragen en geeft handvaten. Het zijn alleskunners. Kinderen hebben support nodig, ze hebben het nodig dat je hen steunt en laat weten dat ze het goed doen. Over Lucho: een jong professional in de Jeugdzorg. Hij werkt als Pedagogisch medewerker bij Quadrant en volgt een opleiding bij de TV Academy.   Veel luisterplezier!

On today's episode, Rachelle and Candice talk all about the Emmys. This week the TV Academy announced the nominations for the 71st Emmy awards. Just a few days later, SAG-AFTRA announced that negotiations with the Academy had officially broken down and the actors' guild was joining the writers' guild on strike. So what does this all mean for the monthslong campaigns that actors have waged online to capture a nomination and, hopefully, a win? This podcast is produced by Se'era Spragley Ricks, Daisy Rosario, Candice Lim and Rachelle Hampton. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode, Rachelle and Candice talk all about the Emmys. This week the TV Academy announced the nominations for the 71st Emmy awards. Just a few days later, SAG-AFTRA announced that negotiations with the Academy had officially broken down and the actors' guild was joining the writers' guild on strike. So what does this all mean for the monthslong campaigns that actors have waged online to capture a nomination and, hopefully, a win? This podcast is produced by Se'era Spragley Ricks, Daisy Rosario, Candice Lim and Rachelle Hampton. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode, Rachelle and Candice talk all about the Emmys. This week the TV Academy announced the nominations for the 71st Emmy awards. Just a few days later, SAG-AFTRA announced that negotiations with the Academy had officially broken down and the actors' guild was joining the writers' guild on strike. So what does this all mean for the monthslong campaigns that actors have waged online to capture a nomination and, hopefully, a win? This podcast is produced by Se'era Spragley Ricks, Daisy Rosario, Candice Lim and Rachelle Hampton. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode, Rachelle and Candice talk all about the Emmys. This week the TV Academy announced the nominations for the 71st Emmy awards. Just a few days later, SAG-AFTRA announced that negotiations with the Academy had officially broken down and the actors' guild was joining the writers' guild on strike. So what does this all mean for the monthslong campaigns that actors have waged online to capture a nomination and, hopefully, a win? This podcast is produced by Se'era Spragley Ricks, Daisy Rosario, Candice Lim and Rachelle Hampton. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode, Rachelle and Candice talk all about the Emmys. This week the TV Academy announced the nominations for the 71st Emmy awards. Just a few days later, SAG-AFTRA announced that negotiations with the Academy had officially broken down and the actors' guild was joining the writers' guild on strike. So what does this all mean for the monthslong campaigns that actors have waged online to capture a nomination and, hopefully, a win? This podcast is produced by Se'era Spragley Ricks, Daisy Rosario, Candice Lim and Rachelle Hampton. Learn more about your ad choices. Visit megaphone.fm/adchoices

Until you find a groove getting hired for narrative projects, most directors make their money in the non-scripted world. How can you make the most from your time doing non-scripted work? How can you help your interview subjects feel at ease? How do you know what b-roll to film? How can you keep your set running smoothly? And how does all of that translate to your narrative film work? We'll talk about all that and more with TV director Steve Abramson on this episode of the working director podcast. (Episode 40) Hosted by Director/Producer⁠⁠ Jenn Page.⁠⁠ To join our private FB group for directors, or to learn about The Working Director course that helps emerging filmmakers become working directors faster, visit ⁠⁠TheWorkingDirector.Pro⁠⁠. More on Steve: Steve Abramson a multiple award-winning Television Director for over four decades.  For 16 seasons, he directed at Dr. Phil, including two episodes on location in New Orleans examining the one-year aftermath of Hurricane Katrina.  He also directed hundreds of segments, telling the stories of countless guests. He has a wealth of experience directing, writing, and producing for many acclaimed television shows for NBC,CBS, Fox, A&E, Disney Channel, Discovery Channel, Animal Planet, FoodNetwork, and SyFy.  His A&E Biography of the Amistad revolt leader, “Cinque: Freedom Fighter,” was nominated for the prestigious NAACP Image Award. Other credits include Sightings, A&E Top 10, Disney's American Teacher Awards, CBS Morning News, The Christopher Lowell Show, Name Your Adventure, and Calling All Cooks.  He's earned one Emmy nomination along the way. He's been an active member of the DGA for 30+ years and the PGA for 20+ years.  He's also been a member of the Television Academy for over 30 years, where he served on the Directors Peer Group Executive Committee and the Primetime Awards Committee for nearly 10 years.  He's also moderated the "Directing For Television" panel for the annual TV Academy Faculty Seminar, and judged candidates for the Academy Foundation's esteemed Intern program. Steve is most proud and fortunate to have interviewed nearly 80 television pioneers for the TV Academy's prestigious oral history project, The Interviews, including Steve Binder, Pat Boone, Mark Burnett, Jonathan Murray, Richard Chamberlain, Dick Enberg, Tom Freston, Louis J. Horvitz, Arthur Hiller, Cliff Robertson, William Shatner, Nichelle Nichols, Suzanne Somers, Adam West, Patty Duke and Larry King. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theworkingdirector/message

Welcome to the Instant Trivia podcast episode 792, where we ask the best trivia on the Internet. Round 1. Category: global numbers 1: The longitude in degrees of Greenwich, England. 0. 2: The latitude in degrees of the North Pole. 90. 3: Countries of the world that begin with X. 0. 4: Number of mountains over 29,000 feet above sea level. 1 (Mount Everest). 5: Number of continents completely south of the Equator. 2 (Antarctica and Australia). Round 2. Category: man in space 1: This country called the 1st satellite it launched on its own the "Rising Sun I". Japan. 2: Type of animal that went up with Sputnik 2. a dog. 3: On 6/3/65, Ed White became 1st from U.S. to duplicate this feat Alexei Leonov performed in March. walking in space. 4: The space centers in Cape Canaveral and Houston are named after these 2 people. Presidents Kennedy and Johnson. 5: Apollo 11 astronaut who tells the history of U.S. manned spaceflight in the 1988 book "Liftoff". Michael Collins. Round 3. Category: measure for measure 1: It's considered 1/60 of a teaspoon, so now you can figure out how much one "in a bucket" is. a drop. 2: Hey, half-pint, you're equal to this many quarts. 1/4. 3: I'll have the 64 oz. steak, please; what? 64 oz. is this many pounds? Better make my soda a diet one. 4 pounds. 4: A gallon is equal to 3.785 of these liquid metric units. a liter. 5: I fathom you can fathom that 50 fathoms is this many feet. 300. Round 4. Category: the emmy awards 1: This "Evening Shade" star joked that he was going to mount his Emmy on the hood of his Mercedes. Burt Reynolds. 2: In 1982 and 1983 the TV Academy "hailed" Carol Kane and Christopher Lloyd for their roles on this sitcom. Taxi. 3: Of Marion Lorne, Agnes Moorehead or Elizabeth Montgomery, the one who won an Emmy for "Bewitched". Marion Lorne. 4: Bebe Neuwirth, a 1986 Tony winner for "Sweet Charity", won 2 Emmys for playing Lilith on this sitcom. Cheers. 5: This TV "Golden Girl" was nominated for the first "Best Actress" Emmy in 1950 but lost to Gertrude Berg. Betty White. Round 5. Category: file under "b" 1: A chance spectator; one may be innocent. Bystander. 2: The Royal Sonesta Hotel in New Orleans has a webcam aimed at this famous street. Bourbon Street. 3: This 1958 treaty created an economic union among the Netherlands, Luxembourg and Belgium. Benelux. 4: Bujumbura, on Lake Tanganyika, is the capital of this country. Burundi. 5: From the Latin for "projecting", it's a rich silk cloth with a raised pattern in gold or silver. Brocade. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Broadcast veteran Jasper Cole and co-host Ralph Cole Jr welcome leading Industry sound department pro and Dominant Creative CEO David Gielan in-studio for One One One With Jasper Cole. Recorded at their Hennesy Studio home located on the TV Academy campus in North Hollywood, CA.

In this podcast Shailaja speaks about her background in India, her creative exploration into sexuality, queerness and social activism. She also speaks about her experience 'coming out' to her parents, and her use of film and music as a tool for activism. Having been to L.V Prasad Film and TV Academy in Chennai she has wrote, directed and acted in her own short film called 'Memories of a Machine' (2016) which went viral as well as her feature film called 'Naanu Ladies' (2021) to be released this year. Her film song 'Vote Haaki' is an ironic look at Indian politics, a black comedy of sorts. Shailaja speaks about the musical influences in her life such as A.R Rehaman and Illayaraja and ends with a beautiful song 'Aaj Jane Ki Zid' by Faridha Khanum. Link to Memories ofa Machine: https://m.youtube.com/watch?v=NyudLUzDSl0&feature=youtu.be, Link to Naan Ladies Trailer: https://youtu.be/JYiL6DGGJ5Q. Link to `Vote Haaki: https://youtu.be/lHWnFfcnBQc

Taylor Russell devours every morsel of her time on screen in “Bones and All,” the new film from director Luca Guadagnno about teen cannibals. We talk to the actor about that film, working with Timothee Chalamet and Mark Rylance, and her journey to Hollywood. But first, the Roundtable looks at Variety's ranker of the top 100 films of all time, as well as the TV Academy's new Emmy rule changes, and also shares some picks on what to watch over the winter break.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Instant Trivia podcast episode 584, where we ask the best trivia on the Internet. Round 1. Category: First In Our Hearts 1: The first U.S. coin with the likeness of a president was this coin based on a photo taken in Mathew Brady's studio. (the Lincoln) penny. 2: The first of these in the U.S. was for a potash process and was signed by Washington and Jefferson. a patent. 3: The first self-sustaining nuclear chain reaction was made by this Italian-American physicist in 1942. Fermi. 4: The first of these cast for a woman was Roger MacBride's, going to 1972 Libertarian V.P. candidate Theodora Nathan. an Electoral College vote. 5: Having no reeds, pipes or vibrating parts, this man's 1935 organ was the first of its kind. (Laurens) Hammond. Round 2. Category: Valentine's Day 1: On Feb. 14, 1985 the conservative Jewish movement announced its decision to accept women in this post. Rabbi. 2: He told the 20th Communist Party Congress Feb. 14, 1956 that war with capitalist imperialism was not inevitable. Nikita Khrushchev. 3: This partner of Bob Woodward was born Feb. 14, 1944 in Washington, D.C., the city that made him famous. Carl Bernstein. 4: New Mexico had been a state for almost 5 weeks when this neighbor joined the Union in 1912. Arizona. 5: A young girl received the first dual transplant of the heart and this organ Feb. 14, 1984. Liver. Round 3. Category: The Emmy Awards 1: This "Evening Shade" star joked that he was going to mount his Emmy on the hood of his Mercedes. Burt Reynolds. 2: In 1982 and 1983 the TV Academy "hailed" Carol Kane and Christopher Lloyd for their roles on this sitcom. Taxi. 3: Of Marion Lorne, Agnes Moorehead or Elizabeth Montgomery, the one who won an Emmy for "Bewitched". Marion Lorne. 4: Bebe Neuwirth, a 1986 Tony winner for "Sweet Charity", won 2 Emmys for playing Lilith on this sitcom. Cheers. 5: This TV "Golden Girl" was nominated for the first "Best Actress" Emmy in 1950 but lost to Gertrude Berg. Betty White. Round 4. Category: Tv And Movie Robots 1: This futuristic Hanna-Barbera cartoon series featured a robot named Rosie. The Jetsons. 2: She was Rhoda, Bob Cummings' robot, on "My Living Doll". Julie Newmar. 3: He played a gunslinging robot in both "Westworld" and its sequel, "Futureworld". Yul Brynner. 4: For 3 seasons Dick Gautier played this CONTROL robot on "Get Smart". Hymie. 5: This "Forbidden Planet" robot could speak over 180 languages, drive a vehicle and make all the booze you'd like. Robby the Robot. Round 5. Category: Tool Time 1: A sharp twist of your muscle that might make a monkey out of you. a wrench. 2: If you know the correct procedure, you "know" this tool. the drill. 3: Seen here, this pair is just the thing for pounding or grinding. a mortar and pestle. 4: This volcanic material was used by primitive humans in the making of tools. obsidian. 5: The working tools of a blacksmith include a bellows, a hammer and one of these sturdy, iron hammering blocks. an anvil. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Nesse episódio do Verdade Seja Dita, eu repito meu mantra sobre as indicações do Emmy Awards, a maioria dos membros da Television Academy vota sem assistir as séries que estão na corrida. Essa é a opinião que não mudou desde que estive na premiação pela primeira vez, em 2010. O mais agravante até é que, além de não darem chance aos novos seriados, muitos nem acompanham a temporada atual dos shows que estão na corrida e que, mesmo assim, acabam elegendo os mesmos como seus favoritos em diversas categorias, baseados nas campanhas realizadas pelos serviços de streaming e pelas emissoras de TV aberta e canais a cabo, pelo buzz, pela familiaridade com alguns profissionais e pela fama de outros. Em suma, desde os tempos que Tatiana Maslany sofreu uma injustiça ao não ser indicada para o Emmy Awards por sua performance brilhante em Orphan Black (quando indicada, no ano seguinte, pela pressão dos fãs e da imprensa, Tatiana levou a estatueta na categoria melhor atriz drama) até hoje, quando Selena Gomez não recebe uma indicação, enquanto os seus dois companheiros de cena (Steve Martin e Martin Short) são privilegiados com o reconhecimento, em Only Murders In The Building, o fato é que os membros da Television Academy têm muito trabalho a fazer, especialmente em relação à diversidade que, mesmo com o recorde de indicações da série coreana "Squid Game" - o primeiro seriado falado em língua estrangeira a concorrer na categoria melhor série drama-, ainda tem categorias dominadas por atores brancos. Curte o tema e quer saber mais detalhes? Só dar play!

“Bridgerton” stars  Nicola Coughlan, Simone Ashley and Charithra Chandran discuss this past season of the Netflix series, and even more importantly, what comes next in Season 3. But first, our Awards Circuit Roundtable debates the Emmy directing categories and also offers up its pleas to TV Academy members as nomination voting gets under way. Learn more about your ad choices. Visit megaphone.fm/adchoices

American Arts, Film & TV Academy's (AAFTA) Carmen Duncan Scholarship is back and searching for the next Australian stars. Applications are open now.@aaftala@jochronicals@emmanuelle.mattana #queerconversation #lotlFind out more, check out our article on lotl.com

RERUN: The best film of the year 2021, according to Slovak Film and TV Academy, is "107 mothers". RSI spoke to its director Peter Kerekes on the occasion of receiving the Orizzonti award at the 2021 IFF in Venice, Italy. When speaking about international success of a Slovak film, we will be playing several theme tunes from several feature films known on a regional scale.

RERUN: The best film of the year 2021, according to Slovak Film and TV Academy, is "107 mothers". RSI spoke to its director Peter Kerekes on the occasion of receiving the Orizzonti award at the 2021 IFF in Venice, Italy. When speaking about international success of a Slovak film, we will be playing several theme tunes from several feature films known on a regional scale.

This session, we have the multitalented Ken Atchity, a best-selling author, producer, literary manger, professor and editor who aptly goes by the moniker The Story Merchant. He got his B.A. at Georgetown, his Ph.D. at Yale. He was a tenured professor of comparative literature at Occidental College and a distinguished instructor at UCLA Writers program. He's worked in publishing and filmmaking and is a member of the TV Academy of Arts and Sciences as well as the Producer's Guild.   SHOW NOTES: Blog: www.kenatchityblog.com "Writing Treatments that Sell": https://www.amazon.com/Writing-Treatments-That-Sell-Industry/dp/0805072780 Facebook: https://www.facebook.com/StoryMerchant/ Instagram: https://www.instagram.com/storymerchant https://www.instagram.com/atchityproductions https://www.instagram.com/ken_atchity Twitter: https://twitter.com/storymerchant https://twitter.com/kennja  

For more than 60 years, veteran actor Eli Wallach was in demand to appear on stage and screen. Eli, who passed away in 2015 at age 98, appeared in more than 100 movies and has appeared in numerous stage productions, both with and without his wife, actress Anne Jackson. In this newly archived show, originally taped in 1998 before his appearance in great recent movies such as “The Holiday” and “Wall Street: Money Never Sleeps”, we discussed longevity in show business, and how he mixed his career with his important family values.

We don't know whose idea the character Marsha, Queen of Diamonds, was, but it's clear that she was created with one woman in mind: Zsa Zsa Gabor. A script for the actress was commissioned by Greenway Productions through a talent agency to two writers, Tom Cannan, Jr, and Jack Cash. The script they produced, Marsha, The Queen of Diamonds (note the extra definite article) is riddled with problems, from requiring special effects way beyond the show's means, to flagrant mischaracterization of the Caped Crusader, to some really lame “holys” from Robin. This time, we pick through the wreckage of one of the more egregious scripts we've discussed on this show. Who will buy? Nobody. PLUS: A punk rock version of the theme by Thirty Going On Thirteen, and your mail about our episode on the development of the show. William Self interview on the TV Academy site

At the 2021 Emmys, Rita Wilson rapped, Conan O'Brien made fun of the head of the TV Academy, and some director spoke so long that they tried to play him off the stage three times. Oh, and "The Crown" won 11 trophies.

We've finally reached Phase 2 of the 2021 Emmy season. That's when voting members of the Television Academy make their final decisions and vote for their favorites. Given that, we here at the Water Cooler Podcast like to make our personal pleas for Emmy love. So, in our annual “TV Academy, Hear Our Plea” segment, […] The post TV Academy, Hear Our Plea: The 2021 Emmy Edition appeared first on Awards Daily TV.

Directorial Debut Received Daytime Emmy NominationFor Rekindling Christmas As Outstanding Fiction ProgramJames Lott Jr chats with this amazing couple!A true family effort, though established individually in theindustry of entertainment, this is the first time the Ganierefamily has been able to work on a film together. REKINDLINGCHRISTMAS is written by USA Today bestselling author and awardwinning writer Rebekah R. Ganiere and based on the novel by thesame name, directed by James Ganiere and stars ChristianGaniere as TJ Marshall.REKINDLING CHRISTMAS is the story of Annika Marshall andJesse Winchester, who were the perfect couple in college.However, a week after becoming engaged, Jesse was drafted intothe NFL, and never came back. Now, years later, Jesse is backwith a blown out knee and only one goal in sight, to live asimple life and win Annika back. But Annika's walls are highand her pain deep, and it will take the help of Annika's sonTJ, every play in Jesse's book, and just a pinch of ChristmasMagic to gain her forgiveness and her heart.James Ganiere - (Director, Producer, Executive Producer,Casting) Director, and Emmy Nominated producer James Ganiere isa Producers Guild of America and TV Academy member, and Alumniof USC School of Cinema, a TEDX speaker, geek and family man.Founder and president of Rio Vista Universal, whose brandfocuses on characters, their relationships, and transformations.Ganiere is the consummate empire builder with past clientsranging from Hewlett Packard where he headed up the WorldwideDatabase Team to establishing the first U.S. Bank presence inCalifornia, to working with EMMY OSCAR, GRAMMY winners. Jamesprojects range from GEAR HEADS on DISCOVERY and his directorialnarrative feature debut REKINDLING CHRISTMAS, to directing andproducing LAND OF THE FREE: IN THE SHADOWS a documentary across4 continents, to live events like FARSCAPE: 20th AnniversarySan Diego Comic Con partnering with The Jim Henson Company, toVR for WARNER BROTHERS and DISNEY.Rebekah Ganiere - (Writer, Production Designer, ExecutiveProducer, co-Casting). Rebekah is a USA Today Bestselling,Award Winning Author and Screenwriter. REKINDLING CHRISTMAS isher first screenplay to be produced and Emmy nominated forOutstanding Daytime Fiction Program, and is based on her novel!

Today's episode is a little different because our guests are also our moderators, Bunim/Murray founder, Jon Murray and SpringHill CCO, Jamal Henderson. Jon and Jamal came together for an event that I was fortunate enough to have produced with some very talented friends and colleagues at the TV Academy and which I am now sharing in podcast form for all of you. These two prolific creators are proof positive that there is no one precise path to success in the entertainment industry, but I do hope you pick up on some of the many commonalities and nuggets of wisdom shared by these two wonderful men and are able to apply it to your own journey. Enjoy!

Topics discussed on today's show: The Trendmill: NYC Mayor Race, College Sports Pay, Gay Football Players, Trans Weight Lifter, Science & Tech, Mini-Intestines, Costco Memberships, Quiting Retail, TV Academy, Birthdays, News of the Day, Thigh Stop, Kim Yo jung, Amazons Worst Selling Prime Day Items, Boring Good News, Bad Situation Worse, What did you drop?, Awkward Moments With Strangers, The Smash Brothers Cory and Chad stop by the show, Illegal Side Jobs, and Apologies.

Between out-of-state projects like the Killers of the Flower Moon, Minari, Reagan, Reservation Dogs, and Stillwater, and homegrown projects like Mickey Reece's Agnes and Kyle Kauwika Harris's Out of Exile, Oklahoma seems to be in the middle of a boom in film and TV productions. Thanks to increasing tax incentives, new talent development programs from the Oklahoma Film and TV Academy, larger sound stages from Green Pastures Studio and Prarie Surf Media, and top-notch emerging talent, both behind and in front of the camera, Oklahoma continues to carve out its place as one of the top states in the country for making film and television. Earlier this year, MovieMaker Magazine named both Oklahoma City and Tulsa among its Best Places to Live and Work as a Moviemaker in 2021. In today's exclusive deadCenter 2021 keynote conversation, we're joined by an incredible panel of leaders working in the Oklahoma film and television industry including the Oklahoma Film+Music Office's Tava Sofsky, Green Pastures Studio's Melodie Garneau, and Oklahoma filmmaker, Cassie Gann, to talk with us about what's driving the exciting momentum in increased film and TV productions in our state.  Don't miss this deadCenter 2021 keynote conversation to hear unique insights into […] The post deadCenter 2021 Keynote #1 – What Makes Oklahoma a Great Place to Make Movies in 2021? appeared first on The Cinematropolis.

Welcome to the Instant Trivia podcast episode 102, where we ask the best trivia on the Internet. Round 1. Category: Money, Money, Money 1: In 2004 a new version of this coin depicted the peace medal Lewis and Clark gave to Indians during their exploration. a nickel. 2: Iraq's 25-dinar note features Saddam Hussein on the front and this ancient city's Ishtar Gate on the back. Babylon. 3: This tiny country, whose capital is Vaduz, uses the Swiss franc as capital. Liechtenstein. 4: Seen here is one of these currency units from a country that's in the zone. the euro. 5: Indonesia's 500-rupiah note depicts this endangered rust-colored ape sitting in a tree. orangutan. Round 2. Category: See You In Court 1: Deaths in its Pinto made it the first U.S. corporation to face criminal charges over product design. Ford. 2: The government sued Frank Snepp over his 1977 book based on his years with this agency. CIA. 3: In 1977 the Supreme Court ruled that John Bates, in this profession, had the right to advertise low fees. lawyer/law. 4: Carol Burnett's suit against the National Enquirer for this hinged on whether the Enquirer was really a newspaper. libel. 5: Perhaps because no one could figure out what he'd been trying to do, Aaron Burr was acquitted of this in 1807. treason. Round 3. Category: A Few Good Men 1: In May 1883 this showman put on his first "Wild West Show". Buffalo Bill Cody. 2: In 2004 this Fijian set a record for pro golf winnings in one year, $10,905,166. (Vijay) Singh. 3: This man who partnered with Charlie McCarthy was the first president of the TV Academy. (Edgar) Bergen. 4: This pop artist created 1958's "Three Flags", a triple portrait of the American Flag. Jasper Johns. 5: Many of Geoffrey Chaucer's works were first printed around 1477 by this man, England's first printer. William Caxton. Round 4. Category: Noted Scribes 1: From 1903 to 1905, American author Winston Churchill served in the legislature of this "Granite State". New Hampshire. 2: Shortly after arriving in France in 1924, he completed "The Great Gatsby". F. Scott Fitzgerald. 3: This essayist wrote 3 children's stories, the last being "The Trumpet of the Swan" in 1970. E.B. White. 4: He's written plays based on his works, including "Dandelion Wine" and "Fahrenheit 451". Ray Bradbury. 5: While serving as an ambulance driver, he was injured at Fossalta di Piave, Italy on July 8, 1918. Ernest Hemingway. Round 5. Category: All The "Right" Moves 1: It's the correct 2-word prefix to the titles of earls and barons. Right Honourable. 2: Bring up a pop-up menu by doing it with your mouse. right-click. 3: 60-footer of the North Atlantic. a right whale. 4: Hillary Clinton once said a "vast" this had existed "against my husband since the day he announced for president". a right-wing conspiracy. 5: The text of the U.S. Constitution's Second Amendment deals with this. the right to bear arms. Thanks for listening! Come back tomorrow for more exciting trivia!

The TV Academy may be best known for giving out Emmy Awards each year, but membership in this esteemed group brings a great deal more than simply awards participation and eligibility, it creates a true professional community. Made up of a variety of peer groups for most every conceivable category and trade within the genre, the academy serves as the heart center of the TV world and never has an anchor been more necessary than in this year of social distancing. Joining me on the podcast today in their work as Governors for the reality peer group are Jill Dickerson and Bob Boden. Jill and Bob both wear a variety wonderful hats which we value on this show - executive, producer and friend - and the work they do on behalf of the unscripted community is second to none. Enjoy!!!

In weeks, the first approved Covid-19 vaccines will be injected into Americans. Tonight we ask one of our own about their experience in the Pfizer vaccine trials and we break down everything known so far about how soon most people in the US can expect to get it. Then in the Just One Question segment we discuss the Oxford Dictionary's decision to not pick one specific word to describe 2020 and we pick our own, we also discuss what it says about Scott Disick that he keeps dating the 19 year old daughters of celebrities and then we try to decide which 2 actors should represent the US Motion Picture and TV Academy, if that existed. We closed the show by marking the 38th anniversary of the release of Terms Of Endearment and we each give our opinions of the saddest movie ending of all time. --- Support this podcast: https://anchor.fm/tmihollywood/support

Director Leslie Martinson, in his TV Academy interview that we explored last time, kept coming back to the question “What is the director’s input” in a TV show or movie? When he pointed out his input to the famous “bomb” scene in Batman: The Movie, we became curious to see what other aspects of the film might show signs of “the director’s input.” So this time, we dig into the script of the Batman ’66 film to see where else Martinson’s fingerprints might turn up. ALSO: The Nostalgia Choir (?) version of the Batman theme, your input on episode 142, and D’oh prizes galore for “Impish Humor Batman” sightings in the series!

Leslie Martinson was the director of “The Penguin Goes Straight”/“Not Yet He Ain’t” and “Batman: The Movie.” He was a good friend of Adam West’s (but thought Burt Ward was “adequate”). As a director, how much impact did he have on the Batman legacy? For one thing, he played a big role in shaping the “bomb” scene into a signature scene of Adam West Batman! The TV Academy’s 2003 interview with Martinson reveals this (especially when we take a look at the movie’s script), as well as some of Martinson’s experiences in making various movies and TV shows - sometimes in front of a stress-inducing live audience. We discuss the interview, dig into Acey Hudkins’ accident on the set of the movie, and ask the question: Is the “bomb” scene camp? (Get your sleeping bag!) Also, the Steelism version of the theme, a Deja Vu encounter with one Steve Franken, and your mail on … various topics.    

Julie Newmar appeared as Catwoman in six two-parters during the first two seasons of Batman. During that time, the show and her character evolved, and while some might not agree with the direction they took, it’s hard to deny that Julie did both the evil, whip-snapping Catwoman and the Batman-besotted, comic Catwoman-of-a-thousand-disguises very well. Then in season three, she was gone and Eartha Kitt took her place. Do many of us find ourselves dissatisfied with Kitt’s very satisfactory version of Catwoman, just because Kitt wasn’t the first to play the role? What different characteristics do we see in the two versions - some of them due to the actors’ choices, and others being beyond their control? Our friend Kyle joins us once again, bringing the power of the “word cloud” to our discussion, discussing our bias toward the first version we see (any who preferrrrr Eartha?), and helping us generally compare and contrast the two takes on the character. Plus a marching-band take on two different Batman themes, and your response to episode 137’s discussion of Yvonne Craig’s memoir! Julie as Catwoman word cloud:   Eartha as Catwoman word cloud: Eartha Kitt talks about playing Catwoman in TV Academy interview 2012 TJHS Marching Band - Batman

Da Five Bloods, The King Of Staten Island, & Shirley give us hope for June while Tenet & Mulan are asked to save the summer. Plus, the Golden Globes & Emmys tweak their rules while Cannes & the fall film festivals make alternative plans. Which films will rise above this hell?! This is the End Times - Top of Episode 2020 CONTENDER NEWS: Netflix Sets Date for Spike Lee’s Da 5 Bloods - 1:55 (Including Netflix’s Motivations + Why This Year’s Oscars is Going to be A-List Names Only) Will Tenet Move Dates? And If So, Then What? - 13:17 (Including Disney’s Bloodbath + Mike1’s Continued Pessimism Explained) New Release Dates + Updates for Possible Contenders - 19:55 (Including News on The Courier fka Ironbark; Made in Italy) CONTENDER TRAILER REVIEWS: King of Staten Island Trailer 1 - 22:45 Shirley Trailer 1 - 27:16 Babyteeth Trailer 1 - 31:13 AWARDS SHOW COVID ADJUSTMENTS: Golden Globes Make Foreign Language Film Eligibility Change - 33:40 Emmys Ban Oscar Nominated Projects - 34:45 Other Emmys Changes - 37:50 (And Why This Year’s Awards Shows May Be The Most Viewed In History) INDUSTRY NEWS AND UPDATES: AMC vs Universal Yields Telling Survey Results From Movie-Goers - 41:13 Amazon May Buy The Entire AMC Theater Chain? - 44:10 (Plus AlsoMike Loses It On Mike1) Covid’s Financial Implications, The Resistance of Progress, And The Movie Industry At Large as a Microcosm of Washington Politics - 46:26 Scoob Goes Direct to PVOD - 55:50 FILM FESTIVAL NEWS ROUND-UP: Cannes Refuses to Go Virtual, Except When It Goes Virtual - 58:30 NYFF, Oldenburg FF, Attempting To Innovate To Proceed - 1:01:11 Your Homework/PLEASE LEAVE US 5*’S - 1:02:58 What’s Next From MMO/Words of Wisdom - 1:03:54 The spring movie calendar is finally starting to look more promising with the announcement of Spike Lee’s Da Five Bloods & some terrific new trailers for The King of Staten Island & Shirley. We also breakdown all the speculation about whether or not Tenet & Mulan will/can move from their dates, Benedict Cumberbatch’s spy thriller got a name change in The Courier, Ben Mendelsohn reminds us he’s Australian in Babyteeth, and we wonder about IFC’s plans with Made In Italy. And all that happens in just our first two segments. The HFPA tweaked their rules for the Best Foreign Language Film category at the Globes while the TV Academy ruled out Oscar Noms at the Emmys. We then dive back into some industry news regarding AMC vs Universal and what surveys reveal about Premium VOD. Rumors about Amazon and AMC spiked up the struggling theater chain’s stock price, and AMC raised a whole lot of necessary capital to thrust us into a discussion on how to fix the entire world amidst the pandemic. Umm, we just have to get things off our chest sometimes. Finally, we cover the latest breaking news on how the Cannes Film Festival will pivot without a physical event this year, which films still need to sell at their virtual market, and how the fall fests like NYFF are making hybrid plans. As always, we want to know what you think about all the burning questions we raise in this episode. We’re @MMandOscar on Twitter, and we are on Instagram, Facebook, Reddit, and Gmail. You can subscribe / rate / review / like / share / & listen to us on Apple Podcasts, Soundcloud, Stitcher, Google Play, Tune In, Spotify, and just about wherever you might listen. We’re Mike, Mike, & Oscar, and we’re making awards season year round, without the stuffiness. Thanks for listening.

**THIS EPISODE WAS RECORDED WAY THE HECK BACK IN JANUARY. DON'T WORRY, WE ARE SURE AS SHOOTING SOCIAL DISTANCING NOW IN LIGHT OF COVID-19. DON'T INTERVIEW SHAME US! ALSO, HOPE YOU ENJOY LISTENING BACK TO A TIME WHEN THE WORLD HADN'T EXPLODED** *********************************************************** Today's episode is brought to you by: (https://www.amazon.com/gp/video/detail/B07R56X9QM/ref=atv_dp_share_cu_r) - Now available on amazon prime! AND Aldgate Insurance Services - Need production insurance for your film or production company? Visit (https://my.captivate.fm/www.oklahoma-film.com) for more info. Or call them at 918-574-4555. ***************************************************************** Even though we're all now spending our time locked in our houses and waiting for this danged quarantine to lift, it's important to be thinking of the future. Especially a future career. ESPECIALLY especially a future career in Oklahoma's growing film industry. That's right, alot of movie shoots have been put on hold, but once everything is back to normal, the floodgates will be unleashing a crapload of work, and that work means positions for people like you. Today we talk to Richard and Melodie from the Oklahoma Film and TV Academy (OFTA) about all the really super cool stuff they will be offering. Did we mention it's super cool? LINKS: www.greenpasturesstudio.com (www.greenpasturesstudio.com) www.oklahomafilmandtvacademy.com (www.oklahomafilmandtvacademy.com) @OFTAfilmTV *********************************************************************** SHOW NOTES: 1:15 - The craziest day on set ever. 10:09 - Getting to know the OFTA 24:24 - How affordable is the school? 32:32 - The different courses available. 38:07 - You don't know what you don't know. 41:31 - Oklahoma's support for its filmmakers. 45:01 - The crew base of Oklahoma. 46:57 - Pricing 50:00- Making a career for yourself 59:42 - The trickle-down effect of a film shoot. 1:05:38 - Where/how can people sign up? 1:10:27 - The progression of Oklahoma's film industry. 1:15:29 - GAME: New phone, who dis? ***************************** Want more stuff? Visit www.patreon.com/okieshowshow (www.patreon.com/okieshowshow) for cool BTS stuff! Support this podcast

SUBSCRIBE Apple: https://apple.co/34765QU Stitcher: http://bit.ly/2kgRfFV Spotify: https://spoti.fi/2mhKcgZ TuneIn: http://bit.ly/2lRzbTh iHeart: https://ihr.fm/2AJI3OV YouTube: http://bit.ly/2mgfCnV TODAY´S EPISODE IS BROUGHT TO YOU BY PODCASTERS´ PARADISE Are you ready to start your own podcast and share your message with the world but don´t know where to start? Podcasters´ Paradise got you covered! Go to http://bit.ly/2TccMNB and join the #1 Online Community for Podcasters today! “When I started podcasting, I knew I needed to invest in myself, learn more about how to create, grow, and monetize a podcast and maybe, more importantly, surround myself with the best minds in the podcasting industry. This is how I became part of the #1 Online Community for Podcasters, Podcasters Paradise, created by John Lee Dumas founder and host of Entrepreneurs on Fire, a top-ranked and award-winning podcast.” – Tibor Nagy, host of The Mindset Horizon Podcast This post contains affiliate links. If you purchase a product through one of them, Mindset Horizon will receive a commission fee - at no additional cost for you. Thank you for your support! BIGGEST TAKEAWAYS FROM THIS EPISODE 1 – Learn more about Phillip´s incredible personal story, how he overcome adversities in his life and how it helped him become who he really is. 2 – Learn more about how to overcome your ego and live an authentic life in alignment with your true self. 3 – Learn more about the importance of silencing the advice monster and become a transformational communicator by asking questions and truly connecting with others.  BOOKS MENTIONED IN THIS EPISODE! All the Reasons I hate My 28-Year-Old Boss - How to Fight Back Against Ageism and Survive a Youth-Focused Workplace by Phillip Andrew Barbb: https://amzn.to/2ITzhlL Hit Makers – How to Succeed in an Age of Distraction by Derek Thompson: https://amzn.to/2IYR9f2 The Power of Words – Teacher Language that Helps Children Learn by Paula Denton: https://amzn.to/2WolxHu TODAY´S GUEST My guest today is Phillip Andrew Barbb, and in today´s episode, we talk about Phillip´s incredible personal story, how he overcame adversities in his life and how it helped him become who he really is and how you can do that too. We talk about the importance of overcoming your ego and how to live an authentic life in alignment with your true self. Phillip also shares a really important message from his new book - All the Reasons I hate My 28-Year-Old Boss – which is the importance of silencing the advice monster and how to become a transformational communicator by asking questions and truly connecting with others in the workplace.  So, Phillip Andrew Barbb is a 2x Daytime Emmy®-nominated TV Producer, Leadership Coach, and Keynote Speaker based in Los Angeles, California. The Michigan State University graduate holds credits with Netflix, FOX, YouTube Red, CBS, E! Entertainment, Facebook Watch, A&E, and is a member of both the Producer's Guild of America and the TV Academy. In December 2019, Barbb released his first book, "All the Reasons I Hate My 28-Year-Old Boss.” The Business/Self-Help book is entertaining, comedic, and motivational while it tackles some of the common frustrations, annoyances, and mental hang-ups of being a member of today's Millennial-driven workforce. CONNECT WITH PHILLIP Website: https://www.phillipandrew.co/ Check Out Phillip´s Brand-New Book Here: https://www.hatemybossbook.com/ LinkedIn: https://bit.ly/2UdVFMQ Twitter: https://bit.ly/2QE9xOt Facebook: https://bit.ly/2QEDvlz Instagram: https://bit.ly/2QCrPj0 SHOW NOTES [10:53] Phillip shares his personal story, how he overcame struggles and difficulties in his life and what he learned along the way. [25:09] Phillip talks about the importance of knowing who you really are and how overcoming the ego can help you live an authentic life that is true to yourself. [29:16] Phillip talks about his current business...

On this week's episode of Millions of Screens, Ben, Libby, and Leo dissect what serves as the unofficial kickoff of Emmy awards season: the arrival of the FYCs. Additionally, Libby examines how the current spread of COVID-19 may affect the rules the TV Academy institutes for FYC events moving forward, perhaps ushering in changes that have been a long time coming.

Following the cancelation of the music festival South by Southwest, other industry events are taking precautions. The TV Academy has banned audience interaction with panel members at Emmy campaigning events, and some cable networks have withdrawn from the upfront presentations to advertisers in New York. 

We'd like to thank The Academy for this one… Lexy talks with Reanna Peters (@reannapeters), a friend she made during their time at the TV Academy internship. As two outspoken, plus-sized women, trying to make it in the entertainment field, they've had to deal with the pressure of making themselves smaller, both physically and emotionally. Join them for an always honest, always real conversation about how to take up space and start owning the power in being unapologetically, you.

IndieWire's Screen Talk podcast brings back its bonus Emmy edition as this year's race heads into its final days. This week, IndieWire editor-at-large Anne Thompson and TV Awards Editor Libby Hill take a look at the largely lackluster nominees in the overall drama categories and try to make heads or tails of all those "Game of Thrones" nomination. The North remembers how disappointing the HBO fantasy's final season was. Will the TV Academy?

IndieWire's Screen Talk podcast brings back its bonus Emmy edition as this year's race heats up. This week, IndieWire editor-at-large Anne Thompson and TV Awards Editor Libby Hill continue analyzing the 2019 Emmy nominations, this week focusing on all things variety talk. Plus, Hill breaks down why it's high time for the TV Academy to break-up the variety talk series category.

California Governor Gavin Newsom hit ‘pause’ on capital punishment in his state. Opening up the floor for a national debate on the death penalty. In other criminal justice news, a judge tacked on more federal prison time for former Trump campaign chairman Paul Manafort. Now, prosecutors in New York want in on the action. Also on today’s episode: the US jumps on the ‘ground the Boeing Max 8’ bandwagon, and Judge Judy gets a nod from the TV Academy. PS: Want to tell us about the Judge Judy in your life? Leave us a voicemail at 646-461-6370.

Allison Dollar is a longtime champion of digital video interactivity. Based in ‘Silicon Beach,’ in her consulting practice she specializes in accelerating early stage digital ventures. These span content, consumer brands, consumer electronics and enterprise technology. In complementary roles, she is CEO and co-founder of the Interactive Television Alliance, a trade association comprised of leading corporations in advanced digital television whose members span advertising, programming, technology and distribution. She chairs the Los Angeles Venture Association’s Digital SIG. Some projects have included IBM’s eBusiness (partnering American Express, Bell Atlantic, Mail Boxes Etc.), Liberty Media (Ascent), AOL’s Guerilla Games, SimplyTV, WB, Creative Planet (IPO), Stan Lee Media (IPO), MobileCasino, Vi[z]Rt (virtual sets), Envivio (France Telecom spinoff, acquired by Ericsson), Homerun Entertainment (Scripps), LSI Capital, Comcast, Digital Containers (P2P), AT&T spinoff Telcordia, Space Tourism Society Orbit Awards, The Horror Channel, Gamma&Density (acquired Global Cinematography Institute), Mozaik (automated video hotspotting), Trumpit (mobile alerts), SnapCuts (social video messaging), AdMedia, Shodogg (cloud video switcher), parWinr (video gamification), WeVu (crowd sourced venue screenings), Aqueti (macro/micro 360° array video camera), Tapin2(mobile concierge commerce), ExciteM (2nd screen social platform), GN (pet lifestyle brand), Connectivity TV Fan Fest, SAMI Games, SuperCloud live streaming, Celebrities Squared and TMT’s Spot Direct. At Vault Comics she advises on corporate strategy and partnerships. For Webcasts.com she was CSO and a founding board member (IPO as iBEAM Broadcasting), CEO of Celebrities.com, and CSO for WhiteBlox and Gizmo Media Group, creating partnerships with Dick Clark Productions, Westfield Mall and numerous media outlets. In addition, she co-founded eTV World, Hollyweb Live!, and venture pitch events iNNOVATORS™ and iBreakfast LA. She chaired NAB’s Executive Committee to launch Multimedia World, the NAB’s switch to digital (now the South Hall). She was Executive Director of the Media Excellence Awards at its inception and continues on the board. She produced sessions for Silicon Beach Fest, presents at Founder’s Workshops was on the advisory board of KORUS, the Korea-US Vision Council. She is a pipeline partner and advisor for SPROCKIT and Expert Dojo start-up accelerators, and program producer for NAB’s Destination NXT. Previously, as Executive Producer for Phillips Business Information, she led business/online content development for 40+ media trade publications, including In Motion, Film & Video, Interactive Video News, Multimedia Week, and Multimedia Wire. Early on, she worked with Oscar-nominated James Agee Film Project, CBS affiliate WBAL, and the Maryland Film Commission. She was a founding board member of Women in Film & Video, Maryland. A Blue Ribbon Judge for the TV Academy’s Interactive Emmys, Dollar has also been a member of the Interactive Media Peer Group executive committee. She holds a M.A. from the University of Virginia and was a Phi Beta Kappa graduate of Goucher College in Baltimore. Her book, published for NAB by Focal Press, Interactive Television: Tracking and Preparing for an Emerging Market in 2003, examines the historic reworking of the television business model. https://www.linkedin.com/in/allisondollar http://itvalliance.org https://www.lava.org http://mediaxawards.com

Earlier this month, the Television Academy Foundation launched a new online portal for "The Interviews: An Oral History of Television," its archive of recorded conversations with TV stars, show creators and behind-the-scenes innovators, spanning the entire history of the medium. The new portal is fully searchable and cross-referenced, and has been expanded to make available to the public over 4,000 hours of interviews.Jenni Matz, the Director of "The Interviews," recently spoke to ITVT Editor-in-Chief, Tracy Swedlow, about the new portal, its significance to the industry, and the Television Academy's plans for it going forward.Reminder: ITVT's next TV of Tomorrow Show event, TVOT SF 2018, takes place less than two weeks from now, on June 13th and 14th in San Francisco:Purchase your tickets here: http://tvotshow.com/register-tvotView the show agenda here: http://thetvoftomorrowshow.com/announcing-schedule-sessions-tv-tomorrow-show-2018-0

BOB BERGEN is a 2-time Emmy nominee and one of the most iconic animation voiceover talents of our generation who is celebrating 28 years as the current voice of Warner Brothers/Looney Tunes Porky Pig.  Other voices include Tweety Bird, Luke Skywalker, Marvin the Martian and hundreds more.  Some of the huge projects he has starred as voices in include Trolls, Sing, Despicable Me, Toy Story 2 & 3, Walle, The Secret Life of Pets, Wreck It Ralph, A Bug's Life and many more.  Bob is the current Co-Governor (with Patrika Darbo) for the TV Academy overseeing the Emmys.

Dollar is a recognized expert in digital media and a longtime champion of interactivity, specializing in accelerating early stage ventures. As CEO of the non-profit ITV Alliance, Allison Dollar has built a community representing leading Fortune 1000 corporations in interactive television, spanning advertising, programming, technology and distribution. For several digital strategy clients she has taken an interim CSO role, including Webcasts.com (IPO as iBEAM), WhiteBlox and GizmoLive. A sample of others include IBM’s eBusiness (AmEx, Bell Atlantic, Mail Boxes Etc.), Liberty Media (Ascent), SimplyTV, WB, Creative Planet, Stan Lee Media, Vi[z]Rt (virtual sets), @d:tech, Silicon Alley, AOL, Envivio (MPEG-4 France Telecom spinoff), celebrities.com, Telcordia (AT&T spinoff), Digital Containers (p2p) and Homerun Entertainment (Scripps), Mozaik Multimedia (cloud video), Trumpit (mobile alerts), SnapCuts (social video messaging) among others. Dollar chaired NAB’s Executive Committee to launch Multimedia World, and sat on the TV Academy's interactive media peer group executive committee and was a Blue Ribbon juror for the ITV Emmys. She regularly programs sessions for NATPE, NAB, CES and moderates at many industry events, such as Digital Hollywood. She was also the Executive Director of the Mobile Excellence Awards. Her book published by NAB’s Focal Press, "Interactive Television: Tracking an Emerging Market," analyzes the historic reworking of the television industry. She co-founded eTV World and Hollyweb conferences, which complemented her role as Executive Producer at PBI where she led online strategy for 40+ PBI media publications, including CableFax, Film&Video, Interactive Video News, and Interactive Daily. Prior, she contributed to the James Agee Film Project, CBS affiliate WBAL and the Maryland Film Commission. Dollar's M.A. is from the University of Virginia. http://www.itvalliance.org

After years of being adored by critics but ignored by the TV Academy, the FX series The Americans is finally having its Emmy moment. Executive producers Joe Weisberg and Joel Fields tell us how their partnership is a match made in show-runner heaven, why they work so far in advance, and how collaboration is key to the success of the series. 

Seth Shapiro is a leader in business innovation and digital media and serves on the board of the TV Academy. As a innovation keynote speaker and as the CEO of New Amsterdam Media, a business consultancy firm, Seth helps companies turn disruptive technology to competitive advantage and use digital in innovative ways to build relationships with customers. A two-time Emmy® Award winner, USC Professor and Television Academy Governor, Seth has worked with some of the world’s most innovative companies, including the Walt Disney Company, Comcast, DIRECTV, Intel, Interpublic Group, Verizon, Universal Pictures, Goldman Sachs and a range of startup and early stage ventures. He has been the launch lead for nearly 30 digital services across TV, online, music, and mobile, and helped mastermind game-changing media services like NFL Sunday Ticket and TiVo.

Emmy nominations were announced this morning, and once again critics were crying "snub!"-- but not as often as in previous years. Critics loved FX's The Americans and the CW's Jane the Virgin, but neither show received much attention from the TV Academy. At least actress Tatiana Maslany from Orphan Black finally got a nomination.