Podcasts about unit director

Emmy-Nominated Stunt Coordinator for TULSA KING, FREDDIE POOLE, returns to the show to talk about the epic scale of the action for Tulsa King S2, working with Sylvester Stallone for nearly two decades, and being a triple threat on set as Stunt Coordinator, 2nd Unit Director, and Stunt Double for Sly himself! NEW MERCH AND KUNG FU DRIVE-IN COFFEE HERE! https://kungfudrivein-shop.fourthwall.com/ https://brewdragoncoffee.com/collections/poison-clan SUPPORT THE KUNG FU DRIVE-IN PODCAST WITH A KO-FI: https://ko-fi.com/kungfudrivein The Brightest Stars Shine at the Drive-In!  SPONSORS: www.tinboxsolutions.com OUTRO MUSIC: http://youtu.be/5zeRoGFft2s  by Justin H @KingofKungFuAMP

Unsere beiden heutigen Gäste haben unabhängig voneinander beeindruckende Wege hinter sich, bevor sie sich zusammenschlossen, um zusammen nachhaltige Formen von Organisations- und Wirtschaftstransformationen mitzugestalten. Sie studierte Design in Hildesheim und absolvierte anschließend einen Master an der Universität der Künste in Berlin. Über mehrere Jahre arbeitete sie im Interface-Design, war Service Design Lead bei Fjord und Head of Creative bei betterplace.org. Danach folgten Stationen als Gründerin (transitionbydesign.de) und als Country Manager Germany bei Demos Helsinki – immer mit einem starken Fokus auf gesellschaftlichen und nachhaltigen Wandel. Er begann sein Studium in der Rechtswissenschaft, wechselte später in die Medienmanagement-Forschung und promovierte im Bereich Medienökonomie. Nach Stationen als Projektleiter, Unit Director und Geschäftsführer in einer Strategieagentur gründete er mit “The Dive” eine eigene systemische Organisations- und Managementberatung, in der er heute zusammen mit ihr arbeitet. Gemeinsam bündeln sie nun ihre unterschiedlichen Perspektiven und Kompetenzen, um Unternehmen in eine regenerative Zukunft zu führen. Kürzlich veröffentlichten sie ihr gemeinsames Buch „Der Stellar Approach“. Es ist ein praktischer Transformations-Baukasten, mit dem Organisationen eine neue Form der Innovationskompetenz etablieren können. Seit fast acht Jahren beschäftigen wir uns in diesem Podcast mit der Frage, wie Arbeit den Menschen stärkt, statt ihn zu schwächen. In über 480 Gesprächen haben wir mit fast 600 Persönlichkeiten darüber gesprochen, was sich für sie geändert hat und was sich weiter ändern muss. Welche praktischen Ansätze helfen Organisationen, sich nachhaltig zu erneuern und wirklich zukunftsfit zu werden? Wie spielen Design, Recht, Strategie und Medienökonomie zusammen, wenn es um tiefe Veränderungsprozesse geht? Und wie hilft „Der Stellar Approach“ dabei, eine neue Innovationskultur zu etablieren und so das Wirtschaftssystem von innen heraus weiterzuentwickeln? Fest steht: Für die Lösung unserer aktuellen Herausforderungen brauchen wir neue Impulse. Daher suchen wir weiter nach Methoden, Vorbildern, Erfahrungen, Tools und Ideen, die uns dem Kern von New Work näherbringen. Darüber hinaus beschäftigt uns von Anfang an die Frage, ob wirklich alle Menschen das finden und leben können, was sie im Innersten wirklich, wirklich wollen. Ihr seid bei „On the Way to New Work“ – heute mit Ella Lagé und Simon Berkler. [Hier](https://linktr.ee/onthewaytonewwork) findet ihr alle Links zum Podcast und unseren aktuellen Werbepartnern

One Hamilton City Council staffer is speaking in defence of food scrap bins. Whanganui District Council has made the decision to ditch food scrap bins for good- because they've been dubbed 'expensive' and 'unpopular'. Hamilton City Council's Tania Hermann argued that food scrap bins were good for households - as they helped reduce waste. "What we're aiming to do is stop rubbish going to landfills." LISTEN ABOVESee omnystudio.com/listener for privacy information.

From his time on the ground in the Israeli special forces to his bridge-building efforts as the National Public Diplomacy Unit Director, Gadi Ezra has dedicated his life to serving his country. From his time in Gaza in 2008 to his recent engagement after being called up from the reserves, Ezra is intimately familiar with war and how Hamas operates. Host Steven Shalowitz sits down with Ezra to discuss how Hamas operates, the mindset of Gaza, and how Israel should approach both combat and the hostage situation.

Charles Bronson does it again....this time as a Federal Agent on a train full of trouble...think Murder On The Orient Express only with less expensive cutlery.YAKIMA CANUTT works on this, his final picture as 2nd Unit Director.EnjoyIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

Send us a textGraham and Charles interview Grant McPhee, a Scottish film director, cinematographer and writer.Books: Two oral histories of Scottish indie music history - Hungry Beat: The Scottish Independent Pop Underground Movement (1977-1984), published by White Rabbit Books in 2022, and Postcards From Scotland: Scottish Independent Music 1983-1995 published by Omnibus Books in 2024.The latter was 2024's Book of the Year on Two Big Egos in a Small Car.Films: Grant has made two successful music documentaries on Scottish indie music history - Big Gold Dream (2015 - focusing on Scottish indie record labels Fast Product and Postcard Records), Teenage Superstars (2017 - focusing on the Glasgow independent music scene between 1982 and 1992).He won the prestigious audience choice award in 2015 for his film Big Gold Dream at the Edinburgh International Film Festival.He was Second Assistant Camera on the Hollywood movie World War Z and Digital Imaging Technician on Under The Skin,among many other film jobs.Last year saw Grant serving as 2nd Unit Director on two episodes of hit TV series Outlander.Keep in touch with Two Big Egos in a Small Car:X@2big_egosFacebook@twobigegos

PUBLIC VERSON. Filmmaker Justin Harding (CARVED, MAKING MONSTERS) joins Joe in the ArieScope Studio to discuss his career journey.  From honing his craft making short films and episodic television in Toronto for years… to traveling the world via the festival circuit… to why filmmaking for him is a family affair… to the challenges of working with VR technology… to how storyboarding can save the day on set… to working as a 2nd Unit Director on films for previous MOVIE CRYPT guests Eli Roth and Corin Hardy… to turning his award winning short film into his feature CARVED (now available on Hulu)…and how me made his mother's dream posthumously come true, Justin's story is full of inspiration! Also, Adam brings home two new fury family members with “Houdini” and “Raskin!”

This week's guest on the Bruce Lee Podcast is Brett Chan—a renowned director, stunt coordinator, fight choreographer, and 2nd Unit Director with over 40 years of martial arts experience and more importantly he is a friend of Shannon's! Brett is known for his Emmy-nominated work on Netflix's Wednesday and, of course, HBO's Warrior! He is known for his groundbreaking approach to action filmmaking, which has earned him multiple Emmy nominations and global acclaim.   Brett's career blends technical expertise with creative vision to craft stunning, story-driven fight sequences and dynamic stunts, which Shannon watched him do with extreme excellence on Warrior. His ability to bring emotion and character depth to action sequences sets him apart in the industry. Brett has become a true leader in his field. But more importantly, Brett brings joy, positive energy and fun to every project he is a part of and he always has the best snacks! It is with great pleasure that Shannon shares this conversation with you! Get ready to be inspired by Brett's dedication, creativity, and perspective on this week's episode of the Bruce Lee Podcast! Connect with Brett…. Website: www.brettchan.com  Instagram: @BChanWorld  

For the SNL Nerds’ 300th episode extravaganza, Darin and John interview SNL Film Unit Director Mike Diva! Find out all about his journey to the [...]

Welcome to my Podcast: THINK BIG with Michael Zellner sponsored by Sleepy ZZZ's Masonry. Joining me today for Episode 169 is Hollywood stuntman, Ian Eyre.   Ian is a screenwriter, director, producer, 2nd Unit Director, and a stunt performer/coordinator. He also owns Eyre Films, LLC a production company based here in Memphis. His career spans about 25 years since his college days at Georgia Tech. He has over 120 stunt credits and has been part of many TV and movie productions, including AMC's The Walking Dead, The Hunger Games: Mockingjay!

The 9th Southern Africa Malaria Research Conference is taking place from July 31 to August 2, 2024, at the Future Africa Campus, University of Pretoria. Organized by the South African Medical Research Council's (SAMRC) Malaria Research Group, this year's conference explores the theme "Malaria Elimination: A Moving Target?" - a timely topic that highlights the persistent challenges in achieving malaria eradication by 2030. Despite notable progress, cross-border malaria transmission remains a significant obstacle. To delve deeper into this critical issue, Elvis Presslin spoke to Professor Rajendra Maharaj, Unit Director of the Malaria Research Group at the South African Medical Research Council

SEASON 2 - EPISODE 96 - GEORGE COTTLE - STUNT COORDINATOR / 2ND UNIT DIRECTOR Stunt coordinator and 2nd unit director George Cottle (BARBIE, OPPENHEIMER, TENET) joins us on this episode of the Team Deakins Podcast. At 16, George spent a summer assisting stunt coordinator Greg Powell at Pinewood Studios, and his life has been dedicated to stunts ever since. George shares how he met the requirements for the British Stunt Register (while explaining what the organization actually does) and how the structure of the stunt department encourages the gradual but meaningful development of skills in its members. We also question George about his recent expansion into 2nd unit directing and learn how he coordinated the car chase in BARBIE using his daughter's walkie-talkies. We later learn how new technologies and advances in visual effects have assisted the stunt department in safely executing elaborate stunts, and George reflects on the department's modern pivot away from its historically machismo culture. George also reveals how he determines whether an actor can (or should) participate in a stunt, and we learn how he builds out his team when hired for a job. We also get George to reflect on the unique challenges of designing stunts for TENET amidst its many locales and its time-defying script. - This episode is sponsored by Aputure

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----more----   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----more----   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

In dieser Episode begrüßen wir Chehad Abdallah, Director & Grafik Designer aus Berlin. Che startete seine Karriere als Grafikdesigner. Durch seine Affinität und Verbindungen zum Rap und zu EASYdoesit entwickelte er sich zu einem der bekanntesten Musikvideo-Regisseure Deutschlands – u.a. für Künstler wie Haftbefehl, Marteria und Shirin David. Auch preisgekrönte Werbefilme für u.a. Audi, BMW (https://vimeo.com/767860167) und Adidas hat Chehad neben seinem Job als 2nd Unit Director für “Skylines” und “4 Blocks” auf der Rolle. Bekannt ist Che vor allem für seine experimentellen Ideen wie in dem Musikvideo zu “who” von Modeselektor (https://vimeo.com/318958385). In dieser Folge sprechen wir über seinen Werdegang, welcher mit einem Musikvideo für FAUL X WAD in Südafrika begann, seinen Ansatz in der kreativen Findungsphase, seine Eindrücke aus der Serienwelt und warum es eigentlich bei Spotify einen Song über ihn gibt. Viel Spaß mit der Folge! Hier geht es zu Che's ⁠Instagram⁠. Hier geht es zur ⁠Website von Chehad Abdallah. Im ⁠⁠⁠⁠⁠⁠FILMDUDES Podcast⁠⁠⁠⁠⁠⁠ geht es um die Filmbranche, digitales Marketing, Gründertum und Fotografie. Jede zweite Woche gibt es eine neue Folge mit inspirierenden Gästen aus der Branche. Wenn wir uns nicht mit dem Thema Podcast beschäftigen, dann sind wir eine ⁠⁠⁠⁠⁠⁠Filmproduktion⁠⁠⁠⁠⁠⁠ mit Fokus auf Werbefilm mit zwei Standorten in NRW. ⁠⁠⁠⁠⁠⁠Hier⁠⁠⁠⁠⁠⁠ findest du uns auf Instagram. Unsere Arbeit schaust du dir am besten auf ⁠⁠⁠⁠⁠⁠Vimeo⁠⁠⁠⁠⁠⁠ an. Wenn dir die Folge gefallen hat, dann kannst du uns sehr helfen, indem du eine Podcast-Bewertung abgibst und die Episode auf Instagram teilst oder weiterempfiehlst.

Award-winning Director James Bamford discusses with Jan Price his new action-thriller, "Air Force One Down," starring Katherine McNamara, Ian Bohen, and Anthony Michael Hall! Air Force One Down is available to rent or buy on digital! Watch the trailer here: https://youtu.be/0cWBaR8JW6M?si=o8Ym91HAQYMFRjQOIn AIR FORCE ONE DOWN, a rookie Secret Service agent (Katherine McNamara) on her first assignment on Air Force One faces the ultimate test when terrorists hijack the plane, intent on derailing a pivotal energy deal. With the President's (Ian Bohen) life on the line and a global crisis at stake, her bravery and skills are pushed to the limit in a relentless battle that could change the course of history. James Bamford began his career in the film industry back in 1990 as a stuntman for actor Michael Dudikoff on the Stephen J. Cannell series "COBRA." Throughout the years, as his career continued, he went on as a stunt double for David Duchovny on the award-winning Chris Carter series "The X-Files," and later as an actor, stunt coordinator, 2nd Unit Director, Director, and finally Producing Director on over 150 other television series and feature films in the course of the last 30 years. Hosted on Acast. See acast.com/privacy for more information.

Without question one of the greatest action films of our time. Arnie is back and this time he's fighting creatures from other galaxies. CRAIG BAXLEY is at the helm as stunt coordinator and 2nd Unit Director and what a team he puts together.Apart from JOEL KRAMER and PETER KENT on doubling duty we have some big names mingling with big names from the Mexican stunt industry.Lets take a look and see what makes it so goodEnjoyIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

Scott Leva is a Stunt Coordinator, Stuntman, 2nd Unit Director, Director & Actor, Scott Leva has over 28 years experience and numerous Film and Television credits to his name. Scott began his career as a champion gymnast, who moved to New York in 1977 to try his hand at acting. He is most famously known as Marvel's Official Spiderman of the 1980s and for his appearances in the last Official Star Trek film featuring the original cast, Star Trek the Next Generation and Star Trek Deep Space Nine. He was featured as Spiderman on the first official Marvel Comic Book with a photographic cover.

Sam Hargrave is a stuntman, stunt coordinator, and director known for his work on the Avengers series and Extraction. We talk about his indie roots, how he performed stunts, and ultimately how he became a director for one of the biggest film franchises in the world. You can see his IMDB here: https://www.imdb.com/name/nm1092087/ Edited by Milan Swagers Action Talks on YouTube: https://www.youtube.com/playlist?list=PLKvT1cdaRn78tV4vF78InER7GhxCKaxU5 Action Talks on Spotify: https://open.spotify.com/show/7D289YtkiQIkSVhNLDX8O2 Action Talks on iTunes: https://podcasts.apple.com/us/podcast/action-talks-with-eric-jacobus/id1686666319 Telegram: t.me/ericjacobus My studio SuperAlloy: www.superalloyinteractive.com Blog: www.ericjacobus.com Timestamps: 0:01:19 Introduction0:03:14 International responses to Extraction0:06:48 Origins of Directing0:11:48 Getting into martial arts0:13:24 Growing up on a farm0:18:10 Making his first film0:22:23 Discovering stunts0:29:02 Breaking into stunts0:32:36 East vs. West0:40:36 Stunt performers who understand filmmaking0:44:18 Different action filmmaking styles0:57:16 Autistic action in The Accountant (2016)1:05:35 Preparing action sequences for succes1:12:02 Getting 2nd Unit Director on the Accountant (2016)1:14:30 The Hunger Games: Catching Fire (2013)1:19:35 Moving from indie filmmaking to Hollywood1:27:30 Extraction (2020)1:34:10 Actors doing their own action1:40:58 How Sam sees it: Police Story (1985) Mall Fight1:44:54 How Sam sees it: The Raid (2011)1:51:00 How Sam sees it: Captain America: The Winter Soldier (2014)1:55:25 Fatherhood2:03:01 Closing

Tim welcomes Producer, Editor, Director, and Author Steve Starkey to Its Radio with TVs Tim Stack! Together they take you behind the curtain on some of the biggest films ever made! Steve Starkey is a film producer and second-unit director widely associated with Robert Zemeckis. He was an assistant film editor for The Empire Strikes Back and Return of the Jedi. And he was the producer on one of our favorite movies of all time - - - FORREST GUMP! Steve was an associate producer for the Back to the Future trilogy. Other film credits include Contact, Who Framed Rodger Rabbit, Cast Away, (Tim plays the volleyball), and Death Becomes Her... He has won an Academy Award for Best Picture and the Producers Guild of America Award for Best Theatrical Motion Picture. Steve's book, "Breaking & Entering" is a book about taking risks, being resourceful, working hard, working harder, and pursuing a dream. This is a book for anyone who ever sat through a movie and wondered how in the world to get a job as a film producer. PICK UP YOUR COPY HERE: https://bit.ly/449Hg55 Host - Tim Stack Executive Producer - Jeremiah D. Higgins Senior Sound Engineer - Richard Dugan Tim Stack on Twiter @TvsTimStack Jeremiah D Higgins - https://linktr.ee/jeremiahdhiggins 
www.thejeremiahshow.com

Meticulously crafted plans. The essence of decisiveness. The inevitability of change. Nicole Ayers oversees a staggering billion-dollar enterprise comprised of household staples like Lucky Charms, Trix, Golden Grahams, and Coco Puffs. As a key force behind the cereal empire at General Mills, Nicole delves into the makeup and psychology of these beloved brands found in most pantries across America. On this episode of The Courageous Podcast, Nicole exposes her winning formula for surmounting challenges with her team that drive the business forward. Nicole also shares with Ryan what it's like to be a black woman in the boardroom today, delving into a few ways she is looking to move the ball forward in the arena of diversity and inclusion at General Mills and beyond. Finally, Nicole shares with Ryan her unique path from working in money to pivoting into marketing and how that has shown up as a competitive advantage for her.

Scott Rogers, Stunt Coordinator and 2nd Unit Director, joins Susan and Ben to discuss John Wick 4, a 2023 neo-noir action thriller. Scott shares a stunt coordinator's responsibilities, how he designed and directed the Arc de Triomphe sequence, how Director Chad Stahelski's background in stunts elevates the John Wick franchise, and shooting an historic driving scene with Keanu Reeves. Scott plays our “Wicked Stunts” game. Stephen Dunlevy, Stunt Coordinator, joins Susan and Ben to share a stunt coordinator's responsibilities, what it meant to watch The Matrix shoot while bartending as an 18-year-old in Sydney to then work as a stunt coordinator on The Matrix Resurrections, how to remain safe performing high caliber stunts throughout John Wick, and how the different John Wick 4 stunt teams worked together to create the varied action sequences. Stephen plays our “Keanu or Not Keanu” game. Follow Scott on Instagram @gostunts or IMDb and follow Stephen on Instagram @stephendunlevy or IMDb. Watch John Wick 4 now on digital and on 4K Ultra HD, Blu-Ray and DVD June 13. Find out more about the John Wick franchise at johnwick.movie. Rate and review on Apple Podcasts to help us reach more listeners. Find out about our guests and upcoming events by following us at Facebook, Twitter, or Instagram, contribute to our Patreon, or shop at lifeinthecredits.com. Life in Our Credits Hosts: Susan Swarner and Ben Blohm Executive Producer: Michelle Levin Logo Art: Melissa Durkin Music Composer and Performer: Steve Trowbridge

In this episode of The Directors' Take podcast, your hosts Oz Arshad and Marcus Anthony Thomas are joined by Director Em Gilbertson, a recent National Film and Television School graduate who is currently making their way as a 2nd Unit Director for TV, most recently working on Malpractice which is directed by Philip Barantini and stars Niamh Algar. So we thought we'd bring them on for a chat to explain exactly what 2nd Unit Directing is! This chat covers:   -How they got into the film industry -Entering the NFTS as someone who is from a working class background. -The process of making their graduation film Requiem and working with Bella Ramsey. -What is 2nd Unit Directing? -What are the roles and responsibilities of a 2nd Unit Director? -How do you make sure you are making the same show? -How do you work with high level cast and crew?   Em J. Gilbertson (they/them) is a writer/director from Liverpool, working across film, television and music videos. Em is represented by the Independent Talent Group and currently working towards their first feature film. Their previous work has explored gender roles and the pressure to assimilate into dangerous environments but new projects are exploring non-binary identities and freedom. Em likes to draw upon personal experience to create complicated queer characters that examine the human condition. They have a passion for creating work that champions dance, spoken word and music whilst featuring it in innovative and unorthodox ways. ​ A recent graduate of the prestigious NFTS' Directing Fiction course and a Channel 4 Scholar. Their graduation film: Requiem starring Bella Ramsey (The Last of Us and Game of Thrones)  was the Winner of Best Postgraduate Drama at the Royal Television Society Student Awards 2022 and has been selected at multiple BAFTA qualifying film festivals. Since graduating, Em has done some second unit directing on BBC's Silent Witness and ITV's Malpractice. Previously Em shadowed BAFTA nominated Phil Barantini and the legendary Mary Harron. Em has also directed multiple music videos that have featured on MTV and in Kerrang!  ​ Em's previous work: Crashing Waves saw a lot of success on the festival circuit and was Broadcast on Channel 4 as part of Series 5 of Random Acts. The film was nominated for the Iris Prize, gained a Vimeo Staff Pick and was an official selection for #fivefilmsforfreedom presented by the British Council and BFI Flare in 2019.   Nuggets of the week Marcus: Artist - Miles Johnston Oz:  Creativity, Inc: an inspiring look at how creativity can - and should - be harnessed for business success by the founder of Pixar by Ed Catmull Em: Veneno Credits Music by Oliver Wegmüller   Socials Instagram: @TheDirectorsTakePodcast Twitter: @DirectorsTake Em's website: https://www.emmajgilbertson.com/   If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com.

Welkom allemaal bij een nieuwe aflevering van onze podcast met de missie de online automotive beter maken. Vandaag gaan we dat doen in het engels, want we hebben namelijk een gast uit de UK Andrew Shields van INDICATA. We gaan het hebben over de gebruikte automarkt, over de elektrische automarkt zowel nieuw als gebruikt zoals Tesla dat heeft gedaan. En we gaan het hebben over de omloopsnelheid van auto's, hoe je dat met data kan zien en hoe dat beter kan.   About Andrew Andrew is 56 en zit meer dan 30 jaar in de auto-industrie. Hij begon jaren geleden te werken bij een autofabrikant. Hij werkte een tijdje voor een online retailer, die groeide van 300 auto's naar 1000 auto's per maand. Dat was in 2007-2008. Daarna heeft hij zijn eigen adviesbureau opgezet, wat heel leerrijk was, waarbij hij keek naar de botsende culturen tussen het Nederlandse en het Zweedse bedrijf, en naar de uitdagingen om het bedrijf vooruit te helpen. Hij raakte snel betrokken met de financiële kant van het bedrijf en echt interessante projecten, en dat deed hem besluiten om in de consulting te blijven. Andrew is verantwoordelijk voor alle wereldwijde activiteiten van INDICATA. Op dit moment is INDICATA actief in 13 Europese bedrijven. Hij zorgt voor alle verkoopteams in alle landen. Andrew is ook verantwoordelijk voor de schraapactiviteiten, dus ze hebben 2300 robots die elke dag 11 miljoen auto's schrapen, met behulp van A.I. om het te analyseren en te begrijpen, prijzen en markttrends samen te stellen, enz.   Recognize the details De auto's kunnen dezelfde details hebben, zoals hetzelfde kenteken of dezelfde modelleeftijd. Hoe kunnen de onderdelen worden herkend van elkaar na het schrapen? Het bedrijf heeft meer dan 3 miljoen euro uitgegeven aan een A.I. systeem. Daarmee kunnen ze het modeljaar van het voertuig herkennen aan de vorm van de lampen of de positie van de mistlampen. Dat gaat tot in die granulaire details, waardoor ze de gegevens voortdurend correct kunnen krijgen.   Slot Dat was het, een nieuwe podcast samen met Andrew Shields van INDICATA. INDICATA maakt deel uit van de Autorola Groep en zijn wereldwijd marktleider op het gebied van realtime marktdata. Met deze data kunnen autodealers op het gebied van occasionstrategie, marketing, prijsbeleid en kapitaaloptimalisatie een stap voor blijven. Andrew is al meer dan 30 jaren actief geweest in de automotive wereld en heeft ruim kennis en ervaring die hij uitgebreid met ons deelt. Als men meer gegevens wil hebben of een gesprek met Andrew wil, kan dat rechtstreeks via LinkedIn. Als je naar indicata.com of indicata.nl gaat, zijn er nog wat meer contactgegevens. Dit was het voor vandaag, natuurlijk hebben wij volgende week weer een nieuwe podcast met dezelfde missie, samen de online automotive beter maken.   Deze Podcast wordt mede mogelijk gemaakt door: Marktplaats, 2dehands.be, UCC, Calldrip, CARMEN Automotive BDC, Findio en Vinacles Marktplaats is met ruim 7.3 miljoen unieke bezoekers per maand al jaren een van de populairste sites van Nederland. Per dag worden rond 350.000 nieuwe advertenties op de site geplaatst. Particuliere en zakelijke aanbieders zorgen voor een groot en gevarieerd tweedehands en nieuw aanbod. Marktplaats is de plaats met de hoogste kans om een betrouwbare tweedehandse auto succesvol te (ver)kopen tegen een goede prijs. Waarom kiezen voor Calldrip? Calldrip is een succesvol leadopvolgings systeem dat zijn oorsprong heeft in de Verenigde Staten en dankzij #DCDW nu ook in Nederland en België beschikbaar is. Het systeem is vooral geschikt voor importeurs en grote dealerholdings die ervoor kiezen de leadopvolging bij de verkopers te leggen. Calldrip is de ideale tool om verkopers te ondersteunen bij leadopvolging en tot maximale conversie te komen. Waarom kiezen voor UCC? UCC: Steeds meer collega's gebruiken Used Car Controller. Taxeren, calculeren, publiceren of auto's verhandelen met je persoonlijke handelsplatform? Met 1 abonnement geeft Used Car Controller je controle over alle kritische gebruikte auto processen. Zo maakt Used Car Controller je tot de beste in je vak! Waarom samenwerken met Findio voor auto? Als u kiest voor Findio voor auto, kiest u voor een partner voor de lange termijn. Wij verzekeren u van: online retail oplossingen – ruime kennis en ervaring op het gebied van automotive – al uw krediet onder één dak – Ondersteuning van uw verkopers – Remarketing tools – digitale oplossingen voor dealermanagementsystemen van Autodata, VWE Automotive, Used Car Controller of Autosoft om uw auto's gemakkelijk te adverteren en te beheren op meerdere autoverkoop sites. Waarom kiezen voor Vinacles? Vinacles biedt verschillende diensten met als doel uw automotive gerelateerde werkprocessen zo eenvoudig en overzichtelijk mogelijk te maken. Door middel van de verschillende applicaties en diensten faciliteert Vinacles in de complete optimalisatie van uw bedrijfsproces op één platform. Denk hierbij aan Garage en Fleet-managementsystemen, RDW-diensten, Occasion remarketing, Voertuigdata en Import- en export.

An exciting episode of BEHIND THE LENS thanks to documentary director/producer CHRISTINE YOO and director NICOLAS HARVARD. First up, take a listen to my exclusive interview with director NICOLAS HARVARD talking about his feature directorial debut – THE LOCKSMITH. Now, Nicolas is no stranger to film and television having long worked as a 1st Assistant Director and 2nd Unit Director on shows like "Yellowstone" and films like "Wind River", "Chappaquiddick", "The Spectacular Now", and "Rudderless". (Let's face it. You can't do much better today then work and learn from Taylor Sheridan.) But now he steps into the saddle as director and tackles elements of filmmaking he hasn't had to concern himself with before, such as casting, editing and music. It's a terrific conversation as Nicolas gets candid about this experience. And then, director/producer CHRISTINE YOO is live talking about her documentary 26.2 TO LIFE which screened at Santa Barbara International Film Festival, among others. Talk about a powerful, inspiring, and uplifting film! Christine goes behind the walls and barbed wire of San Quentin to show us one of the incredible rehabilitative programs offered to prisoners – The 1000 Mile Club. Honing in on three main inmates with 50+year sentences (although we hear from many more), we learn about the program from Coach Franklin Ruona and then follow Rahsaan Thomas, Tommy Lee Wickerd, and Markelle "The Gazelle" Taylor on their journey to complete a 26.2 mile marathon within the prison while having their eyes on the prize of possible parole and life outside. We get to know these men and you will care about them by film's end. Metaphoric when viewing training for a marathon as compared to their individual journeys at rehab, self-improvement, and redemption, Christine has done an amazing job. http://eliasentertainmentnetwork.com

Dual challenges to the Illumina/GRAIL merger on both sides of the Atlantic underscore the differences between US and European approaches to mergers. A group of experts featuring a veteran of DG Comp and an FTC alum walk us through the procedural and litigation intricacies, what happened on both sides of the pond, and key lessons for practitioners about proposed behavioral fixes to embattled mergers. With special guests: Paul Csiszar, Unit Director, DG Comp and Jennifer Milici, Partner, WilmerHale Hosted by: Anant Raut and Bill Batchelor

Damien began in gymnastics and tumbling, and it was one of his YouTube videos that landed him his first job as a stunt performer on Hellboy II: The Golden Army. Since then Damien has built up an impressive list of credits including, Kick-Ass, Captain America, Kingsman, Assassin's Creed and Bond, he is now an established 2nd Unit Director. Damien has also written and directed his own movie and in this podcast episode he talks about this new venture, his journey to becoming performer and some of the stunts he has performed. We hope you enjoy.  Released Thursday 17th November 2022 (recorded December 2021)Running Time: 45 minutes

Support the show at patreon.com/topicnetwork and ko-fi.com/topicnetwork and help us make more of what you love!

Interview with producer/writer Sharlene Royer, and director Lauro Chartrand Delvalle. “Michael is a investigator Journalist who tries to warn the world about the existence of an alien race that will destroy human existence. He has vision and see things that other people don't see.” Director Biography - Lauro Chartrand Delvalle Lauro Chartrand-DelValle has three decades of experience in the film industry starting out as a stunt performer and coordinator/2nd Unit Director, now turned-director/writer/ producer. Lauro has directed action, dramas, thrillers, horror and recently one of his favorite genres, westerns. He is currently in preproduction on Mexican Radio, a hilarious action/comedy starring Russell Peters on which he is writer/ director/producer. He also has a gripping Western/Thriller entitled Crimson Creek in development. Film playing on the Film Festival Streaming service later this month. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Roger Christian returns to the podcast to talk about his work on the original trilogy, including Star Wars, Return of the Jedi, as well as The Phantom Menace and his directorial debut, Black Angel. It is always such an honor to get to talk to Mr. Christian, and this episode we were able to dive into his much-anticipated documentary, Galaxy Built on Hope. I hope you enjoy this conversation! If you want to catch the first part of our conversation, head all the way back to Episode 4 (woah), where we initially dove into his career and the fantastic props and sets he helped to design: https://talkingbay94.libsyn.com/episode-4-roger-christian For more information about Galaxy Built on Hope, and to order a copy for yourself, head to: galaxybuiltonhope.com And if you want even more, be sure to pick up the latest issue of Star Wars Insider #211, where I interviewed Roger for the magazine! If you can leave a 5-star review of the show right here on your favorite podcast app, or on Podchaser: podchaser.com/TalkingBay94 Transcripts of previous episodes are now available over at talkingbay94.com. For more behind-the-scenes stuff, as well as a link to some of our other in-depth interviews, check out: Website: www.TalkingBay94.com Twitter: www.twitter.com/TalkingBay94 Instagram: www.instagram.com/TalkingBay94

Yan Dron came to the United States from France to build a successful career as a professional Stuntman, Stunt-Coordinator and 2nd Unit Director. A winner of the Taurus World Stunt Award, Yan has amazing stories to tell about his career. 

Act One Podcast - Episode 30 - Interview with Director/Producer, Arthur Anderson.Arthur Anderson began his film career while attending the University of South Carolina. Because of his background in live radio comedy sketches, local advertising agencies hired him to develop comedic radio and television commercials to promote their clients' products. In his junior year at USC, Arthur opened a successful commercial production company, Riaan Productions, to meet the increasing demand for commercials from the agencies. For two years he served as Producer/Writer/Director of radio and television commercials. After graduating, Arthur sold his interest in the company and began working on feature films in New York. He became a member of the Directors Guild of America, moved to Los Angeles, and worked on numerous television shows and feature films as an Assistant Director.THE NEW LASSIE tv series was his first venue as a television Writer/Director. In 1996 he joined John Woo as his 1st Assistant Director on FACE/OFF. On MISSION IMPOSSIBLE 2, Action Writing was added to his duties. Since then, Arthur has been John Woo's Co-Producer and Action Writer on WINDTALKERS, THE HOSTAGE and PAYCHECK. In addition, Arthur has also served as a 2nd Unit Director on several of the above films as well as on Woo's Fox TV Pilot, LOST IN SPACE. Arthur Co-produced MISSION IMPOSSIBLE 3 for Paramount Pictures, as well as directed the East Coast 2nd Unit of the film. He also Directed the 2nd Unit on the "Starship Kelvin" in the 2009 feature film, STAR TREK.More recently, Arthur directed a TV comedy pilot presentation, STUDIO CITY, and has directed numerous episodes of the hit TV series PRETTY LITTLE LIARS. He is currently in pre-production with John Woo on his next film.Arthur's prayer ministry website is https://www.myprayerwarrior.com.The Act One Podcast provides insight and inspiration on the business and craft of Hollywood from a Christian perspective.Support the show

Chris Howell is an "Old School" stuntman who has been there and done that many, many times. He's also worked as a Stunt Coordinator and 2nd Unit Director on both films and television shows. And he is a wonderful story teller!

On today's episode of The Daily Scoop Podcast, a new interim director for the White House Office of Science and Technology Policy. New data from the Equal Employment Opportunity Commission shows the federal workforce leads the civilian labor force in some areas, but lags in other areas. Jeffrey Neal, former chief human capital officer at the Department of Homeland Security, explains his takeaways from the data. The Senate will vote on a continuing resolution this week that will keep the government open through the middle of March. Robert Shea, national managing principal for public policy at Grant Thornton and former associate director for the Office of Management and Budget, discusses the impact on government operations six months into the current fiscal year without an approved budget and without a budget proposal for the next fiscal year. Eight new commercial solutions are in use across the Defense Department thanks to the Defense Innovation Unit. DIU has now facilitated 35 commercial solutions across DOD. DIU Director Michael Brown tells Francis what is most significant from FY2021. The Daily Scoop Podcast is available every weekday afternoon. If you want to hear more of the latest from Washington, subscribe to The Daily Scoop Podcast on Apple Podcasts, Google Podcasts, Spotify and Stitcher. And if you like what you hear, please let us know in the comments.

Please join us Right Now, February 07, 2022 at 11:00AM PST as Writer, Producer Levy Lee Simon and Actor Director Justin Lord, Second Unit Director, Assistant Director Nandi Bowe and CEO & Founder, Bell Hall Talent & Literary Agency LyNea Bell joins host Ron Brewington on "The Actor's Choice."

Welcome back to the 11th Hour Podcast with Pastor Mike. This week we have special guest Kedrick Howse, the Unit Director for the Boys & Girls Club of Rutherford County! Kedrick has a real passion for the Community and has a really cool story that led him to the work he is doing. Kedrick is a staple in this community and doing a lot to shape the youth with the work he is doing at the Boys & Girls Club! Great conversation and a great example of what we are about here at the 11th Hour!

Kevin Baillie's career at the forefront of visual effects and screen storytelling began in 1999 and is now part of industry folklore. As an 18-year old high school senior, he and his friend created a short film involving a futuristic speeder race through his school, primarily to attract the attention of Star Wars producer Rick McCallum. The short was hugely successful and the tactic worked with Kevin soon finding himself working alongside George Lucas in the visualisation department on STAR WARS: Episode One. Since then, Kevin has continued to blaze a trail in innovating the storytelling process. He formed a long-term creative collaboration with Robert Zemeckis, supervising the visual effects on films such as FLIGHT, THE WALK and THE WITCHES. Recently, this has started to incorporate increasing amounts of real-time and virtual production techniques into the workflows of his projects. In this episode Kevin reflects on the evolution of these creative tools, the benefits they offer to the storytelling process and explains why "virtual production will allow filmmakers to tell stories that would otherwise be untellable". About Kevin Baillie Kevin's VFX career started at age 18 when he when he joined Lucasfilm's JAK Films as a pre-visualization artist on Star Wars: Episode I. In the following 25 years, Kevin has blazed a bright path, helming VFX at The Orphanage on features including Pirates of the Caribbean: At World's End, Night at the Museum, Superman Returns, Harry Potter and the Goblet of Fire and Hellboy, and supervising cutting-edge motion capture feature films at ImageMovers Digital. In 2010, he co-founded the groundbreaking VFX studio Atomic Fiction, whose outstanding work on films such as The Walk, Allied, and Flight garnered awards recognition and critical acclaim. In 2018 Atomic Fiction, having grown to over 300 employees in 2 countries, was acquired by Deluxe Entertainment. Kevin's VFX Supervisor credits also include two Star Trek movies, two Transformers features, Welcome to Marwen and The Witches. Most recently, Kevin acted as VFX Supervisor and 2nd Unit Director on Disney's live-action Pinocchio - another title in his long collaboration with Director Robert Zemeckis. Kevin also founded the venture-funded cloud rendering technology company, Conductor Technologies, is active with the Academy of Motion Pictures Arts and Sciences, and is an active member of the Directors Guild of America. This episode is presented in partnership with Epic Games and Unreal Engine. More at www.futureoffilm.live

Russell Solberg has performed stunts for some of Hollywood's biggest stars, including John Schnyder on "The Dukes of Hazzard"; Fred Dryer on "HUNTER" and John Voight on the feature film, "Run Away Train". He is a winner of the WORLD STUNT AWARD. And in addition to being a Stuntman; Stunt Coordinator; 2nd Unit Director, Russell has also worked as a 1st Unit Director, directing both episodic television shows and feature films.  On this episode of STUNT STORIES Russell shares with us some of his amazing stories from his incredible career that has lasted more than 40 years!

Today on the podcast, we're starting a new series to celebrate four of our Community Partners who have been with us since Lubbock Area United Way was founded in 1946. It's the perfect way to finish out our 75th Anniversary. For this episode, we're catching up with Tom Vermillion and Rachel Elbert at the Boys and Girls Club of Lubbock. Tom is the organization's Executive Director, and Rachel is the Unit Director for the J.T. & Margaret Talkington Club. You can learn more about the Boys and Girls Club of Lubbock and how to get involved at https://lubbockbgc.org/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/lubbockareaunitedway/support

Julia is joined by Nathan Ward, business unit director at Kantar. As head of the Usage Foods service at Kantar, Nathan is laser-focused on understanding the ‘why' behind shopper trends. He talks to Julia about which lockdown trends are proving sticky, how the ‘big return to work' is affecting shopping and eating habits and what to expect from Christmas at a time when shoppers are more polarised economically than they've been in a long time. Plus, they discuss what's been driving the rise of plant-based, how ‘less but better' is playing out in the meat category and how food price inflation is set to shape the power dynamics in the UK grocery retail sector. Articles discussed by Nathan and Julia: Britons cut meat-eating by 17%, but must double that to hit target | The Guardian Frozen turkeys in high demand as Christmas shopping starts early | The Guardian Kraft Heinz says people must get used to higher food prices | BBC News Links to the big food and grocery retail stories this week: PM appoints former Tesco boss Dave Lewis as supply chain adviser | City AM Felixstowe port congestion slows down supermarket imports | The Grocer Brexit: Most NI checks on British goods to be scrapped | BBC News Britain's chicken king says the 20-year binge on cheap food is over | Reuters Aldi knocks 30% off prices for ‘packaging imperfections' in food waste bid | The Grocer Just Eat Takeaway.com breaks through one billion orders mark | The Times Shoppers make fewer supermarket trips to save petrol amid fuel crisis | The Independent Soil Association Certification joins Amazon climate initiative | The Grocer Gary Barlow launches organic wine range from Spain | The Drinks Business   Learn more about the show and get in touch at thepicklist.co.uk If you enjoyed this episode, please rate, subscribe and leave a review.

Still hanging with Excellence! Today's focus is on Marty Eli Schwartz. Marty is an American Film Director, Producer, 1st Assistant Director, 2nd Unit Director and so much more. Marty has worked on notable films such as Night At The Museum, The Karate Kid and many more. Check out Marty's show and you will see why he's our pick for the week

Video game month continues as Not A Bomb podcast discusses 2018's action/adventure - Tomb Raider. To assist Troy and Brad, as well as bring an ungodly amount of knowledge about some random 2nd Unit Director, Not A Bomb welcomes back the amazing Jose! Seriously, this guy knows every detail about every film……………he is a walking Wikipedia of film facts!Tomb Raider is based on the 2013 video game of the same name and is the third installment in the Tomb Raider film series. We all remember those Angelina Jolie films, right? Listen as Jose and Troy profess their love for Cradle of Life, while Brad makes bad joke after bad joke. Tomb Raider is directed by Roar Uthaug and stars Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu, and Kristin Scott Thomas. If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy, Jose

Did you know? The core product that Little Giant still offers today was originally conceived in 1926 when plumber R.M. "Doc" Wolfe had an issue with the currently available pumps failing at a frustrating rate. As the company celebrates its 80th anniversary, Little Giant's Rob McConnell joins PHC News Editor Steve Smith to discuss this fascinating history and how the company's products have evolved over time. Plus — hear the latest developments on Little Giant's newest products and find out everything new and exciting in store for the company's milestone year! 

Streaming Evilive Show 72+73: Review - Glenn Danzig's “Death in the House of Vampires” has been watched and now it is time to discuss with my special guest Anthony Arrigo who is not only a writer for Dread Central but also WORKED on Death Rider as a 2nd Unit Director also known as a 2nd AD. WARNING: THIS SHOW WILL CONTAIN SPOILERS FOR DEATH RIDER AND THE HOUSE OF VAMPIRES Death Rider in the House of Vampires - Written and Directed by Glenn Danzig is about: “In the Wild West, the mysterious Death Rider enters a dangerous Vampire Sanctuary where the price of admission is one female virgin.” Misfits fans are the Star Wars nerds of the music world... Filmmaker and Podcaster Jeff Frumess revels in all things Misfits, Samhain, Danzig as he scrutinizes over the history and minutiae of Glenn Danzig, Jerry Only, Doyle Wolfgang Von Frankenstein, and other's artistic endeavors as well as all things adjacent. PLEASE NOTE: This podcast IS SOURCED from the UNEDITED audio created from video live podcast streams from the Frumess channel on youtube and comes from the Streaming eviLIVE Show. Something that will change in the future. __________________________________________________________ JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! https://www.patreon.com/Frumess

Director M. Night Shyamalan collaborated with his daughter, filmmaker Ishana Shyamalan, on his latest film, "Old." After M. Night Shyamalan released a video highlighting her work as "Old" second unit director, the ReelBlend guys asked her to sit down and discuss her work on the Apple TV+ series "Servant," working with her famous dad and carving her own path in cinema following her recent graduation from NYU film school.Support this podcast at — https://redcircle.com/reelblend/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Stress and anxiety can wreak havoc on your overall health. Michelle Gardner, Unit Director of Behavioral Health, discuses how to manage stress and anxiety.

Director, Stunt Coordinator, BRETT CHAN joins us to talk about his first Emmy nomination for Outstanding Stunt Coordination for WARRIOR! Brett breaks down his process for designing the Bruce Lee inspired world of Warrior and talks about pushing the action to the limit! We also get into the commitment from his team and the cast to earn the show a third season and hopefully more!  BRETT'S INSTAGRAM: @bchanworld SUPPORT THE KUNG FU DRIVE-IN PODCAST WITH A KO-FI: https://ko-fi.com/kungfudrivein We discuss, debate and dissect kung fu movies and martial arts cinema & tv, past, present, and future!  SPONSORS: www.tinboxsolutions.com www.wearenotgoodpeople.com   OUTRO MUSIC: http://youtu.be/5zeRoGFft2s  by Justin H @KingofKungFuAMP

Trent and Parth celebrate their 50th episode spectacular with another swell interview. But really this was one of our favorites. Now the question is, will we get to 100?

Join Koura Linda in Part Two of a bonus panel discussion about Space Dream Productions' first film, "Names on the Wall," which actually just wrapped its festival run back in April at the 2021 NOVA Fest and Capital Film Market. Following our full cast & crew panel after our opening night screening, we had a lot of audience questions that we were not able to get to due to running out of time. Thanks to the virtual nature of the festival, as well as the support of NOVA Festival Director Mr. Fernando Mico, we were able to return with Co-Writer/Producer/Director Koura Linda, 2nd Unit Director & Stunt Choreographer Melissa Tracy, and Associate Producer/Editor/All Things Extraordinary Spaceship, for a follow-up panel following our second screening as part of a short film block midweek at the festival where we were able to have a little more behind-the-scenes and take up the additional questions and get them answered. If you missed the last 2 episodes we recommend checking those out first! While the full panel was recorded and is available on the FAME LLC YouTube channel, and also on our website under the "Names on the Wall" tab below "Films", we wanted to also share the content as podcast episodes, since we know it is sometimes easier to stream a podcast than sit and watch a YouTube video (especially as these panels ran for over an hour!). Moderated by NOVA Festival Director, Mr. Fernando Mico, this panel discusses details of "Names on the Wall", so we suggest watching it first if you have not already seen it! You can watch it on Amazon Prime Video here. If you can not access it for some reason, please message us and we will send you a private screening link so you can watch before hearing all these spoilers! If you want to ask a question or just want to say hello, write to filmmakingactually@gmail.com! And check out spacedreamfilms.com for the latest projects that Koura and the Space Dream team is working on. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/filmmaking-actually/message Support this podcast: https://anchor.fm/filmmaking-actually/support

Join Koura Linda in Part One of a bonus panel discussion about Space Dream Productions' first film, "Names on the Wall," which actually just wrapped its festival run back in April at the 2021 NOVA Fest and Capital Film Market. Following our full cast & crew panel after our opening night screening, we had a lot of audience questions that we were not able to get to due to running out of time. Thanks to the virtual nature of the festival, as well as the support of NOVA Festival Director Mr. Fernando Mico, we were able to return with Co-Writer/Producer/Director Koura Linda, 2nd Unit Director & Stunt Choreographer Melissa Tracy, and Associate Producer/Editor/All Things Extraordinary Spaceship, for a follow-up panel following our second screening as part of a short film block midweek at the festival where we were able to have a little more behind-the-scenes and take up the additional questions and get them answered. If you missed the last 2 episodes we recommend checking those out first! While the full panel was recorded and is available on the FAME LLC YouTube channel, and also on our website under the "Names on the Wall" tab below "Films", we wanted to also share the content as podcast episodes, since we know it is sometimes easier to stream a podcast than sit and watch a YouTube video. (Especially since these panels ran for over an hour!) Moderated by NOVA Festival Director, Mr. Fernando Mico, this panel discusses details of "Names on the Wall", so we suggest watching it first if you have not already seen it! You can watch it on Amazon Prime Video here. If you can not access it for some reason, please message us and we will send you a private screening link so you can watch before hearing all these spoilers! If you want to ask a question or just want to say hello, write to filmmakingactually@gmail.com! And check out spacedreamfilms.com for the latest projects that Koura and the Space Dream team is working on. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/filmmaking-actually/message Support this podcast: https://anchor.fm/filmmaking-actually/support

This week I sit down with Dave Macomber, who is a second unit director, stunt coordinator, fight coordinator, and more. He most recent project was The Falcon and The Winter Soldier. We talk about what it means to work in stunts in film and TV, how he got into the industry, and what it was like, working on the set of The Falcon and the Winter Soldier. Want some amazing Coast Coffee for yourself? Head on over to coastcoffeeroasters.com and use the code 'MOVIESANDMOCHAS20' for 20% off your first order!  Want to submit questions, facts, or movie suggestions? Email us at moviesandmochas20@gmail.com and check us out on Facebook, Instagram, and Twitter! Just search for Movies and Mochas Podcast!  Music: La Pompe Du Trompe by Shane Ivers - https://www.silvermansound.com --- Support this podcast: https://anchor.fm/movies-and-mochas/support

In this interview I'm joined by Matt Spaiser, Jonathan Sothcott and surprise guest five-time James Bond director and 2nd Unit Director and Editor on Gold, John Glen. John talks about working with Maurice Binder, with Roger Moore and some of the hurdles he had to overcome filming in the mines of South Africa. We also talk a little Spielberg (inadvertently) and of course a little Bond. After 30 minutes of Talk with John Glen I give an important book update, some chart positions, shout outs and listener mail.   https://fromtailorswithlove.co.uk/

For this episode, number 24 (April 2021), I have a conversation with director Peter Macdonald. Peter was in fine fettle and was happy to answer all and any questions I had about his career as a cameraman, a cinematographer, a second unit director and a director. I would love to talk with Peter some more as it’s clear he has so many more stories about working with some of the great actors and directors of cinema. Including Attenborough, Guinness, Harris, Forman, Borman, Henson, Donner, Lucas, Kershner, Fossie, Bowie, Hackman, Minnelli, Striesand, Burton. Just incredible really.Check out Peter's extensive list of work on IMDB - https://www.imdb.com/name/nm0003423/Also a nice article about Peter here on the British Cinematrorapher site -  https://britishcinematographer.co.uk/clapperboard-peter-macdonald-bsc-dga/Support the show (https://www.patreon.com/jamiebenning)

Show Notes This week, we review and analyze Mobile Suit Gundam ZZ (機動戦士ガンダムΖΖ) episode 33 - "Afternoon in Dublin” (ダブリンの午後) discuss our first impressions, and provide commentary and research on this episode's Animation Director, Kanayama Akihiro (金山明博), and Unit Director, Imanishi Takashi (今西隆志). Pages about Kanayama Akihiro (金山明博) on Japanese Wikipedia, Anime News Network (ANN), and IMDB (the IMDB page is incomplete). ANN article about Kanayama attending Japan Expo USA 2014, and an interview with Kanayama from the expo itself. About a solo exhibition of Kanayama's work in 2017. About JAniCA (Japanese Animation Creators Association). Pages about Imanishi Takashi (今西隆志) on Japanese Wikipedia, ANN, and IMDB, as well as the IMDB page for his pseudonym, Oukuma Asahide (大熊朝秀). You can see him credited under both names (Imanishi for Director and Oukuma for Writer) on the Wikipedia page for Mobile Suit Gundam 0083: Stardust Memory (obviously, spoiler warning if you haven't seen this show yet). Japanese Wikipedia page for the historical figure Oukuma Asahide (大熊朝秀). English-language pages about director Nagahama Tadao (長浜忠夫) and the Robot Romance Trilogy. ANN page for color designer/setter Imanishi Kiyoko (今西清子) (maiden name Takashima (高島)), and her two IMDB pages: under her maiden name and under her married name. Japanese-language page with general information about Imanishi Takashi, that includes mention of him being very drunk at an official event, and an English-language blog post discussing the possibility that Imanishi's drunkenness at an important prescreening led to career consequences. Mobile Suit Breakdown is written, recorded, and produced within Lenapehoking, the ancestral and unceded homeland of the Lenape, or Delaware, people. Before European settlers forced them to move west, the Lenape lived in New York City, New Jersey, and portions of New York State, Pennsylvania, Delaware, and Connecticut. Lenapehoking is still the homeland of the Lenape diaspora, which includes communities living in Oklahoma, Wisconsin, and Ontario. You can learn more about Lenapehoking, the Lenape people, and ongoing efforts to honor the relationship between the land and indigenous peoples by visiting the websites of the Delaware Tribe and the Manhattan-based Lenape Center. Listeners in the Americas and Oceania can learn more about the indigenous people of your area at https://native-land.ca/. We would like to thank The Lenape Center for guiding us in creating this living land acknowledgment. You can subscribe to Mobile Suit Breakdown for free! on fine Podcast services everywhere and on YouTube, visit our website GundamPodcast.com, follow us on Twitter, Instagram, and Facebook, or email your questions, comments, and complaints to gundampodcast@gmail.com. Mobile Suit Breakdown wouldn't exist without the support of our fans and Patrons! You can join our Patreon to support the podcast and enjoy bonus episodes, extra out-takes, behind-the-scenes photos and video, MSB gear, and much more! The intro music is WASP by Misha Dioxin, and the outro is Long Way Home by Spinning Ratio, both licensed under Creative Commons CC BY 4.0 licenses. The recap music for Season 3 is New York City (instrumental) by spinningmerkaba, licensed under a Creative Commons Attribution (3.0) license.. All music used in the podcast has been edited to fit the text. Mobile Suit Breakdown provides critical commentary and is protected by the Fair Use clause of the United States Copyright law. Gundam content is copyright and/or trademark of Sunrise Inc., Bandai, Sotsu Agency, or its original creator. Mobile Suit Breakdown is in no way affiliated with or endorsed by Sunrise, Bandai, Sotsu, or any of their subsidiaries, employees, or associates and makes no claim to own Gundam or any of the copyrights or trademarks related to it. Copyrighted content used in Mobile Suit Breakdown is used in accordance with the Fair Use clause of the United States Copyright law. Any queries should be directed to gundampodcast@gmail.com Find out more at http://gundampodcast.com

EPISODE 96 - BEN COOKE - Stunt Coordinator, 2nd Unit Director Team Deakins looks into the world of movie stunts with Stunt Coordinator and 2nd Unit Director, Ben Cooke (MULAN, 1917,  SKYFALL, CASINO ROYALE). We learn about the different areas of stunt work and the different experiences of being a stunt double or a stunt coordinator on a film. He talks about his experience of stunt doubling Daniel Craig in the Bond movies and tells us all about the huge stunt in Quantum of Solace and how learned he was doing it just the day before. We also talk about the stunts in Snow White and the Huntsman. Other areas we covered were working with locals in a large stunt sequence, the most undervalued aspects of a stunt job, dealing with an actor who wants to do all his own stunts, and creating stunts that fit into the tone of the movie. As he was the stunt coordinator on the film 1917, we dived into that experience in detail. We learned a lot about this area of filmmaking in this episode - don’t miss it!

Crossover episode! Joining this episode are AJ Gonzalez and Bryan Connolly, hosts of The Directors' Wall podcast, currently going through the filmography of Francis Ford Coppola, to discuss the second half of the filmmaker's Oklahoma-shot S.E. Hinton adaptations. On this episode we talk:- this “art-house film for teenagers” (that teenagers sadly rejected);- its dream-like black-and-white images;- its young man's inventive energy;- why French filmmaker Chris Marker didn't even last a week as the film's 2nd Unit Director;- the influence of Koyaanisqatsi on the film;- and how it's a film about time in the past, present, and future.Also:- Nicolas Cage's speaking-part film debut;- Mickey Rourke's whispering Camus-influenced performance;- the film's musically balletic gang fight set piece;- its Touch of Evil vibe;- the push-pull in Coppola's career between bombastic epics and intimate character studies;- and his commitment to be experimental in both modes.Along with co-hosting The Directors' Wall podcast, Gonzalez writes about film, alongside his wife (and past guest-host) Lani, on their blog Cinema Then and Now.Connolly, along with co-hosting The Directors' Wall podcast, also co-hosts The World is Wrong podcast, which positively celebrates movies the world is wrong about, with Andras Jones. A filmmaker, painter and author living in Austin, TX, Connolly also co-wrote Destroy All Movies: The Complete Guide to Punks On Film and numerous shows for Adult Swim.Rumble Fish is available to rent VOD and on Blu-ray from Criterion.

Marty Eli Schwartz is an American Legendary Iconic, Record Holding Film Producer, Director, 1st Assistant Director, 2nd Unit Director, Production Manager and so much more. Marty has worked on films such as Night At The Museum, The Karate Kid, Furious 7 and Paul Blart:Mall Cop. Hear Marty's amazing behind the scene stories and his crazy experience with Ben Stiller

The Working Group is independent of all political parties and governments and is funded by the British Academy and Joseph Rowntree Charitable Trust. The Group takes no view on whether such referendums should take place or what the outcome should be.  The report concludes that referendums should not be called without a clear plan for the referendum processes that would follow, and it identifies difficult issues that need discussion and analysis. For example, what evidence would inform the decision to call a referendum on Northern Ireland's constitutional status? Would referendums take place before or after proposals for the shape of a united Ireland had been developed? How would the referendum campaigns be regulated? These are just a few of the questions explored in the interim report.  Speakers:Dr Alan Renwick, Chair of the Working Group and Deputy Director of the Constitution UnitAlan Whysall, Working Group member and former senior civil servant in the Northern Ireland OfficeClare Salters, former senior civil servant in the Northern Ireland OfficeMartin Kettle, writer for the Guardian.Chair:Professor Meg Russell, Unit Director.  Full report: https://www.ucl.ac.uk/constitution-unit/sites/constitution-unit/files/wgurii_interim_report_nov_2020.pdfExecutive summary: https://www.ucl.ac.uk/constitution-unit/sites/constitution-unit/files/wgurii_executive_summary.pdf

2nd Unit Director, Damon Caro, joins the cast to talk about his filmography and his career working with director Zack Snyder.  Support for the LightCast was brought to you by MANSCAPED "Your Balls Will Thank You". Save 20% OFF and FREE shipping using the code: FOOTSIES at checkout.  Merch Store is NOW OPEN: LIGHTCAST MERCH STORE  Watch the VIDEO portion of this show on our YouTube.  Follow us here on: Twitter, Instagram & Facebook 

Komal Mistry has worked for Fonterra for nearly 10 years and is currently Fonterra's global business unit Director of Sports & Active Lifestyle based in Singapore. In this role she leads Fonterra's protein, probiotics and speciality ingredients portfolio within the $US 200b health and wellness market. Her role spans across Europe, USA & APAC regions.  In her previous role she was the General Manager of Fonterra Ventures responsible for building new revenue streams globally for Fonterra and prior to that she held various finance and commercial roles across Fonterra's Consumer business.  Prior to joining Fonterra, Komal worked for Deloitte across both the London and New Zealand offices. Komal is both a Barrister and Solicitor of the High Court of New Zealand as well as a member of the New Zealand Institute of Chartered Accountants. She was named New Zealand's Young Executive of the Year in the 2017 Deloitte Top 200 Awards.  "Right from early on in my career, I've often been the only female in the room. I think when you're different, whether that's gender, or generation, or ethnic background, that means that you have a different perspective. I definitely view that now as a real positive because you come with a different voice that ultimately adds value to the business and to the team that you're in."

PAX Week Views returns to discuss the Orbis Flying Eye Hospital – a fully accredited ophthalmic teaching hospital on board a customised MD-10 aircraft. As the official charity partner of Aircraft Interiors Expo, the work of Orbis UK is bolstered by generous donations from leading cabin interior suppliers. Together, Daniel and Sean discuss their involvement with Orbis and the innovative technologies used onboard.

Get ready to hear some Movie Memory Magic, including tales about Superman, Indian Jones, Spielberg, Scorsese, Arnold Schwarzenegger and Harrison Ford. Vic once dreamed of becoming a Jockey, one day he took a job riding a horse on a Film Set and since then he has performed on some of the most iconic films of all times and also become a successful 2nd Unit Director and Director. We hope you enjoy.

What an episode! An extraordinary conversation with Terri Fleming, Unit Director of Research Ethics BC. Learn about Research Ethics here in BC and how Terri and her team had to pivot, FAST, when COVID hit. Decision makers, Clinicians , Researchers and Patient Partners will find this interview incredibly informative and motivational.

This week on the QUICKFIRE podcast I was joined by Samuel Hollis who is a Business Unit Director at Novartis. We ask guests the same questions and turn them into a podcast episode. On this episode, we would normally talk to people who are working in an agency, but in this one we talked to someone who is client side. We also switched the questions up the benefit the listeners to give an insight into what clients might be thinking! I hope you enjoy the podcast as much as I did, and stay tuned for next week.

On this week's podcast I was joined by Samuel Hollis who is a Business Unit Director at Novartis. He has been working closely with agencies for around 10 years. On this episode we talked about everything COVID-19 related and how the industry is changing because of it. Samuel has over 15 years' experience within the industry and it's clear he is incredibly driven and passionate to make change happen and deliver the best work possible to patients across the globe. I hope you enjoy the podcast as much as I did.

The JAMCast welcomes Justin Riemer, a stunt coordinator and 2nd unit director whose credits include HBO's Watchmen, ABC's Stumptown and the Netflix hit Ozark (Season 1). Learn about his life beginning as a football player that wanted to play professionally, his introduction into the stunt industry by working on The Replacements, and some stories and lessons learned from some of the craziest stunts that he has to to perform and stunt coordinate over the years!The JAMCast is a weekly podcast hosted by Professional Stunt Coordinator Travis Wong, interviewing influential figures in the movement world. From world champion athletes to Hollywood stunt doubles, the aim is to provide a unique perspective into the minds of those so well known for using their bodies.https://www.TheJamcast.comALL AUDIO LINKS:https://TheJAMCast.comSPECIAL GUEST: Justin Riemer | @J.Riemer_ActionDirectorHOST: Travis Wong | @TheTravisWongFOLLOW US ONLINE: https://TheJAMCast.comINSTAGRAM: https://instagram.com/JAMovementYOUTUBE: https://youtube.com/JoiningAllMovementFACEBOOK: https://facebook.com/JoiningAllMovement

On this week's @motortraderadio COVID-19 special podcast we're joined by INDICATA’s Andy Shields talking about how the used car market is returning after #lockdown in some European countries and what that could mean for UK dealers

This episode features Mikey Cotella with one of the best conversations we've had yet. Mike is the Unit Director of the Ulbrich Boys and Girls Club, Wallingford site. Mikey is an amazing person, genuine and is a strong believer in supporting his community. **This episode is a lot more conversational than the typical show** Part two of our interview features tips on running a business, what not to do, discovering your true passion and career transition. We had a lot of fun during this interview and I hope you enjoy listening as much as I did recording. Covid19 and the stay-home recommendation makes for a perfect time for a light-hearted interview. Stay safe. - Bryan Tamburrino https://www.ulbrichbgc.org/leadership-teamff4f392d https://www.linkedin.com/groups/3808985/ https://www.linkedin.com/in/bryan-tamburrino-msba-01762555/ https://www.linkedin.com/in/brendan-carey-m-s-ab1377a2/

This episode features Mikey Cotella with one of the best conversations we've had yet. Mike is the Unit Director of the Ulbrich Boys and Girls Club, Wallingford site. Mikey is an amazing person, genuine and is a strong believer in supporting his community. **This episode is a lot more conversational than the typical show** Part one of our interview features tips on getting involved, the importance of community service and support for our youth and the start of Mikey's career at the Lower Naugatuck Valley Boys and Girls Club and his current position at Ulbrich. Stay tuned for part two, discussing his experience as a small business owner! . https://www.ulbrichbgc.org/leadership-teamff4f392d https://www.linkedin.com/groups/3808985/ https://www.linkedin.com/in/bryan-tamburrino-msba-01762555/ https://www.linkedin.com/in/brendan-carey-m-s-ab1377a2/

We're so lucky to sit down with Editor-turned-Director JOHN GLEN, a UK filmmaker famous for helming the 007 franchise throughout the 1980s, directing 5 of the Bond films including 'For Your Eyes Only' and 'License to Kill'! In our conversation we discuss the creative process of building each Bond screenplay from the ground up, what John learned working as a 2nd Unit Director and Editor on several 007 movies before taking over as a director, the controversial role of women in the series, and much more. Make sure to subscribe to Soundstage Access and follow the podcast on Facebook at: www.facebook.com/soundstageaccess/

WARNING: This one is disturbing. Jake and Trisha watch the far-more-horrifying-than-they-anticipated film The Entity to uncover if this terrifying tale is in fact true. And they really hope it isn't. You will too. This week, they are joined by Brooks Davis, a filmmaker and “Jack of all trades” in the entertainment industry. After working freelance in various on-set positions for over 10 years, Brooks finally landed at Full Moon Features… the 30-year-old horror/cult film company headed by legendary film producer, Charles Band. While at Full Moon, Brooks has worked on 13 of their movies, serving as an Assistant Director, 2nd Unit Director, Cameraman and Editor… along with day to day office business. Brooks still finds time to slip in freelance production work on projects, working with such talents like film director Zack Snyder (300, Watchmen and Man of Steel) and Academy Award-winning cinematographer, Dean Cundey ASC (Halloween, The Thing, and Jurassic Park). When he finds time to breathe, Brooks can usually be found at the movies or developing his own short movie projects… needless to say, this guy is all about film and movies. Follow Brooks on Instagram: @zatoichix1 We repeat. This one is...disturbing. Music by Chad Fjerstad and Jacob Israel.

This week’s podcast features a true pioneer of modern cinema: Robert Legato. He’s worked with directors such as Martin Scorsese, Neil Jordan and John Favreau as a second unit director and VFX supervisor, but he’s also helped bring traditional techniques and technology into CG filmmaking. Crucially, he did it in a way that directors and cinematographers can understand, and his hard work has been rewarded with Oscar wins for Titanic, Hugo and The Jungle Book. Robert also has a wealth of on-set experience, and he tells Chris about everything from shooting miniatures at his house for Star Trek: The Next Generation to helping renowned cinematographer Caleb Deschanel lens the all-CG world of The Lion King. He reveals the qualities you need to be a good director, how to shoot and edit to evoke styles and emotions — and the difference garlic can make to a film shoot. Rob is a humble, professional character who is happy to talk about his flaws and how overcoming them has benefited the industry. It’s pretty much a complete film school degree delivered in 76-minutes.

You might have heard of Salt of Earth because they sponsored our podcast So David Hart was a native in California but more to Israel on a scholarship and kept on coming back. Now in Israel full time, he’s worked for companies, started his own company, and recently heads a company within a company. You see, Salt of the Earth is actually a parent company where they sell well, salt. However, David is exploring selling the Mediterranean Umami brand, a salt reduction solution to lower sodium content. So this episode has a lot of tangible tips to become an intrapreneur, but also some really good sales tips on how ingredients can be sold to big and small companies. Though the timelines are different, the process is the same. Learn from David’s variety of experiences and how each trial made him better and better throughout his career. Sponsor We’re excited to be partnering with Smart Kitchen Summit {SKS}, the leading food tech event bringing together leaders across the food and cooking ecosystems. Now in its fifth year, #SKS2019 is *the* conference shaping the future of food, technology, and the kitchen. Well-known leaders within the food tech industry will all be speaking on engaging topics such as food robots, alternative protein, and connected kitchen devices such as smart refrigerators. Trust us, you’ll want to be there. Use code FOODJOB15 to get a 15% discount on tickets and I’ll see you there on October 7-8 at in Seattle. Just go to smartkitchensummit.com to register. For easy access, just click on our link for this episode’s show notes. Show Notes When someone asks what you do, what do you tell them?: I sell new natural products to the industry What’s the difference between a sales director and the business unit director?: I’m in charge of everything in that business unit. At the end of the day, I have a business Mediterranean Umami How did this hotdog company find out about Mediterranean umami?: Where did you go to college?: I went to UC Davis for BS and MS. BS in agricultural economics FFA Fellowship to study in Jerusalem Ranchman Foundation Spent a semester in college in Washington DC Spent 5 years in cultural absorption – You work in a dairy and serve in the army. After you’re done, you have to find a  job. Went back to California to work on a lycopene Lycopene Lycored Frutarom Ori Yehudai – head of Frutarom IFF Cannabinoids Qualitas Health No Business Plan Survives First Contact Israel as a startup nation Drip irrigation and micro-sprinklers – Israel invented that Mantra Silicon Valley: Move fast and break things Israel trends: cultured meat – Aleph Farms ,Artificial Intelligence/machine learning, Food Safety IFTNext Competiton NEXTY Finalist IFT Innovation Awards 2017 Advice: Life is too short to work for an asshole DavidH@salt.co.il Davidshart1@gmail.com Call: 2132610088

Filmmaker, Action Director for LUCIFER on Netflix, and proud new papa, VLAD RIMBURG returns to talk about crafting a new level of action for the devilishly good Netflix Original series, Lucifer! Vlad also sheds some insight into the inner workings of a 2nd Unit Director as he navigates the sensitive waters of Hollywood TV production.  We discuss, debate and dissect kung fu movies and martial arts cinema past, present, and future!      VLAD'S SOCIALS: IG: www.instagram.com/vladrimburg/ YOUTUBE: https://www.youtube.com/channel/UC1gqdWG_t48srAYk4NwZkmA   SPONSORS: www.tinboxsolutions.com www.wearenotgoodpeople.com   YOUTUBE LINKS: http://youtu.be/5zeRoGFft2s  by Justin H @KingofKungFuAMP

This week I speak to cinematographer Rachel Clark. Rachel’s CV is incredibly impressive. She started out in the industry over ten years ago, working as a runner on the likes of This Is England (2006), and progressed into the camera department where she worked as a trainee on Control (2007). In the years after that Rachel worked as clapper loader on lots of British indie films such as Bronson, Fish Tank and Wuthering Heights as well huge blockbusters such World War Z and Captain America: Civil War. As a first assistant camera assistant she travelled across the US with Cinematographer Robbie Ryan and director Andrea Arnold for the road movie American Honey (2016) and has worked around the world on many 2nd Unit action sequences: Fantastic Beasts & Where to Find Them (2016), & Black Panther (2018) among them. Rachel was the 2nd Unit Director of Photography on director Sarah Gavron’s latest film Rocks and has just completed photography on the feature film Concrete Plans. I felt very honoured to lure Rachel away from the camera to the microphone and basically ask lots of basic questions about what cinematography actually is. We cover lots of interesting topics such as the physicality and energy the role requires, what Rachel does in her downtime between jobs and how she stays motivated, and what she learnt from working with Robbie Ryan. I hope you enjoy the interview.

*UPDATE: Sam Hargrave's directorial debut EXTRACTION (previously titled 'Dhaka') has launched on Netflix to amazing success! So excited to sit down with Stunt Coordinator/2nd Unit Director (and now Director in his own right!) Sam Hargrave, whose credits include 'Hunger Games: Mockingjay', 'Deadpool 2', and the highly-anticipated 'Avengers: Endgame'! In our conversation, we discuss Sam's beginnings as a stuntman in Hollywood, a breakdown of his award-winning stunt work on 'Atomic Blonde', the challenges of designing action for 'Avengers: Endgame', and his directorial debut 'Extraction', now on Netflix. Make sure to follow the podcast on Facebook at https://www.facebook.com/soundstageaccess/

Stress and anxiety can wreak havoc on your overall health. Michelle Gardner, Unit Director of Behavioral Health, discuses how to manage stress and anxiety.

From its inception, "Into the Badlands" broke new ground for diversity and martial arts on TV. After three and a half seasons, AMC is shuttering the show but the final 8 episodes promises to end the show's run with a BANG. Leading the way is Fight Unit Director, ANDY CHENG. Andy joins me to talk about what he's brought to the show's closing chapter and explains why he has hope that this is anything but the end of the Badlands! ANDY CHENG'S SOCIALS: TWITTER: @andycheng23 IG: @andycheng23   SAVE THE BADLANDS PETITION by DAVE MOORE: https://www.change.org/p/amazon-netflix-any-broadcasting-company-that-wants-something-special-save-into-the-badlands-itb     We discuss, debate and dissect kung fu movies and martial arts cinema past, present, and future!  SPONSORS: www.tinboxsolutions.com www.wearenotgoodpeople.com   YOUTUBE LINKS: http://youtu.be/5zeRoGFft2s  by Justin H @KingofKungFuAMP

Host Paul Booth will discuss Tobe Hooper's THE MANLER, which hit Blu-Ray this week. Paul will interview the co-writer, 2nd Unit Director and VFX Supervisor of THE MANGLER Mr. Stephen David Brooks. Stephen has been a past guest and always provides wonderful stories for the audience.

Juan Mejia, Unit Director at HEB, joins the program to discuss his own career journey and the skills that he looks for in employees.   

Today I interview Jeffrey Gee Chin – a filmmaker who straddles both the Hollywood and China markets. Jeffrey has been a 2nd Unit Director on Billions (on Showtime) and Snowfall (on FX). He is also creating culturally preserving films like Lil Tokyo Reporter He talks about how the diversity and #MeToo movements have opened the door for fresh voices in film and TV. Additionally, he talks about the advantage of connecting with a Hong Kong producer vs. a Mainland Chinese producer. He offers tips on casting and advises you're better off casting Chinese singers over “A” list stars.   China Hollywood Greenlight Podcast – Episode 16 Jeffrey Gee Chin ShowNotes  Host: Caryn McCann Website:  http://www.chinahollywoodgreenlight.com Podcasts: https://chinahollywoodgreenlight.com/podcasts-2/ Facebook: https://www.facebook.com/CHGreenLight/ Twitter: https://twitter.com/KungFuRockChick     Guest: Jeffrey Gee Chin - Filmmaker LinkedIn: https://www.linkedin.com/in/leapman/ Twitter: https://twitter.com/TheLeapMan Instagram: https://www.instagram.com/theleapman/ Jeffrey's film Lil Tokyo Reporter:   https://www.imdb.com/title/tt2396866/ Look for it in May on Xfinity:  https://my.xfinity.com/asian-american   Hong Kong Screen Association:http://hkisa.film Hong Kong Motion Pictures Association: https://www.mpaa.org/news_post/hongkong/

Filmmaker Jonathan Kesselman (The Hebrew Hammer, Jimmy Vestvood, The Hebrew Hammer vs Hitler) talks personal filmmaking, storytelling choices, and Rian Johnson's storytelling choices in Star Wars: The Last Jedi. We discuss the world's first and best Hanukkah movie The Hebrew Hammer (on Amazon Prime now!), it's amazing cast led by the hilarious Adam Goldberg and Judy Greer, and we talk about the upcoming sequel The Hebrew Hammer vs Hitler. Also, we cover his second film, the scathingly fun Jimmy Vestvood: Amerikan Hero, his work as 2nd Unit Director for Ang Lee on Billy Lynn's Long Half Time Walk, the benefits of small productions, and making comedies about difficult issues. It's a fun, heartfelt and insightful episode! Keep up with Jonathan Kesselman's work on twitter @Jon_Kesselman and at worldwidemediaconspiracy.com. Follow this podcast on twitter @storycraftpod, and please subscribe, share, rate and review (well) on Spotify, iTunes, or wherever you listen to podcasts!

Marilyn Margolis, CEO of Emory Johns Creek Hospital, began her career at Emory Healthcare more than 35 years ago at Emory University hospital as a staff nurse in CCU. After caring for patients at the bedside for 15 years, she went to the Emergency Department as the Unit Director and began a career in leadership roles […] The post Marilyn Margolis and Dr. Adedapo Odetoyinbo with Emory Johns Creek Hospital appeared first on Business RadioX ®.

In a special episode to celebrate the 35th Anniversary re-release of 'Star Trek II: The Wrath of Khan' we're joined by the film's Producer, Robert Sallin, for an exclusive interview.  Robert tells Liam, Paul and Matt how he went from directing over 2,000 commercials to producing what many consider to be the greatest Star Trek film ever made, talking them through his creative input into the iconic red uniforms, the monstrous Ceti Eels, Kirk's grand entrance and much, much more.  We also delve into the rest of Robert's glittering Hollywood career, including directing Albert Finney in 'The Picasso Summer', winning the Grand Prix at the 1970 Venice film Festival for his classic Camay commerical, stepping in as the 2nd Unit Director on 'Assassins' for Richard Donner and more showbiz anecdotes than you can shake a Klingon at - Ridley Scott, Eddie Murphy, John Candy, they're all here. So strap in and get ready for your Kobayashi Maru, this is the big one.   As usual you can find SPOCKLIGHT on: TWITTER - @spocklightpod INSTAGRAM – @spocklightpod FACEBOOK – https://www.facebook.com/spocklightpod/ EMAIL - spocklightpod@gmail.com Please Follow, like, share and all that good stuff. Credit for our wonderful theme music goes to the incredibly talented, Adam Johnston’s, you can find more of his work at - https://adamjohnstonuk.bandcamp.com/ Our beautiful artwork was created by Stephen Trumble, see more at http://www.stephentrumble.com/

Glory be, Bloodbags! We were able to wrestle FURY ROAD's Action Choreographer, Stuntman, Weapons Advisor, 2nd Unit Director, the Breakman, and The Ripsaw Imperator into an interview in an LAX hotel restaurant. Luckily they were all contained in one extraordinary human: Greg Van Borssum! Listen to the show as he regales us with all sorts of shine stories from behind the scenes on MMFR, and learn more about the Mind Warrior and his work for mental health at GregVanBorssum.com and on Twitter @GregVanBorssum ... Yuri Lowenthal and Travis Sentell love MAD MAX: FURY ROAD. Almost as much as they love each other. Listen as they joyfully dissect the film 4 minutes at a time!

In this Chronicle, the Rewatchers sit down with Andy Armstrong, the Stunt Coordinator and 2nd Unit Director of the original 1986 Highlander Motion Picture. Go behind the scenes and discover the real origin of the Kurgan's famous “New York, New York” cover, how Andy got believable reaction shots of Brenda (Roxanne Hart), the brilliance of Russell Mulcahy, and learn what makes a good action sequence. Don't forget to subscribe so you can join the Rewatchers every week for more interviews and insights as the gang examines a new chapter of the Highlander universe. You can buy an autographed copy of Andy Armstrong’s brand new amazing book on action and stunts, “The Action Movie Maker’s Handbook” with the link below. It is a must have for movie and action fans alike! http://www.actionmoviemakershandbook.com

032516 Stewart

John Rhode is a director, cinematographer and camera operator who has worked his way through the camera ranks of camera operator, 2nd Unit Director of Photography, and Director of Photography to Director. He joined International Cinematographer's Guild on the Paramount Pictures production of Soapdish (1992) and began work with respected DP's as Lazlo Kovacs,ASC, Vilmos Zsigmond, ASC, and John Seale, ASC whom gave Rhode work on Ghosts of Mississippi (1995), The American President 1996), City of Angels (1997), and Perfect Storm (2000) moving him up from additional operator to "A" operator to 2nd Unit DP. Rhode further shot over 30 independent movies which included stars such as Faye Dunway, William Sanderson, John Heard, and Debbie Mazar.   Rhode moved into television on the camera departments of NightStalker (2006), The Hollow Men (2008), Heroes (2008-9) as well as breaking new ground on the webisode and mobisode debuts of Prisonbreak (2006), Vanished (2007) Mr. Wrong (2008) and the film festival winning Turbo Dating (2009-12) created by Terry Rossio, writer of Shrek(s) and Pirates of the Carribean. This led to Award-winning documentaries by Spark Media/ American Experience's Partners of the Heart and Prince of Slaves followed by the award-winning Bill Brummel Productions of Bullied (2010) and Erasing Hate (2011), both funded by the Morris Dee's Southern Poverty Law Center. Awards include many first prizes in films festivals, Tellies, and Cine-Eagles. Rhode's cinematography has been hailed by Variety as "beautifully photographed by John Rhode."   Breaking into directing on music videos and commercials, Rhode co-directed and served as director of photography on the notorious short My Dinner With Ovitz (2003), a satire skewering Michael Ovitz. It created a sensation in Hollywood production circles. Ron Meyer, the president of Universal Pictures, and David Geffen remarked, "it was brilliant." Variety Magazine reviewed it as "a gonzo short -- pic is the most buzzed-about underground project since Trey Parker and Matt Stone's "The Spirit of Christmas." Rhode later took offers directing motion pictures which include the family and adventure films Seeker & Fetch (2011), The Stray(2012) and Trooper and the Legend of the Golden Key (2012).   Raised in Wooster, Ohio, Rhode received a B.S in chemical engineering from Ohio State University when he met Frank Capra promoting the book "The Name Above the Title." After a vigorous debate on the conflict between personal need and social progressiveness, Capra told Rhode he should be directing movies. Rhode took his advice and returned to get his MFA in Cinema, moved to Hollywood, and broke into the film industry in the the production and camera departments working on movies, music videos, and television.

Jay relocated to Los Angeles and worked on numerous independent films, commercials and documentaries as a Camera Operator and eventually as a Director of Photography.  Jay worked alongside Joss Whedon as the 2nd Unit Director of Photography of Joss’ television show Dollhouse. After many years in the trenches, Jay photographed the critically acclaimed film Paper Heart and he worked steadily in television including director work on series like Kitchen Nightmares.  Jay continued his collaboration with Joss Whedon as Director of Photography on his adaptation of Much Ado About Nothing. 

The Good Friday episode of Middle-earth Minutes with Michael and Micah.A lot of news to cover. How much is a dragon worth? Let's just say a 14th share would suffice, according to Forbes. Elijah Wood is excited to return to Middle-earth, but is bemused that Orlando Bloom has read the whole script! Did Gimli cause Peter Jackson's ulcer? Well, Andy Serkis will help with the load. He's taken on the additional job as 2nd Unit Director. Regardless, the films will be beautiful, owing in part to being filmed at 48 frames per second. Is it true, as according to a NY Times blogger, that women don't like the Hobbit?For our discussion this episode we piggy back on the subject from MEM 11 and continue our study on Durin's folk. We give a quick review of the events that led up to that Unexpected Party that Bilbo Baggins found himself host to. How did 13 Dwarves find themselves in Bag End, Bagshot Row? Listen to find out!Find us on Facebook at the Middle-earth Minutes Podcast page.Follow us on Twitter @middleearthminsDOWNLOAD | SUBSCRIBE | SUBSCRIBE IN ITUNES

REEL Ladies is featuring Cinematographer, Lisa Weigand! LA based cinematographer who has photographed award-winning independent features and television. She has been featured several times in American Cinematographer Magazine and has been awarded for "Excellence in Cinematography" by the American Society of Cinematographers. Her films have been distributed in theaters, on television, DVD as well as seen in festivals around the world.Lisa was the main unit DP the 2nd season of Joss Whedon’s “Dollhouse” on FOX, starring Eliza Dushku as well as 2nd Unit Director of Photography on the 7th Season of FOX's "24"!

REEL Ladies is featuring Cinematographer, Lisa Weigand! LA based cinematographer who has photographed award-winning independent features and television. She has been featured several times in American Cinematographer Magazine and has been awarded for "Excellence in Cinematography" by the American Society of Cinematographers. Her films have been distributed in theaters, on television, DVD as well as seen in festivals around the world.Lisa was the main unit DP the 2nd season of Joss Whedon’s “Dollhouse” on FOX, starring Eliza Dushku as well as 2nd Unit Director of Photography on the 7th Season of FOX's "24"!

Richard Bluck was 2nd Unit Director of Photography on the Lord of the Rings Trilogy and King Kong. Richard is also the DP on the short Peter Jackson directed to test the RED Camera called Crossing the Line. He joins Joel to talk about his experience shooting miniatures, working with Peter Jackson, and testing out the RED Camera.