Podcasts about video festival

Today on the show we have author, filmmaker and screenwriter Mick Hurbis-Cherrier.Mick  is an independent filmmaker and screenwriter. His works have been broadcast and shown around the country and have garnered prizes at many festivals including the Black Maria Film & Video Festival, Ann Arbor Film Festival, Athens Film & Video Festival and the Cin(e) Poems National Film Festival.His work has also been featured at the Robert Flaherty Seminar, the American Film Institute's National Video Showcase and at the Museum of Modern Art in New York City. His screenplays have also won prizes including the Arthur Miller Award for dramatic writing, the Lawrence Kasdan award for screenwriting and he was twice an award winner in the University Film & Video Association national screenwriting competition.Among his film projects are: River of Things, an alternative film in four parts based on four poems by Pablo Neruda and Fear Fall, a short narrative satire about paranoia and the squeezing of the American middle class, which he wrote, directed and produced.His recent commissioned feature screenwriting projects include Give Me Five, which he co-wrote (with Ron Bass) for La Petite Reine Productions, Mesopotamia 2020 for Picturesque films and Empire of Dirt for director Steve Ramser. He also penned Better That Way, the official English language stage adaptation of the film Une Liaison Pornographique (U.S. release title An Affair of Love).He is currently completing a gangster genre screenplay set in New Orleans entitled Force of Nature, also for Picturesque films.In 2011 Hurbis-Cherrier published the 2nd edition of his comprehensive narrative film production textbook Voice & Vision: A Creative Approach to Narrative Filmmaking. with Focal Press (originally published in 2007). In 2013 he published Directing: Film Techniques and Aesthetics 5th ed. (Focal Press) co-authored with Michael Rabiger.Both of these books are among the core film production textbooks in film programs throughout this country and internationally. Hurbis-Cherrier is currently working on the book, Practical Film Analysis and Inspired Filmmaking for the British Film Institute (BFI Publishing, Palgrave/MacMillan) which is scheduled for publication in early 2015.Enjoy my conversation with Mick Hurbis-Cherrier.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Join Austin Young with his longtime friend and award-winning filmmaker, Keefer Estebes. Keefer's 2007 indie flick, "Katrina's Unknown Victims," bagged the "Best Researched" award at the New York Independent International Film and Video Festival. Now, Keef's back with even more behind-the-scenes dirt on his career, a sneak peek into his latest doc, and his secret sauce for staying fit and healthy in the cutthroat world of filmmaking.What's on the Menu?Keefer Esteves Career: Discover how Keefer's journey in filmmaking began and learn about his work on shows like Street Outlaws.Documentary Insights: Get a sneak peek into Keefer's new documentary about surviving COVID-19 in the film industry.Industry Changes: Hear about the challenges and adaptations filmmakers faced during the pandemic.Wellness Tips: Learn about Keefer's health regimen, including cryotherapy and other wellness practices.Hurricane Katrina: Revisit the devastating Hurricane Katrina and Keefer's personal experience covering the aftermath.Don't miss this episode! It's packed with laughs, insights, and a whole lot of awesome music.Host:Austin Young Guest:Keefer EstevesTrailer for Never Forgotten - Hurricane Katrina's Unknown Victims, St. Bernard Parish, LouisianaMusic By:Ducado Vega - HellaDezi 5 - Pick Up Your PhoneThe Two Watts - Russian WarshipToxic Madness - I'm HardcoreFlip & The Combined Effort - This Could Of Been A Email *DISCLAIMER: I hereby declare that I do not own the rights to this music/song. All rights belong to the owner. No Copyright Infringement Intended. All bands have given permission to use their music.* 

 Welcome to the Visual Intonation podcast, where we dive deep into the world of cinematography, storytelling, and cultural preservation through the lens of industry pioneers. In this episode, we shine a spotlight on Yaphet Jackman, a visionary cinematographer whose journey into filmmaking began at a young age. Inspired by an HBO trailer that ignited his passion, Yaphet has spent over two decades honing his craft in media, television, and film.  Yaphet's love affair with cinematography is palpable; he describes it as synonymous with breathing, a dynamic interplay of light and motion that he molds into captivating visual narratives. His commitment to preserving and developing Caribbean culture led him to establish Bent Street Films LLC, a production company dedicated to bringing Guyanese and Caribbean stories to global audiences.  With a robust academic background in Communication and Fine Arts from the University of Guyana and Ohio University, where he earned his Master's in Fine Arts - Film, Yaphet brings both scholarly rigor and practical expertise to his work. His extensive experience spans from super 8mm film to cutting-edge ARRI, RED, and Sony systems, underscoring his versatility and commitment to quality.  As Visual Content Manager at Hocking College and former roles such as Adjunct Professor and Graduate Assistant, Yaphet has not only shaped young minds but also enriched his own perspective as a filmmaker. His tenure at institutions like the Columbus College of Art & Design and the Athens International Film and Video Festival has deepened his understanding of storytelling dynamics and technical prowess.  Join us as we explore Yaphet Jackman's inspiring journey, from his early days as a freelance videographer in Guyana to his current endeavors in pushing the boundaries of cinematography. Discover how he balances artistic integrity with commercial success, navigates diverse cultural landscapes, and fosters talent within his production teams. This episode promises a wealth of insights for aspiring cinematographers and film enthusiasts alike, resonating with anyone passionate about the transformative power of visual storytelling.  Yaphet Jackman's Website: https://yaphetjackman.com/  Yaphet Jackman's IMDB: https://m.imdb.com/name/nm7292799/  Yaphet Jackman's Instagram: https://www.instagram.com/yaphetjackman/  Yaphet Jackman's Facebook: https://www.facebook.com/yaphetjackman/  Yaphet Jackman's Vimeo: https://vimeo.com/yaphetjackman Visual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

In this episode we continue our conversation with Barbara Schaffer Bacon and Pam Korza, co-directors of Animating Democracy. The discussion centers on the role of arts in fostering civic dialogue and community engagement, particularly around challenging social issues. We explore several case studies of arts-based community projects, including:1. The restoration of a King Kamehameha statue in Hawaii, which became a catalyst for broader community dialogue.2. The Shipyard Project in Portsmouth, New Hampshire by Liz Lerman Dance Exchange.3. A community dialogue project in Lima, Ohio by Sojourn Theater.4. Controversial exhibits at the Henry Gallery, Jewish Museum, and Andy Warhol Museum dealing with genomics, the Holocaust, and the terrible legacy of lynching. The conversation highlights how these projects built trust, facilitated difficult conversations, and led to long-term community impacts. We also discuss the evolution of this field over the past decades, current trends, and future prospects for arts-based civic engagement.Key moments:1. Discussion of the King Kamehameha statue restoration (00:02:14)2. Reflection on the Portsmouth shipyard project (00:18:27)3. Explanation of the framework for assessing project outcomes (00:24:46)4. Description of controversial museum exhibits (00:32:40)5. Exploration of current trends and changes in the field (00:42:51)BIO'sPam Korza co-directs Animating Democracy, a program of Americans for the Arts that inspires, informs, promotes, and connects arts and culture as potent contributors to community, civic, and social change. She is a co-author and editor of Aesthetic Perspectives: Attributes of Excellence in Arts for Change. She co-wrote Civic Dialogue, Arts & Culture, and the Arts & Civic Engagement Tool Kit and co-edited Critical Perspectives: Writings on Art & Civic Dialogue, as well as the five-book Case Studies from Animating Democracy. Pam is co-chair of the Assessing Practices in Public Scholarship research group for Imagining America (IA), a consortium of colleges and universities that advances public scholarship in the humanities, arts, and design and was a two-term member of IA's National Advisory Board. She began her career with the Arts Extension Service (AES)/UMass where she coordinated the National Public Art Policy Project and co-wrote and edited Going Public: A field guide to developments in art in public places. She also directed the New England Film & Video Festival.Barbara Schaffer Bacon's career launched in 1977 at the UMASS Arts Extension Service, a national leader in professional education for local arts managers, artists and civic leaders. Barbara served as director from 1984-90. She led Fundamentals and Advanced Local Arts Management seminars and contributed to the Fundamentals of Local Arts Management text book and The Cultural Planning Work Kit. In 1996 with Pam Korza, Barbara took a lead role to conduct research for and shape Animating Democracy, a program of Americans for the Arts. Animating Democracy shone an early and bright national light on arts and civic dialogue, built knowledge about quality practice, and created useful resources including Animating Democracy: The Artistic Imagination as a Force for Civic Dialogue; Civic Dialogue, Arts & Culture: Findings from Animating...

Today on the show we have author, filmmaker and screenwriter Mick Hurbis-Cherrier.Mick  is an independent filmmaker and screenwriter. His works have been broadcast and shown around the country and have garnered prizes at many festivals including the Black Maria Film & Video Festival, Ann Arbor Film Festival, Athens Film & Video Festival and the Cin(e) Poems National Film Festival.His work has also been featured at the Robert Flaherty Seminar, the American Film Institute's National Video Showcase and at the Museum of Modern Art in New York City. His screenplays have also won prizes including the Arthur Miller Award for dramatic writing, the Lawrence Kasdan award for screenwriting and he was twice an award winner in the University Film & Video Association national screenwriting competition.Among his film projects are: River of Things, an alternative film in four parts based on four poems by Pablo Neruda andFearFall, a short narrative satire about paranoia and the squeezing of the American middle class, which he wrote, directed and produced.His recent commissioned feature screenwriting projects include Give Me Five, which he co-wrote (with Ron Bass) for La Petite Reine Productions, Mesopotamia 2020 for Picturesque films and Empire of Dirt for director Steve Ramser. He also penned Better That Way, the official English language stage adaptation of the film Une Liaison Pornographique (U.S. release title An Affair of Love).He is currently completing a gangster genre screenplay set in New Orleans entitled Force of Nature, also for Picturesque films.In 2011 Hurbis-Cherrier published the 2nd edition of his comprehensive narrative film production textbook Voice & Vision: A Creative Approach to Narrative Film and DV Production 2nd ed. with Focal Press (originally published in 2007). In 2013 he published Directing: Film Techniques and Aesthetics 5th ed. (Focal Press) co-authored with Michael Rabiger.Both of these books are among the core film production textbooks in film programs throughout this country and internationally. Hurbis-Cherrier is currently working on the book, Practical Film Analysis and Inspired Filmmaking for the British Film Institute (BFI Publishing, Palgrave/MacMillan) which is scheduled for publication in early 2015.Enjoy my conversation with Mick Hurbis-Cherrier.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Animating DemocracyCan the Arts Save Democracy? This episode explores how creative practices can reinvigorate American democracy by bridging societal divides. Featuring insights from Pam Korza and Barbara Schaefer Bacon, we delve into how Animating Democracy has supported arts-based civic dialogue and collective action in communities across the country. We highlight impactful projects such as Traces of the Trade, it underscores the transformative potential of engaging critical and often divisive community issues through the arts. This is a call to action for using creativity to address and heal deep-seated social issues.00:00 Introduction: American Democracy01:16 The Role of Art in Democracy03:24 Animating Democracy: An Arts Organization04:12 Exploring Belchertown and Personal Histories09:22 The Power of Community-Based Arts17:53 Iconic Projects: AIDS Memorial Quilt and Vagina Monologues22:08 The Laramie Project and Scaling Up25:20 Animating Democracy: Practical Implementation38:33 Traces of the Trade: A Risky but Impactful Project49:09 Conclusion and Call to ActionBIO'sPam Korza co-directs Animating Democracy, a program of Americans for the Arts that inspires, informs, promotes, and connects arts and culture as potent contributors to community, civic, and social change. She is a co-author and editor of Aesthetic Perspectives: Attributes of Excellence in Arts for Change. She co-wrote Civic Dialogue, Arts & Culture, and the Arts & Civic Engagement Tool Kit and co-edited Critical Perspectives: Writings on Art & Civic Dialogue, as well as the five-book Case Studies from Animating Democracy. Pam is co-chair of the Assessing Practices in Public Scholarship research group for Imagining America (IA), a consortium of colleges and universities that advances public scholarship in the humanities, arts, and design and was a two-term member of IA's National Advisory Board. She began her career with the Arts Extension Service (AES)/UMass where she coordinated the National Public Art Policy Project and co-wrote and edited Going Public: A field guide to developments in art in public places. She also directed the New England Film & Video Festival.Barbara Schaffer Bacon's career launched in 1977 at the UMASS Arts Extension Service, a national leader in professional education for local arts managers, artists and civic leaders. Barbara served as director from 1984-90. She led Fundamentals and Advanced Local Arts Management seminars and contributed to the Fundamentals of Local Arts Management text book and The Cultural Planning Work Kit. In 1996 with Pam Korza, Barbara took a lead role to conduct research for and shape Animating Democracy, a program of Americans for the Arts. Animating Democracy shone an early and bright national light on arts and civic dialogue, built knowledge about quality practice, and created useful resources including Animating Democracy: The Artistic Imagination as a Force for Civic Dialogue; Civic Dialogue, Arts & Culture: Findings from Animating Democracy; Continuum Of Arts Impact: A Guide for Defining Social & Civic Outcomes & Indicators; Aesthetic Perspectives: Attributes of Excellence in Arts for Change; and Trend or Tipping Point: Arts & Social Change Grantmaking. In 2022 Barbara stepped back from Animating Democracy leadership. She currently serves as a program consultant for the

Harvey Brownstone conducts an in-depth Interview with Steve Guttenberg, Award Winning Actor, Author, “Time to Thank:  Caregiving for my Hero” About Harvey's guest: Today's special guest, Steve Guttenberg, is a beloved and multi-award winning actor, producer, director and author who's brought us dozens of memorable performances in classic movies including “The Boys From Brazil”, “Diner”, “Cocoon”, “Short Circuit”, “Bedroom Window”, “Surrender”, “Three Men and a Baby”, “Roe v. Wade” and of course, the four great “Police Academy” movies.   He also wrote, directed, produced and starred in “PS Your Cat is Dead”.  And for his performance in “A Novel Romance”, he won a Best Actor Award from the New York International Independent Film and Video Festival.    On TV you've seen him in many shows and movies including “To Race the Wind”, “Miracle on Ice”, “The Day After”, “Veronica Mars”, “Law and Order: Criminal Intent”, “Sons of Liberty”, “Ballers”, “The Goldbergs” and “Party Down”, for which he was nominated for a Gold Derby Award for Best Guest Comedy Actor.   And of course, we all remember his amazing performances on Season 6 of “Dancing with the Stars”.   And on the stage, he starred in “The Boys Next Door” in London's West End, and “Prelude to a Kiss” and “Honeymoon Motel” on Broadway, as well as “Furthest From The Sun”, “Henry the 4th” and numerous other theatrical productions.  He earned a Daytime Emmy Award nomination for producing an episode of the CBS Schoolbreak Special called “Gangs”.  And in 2011, he received a Star on the Hollywood Walk of Fame.    And if all of that weren't enough, our guest is also a best selling author.  His first book, “The Guttenberg Bible”, is a comedic account of his first 10 years in the film industry.  He then wrote a terrific children's book called “The Kids from DISCO”, and on May 21, his brand new book, entitled, “Time to Thank:  Caregiving for my Hero”, will be released.  The book is a heartwarming and at times heart wrenching memoir of our guest's unbreakable bond with his wise, loving and devoted father – his hero – as he chronicles his newfound role as a caregiver in his father's final years, reflecting on their eventful life together, and the enduring impact of their extraordinarily close relationship.  Our guest is also a renowned philanthropist.   He started the Guttenhouse Project, which provides housing in Los Angeles for foster care youth when they turn 18.  He also organized a campaign to provide glasses for children whose families cannot afford vision care.  In fact, the Entertainment Industry Foundation selected him to be Ambassador for Children's Issues, because of his work on behalf of children and the homeless.   In addition, he has served as an honourary board member of the Lymphatic Education & Research Network.  And he's also a passionate advocate for animal welfare, through his work with the Fun Paw Care organization.   In 2008, he received the Tony Randall Lifetime Achievement Award for his work in the entertainment industry, as well as his community service.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Steve Guttenberg, go to:https://www.facebook.com/steveguttenbergofficialhttps://www.instagram.com/steveguttenberg/ #SteveGuttenberg    #harveybrownstoneinterviews

About Philip's new book: NIGHT & ITS LONGINGS (On Sale: March 26, 2024; Livingston Press; Paperback; ISBN: 9781604893748) - in time for your: spring reading, mystery, and romantic suspense roundups…a brooding tale of love lost, adultery, and crime - both a love story and a mystery inseparably intertwined.  Writer Jake Garrett's world is turned upside down when the husband of his former flame, Vera, pays him a surprise, late-night visit at his Greenwich Village apartment. Instead of harboring resentment for their affair, Vera's husband has an unusual request: to help find his missing wife who disappeared from a New York City park while taking photographs.  Suddenly, Jake is thrust back into a world he thought had been lost to him forever. Jake's undying love for Vera propels his search for her through the city's night-time streets and, finally, on the remote beaches of the Carolina coast.  Night and Its Longings isn't just a story of a missing woman — it's a tale of redemption and self-discovery. Both Jake and Vera, in their separate ways, are forced to confront the most vital human questions: why we do what we do, how we make amends for a life gone wrong, and how in the darkness of night, we see ourselves in the clearest light. About the author: PHILIP CIOFFARI is the author of 6 works of fiction, including: 1) If Anyone Asks, Say I Died From The Heartbreaking Blues; 2) The Bronx Kill; 3) Catholic Boys; 4) Jesusville, 5) Dark Road, Dead End; AND 6) the award-winning A History Of Things Lost Or Broken (which won the Tartt First Fiction Prize and the D. H. Lawrence award for fiction). He is also the writer/director of the Independent feature film, LOVE IN THE AGE OF DION, which has won a number of film festival awards, including Best Picture at the Long Island Int'l Film Expo, and Best Director at the NY Independent Film & Video Festival. His plays have been produced off and off-off-Broadway at the Chelsea Playhouse, The Belmont Italian American Playhouse, American Globe Theater and American Theatre for Actors, among others. He's a graduate of St. John's University and received his Ph.D. from New York University. He is a member of the Playwrights/Directors Unit of the Actors Studio. www.philipcioffari.com.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

เด็กฟิล์มมักจะคุ้นเคยกับเทศกาลภาพยนตร์สั้น Thai Short Film & Video Festival ของหอภาพยนตร์ฯ และมูลนิธิหนังไทย ที่จัดขึ้นเป็นประจำทุกปี เรียกได้ว่าเป็นเหมือนงานรวมญาติ และเป็นเวทีแรกเริ่มในเส้นทางของคนวงการหนังหลายต่อหลายคน แต่นอกจากเทศกาลภาพยนตร์สั้นฯ แล้ว หอภาพยนตร์ฯ ยังมีภารกิจอีกมากมาย ทั้งการเก็บรักษาหนัง ฉายหนัง ดูแลหนัง ที่ยาวนานและซับซ้อนจนเราคาดไม่ถึง เมื่อเทศกาล Thai Short Film & Video Festival ครั้งที่ 27 กลับมาอีกครั้ง ในฐานะเด็กฟิล์มที่เคยส่งหนังไปประกวดในเทศกาลนี้เหมือนกัน จัส-ธีรพันธ์ จึงขอชวน “พี่ลิ-ชลิดา เอื้อบำรุงจิต” ผู้อำนวยการหอภาพยนตร์ (องค์การมหาชน) มาเปิดอินไซด์ตั้งแต่สมัยเรียนฟิล์ม เริ่มทำงานหอภาพยนตร์ฯ จนปัจจุบันที่มีหนังสั้นมาราธอนออนไลน์กว่า 600 เรื่อง และทิศทางของวงการหนังสั้นไทยต่อจากนี้ —-- โปรแกรมหนังสั้นมาราธอนยังมีจนถึงวันพุธที่ 6 ธันวาคม 2566 (หยุดทุกวันจันทร์) เวลา 13.00 - 16.00 น. และ 18.00 - 21.00 น. ผ่านทางโปรแกรม Zoom และจะมีจัดฉายหนังสั้นที่เข้ารอบแต่ละสาขาในวันที่ 16 - 24 ธันวาคม 2566 ณ หอภาพยนตร์ (องค์การมหาชน) ติดตามรายละเอียดรอบฉาย และลงทะเบียนรับชมได้ที่ www.fapot.or.th หรือ www.facebook.com/ThaiShortFilmVideoFestival https://linktr.ee/cinefile #SalmonPodcast #Cinefile #CinefilePodcast #พอดแคสต์หนัง #รีวิวหนัง #ทุกประเด็นภาพยนตร์กับคนรักหนัง Learn more about your ad choices. Visit megaphone.fm/adchoices

Headlines//FOE Chain Reaction's Strong Blak Resistance, the full BlakOut Takeover Issue today.Old Footscray Hospital Tour coming up Saturday 7 October at 3pm. 7.15: Lana Nguyen on the upcoming Overshare Video Festival happening from 7-22 October// 7.30: Rachel Cook, Women's Health Lead from Thorne Harbour Health, on the sixth national LGBTIQ+ Women's Health Conference taking place from 24-25 October// 7.45: Dr Jing Qi, Program Manager of the RMIT Community Languages Teacher Education Program, on campaigning for the yes vote in migrant communities// 8.00: Chloe, staff member at Melbourne uni and NTEU Vice President for professional staff, on the ongoing strikes and workers rights at Melbourne Uni// 8.15: Nicole Lee, President of People With Disability Australia, speaks with Marisa on Doin' Time about a radical approach to end disability discrimination. This conversation was recorded ahead of the release of the Disability Royal Commission Report// SongsBreakfast in Bed - Rayana JayAll My Boyfriends - Kira PuruMy Love All Mine - MitskiExploding - Angie McMahon

We rehash the Cat Video Festival, talk Bravo and NBC reality drama, and have a double segment of Blinded by the Item! Learn more about your ad choices. Visit megaphone.fm/adchoices

Internet-friendly cats in all their feline glory are about to take centre stage at Nelson's historic music auditorium. The Nelson Centre of Musical Arts is about to host what's likely to be the country's first cat video festival.

Anna Mönnich ist Filmemacherin aus Ulm. Ihre Kurzfilme bereisten Filmfestivals weltweit, wie das Filmfestival Max Ophüls Preis, International Film & Video Festival of Beijing Film Academy, Cameri­mage Festival Poland uvm. Ihr neuestes Projekt ist ein Mitmach-Kino, bei dem jeder mitschreiben und mitspielen kann. Was hinter "Lumba" steckt, warum dieser Film authentischer sein kann, als andere Kino-Filme, und wie man selbst zum Drehbuch- und Kino-Star wird, das erzählt sie Sabrina in diesem Interview.

Margie catches up with her old student and friend, Tom Sawyer.  Tom has been an actor for 20 years.  In 2022, Tom won "Best Actor in a Drama Feature" at Kevin Smiths inaugural SmodacastleFilm Festival.  He has been featured in films selected for South by South West, Frightfest and New York International Independent Film and Video Festival.  Tom's TV credits include The Bill, Casualty, Hollyoaks and Family Affairs as well as different theater productions throughout England.As a coach, Tom works with actors from all over the world focusing on screen acting and the Meisner Technique.  He is co-founder and tutor of Screen Actors London and was selected as a top acting coach by coachfoundation.com. In this intimate, honest conversation, Margie and Tom discuss his childhood, his struggles and his challenges getting out of his comfort zone.  He shares his journey as a person, an actor and an acting coach in this podcast exploring our own vulnerabilities and strengths in striving to be the best human one can be.

Episode Notes Join us as we dive into the mind of the great Tane McClure. She'll take us on her journey from Days of our lives to Legally Blonde ————————————————— This episode is sponsored by Deadly Grounds Coffee "Its good to get a little Deadly" https://deadlygroundscoffee.com ————————————————— Check out Toking with the Dead Episode 1 https://www.youtube.com/watch?v=awhL5FyW_j4 Check out Toking with the Dead Episode 2 https://www.youtube.com/watch?v=SaUai58ua6o Buy awesome Merchandise! https://www.stilltoking.com/ https://teespring.com/stores/still-toking-with ————————————— Follow our guest https://www.mcclurefilms.com/tane-mcclure-producer https://www.imdb.com/name/nm0566044/ https://en.wikipedia.org/wiki/Tan%C3%A9_McClure https://www.instagram.com/tanemcclure/ https://twitter.com/tanemcclure ————————————————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 https://thedorkeningpodcastnetwork.com/ ————————————— Produced by Leo Pond and The Dorkening Podcast Network https://TheDorkening.com Facebook.com/TheDorkening Youtube.com/TheDorkening Twitter.com/TheDorkening Dead Dork Radio https://live365.com/station/Dead-Dork-Radio-a68071 Check out Green Matters: https://www.facebook.com/GreenMattersMiddleboro/ Tane McClure is a lifelong entertainment industry professional with many Film, Television, and Music credits to her name. Speaking of "names", Tane McClure's road to success has been paved with many names including: Tane Cain: RCA Recording artist: Top 40 single "Holding On" and Tahnee Cain with her band "Tryanglz" for the original "Terminator" soundtrack. From model, singer, actress, producer, director, editor, and screenwriter and novelist. Tane has been honored with award winning and nominated productions including the National Journalism Award for the Fox LA News documentary, "Love Betty White" The Betty White Story, and the nominated "Just Call Me Hef" The Hugh Hefner Story, as well as the Emmy Nominated "Station Fires" for Fox News, and her "Best Fantasy Feature" award winning film "Trance" which was honored in the New York International Independent Film and Video Festival. Some of Tane McClure's other noteworthy projects include, the international "Montwood" Perfume Commercial campaign, "Ivy Levan" Music Video (Randy Jackson), "Big Shots" series with Emmy winning journalist Giselle Fernandez for Los Angeles Magazine, and the highly acclaimed "Inside Autism" (for LeafWing For Professionals) an inspiring educational dramatic film about a boy with Autism struggling to succeed in a regular classroom environment. One of Tane's most recent accomplishments is her collaboration with the commercial production company Media Giant, where she wrote, produced and directed many television commercials as well as the award winning short film "Rockstar", about a teenager that overcomes adversity through his music. Rockstar's awards include Best Short Film, Best Music, Best Cinematography and many nominations: Best Director, Best Editor, Best VFX, Best Sound and more. Tane McClure is the daughter of actor Doug McClure, who is best known as "Trampas" from the western series "The Virginian". Tane became an actress at an early age playing the part of an orphan in "The Virginian" episode "Small Parades". Tane has since acted in over 50 films including playing Reese Witherspoon's mom in "Legally Blonde", and she has produced, directed, and edited over 100 hours of content for many major companies and networks around the world. Tane's mother, Faye Brash, who is of Hawaiian/Polynesian descent, was a singer, and her grandmother, Mae Brash was also a gifted Opera singer. From an early age, Tane was inspired by her Hawaiian heritage and their love of music. With her father Doug McClure, an actor and her mother a singer... Music, Film and Television came together for Tane in many of her aspirations. Being confident with music, sound, picture, editing, and graphics has enabled Tane to be one of the very best in her field as a director, producer and editor. "As an independent film director, I feel that often, the most interesting scenes in a film include the unexpected moments that were never actually specifically written in the script. When an actor takes a beat or two longer to get his emotions together while the camera is rolling, but the scene has not technically begun. Sometimes those quiet moments are the most honest and fresh. He is not "acting", he is simply "feeling", and THAT to me, can be magic on film." Tane McClure is the author of a new book: "Rescue Heart: A Love Story", based on a feature film screenplay also written by Tane. Tane McClure Find out more at https://still-toking-with.pinecast.co Send us your feedback online: https://pinecast.com/feedback/still-toking-with/aff710ef-eb6c-4cde-8f0f-c3fb73d8c142 This podcast is powered by Pinecast.

For the entire discussion, bonus content, to support independent media and help make this program possible, please join us on Patreon at - https://www.patreon.com/thekatiehalpershow Direct Link to the Patreon-only portion of this broadcast: https://www.patreon.com/posts/mike-prysner-on-75086411 Anti-war Iraq War veteran Mike Prysner talks about a major story he broke about Governor Ron DeSantis's military experiences in GTMO and Iraq. But first, filmmaker Tami Gold and organizer J. Leigh Oshiro-Brantly talk about the fight for sex workers' rights and the forthcoming documentary "It's Just A Job." Mike Prysner joined the Army 3 months before the 9/11 attacks, and in March 2003 was part of the invasion of Iraq. After 12 months in the occupation he became an outspoken opponent of the war, and became known for speeches, protests, and veterans' organizing against US imperialism. Since 2015 he has been the producer & co-writer for Abby Martin's show The Empire Files, and is also the host of Eyes Left, a socialist anti-war military podcast. J. Leigh Oshiro-Brantly is an organizer, sex worker and survivor who does advocacy and research around disabilities, poverty, food/housing instability and violence. They have co-authored academic papers, conducted interviews and focus groups, done community organizing, made documentaries and served at organizations like The Ishtar Collective, GLITS, SOAR Institute, Decriminalize Sex Work, and New York Transgender Advocacy Group. They were an advisor for the Museum of the City of New York's Transgender Activism Exhibit and received the 2019 Marsha P. Johnson Community Leader Award from New York Transgender Advocacy Group, where they have served as the president of the NY State Gender Diversity Coalition since 2019. Tami Kashia Gold is a multidisciplinary artist, cultural worker and a professor at Hunter College CUNY. Her teaching focuses on documentary production and LGBTQ non-fiction studies. As a filmmaker, Tami has produced Every Mother's Son; Juggling Gender: Politics, Sex And Identity; Out At Work: Lesbian And Gay Men On The Job; Making the Impossible Possible: The Story of Puerto Rican Studies at Brooklyn College; Passionate Politics: The Life and Work Of Charlotte Bunch; RFK In The Land Of Apartheid; Signed, Sealed and Delivered: Labor Struggle in the Post Office; The Last Hunger Strike: Ireland 1981; Another Brother, among others. Tami is a recipient of a Rockefeller, Guggenheim and Fulbright Fellowships; NY/NJ Video Arts Fellowships; AFI Independent Filmmakers Fellowship and Tribeca Audience Award; GLAAD Media Award; Urban Visionaries Award, Museum of Television and Radio; Excellence in the Arts Award from the Manhattan Borough President; Cine Golden Eagle Award;1st Place Athens International Film and Video Festival; HUGO Award; Gold Plaque Chicago International Film Festival; Director's Choice Award, Black Maria; Video Golden Apple Award; National Media Network Festival among others.

oin me next week with actor, author, writer, and director Clete Keith as we talk about his book, Ghosts of Greystone Beverly Hills. This book is a non-fiction account of the famous Doheny estate in Beverly Hills and the hundreds of accounts and documented paranormal activity. I can't wait to get into some of the stories in this book! Set on your couch to cozy and join us for some really spooky accounts of the paranormal! Catch the show at: www.wltkdb.com www.youtube.com/wltkdb www.facebook.com/wltkdb www.facebook.com/paranormalpeteshow Or, download the station app from your play store by searching "WLTKDB". Clete Keith began his entertainment career at age 17 acting in Repertory Theater. While in the theatre, Clete sharpened his skills not only as an actor, but also began writing and directing. His career continued with numerous television roles. Clete's first film, which he wrote, starred in, and co-directed, was DEAD SILENCE, a.k.a. STARDUMB, a finalist in the Santa Barbara Film Festival. Clete wrote and starred in THE FOOL. This 35mm film was a finalist at both the Palm Springs Short Film Festival and the Hollywood Film Festival. Later that year, THE FOOL was rated one of the top 5 most watched short films on the Sci-Fi channel. Clete wrote, starred in, and directed the film INSTANT TRAUMA. TRAUMA won “Best Mockumentary” at the New York International Film and Video Festival and was highlighted at the Nashville Film Festival with a panel discussion about the film. INSTANT TRAUMA also landed Clete a seat on the writers' panel at the Sedona Film Festival which included Ron Bass, Bo Goldman, and writer/director, Daniel Petrie Jr., and the highlighted film of this sold-out symposium. Clete then wrote and directed the feature 3 DAYS BLIND which won the Best Comedy Feature in the Toronto World of Comedy International Film Festival. In late 2010, Clete finished the screenplay GINORMOUS, a script about two characters who are completely different in height, background and age but have a common bond in their hearts. Clete then turned his pen to theater. He wrote THE DIFFERENT SHADES OF HUGH. HUGH had a 9-week run in Los Angeles capping it off with an excellent review from the Los Angeles Times. He went on to write 4 more plays: ELEPHANT IN THE ROOM, ANTIQUE WHITE, LIFE SUPPORT, and his latest, ROYAL. Thanks for following!

We decided to re-release this classic bonus episode of All2ReelToo in honor of the release of Clerks III a while back we had an All2Interview with with the Chewlie's gum guy himself actor/author/musician Scott Schiaffo. Scott Schiaffo was born in Passaic, New Jersey. Independent film fans know him best as the "Chewlie's Gum Guy" from Kevin Smith's 1994 independent cult classic "Clerks". Schiaffo is an actor/musician who plays guitar, keyboards, bass, and harmonica. Schiaffo has appeared in several feature films as well as many shorts since his big screen debut in the seminal cult comedy "Clerks". He's appeared alongside Michael DeLorenzo in "The Garden State", Selma Blair in "The Broccoli Theory" and Ethan Suplee in "Vulgar" He was featured in the View Askew produced - Lions Gate distributed motion picture "Vulgar". "Vulgar" has gone on to become a cult classic and one of Lions Gate's most controversial releases to date. Schiaffo played the lead, Mike Tobin in Tom Zanca's crime thriller "Linger" which enjoyed a winning response at many film festivals. Scott played the lead "Mo Fletcher" in the independent comedy feature "Idiots Are Us" which won Best Comedy Feature at the 2006 New York Film and Video Festival. He can be seen in the B & W short "I Got Stuff" and the live Jule Carey DVD "Love It Live" Schiaffo and many of his Clerks cast mates were featured in AMC's Comic Book Men Season 3 EP 11 "Pinheads". Schiaffo released a book of collected poetry and short stories called "Vicious Dogs Attack Me in Sleepless Nights of Summer" and in 2020 the Audible version read by the author was released worldwide. Schiaffo released an audio CD called "The Shoestring Serenade" which is a collection of instrumental film music culled from over 2 decades of original film music he composed & produced. Proceeds from the sale of this collection go to the Angels of Animals rescue in Clifton, New Jersey. In 2021 Schiaffo was tapped to reprise his role as the Chewlies Gum Rep in Kevin Smith's much anticipated sequel film Clerks III. Listen, Rate and Share the show!!!! For more info on Scott visit : http://www.scottschiaffo.com Find us at all2reeltoo.com Listen to Mike on Spoiler Alert Podcast!! from NewRealms Media... https://www.youtube.com/watch?v=9Cw5jhZHlB4&t=4s Listen to Mike on The Family Fright Night Horror Podcast ... https://open.spotify.com/episode/7kstbpDOnLQeI8BQGLzina Check out some cool music by host Matthew Haase at https://youtu.be/5E6TYm_4wIE Check out cool merchandise related to our show at http://tee.pub/lic/CullenPark Become a Patron of the show here.... https://www.patreon.com/CullenPark Listen to Mike on The Nerdball Podcast.... https://pod.fo/e/ba2aa Check out some cool music from Jason Quick at www.jasonquickmusic.com If you can during these troubling times make a donation to one of the following charities to help out. https://www.thetrevorproject.org/ https://www.hrc.org/hrc-story/hrc-foundation https://pointfoundation.org/ https://www.directrelief.org/ https://www.naacpldf.org/ https://www.blackvotersmatterfund.org https://www.tahirih.org/ https://www.monafoundation.org/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Jes talks with Beth Peloff, a video maker whose work encompasses animation, documentary, and the intermingling of the two. In her animation work, she focuses on 2D stop motion and computer-assisted animation using materials such as sand, buttons, and watercolor-painted paper cutouts. Her films have screened throughout the United States, including at the Athens Film and Video Festival, the Walker Art Center, and the Cadence Video Poetry Festival in Seattle, WA, where her film won an award for best collaboration. She was the recipient of a 2017 Jerome Foundation Film and Video grant. Through her video production company Green Jeans Media, she produces videos and animations for nonprofit clients. She also teaches animation and video editing at community-based organizations. She lives in Louisville, KY with her husband and two cats. Instagram: @wheretofromherepodcast Email: moonplaycinema@gmail.com www.moonplaycinema.org Theme music by Jes Reyes. Original recording date: August 13, 2022 Links: http://greenjeansmedia.com/about/index.html

Cevin Soling's credits include: “The Gilligan Manifesto,” “The War on Kids,” which was honored as the best educational documentary at the New York Independent Film and Video Festival and was broadcast on Pivot, The Documentary Channel, and The Sundance Channel. “A Hole in the Head,” which documented the potential benefits of boring a hole in one's skull, aired on The Learning Channel. “Ikland” documented Soling's efforts to rediscover the lost Ik tribe of northern Uganda, who were famously disparaged in the early 1970s as the worst people in the world. The NY Times and other major media outlets heralded the film. Among his animation works is “Boris the Dog,” which premiered on MTV. Soling is currently working on “The Summer of Hate,” a documentary on the Beatles' controversial observations on religion and racism during their 1966 tour of America.Soling has written a series of nine illustrated books under the heading of “The Rumpleville Chronicles.” Prominent publishing industry reviewer ForeWord Magazine described the books as such: “These quick bursts of cracked brilliance, these splintered bedtime stories for grown folks, have the power to make readers laugh, and then think, then scoff at the futility of thinking.”One of the books "Tiffany Brittany Brooke" has been made into an animated short film. Soling wrote, directed, and produced the 15-minute film. Yuri Lowenthal and Tara Platt, whose voices are featured in Marvel's “Spiderman” video game, provided voice talent. Borrero designed the artwork, and Paul Essenhigh created the animation. Tan Chong Yew composed the film's score.https://watch.reelwomensnetwork.com/products/the-gilligan-manifestoThe Douglas Coleman Show now offers audio and video promotional packages for music artists as well as video promotional packages for authors. We also offer advertising. Please see our website for complete details. http://douglascolemanshow.comIf you have a comment about this episode or any other, please click the link below.https://ratethispodcast.com/douglascolemanshow

Nathalie Amae aime créer des concepts en s'inspirant de ce qui l'inspire. Elle a conceptualisé beaucoup de salons avec Rik Gadella : salon de philosophie, Artist Book, Paris Photo en 1997, Paris Design, le Parcours des mondes, … mais aussi le salon L'Antichambre et elle est actuellement la directrice artistique du festival de vidéo OVNi à Nice. Dans cet échange, Nathalie Amae nous interroge sur le statut de la photographie : est-ce une image ? est-ce un langage ? mais aussi sur le regardeur qui va interpréter l'image en fonction de son individualité. Bonne écoute !1'40 – Qui est Nathalie Amae ? Elle a rencontré Rik Gadella avec qui elle a participé à la conceptualisation et création de nombreux salons : un salon de la philosophie en 92-93, en 93, le salon itinérant dans des hôtels entre Paris, Cologne et New York Artist book. Salon itinérant, Paris, Cologne NY, Paris Photo en 1997, Paris Design, Le Parcours des mondes, …Puis Rik Gadella est allé au Laos où il a créé un jardin botanique.16' – Elle a eu envie de travailler avec ses mains et plus avec sa tête. Elle a été ensemblière pour le cinéma dans le département décoration pendant 5 ans.19'50 – Création d'une société de production, consulting, dans la création artistique avec en particulier la création du salon : l'Antichambre dans l'hôtel de la Nouvelle République à Paris.29' – Directrice artistique du Festival de vidéo OVNi à Nice.38' - Quand on a créé le collectif SAVAGE on s'est demandé : pourquoi la photographie ? Maintenant on peut se demander : la photographie est-elle une image ? est-ce un langage ?40'50 – Le médium a changé. Mais rien n'a changé. On se pose toujours les mêmes questions : Pourquoi on a créé cette image ? Quelle est l'impact de cette image sur la vie ? 42'45 - Je préfère une œuvre bancale que je sens viscérale qu'une œuvre bien léchée, décorative.43' - L'œuvre est autant une présence au monde, une transmission et pas un état du monde. Une photo n'a pas toujours une injonction sociale ou pédagogique. Le LinkedIn de Nathalie Amae : https://www.linkedin.com/in/nathalie-amae-b83b89135/?originalSubdomain=frLe site du festival OVNi : https://www.ovni-festival.fr/Le site du Collectif Savage : https://savagecollective.one/teamPour suivre l'actualité du podcast vous pouvez vous inscrire à la newsletter ici : https://beacons.ai/lesvoixdelaphoto et retrouvez le podcast sur Instagram, Facebook et LinkedIn @lesvoixdelaph Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Today Leslie has a fascinating conversation with Documentary Filmmaker Cevin Soling about what it's like to investigate ancient tribes that still exist. How do you put together a compelling film when you have no idea what you will find? Do you go in with a planned story or agenda? Cevin addresses this and much more in this informative episode of Best in Fest.More About CevinCevin Soling, president of Spectacle Films and Xemu Records, works aswriter, director, producer, artist, and academic. Soling directed and produced, THE WAR ON KIDS, winner of the best educational documentary award at the New York Independent Film and VideoFestival. The film demonstrates how American public schools have becomemodeled after prisons in response to fear and a burgeoning intolerance of youth.The film ran at the Quad Cinema in New York City and screened at HarvardUniversity as well as other major universities. It has received accolades fromThe New York Times, Variety, and The Huffington Post. Soling was a gueston numerous radio shows including The Lionel Show on Air America, TheJoey Reynolds Show on WOR, and The Leonard Lopate Show on WNYC. Inaddition, the film was featured on national television along with an interview onThe Dr. Nancy Show on MSNBC, as well as on RT Television, and Soling wasthe featured guest on The Colbert Report. The film has been broadcastinternationally on The Sundance Channel and aired domestically on TheDocumentary Channel.Soling also produced and directed IKLAND, a film about a tribe in NorthernUganda that had been described as the most despicable people on the planet bythe anthropologist who studied them over forty years ago. IKLAND won theaward for Best Documentary content at the Boston International Film Festivaland was released theatrically in June of 2012 where it received enthusiasticreviews from The New York Times, Discovery Magazine, and from severalsyndicated critics.Soling wrote, directed, and produced the feature film, THE WAR ON THE WARON DRUGS, winner of the best experimental feature film award at the New YorkIndependent Film and Video Festival, the Stoney Award for best documentaryfrom High Times, as well as the “Clear Creek” Honorable Mention Award at theWinslow International Film Festival.The New York Times proclaimed in a rave review that THE WAR ON THE WARON DRUGS "...a lively and well-executed satire that sweetens its occasionaltruths with rebellious humor..." The film was acquired for DVD distributionworldwide through Time Warner by The Disinformation Company.

GENE GRAHAM: After earning his B.S in Advertising and Marketing Communications with a 3.6 gpa in 2003, and an Activities and Societies Presidential Scholar, Gene began his editing journey at Alphamedica in Tarrytown, NY, as in-house video editor/producer, with duties such as: patient & HCP interviews/testimonials, sourcing crews, locations, travel, editing/finessing all digital, social and live events, working closely with marketing and writing teams. He created sizzle reels and manifesto videos for business development. Then in 2010 he began freelancing first at Razorfish, then at 360i and a number of large digital, traditional amd pr communication firms with the New York agency universe and worked on productions for Mercedes Benz, Ford, PNC Bank, Morgan Stanley, Oreo Cookie, Capital One, Oscar Meyer, Celebrity Cruises, Oral B, Allergan, Unilever, Pfizer, Warner Bros, HBO, Showtime, Telepictures, In Demand, Ralph Lauren, Macy's and more. He also worked on the Biden/Harris campaign, the 2020 Pulitzer Prize Announcement, the Education Writers Association and more. This is the backstory to his evolving into an award winning filmmaker which began in 2006 as Winner, BlockBuster Audience Award for Best Picture/Feature and Best Performance by Actor, Loretta Devine, Dirty Laundry from the American Black Film Festival which he edited and associate produced and was distributed by LIONSGATE; in 2007- Winner, Jury Award for Best Documentary and Winner, Emerging Filmmaker Award,The Godfather of Disco, from the Fire Island Film & Video Festival; in 2008- Nominated, Best Independent Film, Dirty Laundry, NAACP Image Awards and Nominated, Best Feature Film/Limited Release, Dirty Laundry from GLAAD Awards; 2018- Winner, Special Jury Recognition for Best Cast, This One's For The Ladies, from SXSW Film Festival and was acquired for worldwide distribution by NEON and released theatrically nationwide, and streamed on HULU and available VOD/SVOD platforms, as well as Nominated, Best Documentary, This One For The Ladies from both SXSW & IndieMemphis; 2019- Winner, Best Documentary, This One For The Ladies from NC Black Film Festival and Filmmaker in Residence, from Docs In Progress, Washington DC. In 2021, Gene wrote, directed and edited his short film, Jac On The Come Up, which is presently on 2022's festival circuit, while his new film Born Again Reject is about to be shot this summer. He enthusiastically looks forward to more in the feature realm within the near future. Great director to work with. Follow his journey at: https://determinedpictures.com/ --- Support this podcast: https://anchor.fm/ozzie-stewart/support

Dean Gilbert has been a leader in higher education for more than 20 years.  She began her career as a faculty member and over the years has served in a variety of higher education leadership positions.  She became the Dean of the University of Toledo's College of Arts and Letters on July 10, 2017.  During her tenure, the College of Arts and Letters (CAL) has seen record highs in retention rates, graduation rates, and external research funding.   Faculty in the College have received numerous accolades for their research excellence including four Fulbright scholars, a National Endowment for the Humanities Fellow and a winner of the Kennedy Center's National Playwright Award.  In addition, students in the college have significantly increased their participation in undergraduate research both on campus and at regional and national conferences.  This past fall CAL students represented over 20% of the student participants in the University's annual undergraduate research showcase.   In the spring CAL students were part of two teams of students who competed in the international Biodesign Challenge at the Museum of Modern Art in New York city.  During her first year as Dean, Gilbert led the College through a college-level strategic planning process that identified the following five key values as the foundation for achieving strategic success during the next five years:  Integrity, Excellence, Diversity, Engagement and Innovation. Dean Gilbert is deeply committed to building the College of Arts and Letters into one of the finest liberal arts colleges, housed in a public university, in the country.  In her first year as Dean, the College approved a new minor in Data Analytics.  In her second year, she led a university-wide initiative to develop new majors in data analytics and data science. Other curricular initiatives under her leadership have included:  a LatinX curriculum infusion project, a graduate certificate in Disability Studies, a re-activated Masters in Public Administration program, and an ongoing effort to develop an interdisciplinary doctoral program in the humanities.  Gilbert believes that creating a supportive and engaging academic environment is essential to academic excellence.  During her tenure as Dean, the College established a New Scholars Program designed to create an intellectual community for students who are highly engaged in terms of their academic achievements, commitment to service and/or leadership.  In addition to co-curricular activities, Gilbert has prioritized scholarship support for students in need.  Under her leadership the College has created the Strategic Scholarship Initiative designed to support students in academic good standing who need a small amount of financial assistance to stay on track to graduation.  From July 2014 to July 2017, Professor Gilbert served as the Dean and Director of the Ohio State University, Lima Campus.  During this time the campus saw record increases in retention rates, graduation rates, and fundraising.  Under Gilbert's leadership, the campus became known for its commitment to community engagement efforts focused on creative collaborations and service.  She also served as a Professor in the OSU Department of Women's , Gender, and Sexuality Studies. Prior to this position, she had been at the University of Toledo as a full professor and Chair, in the Department of Women's and Gender Studies and the founding director of the School of Interdisciplinary Studies. In addition to serving as the Dean of the University of Toledo's College of Arts and Letters, Gilbert is also a tenured full Professor in the Department of Theatre and Film.  For the past 20 years Gilbert has been an independent documentary filmmaker, teacher and scholar. She has been a national producer for public television and has produced two award-winning feature documentaries and several short non-fiction films. Her first feature documentary film, Homecoming Sometimes I am Haunted by Memories of Red Dirt and Clay, premiered nationally on PBS and won several national awards for Best Documentary.  Professor Gilbert also co-authored, with Quinn Eli, a companion book to the film, also entitled Homecoming, published by Beacon Press. Her documentary, Children Will Listen, which followed DC public school children engaged in a year-long theater arts project, premiered at the 2004 AFI Silverdocs Documentary Festival and had a national primetime PBS broadcast premiere.  Her films and videos have been screened in numerous international and national festivals including the Women in the Director's Chair Festival, the Chicago International Television Festival, FESPACO, the Athens International Film and Video Festival, and the Philadelphia Festival of World Cinema. Gilbert is the recipient of several awards and fellowships including the Rockefeller Media Arts Fellowship, Harvard University's Bunting Fellowship, the Kellogg National Leadership Fellowship award and the American Council on Education Fellowship. Dean Gilbert received her bachelor's degree from Yale University, her Master of Fine Arts degree from Temple University and Ph.D. from the University of Nebraska

I sin första dokumentärfilm; Väninnor – berättelser från garderoben som gjordes tillsammans med Nina Bergström 1996 porträtterade Sander C. Neant Falk lesbiska i åldrarna 60 till 85 år. Filmen blev den första lesbiska dokumentären som gick upp på svenska biografer. I nästa dokumentär satte Sander videokameror i händerna på queera tonåringar som filmade sina liv. Det blev guldbaggebelönade Du ska nog se att det går över. En pärla till film, som numera går att se via bibliotekens streamingsajt Cineasterna. Ytterligare några år senare gjorde Neant Falk den meditativa konstfilmen Your Mind is Bigger than All the Supermarkets in the World, efter att ha studerat på Konstfack. I det här avsnittet av SAQMI Play möter vi Sander C. Neant Falk, dokumentärfilmare, klippare, konstnär och pedagog verksam sedan 90-talet efter utbildning på filmskolan ESRA i Paris och dokumentärfilm på Biskops Arnö Nordens Folkhögskola i ett samtal med Malin Holgersson och Anna Linder. Avsnittet har fått stöd av Göteborgs Stads kulturnämnd - Projektstöd Pronto Biografi: Sander C. Neant Falk är dokumentärfilmare, klippare, konstnär och pedagog verksam sedan 90-talet efter utbildning på filmskolan ESRA i Paris, dokumentärfilm på Nordens Biskops Arnö och Konstfack. Neant Falk har regisserat, producerat och till stor del fotat och klippt sina tre långa dokumentärer som visats på biograf, SVT och vunnit flera priser på internationella filmfestivaler. Filmen Du ska nog se att det går över belönades med en Guldbagge för bästa dokumentär och fick hedersomnämnande av internationella filmkritikerförbundet FIPRESCI. Filmen Väninnor – berättelser från garderoben hyllades av kritiker och var den första lesbiska dokumentärfilmen som gick upp på svenska biografer. Båda filmerna ingår i Svenska Filminstitutets satsning på viktig svensk film som digitaliseras under 2021. 2005-08 studerade Neant Falk som filmare på Konstfack för att utforska ett mer experimentellt förhållningssätt till film, foto, video och klippning. Resultatet blev konstfilmen Your Mind is Bigger than All the Supermarkets in the World som fick fina recensioner och visades i fullsatta salonger på Folkets Bio. Sedan 2017 varvar Neant Falk egna konst och kortfilmsprojekt med arbete som terapeut med fokus på skapande processer och arbete som värd och konstpedagog på Konsthall C i Stockholm. Filmografi: 1996 – Väninnor - berättelser från garderoben - dokumentärfilm, 2003 - Du ska nog se att det går över, dokumentärfilm, 2010 - Your Mind is Bigger than All the Supermarkets in the World, dokumentärfilm, 2011 - Nine Speeches on Violence by Three Wise Men, konstfilm, The Cleansing Ceremony med Nya Konstnärsklubben, 2018- Om filmerna: Väninnor - berättelser från garderoben, 1996, 53 min De är fem kvinnor i åldrarna 60 till 85 år och de är lesbiska. De har levt med rädslan att vara annorlunda och med risken att förskjutas av vänner, släktingar och arbetskamrater.I åratal har de smugit med sina känslor; dubbelliv har varit deras vardag. Någon av dem har aldrig tidigare talat om sin homosexualitet ens med sina närmaste. Med stark närvaro och sprängkraft berättar de fem kvinnorna om sina liv och om sin förbjudna kärlek. Tidstypisk musik, pressklipp, arkivbilder och privata fotografier illustrerar deras berättelser i denna varmt innerliga dokumentärfilm. Väninnor hyllades av kritikerkåren när den fick sin premiär under mitten av 90-talet, men har sedan dess varit otillgänglig för publiken. Nu har filmen äntligen digitaliserats och får lov att återta den framskjutna plats i queerhistorien den så väl förtjänar. Regissör: Sander C. Neant Falk & Nina Bergström Medverkande: Abbe Österberg, Boel Matthis, Ellen Lindström, Frieda Lööv och Kerstin Hammarsten Filmfotografer: Lisa Hagstrand och Maria Hammar Turos Producent: Anna G Magnúsdottír Biografpremiär: Zita, Folkets Bio i Stockholm, 25 oktober 1996. Land: Sverige, barntillåten. Språk: Svenska. Längd: 53 min Festivaler i urval: 1997: 13 Festival Internacional de Cine de mar del Plata, Argentina, Verzaubert Film Festival, Germany, Vancouver International Film Festival, Canada, Images et Nations – Montreal Lesbian & Gay Film Festival, Canada, 21 st san Francisco International L&G Film Festival, USA, OUTFEST- Los Angeles Gay & Lesbian Film Festival, USA, Seattle International Film Festival USA, New York Lesbian & Gay Film Festival, USA, Boston Lesbian & Gay Film Festival, USA, Skeive Filmer – Oslo Lesbian & Gay Film Festval, Norway, Gothenburg Film Festival, Sweden. Awards: OUTstanding Documentary Feature Award 1997 Award from the Grand Jury of OUTFEST Los Angeles Gay & Lesbian Film Film Festival, The RFSU Award 1997 RFSU; the National Swedish Organisation for Health and Sexual Education, Tupilak Culture Award 1997, Tupilak; the Association for Scandinavian Homosexual Culture, The Pink Room Prize 1997 Award given by the Swedish National Lesbian & Gay Association The Homosexual Rose of 1996, Award from Gothenburg Lesbian & Gay Association. Du ska nog se att det går över, 2003, 74 min Det var när My blev kär i Scully i Arkiv X som hon förstod att hon gillade tjejer. Ingen annan fick veta så klart. För hur ska man som 14-åring berätta för hela släkten och kompisarna att man är lesbisk? Fast hur ska man kunna låta bli? "Finns du tjej som dras till både killar och tjejer?" Som fjortonåring satte regissören Cecilia Neant-Falk in en kontaktannons i tidningen OKEJ 1985. Det kom svar från hela landet. Femton år senare satte hon in samma annons igen. My, Joppe och Natalie var tre av de 80 tjejer som svarade... "Du ska nog se att det går över" har spelats in under 4 år och är resultatet av ett unikt projekt med material direkt från tonårsgarderobens dunklaste vrår. My, Joppe och Natalie har låst dörren, slagit på kameran och berättat allt. Om mamma och pappa som inget vet, om NO-läraren som säger att det är fel i generna på homosexuella, om att bo i ett samhälle där alla vet allt om alla. Om Fucking Åmål, fast på riktigt! Om att växa upp som homoagent i en heterovärld. Filmen är ett djärvt collage av tekniker och medier som DV-cam, gamla arkivbilder och Super 8 vilka ackompanjeras av ett digert soundtrack med artister som Stina Nordenstam, Ani Di Franco och Eva Dahlgren. Åskådaren bjuds in i ett brokigt tonårs-landskap av rädsla, ilska, utanförskap, men framförallt av mod och lust. Det handlar om att våga lita till sin egen vilja och känsla. Att ta den på allvar även när det betyder att trotsa omgivningen och dess konventioner. IDE MANUS REGI: Cecilia Neant-Falk MEDVERKANDE: Natalie Durbeej, Johanna "Joppe" Svensson, My Sörensson REGIASSISTENTER: Joakim Rindå, Åsa Ekman, Jenny Sahlström FOTO: Cecilia Neant-Falk & Camilla Hjelm, Astrid Askberger KLIPP: Josef Nyberg & Cecilia Neant-Falk FINKLIPPNING: Berit Ljungstedt LJUD: Marcus Sötterman GRAFISK FORM: David Giese PRODUCENT: Cecilia Neant-Falk / Riot Reel AB I SAMPRODUKTION MED: Mette Heide / Team Production ApS (Danmark), Ulla Simonen / Kinotar OY (Finland), SVT Dokumentär, Film i Värmland, YLE TV1 MED STÖD AV: Svenska Filminstitutet / Filmkonsulent Göran Olsson / Hjalmar Palmgren, Det Danske Filminstitut, Konstnärsnämnden, Folkhälsoinstitutet, AVEK, Nordisk Film- & TV Fond LÄNGD OCH FORMAT: 74 min, 35 mm(1:1.33), VHS, färg, Dolby SR LJUD: Dolby SR DISTRIBUTION: Folkets bio COPYRIGHT RIOT REEL 2003 Festivaler i urval: 2003: Gothenburg Film Festival, Sweden, Outfest, Los Angeles, USA, Kombat Queer & Feminist Film Festival, Stockholm, Sweden, Berlin Lesbian Film Festival, Germany, Hamburg Lesbian & Gay Film Festival, Germany, Bergen Film Festival, Norway, Nordische Filmtage Lübeck, Germany, Mix Brasil, Brazil 2004: Melbourne Queer Film Festival, Australia, Festival International de Films de Femmes de Créteil, France, London Lesbian & Gay Film Festival, UK, Hot Docs, Toronto, Canada, Queer Zagreb, Croatia, Brussels Pink Screens, Belgium, Inside Out Toronto Lesbian and Gay Film and Video Festival, Canada, Barcelona International Women's Film Festival, Spain. Awards: Guldbagge Award for Best Documentary 2003 (Swedish national film award), FIPRESCI Special Mention, Sydney Film Festival, 2003, Prix AFJ (Association des Femmes Journalistes), Festival International de Films de Femmes de Créteil, 2004, Torino Audience Award 2004, Torino Gay & Lesbian Film Festival, Italy, Torino Jury´s Special mention 2004 Torino Gay & Lesbian Film Festival, Italy, FIPRESCI (Fédération Internationale de la Presse Cinématographique), Awarded A Special Mention to: Don't You Worry It Will Probably Pass/ Du Ska Nog se att Det Går Över by Cecilia Neant-Falk (Sweden 2003) "For its fresh vision of adolescence and its generosity in granting the right of authorship to its subjects". / Jury member B. Ruby Rich YOUR MIND IS BIGGER THAN ALL THE SUPERMARKETS IN THE WORLD - Some guidance for a lost Westerner, 2010, 73 min Cecilia: Åh, jag har stora frågor till dig! Upul: Hur stora? Som Mount Everest? Cecilia: Ska jag ta den största först Upul: Ja, ja… Cecilia: Vad är meningen med livet? Upul: Oj…! 2004 reser regissören och konstnären Cecilia Neant Falk till Nilambe Buddhist Meditation Centre på Sri Lanka, där hon möter meditationsläraren Upul Nishanta Gamage. Sedan dess har Cecilia återvänt till Nilambe varje år, alltid med kamera och mikrofon. Det pågående samtalet mellan Cecilia och Upul, som äger rum varje eftermiddag kl. 16.30 tar oss med på en existentiell resa. Här får Cecilias frågor – om rastlöshet, tid, minne, relationer, lycka, depression, Upuls jordnära svar från ett buddhistiskt filosofiskt perspektiv. Deras röster ackompanjeras av det tropiska landskapets fåglar och insekter i en rofylld filmsekvens med en skog, ett berg och en trädgård. Your Mind is Bigger than all the Supermarkets in the World är en 73 minuters stillsam resa där den största dramatiken är de tankegångar som sätts igång inom betraktaren. En film som ger energi och öppnar sinnet för nya tankebanor. "Som i en själslig dusch kliver jag in i salongen där Neant Falks film visas, låter ögat vila mot den grönskande bergssluttningen. Jag hör vindens sus och ser ett grässtrå beröras av en pust, i fjärran en bil som letar sig fram längs bergets fot. Genom Upul Nishantas lugna ord hör jag snart också något mer: mina egna djupa andetag, påminns om min egen puls. Tillsammans med den övriga publiken delar jag en stunds vila och med ny höjd i tankarna möter jag världen utanför igen.” Joakim Rindå Premiärdatum: 7 mars 2010 Regissör & manus: Cecilia Neant Falk Land: Sverige (inspelad på Sri Lanka) Produktionsår: 2010 Produktionsbolag: Riot Reel & Bokomotiv AB Medverkande: Medtiationsläraren Upul Nishanta Gamage & Regissören Cecilia Neant Falk Längd: 73 min Producenter: Cecilia Neant Falk & Freddy Olsson Foto: Johan Rydberg & Cecilia Neant Falk Ljudmix: Owe Svensson Copyright: Cecilia Neant Falk Genre: Experimentell dokumentär Bildformat: 16:9, Färg Ljudformat: 5.1 Språk: engelska Textningsspråk: svenska & engelsk Översättning: Agneta Wirberg Textmakarna Distribution: Folkets Bio AB Extra material: Trailer: Your Mind is Bigger than all the Supermarkets in the World Sveriges Radio - Människor och tro: Kvartsamtal med Cecilia Neant Falk. Publicerat fredag 5 februari 2010 kl 15.48. Credits SAQMI Play: Producenter: Anna Linder och Malin Holgersson Design och kod: Vincent Orback Komposition: Amanda Lindgren Klipp och mix: Malin Holgersson Ansvarig utgivare: Anna Linder SAQMI Play produceras med stöd av Kulturrådet och Göteborgs stad.

The Festival of the Arts is a community celebration of the visual and performing arts, bringing a variety of talented artists together in downtown OKC's Bicentennial Park. Traditionally, Festival has been an OKC tradition since 1967, considered a rite of spring and an ACOKC signature event.

John Whitehead is one of the nation's premier civil liberties lawyers, a passionate orator, and president of The Rutherford Institute (www.rutherford.org). He's also the author of several fantastic books, two of which are:Battlefield America: The War on the American People and A Government of Wolves: The Emerging American Police StateToday, we're lucky to have John come on the show to talk about his tireless work through the past several decades as he tries to wake all Americans up to the importance of civil liberties and your American duty to challenge authority before it's too late."All men having power ought to be mistrusted." ...James Madison(Interview Begins at 9:50) The Rutherford Institute (est 1982) is a nonprofit civil liberties and human rights organization located in Charlottesville, Virginia, deeply committed to protecting the constitutional freedoms of every American and the integral human rights of all people. It has emerged as a prominent leader in the national dialogue on civil liberties and human rights, and is a formidable champion of the Constitution.In his lengthy and impressive professional history, Whitehead has filed numerous amicus briefs before the U.S. Supreme Court, has been co-counsel in several landmark Supreme Court cases and continues to champion the freedoms enshrined in the Bill of Rights in and out of the courts. His law review articles have been published in Emory Law Journal, Pepperdine Law Review, Harvard Journal on Legislation, Washington and Lee Law Review, Cumberland Law Review, Tulsa Law Journal and the Temple University Civil Rights Law Review. Whitehead is also a member of various groups that seek nonpartisan consensus solutions to difficult legal and constitutional issues through scholarship, activism and public education efforts.John Whitehead is a frequent commentator on a variety of legal and cultural issues in the national media and writes a weekly opinion column, which is distributed nationwide. He has authored more than 30 books on various legal and social issues.His most recent books include the best-selling Battlefield America: The War on the American People and the award-winning A Government of Wolves: The Emerging American Police State.In addition, he wrote and directed the documentary video series Grasping for the Wind, as well as its companion book, which focus on key cultural events of the 20th Century. The series received two Silver World Medals at the New York Film and Video Festival. You can also check out and share some of John's expertly written youtube videos.Support the show (https://www.patreon.com/independme)

Betty Yu is a multimedia artist, photographer, filmmaker and activist born and raised in NYC to Chinese immigrant parents. Ms. Yu integrates documentary film, new media platforms, and community-infused approaches into her practice, and she is a co-founder of Chinatown Art Brigade, a cultural collective using art to advance anti-gentrification organizing. Ms. Yu has been awarded artist residencies and fellowships from the Laundromat Project, A Blade of Grass, International Studio & Curatorial Program, Intercultural Leadership Institute, Skidmore's Documentary Storytellers' Institute, KODA Lab, Asian American Arts Alliance, En Foco, China Residencies, Flux Factory and Santa Fe Art Institute. Her work has been presented at the Brooklyn Museum, Queens Museum, NY Historical Society, Artists Space, SPACE Gallery, Margaret Mead Film and Video Festival, Tribeca Film Festival's Interactive Showcase, 2019 BRIC Biennial; Old Stone House, and Squeaky Wheel Film and Media Art Center. In 2018 she had a solo exhibition at Open Source Gallery in New York. In 2017 Ms. Yu won the Aronson Journalism for Social Justice Award for her film "Three Tours" about U.S. veterans returning home from war in Iraq, and their journey to overcome PTSD. She holds a BFA from NYU's Tisch School of the Arts, a MFA in Integrated Media Arts from Hunter College and a One-Year Certificate from International Center Photography New Media Narratives program. Ms. Yu teaches video, social practice, art and activism at Pratt Institute, Hunter College, and The New School, in addition she has over 20 years of community, media justice, and labor organizing work. In the Fall 2020, Betty had her curatorial debut as she presented Imagining De-Gentrified Futures, an exhibition that featured artists of color, activists and others along with her own work at Apexart in Tribeca, NYC. Betty sits on the boards of Third World Newsreel and Working Films; and on the advisory board of More Art. The current project that was discussed in the interview: We Were Here: Unmasking Yellow Peril The book mentioned in the interview was Race for Profit. My grandparents in New York City in the 1950s with the cut out of 1882 Chinese Exclusion Act in the Background, Digital Collage, 2020. (Dis)Placed in Sunset Park: My Personal Story from Betty Yu on Vimeo.

The Chickasha Festival of Light has been recognized as one of the top ten holiday light shows in the nation and features over 3.5 million twinkling lights. The Festival of Light is an admission free event so that everyone may experience the magic and spirit of Christmas.   https://chickashafestivaloflight.org/   https://www.chickasha.org/

Joel Calendrillo talks about how to be the leader that attracts people into your network marketing business.Who is Joel Calendrillo?Joel Calendrillo has had a very colorful background before network marketing. He's never had a corporate job and always had to hustle.He has been an actor, freelance catering manager, snowboard and rollerblade instructor and also a coordinator for the NY International Film and Video Festival.Today he's a multiple 6 figure earner and has a team of over 66,000 distributors and customers. Joel credits his success to persistence and his ability to motivate others.Favorite QuoteIf it's meant to be, it's up to me.Recommended Books by Joel CalendrilloOutwitting the Devil by Napoleon HillCompound Effect by Darren HardyRecommended Online AppCompany AppRecommended Prospecting ToolPhone and calling people Contact InfoJoel Calendrillo on Facebook and Instagramphone: 917-677-8888

In this bonus episode of All2ReelToo we have an All2Interview with actor/author/musician Scott Schiaffo. Scott Schiaffo was born in Passaic, New Jersey. Independent film fans know him best as the "Chewlies Gum Guy" from Kevin Smith's 1994 independent cult classic "Clerks". Schiaffo is an actor/musician who plays guitar, keyboards, bass, and harmonica. Schiaffo has appeared in several feature films as well as many shorts since his big screen debut in the seminal cult comedy "Clerks". He's appeared alongside Michael DeLorenzo in "The Garden State", Selma Blair in "The Broccoli Theory" and Ethan Suplee in "Vulgar" He was featured in the View Askew produced - Lions Gate distributed motion picture "Vulgar". "Vulgar" has gone on to become a cult classic and one of Lions Gate's most controversial releases to date. Schiaffo played the lead, Mike Tobin in Tom Zanca's crime thriller "Linger" which enjoyed a winning response at many film festivals. Scott played the lead "Mo Fletcher" in the independent comedy feature "Idiots Are Us" which won Best Comedy Feature at the 2006 New York Film and Video Festival. He can be seen in the B & W short "I Got Stuff" and the live Jule Carey DVD "Love It Live" Schiaffo and many of his Clerks cast mates were featured in AMC's Comic Book Men Season 3 EP 11 "Pinheads". Schiaffo released a book of collected poetry and short stories called "Vicious Dogs Attack Me in Sleepless Nights of Summer" and in 2020 the Audible version read by the author was released worldwide. Schiaffo released an audio CD called "The Shoestring Serenade" which is a collection of instrumental film music culled from over 2 decades of original film music he composed & produced. Proceeds from the sale of this collection go to the Angels of Animals rescue in Clifton, New Jersey. In 2021 Schiaffo was tapped to reprise his role as the Chewlies Gum Rep in Kevin Smith's much anticipated sequel film Clerks III. Listen, Rate and Share the show!!!! For more info on Scott visit : http://www.scottschiaffo.com Find us at www.all2reeltoo.com Check out some cool music by host Matthew Haase at https://youtu.be/5E6TYm_4wIE Check out cool merchandise related to our show at http://tee.pub/lic/CullenPark Become a Patron of the show here.... https://www.patreon.com/CullenPark If you can during these troubling times make a donation to one of the following charities to help out. https://www.directrelief.org/ https://www.naacpldf.org/ https://www.blackvotersmatterfund.org Learn more about your ad choices. Visit megaphone.fm/adchoices

Here we talk with guest, Bailey, about the MD short documentary "The Daydreamers", directed by Thomas Renckens. The Daydreamers Trailer: https://www.youtube.com/watch?v=l_MQ9yA142Q&t=1s Call for participation in upcoming projects: https://www.reddit.com/r/MaladaptiveDreaming/comments/om9e4z/call_for_participation_film_and_book/ Upcoming screenings: Amsterdam Independent Film Festival | 19 - 23 October 2021 Athens International Film & Video Festival | 15 - 24 October 2021 New Jersey Independent Film Festival | tbc Brussels Independent Film Festival | tbc Thomas Renckens: https://thomaswillemrenckens.com/ Link to Discord: https://discord.gg/x6QZNwe89Y Trapped in Daydreams blog: https://www.trappedindaydreams.com/ Reddit community: https://www.reddit.com/r/MaladaptiveDreaming/ International Consortium for Maladaptive Daydreaming Research: https://daydreamresearch.wixsite.com/md-research/publications Art by: SPFitzgerald https://www.spfitzgerald.com/ Music by: Iliasse (ask for details) Thumbnails by Jessica

Scott Schiaffo was born in Passaic, New Jersey. Independent film fans know him best as the "Chewlies Gum Guy" from Kevin Smith's independent cult classic "Clerks". Schiaffo is an actor/musician who plays guitar, keyboards, bass, and harmonica. Schiaffo has appeared in several feature films as well as many shorts since his big screen debut in the seminal cult comedy "Clerks". Schiaffo and his Clerks cast mates were featured in Season 3 of AMC's Comic Book Men EP 11 "Pinheads". He's appeared alongside Michael DeLorenzo in "The Garden State", Selma Blair in "The Broccoli Theory" and Ethan Suplee in "Vulgar" He was featured in the View Askew produced - Lions Gate distributed motion picture "Vulgar". "Vulgar" has gone on to become a cult classic and one of Lions Gate's most controversial releases to date. Schiaffo played the lead, Mike Tobin in Tom Zanca's crime thriller "Linger" which enjoyed a winning response at many film festivals and is now available worldwide through Amazon. Scott played the lead "Mo Fletcher" in the independent comedy feature "Idiots Are Us" which won Best Comedy Feature at the 2006 New York Film and Video Festival. He can be seen in the B & W short "I Got Stuff" and the live Jule Carey DVD "Love It Live" Schiaffo released a book of collected poetry and short stories called "Vicious Dogs Attack Me in Sleepless Nights of Summer" and in 2020 the Audible version read by the author was released worldwide. Schiaffo released an audio CD called "The Shoestring Serenade" which is a collection of instrumental film music culled from over a decade of original film music he composed & produced. Proceeds from the sale of this collection go to the Angels of Animals rescue in Clifton, New Jersey.

Harvey Brownstone conducts an in-depth interview with Steve Paikin, Host of TV Ontario's “The Agenda” and AuthorAbout Harvey's guestSteve Paikin, OC OOnt, is a Canadian journalist, author, and documentary producer.  He has primarily worked for TVOntario (TVO), Ontario's public broadcaster, and is anchor of TVO's flagship current affairs program The Agenda with Steve Paikin. A native of Hamilton, Ontario, Paikin was born to Lawrence and Marina Paikin. He graduated from Hillfield Strathallan College in 1978 and continued to university where he received a Bachelor of Arts degree from the University of Toronto (Victoria University, Toronto 1981).  Later, he received his master's degree in broadcast journalism from Boston University. He served as sports editor for the University of Toronto's independent weekly, The Newspaper, while pursuing his BA, and was the play-by-play voice of the Varsity Blues hockey and football teams on U of T Radio.In 1992, Paikin began work at TVO, hosting the political series Between the Lines until 1994. He also co-created the Queen's Park magazine Fourth Reading, which he hosted for 14 years. In 1994, Paikin began co-hosting duties (with Mary Hynes for two years, and then Paula Todd) on Studio 2 until 2006. In 1998, he co-created and began hosting Diplomatic Immunity, a weekly foreign affairs commentary show.In 2006, TVO cancelled Studio 2 and replaced it with a new program, The Agenda with Steve Paikin. Paikin frequently is selected to be the moderator of election debates. He acted as a moderator for federal leaders debates in 2006, 2008, and 2011; and for Ontario provincial leaders debates in 2007, 2011, 2014, and 2018.Aside from his hosting and journalistic endeavors, Paikin has produced a number of feature-length documentaries: Return to the Warsaw Ghetto; A Main Street Man; Balkan Madness; Teachers, Tories and Turmoil; and Chairman of the Board: The Life and Death of John Robarts. For 1993's Return to the Warsaw Ghetto, Paikin won the "Silver Screen Award" at the U.S. International Film and Video Festival, and received awards at the Yorkton Film Festival in Saskatchewan and at China's Shanghai Film Festival.He holds honorary doctorates from McMaster University, Victoria University, Laurentian University, York University, and honorary diplomas from Humber College, Centennial College, Mohawk College and Fanshawe College.  He was later appointed chancellor of Laurentian University in Sudbury in October 2013, a position which he terminated following the university's restructuring amidst financial difficulties in 2021.  In December 2013, he was made an Officer of the Order of Canada and invested into the Order of Ontario.His publications include:The Life: The Seductive Call of Politics The Dark Side: The Personal Price of a Political Life Public Triumph, Private Tragedy: The Double Life of John P. RobartsThe New Game: How Hockey Saved ItselfPaikin and the Premiers: Personal Reflections on a Half Century of Ontario Leaders, I am a Victor: The Mordechai Ronen Story Bill Davis: Nation Builder, and Not So Bland After AllIntroduction to Without Walls or Barriers: The Speeches of Premier David Peterson For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com https://m.facebook.com/TheAgenda/ https://twitter.com/spaikinhttps://www.youtube.com/channel/UCu_u-P3cBFO7D-sAjxd_I-whttps://www.tvo.org/author/steve-paikin#spaikin  #harveybrownstoneinterviews

We were purrrfectly pleased to have Leslie Spears and Eric Himan from the Myriad Botanical Gardens to talk about the upcoming free Cat Video Festival. Plus we picked your brains about your favorite pets and your always fun Weekly Podvents. We hope you listen!

In conversation with Jason Villemez, editor of the Philadelphia Gay News A decades-long activist for LGBTQ+ rights and women's empowerment, Sarah Schulman is the author of more than twenty novels, nonfiction books, screenplays, and stage plays. Her other work has appeared in periodicals such as The New Yorker and The New York Times. Schulman is a Distinguished Professor of the Humanities at the College of Staten Island, a fellow at the New York Institute for the Humanities, and the cofounder of the MIX New York LGBT Experimental Film and Video Festival. Schulman has also earned fellowships from the Guggenheim Foundation and the New York Foundation for the Arts. Based on more than 200 interviews, Let the Record Show explores the widespread impact of ACT UP, the diverse community AIDS activist group. Books available through the Joseph Fox Bookshop (recorded 6/29/2021)

Join Rabbi Jeff, an experienced out-of-town Rabbi, and his son Ahron Wohlgelernter in a thoughtful and timely conversation every week. In preparation for his film " the last days" remastered release on Netflix, we get the opportunity to speak to Dr. Michael Berenbaum. Dr. Berenbaum was the historical consultant for this academy award-winning holocaust film. We Talk About what inspired him to work on holocaust related projects his entire life. What is the message for our generation about what happened in Germany? What is his life mission? Why is this film so important? Michael Berenbaum is an American scholar, professor, rabbi, writer, and filmmaker, who specializes in the study of the Holocaust. He served as Deputy Director of the President's Commission on the Holocaust Project Director of the United States Holocaust Memorial Museum (USHMM), and Director of the USHMM's Holocaust Research Institute Berenbaum, who is Jewish, graduated from Queens College with a Bachelor of Arts degree in 1967 and received his doctorate from Florida State University in 1975. He also attended The Hebrew University, the Jewish Theological Seminary, and Boston University. Berenbaum received Rabbinic ordination (Orthodox) by Rabbi Yaakov Rabin at the age of 23. Berenbaum held teaching posts at Florida State University, Yale University, Georgetown University, Wesleyan University, George Washington University, the University of Maryland, College Park, and American University, and is currently a Professor of Jewish Studies at the American Jewish University (Los Angeles). He is the author and editor of eighteen books, including After Tragedy and Triumph, a study of the state of American Jewry in the early 1990s, as well as The World Must Know, Anatomy of the Auschwitz Death Camp. He co-edited After The Passion is Gone: American Religious Consequences with Shawn Landres (2004) which examines the social impact of the film The Passion of Christ on religious groups. Berenbaum and Landres took a public role in shaping the interreligious response to the film. Berenbaum is the Executive Editor of the New Encyclopedia Judaica, 2nd ed., that includes 22 volumes, six million words, and 25,000 individual contributions to Jewish knowledge, published in December 2006 (ISBN 0028659287); it won the Dartmouth Medal of the American Library Association for the outstanding reference work of 2006. Berenbaum co-produced One Survivor Remembers: The Gerda Weissmann Klein Story,[9] a film which was recognized with an Academy Award an Emmy Award, and the Cable Ace Award. He was the chief historical consultant for Last Days, which also won an Academy Award in 1998. In 2001, Berenbaum was a historical consultant for the History Channel's The Holocaust: The Untold Story, which won the CINE Golden Eagle Award and a silver medal at the US International Film and Video Festival. He was also Executive Producer of a film entitled Desperate Hours about the unique and rarely acknowledged role The Republic of Turkey played in rescuing Jews from Nazi Germany's final solution and "About Face: The Story of The Jewish Refugee Soldiers of WWII". Berenbaum was executive producer of Swimming in Auschwitz and was a consultant for Defiance and Uprising, among other Holocaust-related films and documentaries. Berenbaum is the founding partner of Berenbaum Jacobs Associates, a firm designing Museums, Special Exhibitions, Memorials, and Educational Centers. In 2019 and 2020 he served as a history consultant for the Serbian historical drama film Dara of Jasenovac. Enjoy! And Pass The Chulent! ------------------------------------------------------------- Have a bone to pick? email - intentionaljew@gmail.com Website: https://www.intentionaljew.com/shows/think-torah/ Subscribe to our newsletter: https://www.intentionaljew.com/contact-us-advertise-with-us/

In this episode, I have a Wendy Weiner.  redemption sparked my curiosity to have her on as a guest. Spirited writer, award winning film producer, ebullient story teller, and proud collector of amazing people. Noah Bewley and I are producing a diverse slate of films, including award winning R4CH43L and the films, video games and graphic novel series of our original MY GOLDEN BLOOD trilogy: -Crossing To Existence -Collecting The Hidden -Ceasing The Darkness Wendy is a proud wife, mom, grandmother, and executive producer for feature film and television and convicted felon. Wendy talks about her pathway to becoming an award winning producer, how she collects people, and her story of how she was convicted and sent to a state prison in Iowa and how her positive attitude got her through this tough time. If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/ITunes? Your feedback is important to me and it would also take less than 60 seconds and make a difference in getting those hard-to-get guests as we expand our reach. Connect with Wendy Weiner Website: https://www.instagram.com/mygoldenblood/ Instagram: @Mygoldenblood Linkedin: https://www.linkedin.com/in/wendy-weiner-runge-850a697/ R4CH43L™ - WINNER

Such a moving conversation with Lonny Price, actor and director, on the podcast this week. Lonny spoke about his life in the theatre beginning in legendary producer Hal Prince’s office, acting in Stephen Sondheim’s “Merrily We Roll Along,” transitioning to directing, and even revealing moments and memories he hasn’t shared before. In the fall of 2019, Lonny directed the world premiere of the Mitnick/Gwon collaboration, SCOTLAND PA., for the Roundabout Theatre (produced in association with Hal Luftig). On Broadway, he directed Sunset Boulevard, (starring Glenn Close) Lady Day at Emerson’s Bar & Grill, (Starring Audra McDonald) 110 in the Shade, 'Master Harold'... and the Boys, (starring Danny Glover) Sally Marr and Her Escorts (co-written with Joan Rivers and Erin Sanders), Urban Cowboy, and A Class Act (Tony Award nominated book co-written with Linda Kline). West End credits include Lady Day at Emerson’s Bar and Grill at the Wyndham’s, as well as Carousel, Sunset Boulevard, Sweeney Todd, and Man of La Mancha, all for the English National Opera. Film and television credits include his film version of the New York Philharmonic’s Sweeney Todd (Emma Thompson and Bryn Terfel), and Company, (Neil Patrick Harris, Stephen Colbert, etc). He also directed the stage and filmed versions of his tribute to Stephen Sondheim, Sondheim: The Birthday Concert! (Emmy Award). Other Philharmonic collaborations include the “Live From Lincoln Center” broadcast of Camelot, Candide, Sweeney Todd (George Hearn and Patti LuPone, Emmy Award), and Sondheim’s Passion (Emmy Award). Additional television credits include Lady Day at Emerson’s Bar and Grill for HBO, as well as episodes of “2 Broke Girls,” “Desperate Housewives,” and the upcoming ‘Plan Z.' For his first feature, ‘Master Harold’ ... and the Boys, he received a Best Director Award from the New York International Independent Film and Video Festival. His documentary, Best Worst Thing That Ever Could Have Happened premiered at the New York Film Festival and was named one of New York Times’ Top 10 Films of 2016, and his other documentary Hal Prince: The Director’s Life (PBS) was released to critical acclaim as well. With Hal, Lonny has two projects in development, a musical adaptation of the cult-classic film, Scotland, PA, and a new play. Stay tuned for news of these projects as they further develop! For all things Broadway Biz, visit our Instagram @BroadwayBizPodcast or our website broadwaybizpodcast.com. Have a question for Hal or a topic you'd like him to explore? Send Hal an email at broadwaybiz@halluftig.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

On episode #11 of the Cine-Cast, Cine-File contributors take it on the road with this remote-heavy edition. On this episode, contributor Marilyn Ferdinand discusses filmmaker Patrick Wang and his upcoming film A BREAD FACTORY, playing at the Gene Siskel Film Center (April 12-17) and Block Cinema (May 4), and contributor Michael Metzger interviews filmmaker Nellie Kluz at the Onion City Experimental Film & Video Festival. Engineered by contributor Harrison Sherrod. Produced by Mabe and Sachs. The introductory theme is by local film composer Ben Van Vlissingen. Find out more about his work here: www.benvanv.com

Maha Yahya (PhD, Director, Malcolm H. Kerr Carnegie Middle East Centre) Maysoon Pachachi (Film director) give a talk for the Middle East Studies Centre. Chaired by Professor Eugene Rogan (St. Antony's College, Oxford). Iraq and Lebanon: When the Arab world rose up against failed governance in 2011, Lebanon and Iraq stood out as exceptions to the regional trend. Yet by the end of the decade, massed popular demonstrations would demand the fall of the regime in both countries. With their electoral systems, the Iraqis and Lebanese did not confront deeply entrenched dictators. Rather, protestors rose against sectarian politics and called for a new order based on citizenship without reference to religion. Speaker biographies: Maha Yahya is director of the Malcolm H. Kerr Carnegie Middle East Center, where her work focuses broadly on political violence and identity politics, pluralism, development and social justice after the Arab uprisings, the challenges of citizenship, and the political and socio-economic implications of the migration/refugee crisis. Prior to joining Carnegie, Yahya led work on Participatory Development and Social Justice at the United Nations Economic and Social Commission for Western Asia (UN-ESCWA). She was previously regional adviser on social and urban policies at UN-ESCWA and spearheaded strategic and inter-sectoral initiatives and policies in the Office of the Executive Secretary which addressed the challenges of democratic transitions in the Arab world. Yahya has also worked with the United Nations Development Program in Lebanon, where she was the director and principal author of The National Human Development Report 2008–2009: Toward a Citizen’s State. She was also the founder and editor of the MIT Electronic Journal of Middle East Studies. Yahya has worked with international organizations and in the private sector as a consultant on projects related to socioeconomic policy analysis, development policies, cultural heritage, poverty reduction, housing and community development, and postconflict reconstruction in various countries including Lebanon, Pakistan, Oman, Egypt, Jordan, Saudi Arabia, and Iran. She has served on a number of advisory boards including the MIT Enterprise Forum of the Pan Arab Region and the Lebanese Center for Policy Studies. Yahya is the author of numerous publications, including most recently Unheard Voices: What Syrian Refugees Need to Return Home (April 2018); The Summer of Our Discontent: Sects and Citizens in Lebanon and Iraq (June 2017); Great Expectations in Tunisia (March 2016); Refugees and the Making of an Arab Regional Disorder (November 2015); Towards Integrated Social Development Policies: A Conceptual Analysis (UN-ESCWA, 2004), co-editor of Secular Publicities: Visual practices and the Transformation of National Publics in the Middle East and South Asia (University of Michigan Press, 2010) and co-author of Promises of Spring: Citizenship and Civic Engagement in Democratic Transitions (UN-ESCWA, 2013). MAYSOON PACHACHI is a London-based filmmaker of Iraqi origin, who was educated in Iraq, the USA and the UK. She studied Philosophy at University College London (BA Hons) and Filmmaking at the London Film School (MA) and worked for many years as a documentary film, TV drama and feature film editor in the UK. Since 1994 she has worked as an independent documentary film director and has just completed a fiction feature film, ‘Our River…Our Sky’ (Arabic title: Kulshi Makoo), which was shot in Iraq in 2019. The project was awarded the IWC Gulf Filmmaker Award for the script, at the Dubai International Film Festival in December 2012. Maysoon has also taught film directing and editing in Britain and Palestine (Jerusalem, Gaza and Ramallah). In 2004, with Londonbased Iraqi director and cameraman, Kasim Abid, she co-founded INDEPENDENT FILM & TELEVISION COLLEGE, a free-of-charge film-training centre in Baghdad, which ran for 10 years and whose students produced 18 short documentary films, which were shown internationally and received 14 festival prizes. Documentary Films VOICES FROM GAZA (52 mins) Channel 4 (UK) 1990 (producer/editor) Red Ribbon Award, American Film and Video Festival, San Francisco IRAQI WOMEN - VOICES FROM EXILE (52 mins) Channel 4 (UK) 1994 (director/producer) A broad range of Iraqi women, of different ages, religions and political backgrounds, living in London recount their experiences – creating a sense of the modern history of Iraq as experienced by the country’s women. SMOKE 1997 (director/producer/editor) Part of an art installation by prize-winning artist, UK/Brazilian artist Lucia Nogueira. The film is now in the permanent collection of the Tate Modern Gallery, London IRANIAN JOURNEY (83 mins) ZDF/Arte 2000 (director) (First Prize, Kalamata International Documentary Festival, 2000) A documentary road-movie about a 24-hour bus trip with the only woman longdistance bus driver in the Islamic world. LIVING WITH THE PAST: People and Monuments in Medieval Cairo, (52 mins) ECHO Productions (USA) 2001 (director) A portrait of Cairo’s Darb Al Ahmar, a neighborhood in the heart of the old city facing a process of radical change. BITTER WATER, (76 mins) (Legend Productions/Oxymoron Films) 2003 (co-director/producer) Feature-length documentary about 4 generations of refugees in a Palestinian camp in Beirut. RETURN TO THE LAND OF WONDERS (88 mins) 2004 ZDF/Arte (director/producer/camera/editor) Made in 2004 on the first trip back to Baghdad in more than 35 years. OUR FEELINGS TOOK THE PICTURES OPEN SHUTTERS IRAQ (102 mins) (2008) (director/producer/camera/editor) (Jury Special Mention, Arab Film Festival Rotterdam, 2009) 12 women and a 6 year-old girl, travel to Damascus from 5 cities in Iraq. They live together for a month, during which they tell their life stories and learn to take photographs. The remarkable photo-stories they produced about their lives at a difficult and dangerous time in Iraq, were exhibited internationally and were also the subject of a book.

"A nossa senhora da loja do chinês" rodado em plena pandemia da Covid-19 e cuja estreia està agendada para junho, é a primeira longa-metragem de Ery Claver, realizador, argumentista, operador de câmara e director de fotografia angolano do grupo Geração 80, que produz este filme em parceria com a associação KinoYetu.  Ery Claver esboça o sinopse deste filme, cujo "enredo é complexo, tem muitas camadas" com em pano de fundo uma metáfora sobre as relações entre Angola e a China. A carreira profissional de Ery Claver começou como operador de câmara e repórter de imagem numa produtora angolana de conteúdos para a televião. Em 2013 integrou a Geração 80, produtora de audiovisuais e cinema, onde colabora como operador de câmara ou na direcção de fotografia de vários conteúdos: da publicidade aos institucionais, passando por documentários ou vídeos musicais, em curtas-metragens de ficção como “Concrete Affection - Zopo Lady”, 2014 e "Havemos De Voltar", 2017, ambas realizadas por Kiluanji Kia Henda, ou ainda em "Ar Condicionado" de Fradique Bastos 2020, a primeira longa-metragem de ficção da Geração 80 e um sucesso internacional, no qaul Ery Claver além da fotografia assina também o guião juntamente com o realizador. Paralelamente, Ery Claver juntou-se à comunidade artística, o F*ckin’ Globo, que organiza desde 2015 edições de exposições multi-disciplinares de arte contemporânea. Aí estreou-se na realização, com a curta-metragem "A luz no quarto era vermelha porque não existia amor" 2016, sobre um grupo de prostitutas da baixa de Luanda, onde ensaia as primeiras experiências de ambientes e recursos estilísticos, que até hoje o acompanham: exteriores noite ou interiores escuros, câmara solta em teleobjectiva , perfis a contraluz, desfocado de luzes. Na edição seguinte, 2017, apresenta "Há um zumbido, há um mosquito, são dois", outra curta experimental, que acompanha um homem atormentado que tenta se reencontrar numa Luanda escura e deprimida e em 2018 a curta "A love story about power". Nas seguintes edições do F*ckin’ Globo, Ery Claver depura o seu estilo, acrescentando alguns elementos, como o uso enfático da cor das luzes na dramatização das cenas, ou o acrescer de texto, seja ele falado ou em “cartões” como nos filmes mudos. Fez duas parcerias, casos de "Lúcia no céu com semáforos" em 2018, com Gretel Marín, que conta a história de uma jovem mãe maltratada por um marido toxicodependente e por uma sociedade misógina, curta que entre outros lugares do mundo esteve em festivais em França, no prestigioso Festival de Clermont-Ferrand, e em Zurique, Alemanha no festival de filmes experimentais, VIDEOEX - International Experimental Film and Video Festival, no FCAT - Festival de Cinema Africano, nas cidades de Tarifa eTânger.. E em março de 2020 em plena pandemia da Covid-19 lançou a curta-metragem "Enóquio que não tinha coração" em parceria com o seu irmão gémeo Evan Claver.  

A sword is a weapon, and weapons are used in armed conflicts. So we wanted to bring Sarah Schulman, author of the book CONFLICT IS NOT ABUSE: OVERSTATING HARM, COMMUNITY RESPONSIBILITY AND THE DUTY OF REPAIR, on the show to discuss the nature of conflict and what we can do to resolve it. Turns out, Sarah has been practicing tarot for decades, and rather than seeing the Suit of Swords as being about conflict, she sees it as being about truth and realization. In this episode we have a lively discussion about how the suit of swords works; how people in positions of power (like some police officers and "President" Tr**p) like to see themselves as victims even when they're being abusive and why that is; and how the Suit of Swords calls us to take an honest look at ourselves and our communities. This is one of those episodes we SO WISH we could listen to with you in person, because it's challenging and invites a rigorous dialogue. Listen to it with your quarantine buddy and discuss. We're sure it will give you a lot to talk about. Let us know what you think!More on our guest: Sarah Schulman has written over 18 books, plays, and screenplays. She’s an lgbtqia+ activist, and AIDS historian. Has been awarded a Guggenheim, among many other awards, is the Co-Founder of MIX: NY LGBT Experimental Film and Video Festival, Co-Director of ACT UP Oral History Project, and the US Coodinator of the first LGBT Delegation to Palestine. Sarah Schulman is also on the advisory board of Jewish Voice for Peace, and is  a fellow at the NY Institute for the Humanities at NYU. *********************************Find out more about our special guest, Sarah Schulman: writer, activist, and historian....  Visit her wikipedia page: https://en.wikipedia.org/wiki/Sarah_SchulmanCheck out her book Conflict is Not AbuseOr her latest book Let the Record Show: A Political History of Act Up New YorkFollow her on Twitter feed: @SarahSchulman3*********************************AVAILABLE WORKSHOPS*Cutting the Cord with 2020 - a Banishing and Welcoming Ritual Workshop*In this workshop we’ll be processing through some of the teachings of 2020 so that we can use them to move forward in the new year. We’ll be releasing our sorrows and clearing our wounds. Then, we’ll welcome in the ways we’d like to grow and flourish in the coming year. CLICK THIS LINK TO FIND OUT MOREWe hope you join us for this beautiful ceremony, our magic is more powerful when we do it together! (But if you can't be there with us, you'll also receive a download you'll have access to forever). This is a Between the Worlds workshop and can be purchased as a one off, or is included in your Jupiter level subscriber membership.  Click here to register.**********************************Learn More About Your Host Amanda Yates Garcia, & Buy Her BookTo sign up for Amanda's newsletter, CLICK HERE.To order Amanda's book, "Initiated: Memoir of a Witch" CLICK HERE.Amanda's InstagramAmanda's FacebookTo book an appointment with Amanda go to www.oracleoflosangeles.com**********************************MIND YOUR PRACTICE PODCASTMind Your Practice - Carolyn's new podcast with author and arts consultant, Beth Pickens - is geared towards artists and writers looking for strategies and support to build their projects and practices (plus loving pep talks).There’s even a club - “Homework Club” - which offers creative people a framework for keeping their projects and practices a priority with *actual homework* and optional accountability groups made up of other artists and writers!You can visit MindYourPractice.com for more details or listen wherever you stream Between the Worlds.**********************************Original MUSIC by Carolyn Pennypacker Riggs**********************************Get in touch with sponsorship inquiries for Between the Worlds at betweentheworldspodcast@gmail.com.**CONTRIBUTORS:Amanda Yates Garcia (host) & Carolyn Pennypacker Riggs (producer). The BTW logo collage was created by Maria Minnis (tinyparsnip.com / instagram.com/tinyparsnip ) with text designed by Leah Hayes. 

Regisseur, Produzent und Drehbuchautor Uwe Boll ist bekannt für seine Videospiele Verfilmungen wie Far Cry mit Til Schweiger und Schwerter des Königs – Dungeon Siege mit Jason Statham. Für seinen Film Darfur bekam er auf dem New York International Independent Film & Video Festival den Preis für den besten internationalen Film. Von manchen Kritikern wurde […]

Entrevistam Christian Balius, organitzador de l’Ibiza Slow Video Festival, que celebrarà la seva quarta edició aquest dissabte al Baluard de Sant Pere de Dalt Vila.

Entrevistam Christian Balius, organitzador de l’Ibiza Slow Video Festival, que celebrarà la seva quarta edició aquest dissabte al Baluard de Sant Pere de Dalt Vila.

Se celebra este viernes en el Baluarte de Sant Pere y a través de plataformas digitales para entregar el premio al mejor audiovisual realizado en Ibiza

Canadian artist Alana Bartol comes from a long line of water witches. Her site-responsive artworks explore divination as a way of understanding across places, species, and bodies. Through collaborative and individual works, she creates relationships between the personal sphere and the landscape, particular to this time of ecological crisis. A multidisciplinary artist with a B.F.A. from the University of Windsor (Canada) and an M.F.A. from Wayne State University (USA), she has been a visitor to Mohkinstsis (Calgary), Alberta in Treaty 7 Territory for five years. In 2019, she was longlisted for Canada’s Sobey Art Award representing the Prairies and North. Bartol’s work has been presented in festivals and galleries nationally and internationally including Esker Foundation Project Space, PlugIn ICA, Latitude 53, Walter Phillips Gallery, Berlin Feminist Film Festival, Hong Kong Arthouse Film Festival, Brussels Independent Film Festival, Istanbul Experimental Film Festival, and Media City International Film and Video Festival, amongst others. Bartol currently teaches at Alberta University of the Arts. For more research on this work visit Orphan Well Adoption Agency. Follow her residency with University of Lethbridge Art Gallery. Her upcoming 2-person exhibition at Viviane Art Gallery with Sandra Meigs in July-August 2020. Alana Bartol, “Orphan Well Adoption Agency”, at Latitude 53 December 7 2018–January 26 2019. Photo by Adam Waldron-Blain. Orphan Well Adoption Agency Promotion, 2017-ongoing. Postcards, signs, online advertising, various dimensions.

Philip Cioffari grew up in the Bronx and received his B.A. from St. John's University and his Ph.D. from New York University. He teaches in the writing program at William Paterson University. His novels and story collections include: If Anyone Asks, Say I Died From The Heartbreaking Blues; The Bronx Kill; Catholic Boys; Dark Road, Dead End; Jesusville; and A History Of Things Lost Or Broken. His independent movie, Love In The Age Of Dion, has won numerous film festival awards including, Best Feature Film at the Long Island International Film Expo and Best Director at the NY International Film and Video Festival. His short stories have been published widely in literary and commercial magazines and anthologies, including North American Review, Playboy, Michigan Quarterly Review, Northwest Review, Southern Humanities Review, 100% Pure Florida Fiction, Italian Americana, The Westchester Review, etc. His plays have been produced off and off-off-Broadway at the Chelsea Playhouse, The Belmont Italian American Playhouse, American Globe Theater and American Theatre for Actors, among others. He is a member of the Playwrights/Directors Unit of the Actors Studio.

Join Daeron and a revolving door of guests in discussing politics, movies, and political movies……. In this episode: Director Mike J Marin joins Daeron to talk about his documentary ‘Cinema Red: Natives & Horror’ as well as other things. Cinema Red is gong to be shown at the First Nations Film and Video Festival in Chicago. There will also be a screening for ‘The Party’s Downstairs’ on Halloween night 2019 at the American Indian Film Festival at the Brava Theater in San Francisco . The program is from 7pm – 10pm. The Intertribal Friendship House of Oakland is one of the oldest Indian-focused urban resource and community organizations in the United States. Founded in 1955 https://www.ifhurbanrez.org/ The American Indian Center of Chicago https://www.aicchicago.org/ United American Indian Involvement, Inc. Home Established in 1969, the Southern California Indian Center, Inc. (SCIC) http://www.indiancenter.org/ California Indian Manpower Consortium http://www.cimcinc.org/ PSYCHOSEMANTIC: iTunes: https://itunes.apple.com/us/podcast/the-psychosemantic-podcast/id1191732198?mt=2 Spotify: https://open.spotify.com/show/5ldiDwbAHyfNJblqmWhwLn?si=XSqp4U4gRnKnnDX_gL3agQ Legion Podcasts: legionpodcasts.com/podcasts/the-psychosemantic-podcast/ Other Podcast places Psychosemantic Podcast: facebook.com/groups/Psychosemanticast/ Psychosemantic Podcast Social Media: Twitter: @PoliticalMovies Instagram and Flick Chat App: Psychosemanticast

Join Daeron and a revolving door of guests in discussing politics, movies, and political movies……. In this episode: Director Mike J Marin joins Daeron to talk about his documentary ‘Cinema Red: Natives & Horror’ as well as other things. Cinema Red is gong to be shown at the First Nations Film and Video Festival in Chicago. There will also be a screening for ‘The Party's Downstairs’ on Halloween night 2019 at the American Indian Film Festival at the Brava Theater in San Francisco . The program is from 7pm – 10pm. The Intertribal Friendship House of Oakland is one of the oldest Indian-focused urban resource and community organizations in the United States. Founded in 1955 https://www.ifhurbanrez.org/ The American Indian Center of Chicago https://www.aicchicago.org/ United American Indian Involvement, Inc. Home Established in 1969, the Southern California Indian Center, Inc. (SCIC) http://www.indiancenter.org/ California Indian Manpower Consortium http://www.cimcinc.org/ PSYCHOSEMANTIC: iTunes: https://itunes.apple.com/us/podcast/the-psychosemantic-podcast/id1191732198?mt=2 Spotify: https://open.spotify.com/show/5ldiDwbAHyfNJblqmWhwLn?si=XSqp4U4gRnKnnDX_gL3agQ Legion Podcasts: legionpodcasts.com/podcasts/the-psychosemantic-podcast/ Other Podcast places Psychosemantic Podcast: facebook.com/groups/Psychosemanticast/ Psychosemantic Podcast Social Media: Twitter: @PoliticalMovies Instagram and Flick Chat App: Psychosemanticast

Join Dr. Lisa Day, Kristin Sunanta Walker and John W. Whitehead discussing social media and how it has been used to help make sex trafficking a billion dollar industry.John Whitehead is an attorney and author who has written, debated and practiced widely in the area of constitutional law, human rights and popular culture.Widely recognized as one of the nation’s most vocal and involved civil liberties attorneys, Whitehead’s approach to civil liberties issues has earned him numerous accolades and accomplishments, including the Hungarian Medal of Freedom and the Milner S. Ball Lifetime Achievement Award for “[his] decades of difficult and important work, as well as [his] impeccable integrity in defending civil liberties for all.” As nationally syndicated columnist Nat Hentoff observed about Whitehead: “John Whitehead is not only one of the nation’s most consistent and persistent civil libertarians. He is also a remarkably perceptive illustrator of our popular culture, its insights and dangers. I often believe that John Whitehead is channeling the principles of James Madison, who would be very proud of him.”Whitehead’s concern for the persecuted and oppressed led him, in 1982, to establish The Rutherford Institute, a nonprofit civil liberties and human rights organization located in Charlottesville, Virginia. Deeply committed to protecting the constitutional freedoms of every American and the integral human rights of all people, The Rutherford Institute has emerged as a prominent leader in the national dialogue on civil liberties and human rights and a formidable champion of the Constitution. Whitehead serves as the Institute’s president and spokesperson.Whitehead has filed numerous amicus briefs before the U.S. Supreme Court, has been co-counsel in several landmark Supreme Court cases and continues to champion the freedoms enshrined in the Bill of Rights in and out of the courts. His law review articles have been published in Emory Law Journal, Pepperdine Law Review, Harvard Journal on Legislation, Washington and Lee Law Review, Cumberland Law Review, Tulsa Law Journal and the Temple University Civil Rights Law Review.Whitehead is also a member of various groups that seek nonpartisan consensus solutions to difficult legal and constitutional issues through scholarship, activism and public education efforts.John Whitehead is a frequent commentator on a variety of legal and cultural issues in the national media and writes a weekly opinion column, which is distributed nationwide. He has authored more than 30 books on various legal and social issues. His most recent books include the best-selling Battlefield America: The War on the American People and the award-winning A Government of Wolves: The Emerging American Police State. In addition, he wrote and directed the documentary video series Grasping for the Wind, as well as its companion book, which focus on key cultural events of the 20th Century. The series received two Silver World Medals at the New York Film and Video Festival.Born in 1946, John W. Whitehead earned a Bachelor of Arts degree from the University of Arkansas in 1969 and a Juris Doctorate degree from the University of Arkansas School of Law in 1974. He served as an officer in the United States Army from 1969 to 1971.www.rutherford.org

Join Dr. Lisa Day, Kristin Sunanta Walker and John W. Whitehead for a show about how digital media use has helped make sex trafficking a billion dollar industry.John Whitehead is an attorney and author who has written, debated and practiced widely in the area of constitutional law, human rights and popular culture.Widely recognized as one of the nation’s most vocal and involved civil liberties attorneys, Whitehead’s approach to civil liberties issues has earned him numerous accolades and accomplishments, including the Hungarian Medal of Freedom and the Milner S. Ball Lifetime Achievement Award for “[his] decades of difficult and important work, as well as [his] impeccable integrity in defending civil liberties for all.” As nationally syndicated columnist Nat Hentoff observed about Whitehead: “John Whitehead is not only one of the nation’s most consistent and persistent civil libertarians. He is also a remarkably perceptive illustrator of our popular culture, its insights and dangers. I often believe that John Whitehead is channeling the principles of James Madison, who would be very proud of him.”Whitehead’s concern for the persecuted and oppressed led him, in 1982, to establish The Rutherford Institute, a nonprofit civil liberties and human rights organization located in Charlottesville, Virginia. Deeply committed to protecting the constitutional freedoms of every American and the integral human rights of all people, The Rutherford Institute has emerged as a prominent leader in the national dialogue on civil liberties and human rights and a formidable champion of the Constitution. Whitehead serves as the Institute’s president and spokesperson.Whitehead has filed numerous amicus briefs before the U.S. Supreme Court, has been co-counsel in several landmark Supreme Court cases and continues to champion the freedoms enshrined in the Bill of Rights in and out of the courts. His law review articles have been published in Emory Law Journal, Pepperdine Law Review, Harvard Journal on Legislation, Washington and Lee Law Review, Cumberland Law Review, Tulsa Law Journal and the Temple University Civil Rights Law Review.Whitehead is also a member of various groups that seek nonpartisan consensus solutions to difficult legal and constitutional issues through scholarship, activism and public education efforts.John Whitehead is a frequent commentator on a variety of legal and cultural issues in the national media and writes a weekly opinion column, which is distributed nationwide. He has authored more than 30 books on various legal and social issues. His most recent books include the best-selling Battlefield America: The War on the American People and the award-winning A Government of Wolves: The Emerging American Police State. In addition, he wrote and directed the documentary video series Grasping for the Wind, as well as its companion book, which focus on key cultural events of the 20th Century. The series received two Silver World Medals at the New York Film and Video Festival.Born in 1946, John W. Whitehead earned a Bachelor of Arts degree from the University of Arkansas in 1969 and a Juris Doctorate degree from the University of Arkansas School of Law in 1974. He served as an officer in the United States Army from 1969 to 1971.www.rutherford.org

Join Dr. Lisa Day and John W. Whitehead for a show about a topic that many of us wish we didn't have to pay attention to. But we do! You do not want to miss this show and take notes. John Whitehead is an attorney and author who has written, debated and practiced widely in the area of constitutional law, human rights and popular culture.Widely recognized as one of the nation’s most vocal and involved civil liberties attorneys, Whitehead’s approach to civil liberties issues has earned him numerous accolades and accomplishments, including the Hungarian Medal of Freedom and the Milner S. Ball Lifetime Achievement Award for “[his] decades of difficult and important work, as well as [his] impeccable integrity in defending civil liberties for all.” As nationally syndicated columnist Nat Hentoff observed about Whitehead: “John Whitehead is not only one of the nation’s most consistent and persistent civil libertarians. He is also a remarkably perceptive illustrator of our popular culture, its insights and dangers. I often believe that John Whitehead is channeling the principles of James Madison, who would be very proud of him.”Whitehead’s concern for the persecuted and oppressed led him, in 1982, to establish The Rutherford Institute, a nonprofit civil liberties and human rights organization located in Charlottesville, Virginia. Deeply committed to protecting the constitutional freedoms of every American and the integral human rights of all people, The Rutherford Institute has emerged as a prominent leader in the national dialogue on civil liberties and human rights and a formidable champion of the Constitution. Whitehead serves as the Institute’s president and spokesperson.Whitehead has filed numerous amicus briefs before the U.S. Supreme Court, has been co-counsel in several landmark Supreme Court cases and continues to champion the freedoms enshrined in the Bill of Rights in and out of the courts. His law review articles have been published in Emory Law Journal, Pepperdine Law Review, Harvard Journal on Legislation, Washington and Lee Law Review, Cumberland Law Review, Tulsa Law Journal and the Temple University Civil Rights Law Review.Whitehead is also a member of various groups that seek nonpartisan consensus solutions to difficult legal and constitutional issues through scholarship, activism and public education efforts.John Whitehead is a frequent commentator on a variety of legal and cultural issues in the national media and writes a weekly opinion column, which is distributed nationwide. He has authored more than 30 books on various legal and social issues. His most recent books include the best-selling Battlefield America: The War on the American People and the award-winning A Government of Wolves: The Emerging American Police State. In addition, he wrote and directed the documentary video series Grasping for the Wind, as well as its companion book, which focus on key cultural events of the 20th Century. The series received two Silver World Medals at the New York Film and Video Festival.Born in 1946, John W. Whitehead earned a Bachelor of Arts degree from the University of Arkansas in 1969 and a Juris Doctorate degree from the University of Arkansas School of Law in 1974. He served as an officer in the United States Army from 1969 to 1971.www.rutherford.org

With a string of notable accomplishments, Chuck Thomas is a recognized expert in business marketing and communications. He is a strategic thinker, team motivator and hands-on creative. Through ads, public relations, events, licensed properties, direct mail, technology, music and film, Thomas has generated more than 32 billion audience impressions, helped raise hundreds of millions in sales, funding and contributions, and driven millions of people engage clients at their websites.During studies at Eastman School of Music, Chuck Thomas learned to harness diversity and complexity as a jazz composer to create an emotional, moving experience. With that understanding and his strategic mind, Mr. Thomas reapplied that learning to help companies powerfully connect their vision with their market. The results have been imaginative and compelling brand initiatives for some of the nation’s fastest growing companies.You have probably seen his work as Thomas has accumulated over 32 billion career audience impressions building brands for the world’s best-known companies. Thomas is a noted expert and speaker in the field of creative branding. He successfully registered and trademarked The VALCORT Creative Branding Process®, a simple way to create successful new products, build loyal customers, and increase profitability. He has consulted with CEOs and marketing professionals from healthcare, financial services, technology, communications, manufacturing industries to create branding strategies and award winning, innovative executions.Thomas learned his craft as an independent creative and brand strategist for the Chicago advertising community working with top agency clients including McDonalds, United Air Lines, Frito-Lay, Toyota, 7-Up, AT&T, Kraft, Anheueser Busch, Hasbro, General Mills and others. He won numerous awards for his work and was nationally known for creating innovative digital sampling for commercial music soundtracks.Thomas is a strategic marketer, and helped shape and execute the 10 year repositioning and communications plan, rebranding the 100 year old, $20 million non-profit called Wiley House to national and international prominence as KidsPeace, The Center for Kids Overcoming Crisis, now topping $110 million. In the course of executing this plan, he developed more than 30 strategic initiatives to establish KidsPeace as the undisputed world leader in children’s counseling services. Thomas is the recipient of the national “KidsVoice Award” for his extensive public work giving voice to America’s children, and in 1999 was the recipient of three Telly Awards, three Houston International Film Festival Silver Stars, The 1999 WebAward, and New York Festivals Awards for outstanding achievement. He has also received a Chicago Advertising Association Addy, a Golden Trumpet from the Publicity Club of Chicago, multiple Gold awards from The Houston Film Festival, a RIAA Certified Gold Record, plus awards from The Globals, The U.S. International Film and Video Festival, The Mercury Awards, and The HMR Awards

Melanie Wood and Face2Face host David Peck talk about her new film Living in HOpe, people as people, human centered healthcare, learning to live with others and why you should never ye your hair grey. Trailer Watch the Series here on the Knowledge Network. Synopsis Living in HOpe is the culmination of more than a year of filming with unprecedented access at The HOpe Centre in North Vancouver. Each of the four Living in HOpe episodes offers a bold challenge to rethink how we perceive people living with mental illness. One in three Canadians will experience mental illness or a substance use disorder in their lifetime, while more than 600,000 Canadians have reported needing mental health care that isn’t provided. Despite this, and recent nationwide awareness campaigns to increase understanding of mental illness, there is still deep stigma associated with mental disorders, particularly those relating to psychosis or schizophrenia—as seen in the shame that many HOpe Centre patients experience. “Often we hear about mental illness only after someone has recovered. As a society we are used to hearing—and wanting—success stories, but the reality for many who experience mental disorders is that it is a long, sometimes lifelong struggle,” says Melanie Wood, writer and director of Living in HOpe. “By sharing stories of patients even when they are at their most vulnerable, we better understand that people living with mental illness are not ‘other’. They are just people. And they have a voice.” The documentary’s scenes are intimate, compassionate and dramatic. Patients share the circumstances that brought them to HOpe—and their dreams for the future. The series is surprisingly full of humour, jokes between patients, and witty remarks about their own illness. Biography Melanie Wood has written, directed, produced, and executive-produced a wide variety of current affairs and documentary programs. Her work as producer and documentary filmmaker reflects not only the pulse of the times, but the voices of those who inhabit them. Her work pursues themes that strike a personal chord, and indeed affect all of us in some way. Melanie’s produced and directed two documentaries on the borderlands between the Internet and the human spirit. Her documentary A Stranger In Our Home, the disturbing tale of two teenage victims of Internet predators, has been extremely popular for both broadcasters and educators around the world. The groundbreaking documentary O.com, on cybersex addiction, was a finalist at the New York Festival. It also won the Platinum Award at Worldfest-Houston, the Jury Award at the Yorkton Short Film and Video Festival and was selected to screen at the Montreal World Film Festival. Her documentary, School Of Secrets, presents a tale of truth – and its consequences – in the story of a Vancouver teacher and the teenage girls he seduced. School Of Secrets premiered on The Lens on CBC Newsworld and won a Remi Award in Houston and a Gracie Award in New York for Best Documentary under 60 minutes. Wood’s international documentary credits also include To Have and To Hold, profiling the victims of stalkers, The Sweet Assassin revealing the devastating effects of diabetes in the First Nations community, On Wings and Dreams: The Men Who Built Canada’s Airlines an historical documentary for Global Television, and Chasing The Cure: Brett Finlay, Man Against Microbe, a one hour science biography in a series for Paperny Films broadcast on Discovery Health. Recently Melanie produced Carbon Hunters, a film by director Miro Cernetig for CBC, and BBC International. She also produced and directed The Difference Makers: with Rick Hansen, a prime time mini documentary series for Canada’s Olympic Broadcast Media Consortium. She is currently producing Liberia’77 in association with Knowledge Network. Liberia’77 is the personal photographic journey of director Jeff Topham that examines how despite time, war, distance and culture photography connects us all. Find out more about Melanie’s work here. Image Copyright: Melanie Wood and Stranger Productions. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

MEET CEVIN SOLING Cevin Soling, president of Spectacle Films and Xemu Records, works as writer, director, producer, artist, and academic. Soling directed and produced, THE WAR ON KIDS, winner of the best educational documentary award at the New York Independent Film and Video Festival. The film demonstrates how American public schools have become modeled after prisons in response to fear and a burgeoning intolerance of youth. The film ran at the Quad Cinema in New York City and screened at Harvard University as well as other major universities. It has received accolades from The New York Times, Variety, and The Huffington Post. Soling was a guest on numerous radio shows including The Lionel Show on Air America, The Joey Reynolds Show on WOR, and The Leonard Lopate Show on WNYC. In addition, the film was featured on national television along with an interview on The Dr. Nancy Show on MSNBC as well as on RT Television, and Soling was the featured guest on The Colbert Report. The film has been broadcast internationally on The Sundance Channel and aired domestically on The Documentary Channel. Soling also produced and directed IKLAND, a film about a tribe in Northern Uganda that had been described as the most despicable people on the planet by the anthropologist who studied them over forty years ago. IKLAND won the award for Best Documentary content at the Boston International Film Festival and was released theatrically in June of 2012 where it received enthusiastic reviews from The New York Times, Discovery Magazine, and from several syndicated critics. Soling wrote, directed, and produced the feature film, THE WAR ON THE WAR ON DRUGS, winner of the best experimental feature film award at the New York Independent Film and Video Festival, the Stoney Award for best documentary from High Times, as well as the “Clear Creek” Honorable Mention Award at the Winslow International Film Festival.

The Cat Video Festival was last night; Jason goes down a Youtube vortex of Vlogging and dicovers a Titanic real time sinking video.

Today on Bad at Sports(center center center center), curator and media artist Emily Eddy joins Ryan, Diana and Jesse in the cave to discuss this weekend's Onion City Experimental Film and Video Festival, which she curated. We talk the talk about talking about moving images (which used to be movies and before that films and at some point in there videos), about recent trends in the field, about programming strategies, about the Nightingale's tenth anniversary (!!!) and what it is teens are or are into. It's probably radio and probably newspapers, but who knows.    Scope the full Onion City schedule here: http://www.onioncity.org/2018-schedule/ Learn more about Emily here: http://emily-eddy.com/emilyeddy/   Emily Eddy is a film, video, and digital media artist and curator based in Chicago. She graduated from The School of the Art Institute of Chicago in 2013, where she received her Bachelors in Fine Arts. She has been curating film, video, and new media works at the Nightingale Cinema in Chicago since 2013, and  she has worked with the screening series and online video curation project Video! Video! Zine since 2016. Emily has curated and programmed screenings at many venues in Chicago, as well as in Los Angeles, Reykjavik, Iceland, and her hometown, Portland, Oregon.

Tom and Conor are talking all things experimental film with Emily Eddy, curator of this year’s Onion City Experimental Film and Video Festival. Now in its 28th year, Onion City showcases some of the greatest talent in experimental filmmaking from both established artists to up and comers on the experimental scene. Emily dives into the multifaceted […]

This week's episode is a conversation with Sean David Christensen (http://www.seandavidchristensen.com/). Sean is promoting his short film, The Duel (https://www.duel-film.com/), which has had screenings at the Athens International Film and Video Festival and the San Francisco Documentary Festival, and can be seen at the Marfa Film Festival this July. He’s also done a number of other short films which you can find on Vimeo, he’s a frequent storyteller at Chatterbox and Bar Flies, and he’s in the band Maggie Dave (https://www.maggiedave.com/). I had a great time talking to Sean, and you should definitely check out his work. The soundscape you hear at the end of the show was created by Rafael Anton Irisarri for The Duel. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In the 3rd episode of art Work, we gather round with Geoffrey Jackson Scott, Betty Yu, and Megan Marshall to talk about generosity! Generous labor? Laborious generosity? We talk Thank You emails, listening, compensation... and so much more! We have our first segment of "+1/-1", a lightning round segment where our guests get to literally '+1' or '-1' a statement (caveats a plenty). Pizza Rat, anyone? Betty Yu is an interdisciplinary artist, filmmaker, educator and activist. She is a co-founder of the Chinatown Art Brigade, a cultural collective telling stories of Chinatown tenants fighting gentrification through public projections. Her documentary “Resilience” about her garment worker mother fighting against sweatshop conditions, screened at national and international film festivals including the Margaret Mead Film and Video Festival. Yu’s multi-media installation, “The Garment Worker” was featured at Tribeca Film Institute’s Interactive. She co-created "Monument to Anti-Displacement Organizing" in the Agitprop! show at Brooklyn Museum. Betty was a 2012 Public Artist-in-Resident with the Laundromat Project and is a 2015 Cultural Agent with the U.S. Department of Arts and Culture (USDAC) a people-powered social justice and art network. Ms. Yu is currently on the Board of Directors of Working Films, Deep Dish TV and Third World Newsreel, progressive media and film organizations.rnrnBetty received the 2016 SOAPBOX Artist Award from the Laundromat Project. She holds a BFA from NYU's TSOA and a MFA in Integrated Media Arts from Hunter College. Betty is a 2016 A Blade of Grass Fellow for Socially Engaged Art for her project with Chinatown Art Brigade. Ms. Yu's organizing recognitions include being the recipient of the Union Square Award for grassroots activism and a semi-finalist of the National Brick “Do Something” Award for community leadership in Chinatown.Website: www.bettyyu.netTwitter: @bettyyu21, @CtownArtBrigadeChinatown Art Brigade: www.chinatownartbrigade.org Geoffrey Jackson Scott is a Brooklyn-based creative producer, independent curator, engagement strategist, and cultural organizer. He is Co-Founder and Creative Director of the communications and engagement strategy firm Peoplmovr. Geoffrey is also often seen at the Public Theater and Museum of Moving Image, as part of his work with Peoplmovr.Instagram / Twitter; @peoplmovr Megan Marshall serves as the Director of Internal Operations at New York Theatre Workshop (NYTW). Prior to NYTW, Ms. Marshall served as the Controller at New York City Opera (NYCO) under George Steel and was on the team to through NYCO’s bankruptcy. Previously, she served as Payroll Manager for The Public Theater. Ms. Marshall has also worked in various capacities for Vineyard Arts Project on Martha’s Vineyard, Theatre for One with Tony-Award-Winning Set Designer Christine Jones, artist Soibhan Cronin who works/performs in San Francisco, Santa Fe, and New York, Brooklyn Academy of Music, P.S.122, and O&M Press Company. She received her MA in Performing Arts Administration from New York University and her BA in Theater Management from College of Santa Fe in New Mexico.Twitter: @meganemarshallNYTW:

Daniel E. Williams received his MFA in Film from Howard University in 1998 and in 2000 he won Best of Show at the Rosebud Film and Video Festival for his thesis film A Thousand Days a Year. He currently teaches film production at Bowling Green State University, while continuing to independently write, produce, and direct award-winning films. I even had the pleasure of working on his latest project, Autumn Blue, as the 1st AC. “Cinema is not just a product, it’s a form of cultural expression.” In this conversation, we dig into Daniel’s upbringing in St. Louis, his path through film school, and his process as an independent filmmaker. We get into Daniel’s thoughts on teaching filmmaking and what mistakes he sees beginning filmmakers make again and again. We talk about filmmaking as a craft, getting to know your equipment before you get on set, methods for improving your creativity and so much more. This episode is definitely worth the listen if you’re considering going to film school or becoming a filmmaker. “Go to film school if you want to immerse yourself in the study of cinema.” If you want to hear more shows like this, rate us on iTunes and let us know. - - - - - 6 Key Takeaways 1. Know what you are saying with your film. You don’t want to be the filmmaker that lacks an understanding of the ideology that is being expressed in your film. 2. Bond with the equipment before you go on a shoot. The more you know how to use the equipment the more proficient you will be on set. Read the manual. 3. Be knowledgeable of the history of cinema. Keep your textbooks and use the library. Watch films from the Criterion Collection. 4. On set, as in life, listen to your conscience. If your inner voice is speaking to you, pay attention. 5. As the director, even if you don’t make the right choice you have to be confident in that choice. You are the leader and your emotions and moods trickle down to the rest of the cast and crew. 6. Get away from film for periods of time. Expose yourself to other things, read widely, and experiment with other art forms. These become fuel for your work. - - - - - Show Notes (Ep 20) Intro and where Daniel grew up [01:32] Growing up in Ferguson [06:20] Origins of creativity [12:52] Biggest obstacles to play [18:47] Interest in filmmaking [20:41] Going to film school [27:40] Biggest takeaways from Howard [35:30] Electronic news-gathering (ENG) Studying English [39:44] What stuck with you from grad school [44:01] Thinking through the theory before making [50:19] Why an MFA and how did that lead to teaching [54:03] Teaching philosophy [59:50] Film as art vs. product [01:07:10] Strategy for catching up and keeping up with cinema [01:11:02] What do you do to improve your craft that others do not [01:19:10] Films and process [01:28:32] Why still shooting with film [01:34:22] What beginner filmmakers do that drive you crazy [01:46:47] Current projects [01:57:26] Favorite recent films [02:03:56] More favorites [02:06:26] Final advice for attending film school [02:16:05]

“THE GILLIGAN MANIFESTO” WILL DEBUT AT 12TH ANNUAL LA FEMME INTERNATIONAL FILM FESTIVAL, SATURDAY OCT. 22 Writer-Director Cevin Soling’s highly anticipated documentary, The Gilligan Manifesto, will be the Saturday night presentation at the La Femme International Film Festival on Oct. 22 at 6 pm at Laemmle’s Music Hall Theater Venue 2 in Beverly Hills. If you missed Cevin Soling on today's show, listen here! Just one year after the Cuban Missile Crisis, radio and television writer Sherwood Schwartz began filming his comedy classic Gilligan's Island, which depicts seven Americans shipwrecked on a deserted island. Soling’s film reveals that this seemingly innocuous sitcom was actually an analogue for a post-apocalyptic world where survivors had to rebuild civilization as this was a major concern during the Cold War where many families had fallout shelters in their homes. What is even more shocking is that the society the castaways create is founded on Marxist Communism. Soling’s revelation was published in the prestigious academic journal, Americana: The Journal of American Popular Culture. To convert his article into a feature documentary, Soling interviewed creator Sherwood Schwartz. He also spoke with Russell Johnson and Dawn Wells, who played the Professor and Mary Ann, and several professors from Harvard. “Sherwood Schwartz often noted that he conceived Gilligan’s Island as a social microcosm where people from all walks of life would have to figure out how to get along,” Soling said, “but he confessed to me, in his last interview, that the show was deliberately designed as lowbrow humor in order to conceal its political message. For this reason, American audiences never realized that the show celebrates Marxism and lampoons Western capitalism and democratic governance.” “The most transgressive message conveyed by Gilligan’s Island is that it shows how much better off people are in under true communism – not the dictatorship government the Soviets and McCarthyites called communism. The characters that represent the pinnacle of success in capitalist society – the millionaire and the movie star, become whole people and establish social bonds that they never could have otherwise. On the island, their lives cease to be empty.” La Femme board member Deborah Gilels served as associate producer on the documentary which was edited by Joe Davenport and narrated by Rennie Davis, who, along with Abbie Hoffman was a member of the Chicago Seven. David Jackson’s Showcase Entertainment is selling the worldwide rights. Cevin Soling produced and directed the first theatrically released documentary on education, The War on Kids, which was honored as the best educational documentary at the New York Independent Film and Video Festival and has been broadcast on The Documentary Channel and The Sundance Channel. Soling wrote, produced, and directed Ikland, which documented his efforts to rediscover the lost Ik tribe of northern Uganda, who were famously disparaged in the early 1970s as the worst people in the world. The film won Best Documentary Content at the Boston International Film Festival and was heralded by the NY Times and other major media outlets. Last year, he completed Mr. Cevin & the Cargo Cult, a documentary about a tribe in Vanuatu who worship America, and is currently working on The Summer of Hate, a documentary on the Beatles’ controversial observations on religion and racism during their tour of America in 1966. ABOUT THE FILM At the height of the Cold War, Gilligan's Island depicted seven Americans living in an analogue of a post-apocalyptic world where the survivors have to rebuild civilization. Remarkably, the society they create is pure communist. Interviews with the show's creator and some of the surviving actors, as well from professors from Harvard, reveal that Gilligan's Island was deliberately designed to be dismissed as low brow comedy in order to celebrate Marxism and lampoon Western democratic constructs. Laemmle’s Music Hall theater is located at 9036 Wilshire Blvd. in Beverly Hills. Tickets can be purchased in advance at www.lafemme.org/festival or at the box office prior to the screening. For a special discount coupon, please visit: http://www.lafemme.org/tickets/individual-film-screening-discount/ password : special (all lower case)

Glenn M. Benest is an award winning writer/producer. He received his bachelor's degree at Harvard University and his Master of Fine Arts at U.C.L.A. in playwriting. He has seven produced film credits including two films he wrote for Wes Craven. In 2004 he wrote and produced his own independent film, “Hungry Hearts,” which was picked up by Shoreline Entertainment for worldwide distribution. It has won numerous awards, including the Special Jury Prize at the Houston International Film Festival (Worldfest) for best low budget feature and Best Dark Comedy Feature at the New York International Independent Film and Video Festival.Show Notes-- Support The Dave Bullis Podcast Patreon-- Stranger in Our House-- Deadly Blessing -- ScreamContactGlenn Benest - Official Site- TwitterDave Bullis-- Official Site-- Twitter-- Instagram-- Facebook-- Youtube-- BlabSupport the Podcast1. Sign Up for Dave's email list2. Rate the Podcast on iTunes3. Buy on Amazon.com using my affiliate link4. Buy Final Draft screenwriting software using my affiliate link5. Buy Jason Brubaker's, 'How to Sell Your Movie' course via my affiliate link6. Buy Jason's Brubaker, '101 Short Film Ideas' book for only $7!7. My Podcast Amazon wish list 8. Buy a shirt in the Zazzle storeSubscribe to the Podcast-- Podbean -- iTunes -- Stitcher

Listen in as Eileen talks about her new film A Jihadi In The Family, Islamophobia, brokenness, and the power of real community. See the trailer and Read more here.  Synopsis Overnight, Calgary mother Christianne Boudreau has a new identity, “mother of a terrorist,” when her son Damian is killed fighting with ISIS. “I never saw it coming”, she says, echoing hundreds of mothers in Europe and North America whose children have left home to embrace violent extremism. How and why young people, who have grown up in western countries, are being recruited to terrorist groups and the effect it’s having on the families they leave behind, is the focus of the new documentary A JIHADI IN THE FAMILY. Unlike many parents who fear to speak publicly about what happened to their children, Christianne’s response to this tragedy is to personally take on the battle against ISIS.  Driven to understand the destructive path her son chose, Christianne embarks on a journey to meet others who have a stake in the issue. Her quest for answers takes her to her son's imam, to counter-terrorism experts, and to a man who survived his own experience with extremists and became a crusader against their recruiters. In Europe, where thousands of young men and women have been lured into terrorist groups, she develops strong bonds with other women who’ve been shattered by the disappearance of their children. Each of these mothers is also a victim of terrorism. A JIHADI IN THE FAMILY will have a repeat broadcast on CBC Thursday, March 24th at 9 pm ET.   Biography Eileen Thalenberg is, with Gail McIntyre, the founder of Toronto-based independent film and television production company Stormy Night Productions Inc. Eileen has trained her director’s eye on subjects around the world and across the arts, sciences and social and political issues. Fluent in eight languages, she has a global sensibility and an award-winning ability to take viewers to the heart of a story. Up Against the Wall, about the walls built by three democracies after the Berlin Wall collapsed, was nominated for the Gemini Award’s Donald Brittain Award and won the Special Jury Award for Best Social And Political Documentary at Worldfest. Silence at the Heart of Things, filmed during the last months of fiddler Oliver Schroer’s life, won the Silver Chris Award for Best Arts Documentary and was nominated Best Overall at the Columbus International Film and Video Festival. Streets of Encounter/ Loin des favelas, about choreographer Ivaldo Bertazzo’s work with teenagers in the slums of Sao Paulo, Brazil, won the Prix Gémeaux for Best Arts Documentary and the Platinum Award for Best Arts Documentary at the Houston International Film and Video Festival. Other award-winning work includes Born to be Good?, a lively look at the moral trajectory of children from infancy, and The Long Journey Home, which follows opera star Isabel Bayrakdarian on a moving exploration of her roots in Armenia. Eileen has directed, written or produced more than 50 TV and feature documentaries and has gained a wide international audience. ---------- For more information about my podcasting, writing and public speaking please visit my site here. With thanks to producer Josh Snethlage and Mixed Media Sound.   See acast.com/privacy for privacy and opt-out information.

Envision a blend of a mentally ill mind with unsurpassed resiliency and fiery intellect and your result would be the brilliant Jonathan W. Harnisch. An all-around artist, Jonathan writes fiction and screenplays, sketches, imagines, and creates. His most recent artistic endeavor is developing music, a newly found passion with results already in the making. Produced filmmaker and published erotica author, Jonathan holds a myriad of accolades, and his works captivate the attention of those who experience them. Manic-toned scripts with parallel lives, masochistic tendencies in sexual escapades, and disturbing clarities embellished with addiction, fetish, lust, and love are just a taste of what is to be found in Jonathan's transgressive literature. In contrast, his award-winning films capture the ironies of life, love, self-acceptance, tragedy, and fantasy. Jonathan's art evokes laughter and shock, elation and sadness, but above all it forces you to step back and question your own version of reality. Scripts, screenplays, and schizophrenia are the defining factors of Jonathan's life and reality—but surface labels are often incomplete. Jonathan is diagnosed with several mental illnesses, from schizoaffective disorder to Tourette's syndrome; playfully, he dubs himself the “King of Mental Illness.” Despite daily symptomatic struggles and thoughts, Jonathan radiates an authentic, effervescent, and loving spirit. His resiliency emanates from the greatest lesson he's learned: laughter. His diagnoses and life experiences encourage him to laugh at reality as others see it. Wildly eccentric, open-minded, passionate, and driven, Jonathan has a feral imagination. His inherent traits transpose to his art, making his works some of the most original and thought-provoking of the modern day. Jonathan is an alumnus of Choate Rosemary Hall. Subsequently, he attended NYU's Tisch School of the Arts, where he studied film production and screenwriting under Gary Winick and David Irving. During his studies at NYU, he held internships under renowned producers Steven Haft and Ismael Merchant. He is best known for his short films On the Bus and Wax, both of which boast countless awards, including five Indie Film Awards, three Accolade Awards, and Best Short Film and Audience Awards at the New York International Independent Film and Video Festival, to name just a few. Despite his impressive formal education and awarded honors, Jonathan is your normal, down-to-earth guy. Meditation, Duran Duran, vivid colors, Patrick Nagel prints, and rearranging furniture are some of his favorite things. Vices include cigarettes, Diet Coke, inappropriate swearing, and sausage and green chili pizza. He enjoys irony, planned spontaneity, redefining himself, and change. Jonathan lives with his beautiful wife, Maureen, on Fat Man Farms in the unique desert village of Corrales, New Mexico.

The point of this series is to start a conversation about how those of us diagnosed with psychotic disorders get people to believe our truths. After all, once you've been diagnosed as being psychotic, your credibility is never the same, even when you're speaking the truth. I have a podcast on iTunes in which I reveal a lot about myself, and lately I've noticed how much these podcasts have been teaching me about myself and what I've lost. This illness has taken a great deal from me, including my ability to gain recognition for my accomplishments. So, what I'd like to do here is recognize some of these accomplishments, knowing that had my life been different, they could have been acknowledged in a more public arena. Knowing, too, that, because I have schizoaffective disorder that is characterized by delusional thinking, hallucinations, and mood fluctuations, even when I speak the truth, I am often dismissed and not believed, with my truths described as mere delusions. I want to acknowledge my accomplishments not only for myself but also for all you out there. Those of you who may or may not already be diagnosed with schizophrenia, bipolar disorder, or any other serious mental condition, whose truths, like mine, are so frequently dismissed as delusions. It upsets me even to write this, to realize that those around me can—and do—categorize what I say as delusional, and I wonder if that also happens to you. I'd like to begin by briefly mentioning that I was diagnosed with Tourette's at the age of 12, although, according to my mother, I had shown symptoms since I was two. I sometimes wonder whether I was even then showing signs of the psychosis that has plagued me for my entire adult life. I was 18 when I had my first psychotic episode. It was Christmas Day, 1994. I was living in New York City and was admitted to Beth Israel, where I was given a number of tests—medical and psychological. My toxicology report came up 100% clean, a clear indication that my psychosis was not drug-induced. My intake report by the ER doctor shows that I had a “loosening of association” and “pressured speech,” both of which can indicate schizophrenia, schizoaffective disorder, or bipolar disorder with psychotic features. No wonder it took so long for me to get the right diagnosis; so many of the symptoms overlap. However, I want to bring this back to delusion and truth, and how people so frequently label your truths as delusional as soon as you've been diagnosed with a psychotic disorder. I will also discuss my condition's genesis and prognosis—and then move onto those accomplishments for which I've never been truly recognized. I often wonder if other people, like me, have trouble being believed. As I may have mentioned already, serious mental illness, such as schizoaffective disorder, is believed to be caused first by a genetic predisposition to develop mental illness and second by environmental factors. In my family, I have a grandfather who seems to have been diagnosed with schizophrenia, according to old medical records that I recently found. In addition, I have two second cousins, both of whom have been publicly diagnosed with mental illness. So, I would definitely seem to be genetically predisposed to becoming mentally ill. However, having this predisposition isn't enough. You also need certain environmental factors. What I've read in some of the literature is that mental illness can be compared to diabetes. A person may be genetically predisposed to develop diabetes, but if that person gets enough exercise and watches their sugar intake, then the diabetes may never take hold—it's the same with mental illness. In my case, I had the predisposition, but I also underwent enough traumas (sexual, physical, and emotional abuse) and upheavals (such as my parents' divorce when I was young) for the illness to take hold. Boy, did it take hold. Sometimes, though, people like my sister, who has a genetic predisposition plus environmental factors (my sister comes from the same family and has had the same kind of upheavals), do not become mentally ill. Nobody knows why. Maybe, as my wife says, it's just the luck of the draw. She's kidding. At least about the luck part, because having mental illness isn't lucky, although we do have to keep laughing about it. Keep positive. You're never alone if you can laugh with someone about it. As I've mentioned, I have schizoaffective disorder. Originally, though, I was diagnosed with depression. That was back in 1994, when I was 18. Over the next 10 years or so, I saw doctor after doctor, moving here and there, trying to find my place in the world. I made seven suicide attempts and had years of alcohol and drug abuse issues. My last suicide attempt was in 2001, and I was freed from my drug and alcohol addictions in early 2003. More than 11 years ago. As I was getting off the drugs, I saw a doctor who diagnosed me with schizoaffective disorder, which basically means schizophrenia with a mood disorder thrown in, and, in my case, that mood disorder is bipolar with manic features. However, in 2005 and 2006 I saw a doctor who said that I did not have schizoaffective disorder. Instead, I had a personality disorder. The point is that getting the right diagnosis can be time-consuming and frustrating, but it is also necessary, as once I was “re- diagnosed” with schizoaffective disorder, I was able to get on the right medication. But that's a different story altogether. I'm focusing here on being diagnosed with any type of mental illness that includes psychotic features that then make it almost impossible for people around you to believe your truths. However, not only do I have the double whammy of a thought disorder coupled with a mood disorder, I also have Tourette's syndrome, which is considered severe since this usually tapers off in one's 20s but mine did not. I'm 39 now, so, along with the confusion I suffer and the mood fluctuations, I also tic and sometimes engage in coprolalia, which is involuntary swearing or yelling out racial epithets. Hard combination. Added to that mix, I also seem to have aspects of obsessive compulsive disorder—I have to keep my computer arranged ‘just so'; Post-traumatic Stress Disorder (PTSD)—I frequently relive earlier traumas; attention deficit disorder—I can't focus on anything for any period of time; autism or Asperger's—like Temple Grandin, I may be smart, but I can't read social cues at all. Makes it difficult to hang out and just be “one of the guys.”My current psychiatrist, Dr. C, who—unlike others—never hesitated to diagnose me, saw me when I was at my worst. I was in the middle of a psychotic episode. I was in the process of a divorce (my wife and I have since reconciled), and I had no money, as my family had cut me off from my trust income. In the past, too many doctors had seen me when I did have money and was able to hire people to do what I could not—for example shopping, driving, and cleaning. Because these doctors saw me when I could hire people, they all considered me to be “too high functioning” to have any form of schizophrenia. As a result of being considered “high functioning,” I was diagnosed for years as having a personality disorder. Some doctors thought I had borderline personality disorder (BPD); others thought I had a personality disorder not otherwise specified (NOS). Let me tell you, having the right diagnosis has turned things around at last. I'm now on the right medication. My wife and caregivers understand the nature of the illness and know some excellent ways of dealing with it and with me. Although the illness will never go away, I do have hope that I'll continue to get the right treatment and that my life will continue to get better. Now, the big one: What do you do when people assume your truths are delusions? Let's start with just a little bit more background. At the last count, I have had approximately 30 rehab stints and/or hospitalizations. That's a lot. When you're hospitalized, especially involuntarily, people tend to dismiss everything you say as a symptom of your illness. I understand that, but I don't like it, because it's hard when people don't believe you. A couple of examples. I moved to Los Angeles in January 2001 because I wanted to be a Hollywood screenwriter. I was two days shy of my 25th birthday. I was a go-getter back then, a social butterfly, and found it easy to introduce myself to just about anyone. As a result, I met Joanna Cassidy, Dick Van Dyke, Robert Downey Jr., Mel Gibson, and others. Then, as my drug and alcohol use spiraled out of control, I got myself into rehab. Since I had access to my trust fund, I could afford the rehab facilities where “celebrities” went, places such as Promises in Malibu. In these places, I met movie producers, writers, actors, musicians, and kids of celebrities. The point is, I met all these people, and some of them I befriended. Because so many of the rehab facilities didn't help me stay off drugs and alcohol, a friend and I started our own facility, Wavelengths, which also catered to celebrities. Wavelengths took a more proactive approach to getting people off drugs and alcohol. If you ever saw the show The Cleaner, you'll have a better idea of what I mean by “proactive.” In fact, that show was based on the friend with whom I started Wavelengths, and, although I was never credited, I was the co-creator of the show. But now, when I tell people about The Cleaner or knowing Chuck Lorre, Robert Downey Jr., or Mel Gibson, they smile blankly, nod their head, and dismiss what I say as a delusion. That's maddening—if you'll pardon the pun. Another example. In the summer of 2010, I checked myself into a facility in Colorado so I could get on the right meds and try to get myself re-stabilized. As I was being admitted as a patient with schizoaffective disorder, which is characterized by a thought disorder, including delusions, both my wife and my doctor spoke with the facility before I was admitted so that the doctors and social workers would know I wasn't delusional about the people I knew. My wife and doctor also let the facility know about my financial background, because I don't always look “rich.” Lately, I like to dress in t-shirts and pajama bottoms. I like to keep my hair permed and wild, and I like to wear a beard. As a result, sometimes when I'm admitted, the staff person will write that I'm a little unkempt, and when I then start talking about the money I'm worth, the same staff person will flash a little, tight smile as if to say: “Of course, you are. And I have a Swiss bank account.” Those staff people don't always know that I can “tell” what they're thinking—I can see it on their faces—, and they feel free to openly doubt my truth. More on “delusions.” The reason I write is to share my story, and sometimes—I've got to admit—it's hard knowing that a lot of people may not believe me. I bring this up because I'm sure that those of you who read what I write must have as complicated a story as mine. I am just spelling out some things—kind of “straight-from-the-heart” sharing with you all. My family, as I've mentioned, is rich and powerful. Maybe your family is not rich or powerful, but still I think you'll understand. Their money and their power helped make me who I am, just as your parents helped make you who you are. I'm not attacking anyone. I am simply telling the story of my life. I have earned the right to do that. Come to think of it, though, maybe I never did have to “earn the right” to tell the story of my life. People have a right to their own stories and to tell these stories in their own voice, not anybody else's. This is my time. My story. Not my family's. And I owe it to you to share a taste of the complexity of my life, so you'll understand the complexity of your own. So, yes, my family is rich and powerful. That is not a delusion. You can look them up yourself. They are public people. Sometimes I think that because they are public people, they have had a hard time accepting me for who I am. I know they have had a hard time accepting my diagnosis. And, really, I am not attacking them. Maybe they can't accept my diagnosis because they think it will reflect badly on them. I haven't talked to my family in a few years. I wish I felt sad about that, but I can't. My family doesn't love me. Sometimes I think they might even hate me, because they cut off my money and they cut off contact with me. But I'm getting sidetracked—what my wife calls “going off on a tangent.” So I'll stop. One area that has always been hard and that created a lot of misunderstanding in my family is my diagnosis. No one has ever accepted that I had the wrong diagnosis for years and that getting the right diagnosis has helped me move forward. Not that a diagnosis makes the illness easy, and, in many respects, a diagnosis is nothing but a label. However, with the right diagnosis (or label), you can get the right medication, the right therapy, and people—like caregivers—who know how to deal with you. The right diagnosis is a starting point that means you can read about whatever “label” you have been tagged with—or might need to be tagged with. In my case, I was “tagged with” BPD for years. On the one hand, that wasn't such a bad diagnosis, because people wouldn't then label me as being delusional. On the other hand, when people thought I had BPD, they accused me of lying, which brings me back to my family. In the past, my family has told me to “snap out of it” and to “get my act together”—that I would then be “fine.” You can't “snap out” of schizophrenia. You may get the symptoms under control, and you may even, like John Nash, seem to recover from the disorder, but you don't—and can't—“snap out of it.” My family, believing that I was capable of getting my act together, created a lot of tension between us. I use the past tense here because I don't know if they now believe my diagnosis. As I've mentioned, we've had no contact since January 2010, so I don't know what they believe. In January of that year, my family cut me off and stripped me of any help. I had no gardeners and no driver (I no longer drive). I had nothing. Based on what they wrote to me at the time, they seemed to think that they should provide a little “tough love” (like you see on Intervention) and that I would then agree to get better. I was never not agreeing to get better. Believe me, it's no fun having schizoaffective disorder. If your family or loved ones already believe your diagnosis, you are that much farther ahead because, if they believe the diagnosis, they can help. I'm taking my own advice today and staying positive. I think of all I have lost, and I can get very depressed. At one time, I had editors, housekeepers, free travel, a huge inheritance, my trust funds, and lavish cars. I've been to the best schools in the country. I had public-figure parents and several celebrities in my extended family, some of whom had actually, quite publicly, been diagnosed with mental illnesses. When I compare what I once had to what I now have, I can get depressed. I focus on the past and fail to appreciate the present. Taking my own advice to stay positive, I have three dogs, seven cats, and one bird. Now, some people might not think having so many animals is so positive, but I like walking through the house and every time being followed by at least one of them. My animals are one positive. Another positive. I no longer have diabetes. I have lost so much weight that my blood sugar is normal. I still take one of the diabetic meds because it can prevent diabetes—and also because my other meds can cause diabetes. But I am healthier than I was. No diabetes is another positive. My wife is the third positive. We reconciled two years ago, and so far we are working things out and trying to help each other. My work is the fourth positive. The schizoaffective disorder has really affected my thinking and my emotions, but it hasn't touched my creativity. I podcast, I write a journal, and I make music and movies. I have even sold a couple of songs on iTunes. My memories are the fifth and final positive for today. Although my father and I had a falling out in 2009, that's his issue. He and I have had great, absolutely fantastic, times together, and I treasure the memories. When I focus only on these memories, I can stay positive. For many reasons, I have had quite a few psychiatrists over the years. My current doctor—whom I call Dr. C—is the one that most recently diagnosed me as having schizoaffective disorder. When I went to see her the second or third time, I brought along five bookshelves' worth of my journals. My diaries. All my written documentation of madness—the faxes and emails that proved that 1,000 hours of film that I had shot had been stolen. That's it. I can't do anything about it. I have proof of a software development proposal I made when I was 15. I received a scholarship to business school, honors, and recognition. I was like John Nash except I was proposing software, not math. What I proposed would have been the first online shopping interface. But it got taken away, like everything. I have the proof, the actual documents. Real. These truths are mine. And I have schizophrenia, and I even have delusions, but I know, and my wife knows, and my close friends know, that these truths are real—not delusions. I spent three years of my life developing a show for A&E Television. I have the proof. I save everything. Faxes to the producers. My point is that I have lived an incredible life and often, all too often, facts become so-called delusions to others, especially to those others who actually count, like medical professionals. And it matters to me. All of this really matters to me. It means something very special to me because it is about me. It is from my perspective and only my perspective—the only perspective I know for sure. It's part of my story, or, as some might consider it, the “myth of that stupid Jonathan kid.” I know who I am. And I think I know who my friends are. I know that I am a legitimate, loving, grateful and spiritual human being who deserves to be loved and accepted and who deserves to make decisions, to make mistakes, and to be forgiven—to be myself. The real me. The Jonathan Harnisch who is not alone—who is loved. The Jonathan whose moods and behaviors might be a bit difficult to predict. A guy. A citizen, with schizophrenia and a full spectrum of mental maladies, who believes in some kind of higher power—who believes in himself. Who tries, tries, and tries—who never gives up on, or even thinks of giving up on, resilience. Who struggles every single day as an adult that is still being abused. Who has been abandoned and treated like waste—a mistake. Who is manipulated. Jonathan Harnisch. A teacher and a student. A rich kid who used to ride up front with his limousine driver. Who used to be a real asshole, often due to his drinking and drugging—and to his mimicking what he saw growing up among people who should have acted better but who just didn't know how to protect him. I have been in therapy since I was 9, and from the age of 12 I was “put away” on far too many medications, some of which I am still physically addicted to, some of which caused me to gain weight and to develop tardive dyskinesia (chronic muscle stiffness), and some of which I was actually allergic to, causing me to rage and even increasing my tendency to drink alcohol. I chose what I did, regardless what the literature suggests or what certain medical studies indicate. I am who I am, and I have my own story—my own version of my own story. It changes and adjusts on a constant basis. I've been closed up for so long. I am opening up. I am not being inappropriate. I don't need to be judged. But I will be judged. I don't need to worry about what others think of me. But I actually do care what other people think of me. I can't control other people. Come to think of it, I can't control what thoughts come into my head, just as I can't control which ones leave. So how can I control other people or their thoughts? How can anybody control the galaxy? How about the billions upon billions of existing galaxies or the billions of galaxies that have not yet even been discovered? That is what we are living with—within. Even Jesus experienced the full gamut of the human emotion spectrum, having been so-called spirit in human form. He was killed for that, for being who he was—for being honest and sincere, and, essentially, for being real. His life was far from easy. The most enlightened beings in the history of mankind—Buddha, Jesus, Mother Teresa, Gandhi, Krishna, and the Dalai Lama—have struggled and suffered every single day of their lives. And they too, in a way, live within us all. I want to let you know that you are not alone. You will never, ever be alone. I am excited and determined to come to you, who are seeking . . . seeking something. Maybe you're just reading as you sit there at work, or maybe you're my family, checking to see how I am, if I'm “misbehaving.” What I am is a disabled and, yes, a very troubled adult. But I am allowed to share my story. My life. I am safe. Now, I laugh now when I say this, but my wife is 24 years older than I am. And if and when she passes away before I do, or for any reason leaves me (I doubt she will—we seem to be doing very well together), I worry that I will be forced into a psychiatric institution back east, back near my family, when we don't even talk. I worry that it's inevitable. I guess, in conclusion, my life is full of grandiosity. But I still have schizophrenia, and I still have people who seem to have a need to control me and yet want nothing to do with me. This fascinates me. Why do they still want that much to do with me? Somebody who happens to also be a staff writer for a local news magazine independently wrote the following about me, which I have included on my website. It makes me feel so good. See! Things can change.Envision a blend of a mentally ill mind with unsurpassed resiliency and fiery intellect and your result would be the brilliant Jonathan Harnisch. An all-around artist, Jonathan writes fiction and screenplays, sketches, imagines, and creates. His most recent artistic endeavor is developing music, a newfound passion with visible and of course audible results already in the making. Produced filmmaker and published erotica author, Jonathan holds myriad accolades, and his works captivate the attention of those who experience it. Manic-toned scripts with parallel lives, masochistic tendencies in sexual escapades, and disturbing clarities embellished with addiction, fetish, lust, and love, are just a taste of themes found in Jonathan's transgressive literature. Conversely, his award-winning films capture the ironies of life, love, self-acceptance, tragedy, and fantasy. Jonathan's art evokes laughter and shock, elation and sadness, but overall forces you to step back and question your own version of reality. Scripts, screenplays, and schizophrenia are defining factors of Jonathan's life and reality—but surface labels are often incomplete. Jonathan is diagnosed with several mental illnesses from schizoaffective disorder to Tourette's syndrome; playfully, he dubs himself the “King of Mental Illness.” Despite daily symptomatic struggles and thoughts, Jonathan radiates an authentic, effervescent, and loving spirit. His resiliency emanates from the greatest lesson he's learned: laughter. His diagnoses and life experiences encourage him to laugh at reality as others see it. Wildly eccentric, open-minded, passionate, and driven, Jonathan has a feral imagination. His inherent traits transpose to his art, making his works some of the most original and thought provoking of modern day. Jonathan is an alumnus of Choate Rosemary Hall. Subsequently, he attended NYU's Tisch School of the Arts where he studied film production and screenwriting under Gary Winick and David Irving. During his studies at NYU, he held internships under renowned producers Steven Haft and Ismail Merchant. He is best known for his short films, On the Bus and Wax, both of which boast countless awards including five Indie Film Awards, three Accolade Awards, and Ten Years won, which won the Best Short Film and Audience Award in the New York International Independent Film and Video Festival, to name a few. Despite his impressive formal education and awarded honors, Jonathan is your normal, down-to-earth guy. Meditation, Duran Duran, vivid colors, Patrick Nagel prints, and rearranging furniture are some of his favorite things. Vices include cigarettes, Diet Coke, inappropriate swearing, and sausage and green chili pizza. He enjoys irony, planned spontaneity, redefining himself, and change. Jonathan lives with his beautiful wife, their three dogs and seven cats, in the unique, desert village of Corrales, New Mexico. What follows gives a glimpse into how I have been putting together some of the pieces of the otherwise “shattered stained glass” of schizophrenia, as I see it—from what I have read and heard and just . . . believe. My psychiatrist has often asked me to describe or explain my symptoms, and thus schizophrenia, and I usually do not know how to do so. I simply reply that it is all “indescribable.” Since then, I have been looking deeper into myself so that I am able, at minimum, to summarize at least a few of my experiences, past and present, in order to share with you too some of the complexity—demystified. I'd like to share some of my discoveries, as I find them, concerning my experiences, false perceptions, and schizophrenic psychosis. Hopefully, I'll succeed in maintaining simplicity so that others can benefit and perhaps understand this otherwise extremely complex disorder. I have come to realize that thanks to my own self, my lovely wife (whom I've known for over six years now), my support team (medical doctors and friends), and even those who might be considered my enemies, I have been helped along the path to self-actualization and thus to self-understanding—to where I find myself today. I've been able to find some meaning in schizophrenia, which helps me redefine how I see myself and how the symptoms of schizophrenia came to be—so that I can describe these without simply dismissing them as “indescribable.” Please forgive any terminology I might use incorrectly, as I am not a doctor. Also, I do have schizophrenia, so although I have stabilized (recovered, not been cured), I must still admit that I might get it wrong sometimes. We schizophrenics, through our psychosis—our delusions, our hallucinations, or reality—create or develop a story, a storyline. What is real has many universal implications. Many are extremely personal, symbolic, and moral. As we build the framework of our delusional reality, which tends to fade in and fade out, as with dreaming, it can all become very mystical. Our realities, which we may not have had all our lives, can become delusional for mystical and magical reasons. This might be why, for example, when we are psychotic, the television seems to talk to us, or we might see and know Jesus—again, for reasons of a mystical or even religious nature. It becomes difficult for us then to realize that it is not necessarily real. The further and further we are or are not drawn deeper into a full blown psychosis—it's just baffling, to say the least—the more it is complex and disorganized. Yet we might believe wholeheartedly that our delusions are real and based on facts—facts that are not correct to others without the illness. Many episodes, thoughts, and experiences combine, thus building up a storyline, which then becomes more intense and even fascinating and seductive, with more and more meaning as the delusional realities or events go on—as our lives go on. The meanings become “hidden” or disguised—our realities, in a way, hidden. This illness can thus become very isolating because we have a whole different belief system about the entire world, especially when we are in a major psychotic episode. It can take years and years to arrive at this fully agitated state, but that is often how we schizophrenics will end up being diagnosed, just as an alcoholic usually “needs” to bottom out completely before getting help. Through our perceptions, which change over time, we develop a new way of thinking that becomes very hard for us to disengage from. It is exactly like being on a constant, continuous LSD trip, every single day. This is the bottom line, and, for me, this “acid trip” never stops, even when recover. It is a matter of training and re-training our minds, through therapies like cognitive behavioral therapy (CBT), medications, treatments, and also a lot of training—mental training, which I certainly do on my own, especially when not in a session with my doctor. I'm always checking things over and “reality checking.” I also find it very helpful to have a friend or loved one do what I call “mediating my reality.” I can, for example, ask my wife, who loves me deeply, to see if something is or is not what or how I might be perceiving it to be—from her there is perspective without the illness. There is an element of us losing what is called object permanence or object consistency—as my doctor in California once told me. The famous child psychologist Piaget discovered that, at a very young age, infants will forget about a toy they have been playing with if it disappears from their vision: for example, if a ball rolls out of sight or someone puts it underneath a blanket. At a certain age, that child will begin to look for that missing toy, and, finding it under the blanket, realize that it was in fact there the whole time. It was always there. Before that it had, to the infant, mystically gone away—disappeared from the world entirely. That's what I mean by mystical reasons, because we lose this object permanence, as after all, this could be a sensation rather than the fundamental reality one would have perhaps thought. We see this mysticism in most of our experiences and, yes, it fades in and out, but we basically feel that things, in general, will usually happen for mystical reasons. This becomes a part of our belief system, which is pretty hard to change. Enter the double bind, as, when object permanence is out of the picture, we can be caught in a contradiction, or a series of contradictions, due to cultural or moral, as well as both personal and universal, reasons. We might, for example, in place of object permanence, experience a “multiple realities” effect, as if we were in several dimensions at one time—several realities. Based on how we grew up, at any given time a reality may slip into our mindset, and so, for example, we might behave like a racist even though our best friend is African American. It doesn't “make sense.” During my last psychotic episode early in 2010, I collected, and even wore, Nazi memorabilia, and yet I am both half Jewish, on my mother's side, and handicapped. I also behaved as if I was a racist, even though my best friend was, and is, African American. We might want to save the world from global warming; however, in doing so we might pollute it and drive gasoline cars, on purpose, in order to save this world. Grandiosity, extreme thinking, and thus extreme behavior—with realities slipping in and out—are only a part of what baffles science and medicine. Different realities slipping in, overlapping, and combining make for an extremely difficult scenario to treat and understand from a scientific perspective. We will often think poetically, as well as symbolically and metaphorically. Poetic thinking can take over, and thus our symbolic and deep personal feelings are a huge part of how we schizophrenics think and reason. We might hallucinate about Jesus for a seemingly concrete reason, a very special reason. When helping someone with schizophrenia, a good start is to consider that he or she thinks mostly through concepts of mysticism—the idea that everything happens for a deep reason, that everything has a very special meaning, and that everything is synchronistic. A schizophrenic is often a very traumatized and sensitive person, much more so than your average Joe, living in a brutal world. That's where the help—the recovery—really starts to take place and healing begins. We schizophrenics must learn, through counseling, to understand ourselves and participate in therapy, to sort through our delusional thinking, and, often with help, to get back as much of our accurate intuition as possible, to take our medicine, and to have love and understanding in our lives. In this way, we might be able to reveal our secrets to someone we can trust, our secrets of trauma, day in and day out—and to do our best, resolving as much inner conflict as we can. Peace of mind is what we all want and need. It is my number one goal in life and has always been. It is what we all deserve. Developing a new identity through our recovery is key in many ways—finding our voice so that we can be heard and sorting through our mysticism and religious or spiritual experiences and observations of reality. It's a matter of finding those people we can trust, as I said, to help us define or redefine our reality. I have that these days, especially through my wife and my doctors. I live with gratitude. Just like diabetes, schizophrenia simply does not go away—not yet—for any of us. It's always there in the background. The “lifelong acid trip”. But, with respect to delusions specifically, I have also had delusions that weren't real. And I wanted to start with why and how we tend to cling to delusional thinking and thus why I perhaps cling not necessarily to a delusion but to this kind of thinking. It is “dimensional” for me. It is a grieving process for me. I am referring to missing my old Hollywood lifestyle—the content involved with that lifestyle of the rich and famous and the grandiose nature of the thinking itself. The celebrities I befriended when I lived and worked in Los Angeles, for example. During the onset period of schizophrenia, delusions, and perceptions, we often begin with smaller-scale hallucinations. There is a root that is actually rational, wrapped inside a delusional outer layer. I think we can actually reach the schizophrenic while that individual is in a completely psychotic state—which often our doctors, caregivers, and loved ones fail to do—by understanding that everything the psychotic schizophrenic individual thinks is done in a synchronistic way. It all starts with object permanence—that we have lost this and that the one reality we once believed in has been replaced as a result of thoughts and events in our lives. A flow of realities, of things appearing and disappearing at the same time—not just the simple ball under the blanket, as the rules of both time and place come into effect here: The time is now, and the place is grounded right here on earth. Let's call it an earth belief or thought. These thoughts and beliefs can, through the “schizophrenic lens,” basically occur at the same time. This waking dream, this constant LSD trip, this real-life synchronicity (Carl Jung first coined the term “synchronicity”), and this more fluid mindset. If we are to think at the core of a schizophrenic in order to reach him or her, this means thinking synchronistically. If we are not stable enough or properly medicated, our dreams can actually become part of the same reality as reality itself. For example, my wife once asked me, “Jonathan, are you going to be recording an episode for your podcast today?” I had been planning on doing so, but I had not yet told my wife. I simply said, “Oh yes, I was actually thinking about it. It's been a while since the last one.” Now, if I were in a more psychotic state, I might have (or, rather, the delusional process might have) started with my real-life fascination with Edgar Cayce and psychic ideas, my New Age books, and my meditations into the Akashic field—and so I would have concluded that my wife was secretly reading my mind, or that she and what she said were mystically connected in some way—that she “knew something.” My psychic experiences in the past would have then overlapped with my wife knowing something psychically, mystically, and symbolically, and also with synchronicity—creating a deep and personal meaning. Add to that the paranoia that comes from her “reading my mind”—that she is therefore “God” because she knows I'm planning on recording my podcast today, even though I haven't told her. The terrifying belief is now engrained, as we are to begin with often more sensitive to the world as a whole—even being touched on the hand or the ear can create extreme fear for us schizophrenics. The belief that “she knew I was going to record a podcast today.” Synchronicity may have a little or some scientific evidence, at least theoretically. However, there are things that we cannot prove through science, such as the definition of time—or even God. In a state of schizophrenic psychosis, this overlap becomes compounded, as it builds up more intensely and thus perhaps takes over our entire belief system. Perhaps there is a coherent way of explaining how we schizophrenics might create our own reality, our delusional or schizophrenic reality, as I see it, through some of the things I have laid out so far—please bear with me here. I'll speak for myself, and my own experiences, although the end result is now something I can talk about and demystify rather than actually believe—thanks to the proper treatment, therapies, and support I now receive. I'll first start with a collection of thoughts. Theoretically, let's say, for real: • In 2008, I made a film called On the Bus about mental illness—it was part of the story in the film. • Mel Gibson (an old friend from California)—he and I were first introduced to each other in 2001. • I listened to The Beach Boys. We'll assume that the music was playing in the car with Mel as we went for a drive, as we did up in the hills of Malibu. • Mel Gibson is rich and famous. Whether in a state of schizophrenic psychosis or not, since this seems to be a matter of degree—depending on how psychotic we might or might not be and how much the psychotic part of our minds has taken hold. This is a matter of our abilities and the constantly fluctuating brain chemistry that we might—or perhaps might not—be able to filter through. It depends on whether we have been successful in redefining our delusional realities to a generally consistent state of well-being and peace of mind. In a psychotic state, due to our hallucinatory thinking, the chemistry in my brain, our brains, is constantly misfiring, so that the stimuli from the environment go to the wrong places in our brains. The effect is similar to putting our hand under cold water and feeling hot. Essentially, though, with this schizophrenic thinking process, I would come up with a “composite sketch,” if you will, a sort of “Frankenstein” version—a storyline that might be experienced as: • I knew Mel Gibson, and therefore I am famous. (Based on: Mel Gibson is famous and is rich.) • Then—but at the same time—I am rich because I made a movie called Ten Years, and I am convinced it made me rich because Mel Gibson is rich, and I am famous because I made my movie, it won awards, and Mel Gibson did, too. I must have met Mel Gibson because I made a movie, and he did, too, and we are both rich and famous. So far—this might not be the best example, but time can thus be altered—2008 is coming before 2003 in this case. This might be a little hard to follow, but please bear with me here.If I were asked to explain this while still psychotic, I'd say first that I am not mentally ill—I am simply psychic, rich, and famous. Besides, the Beach Boys were playing, and one of the Beach Boys has a mental illness, not me, but my film was about mental illness. Brian Wilson is still rich and famous, and also an artist, so he was playing on the radio because both Mel and I were both artists and it was “meant to be” that he would be playing music for us because we were all connected through art, fame, and money. Exhausting, isn't it? But this is actually how jumbled it can be for us and thus for those witnessing us speaking or even communicating in general terms. It's schizophrenia. Let's assume that we got pulled over for speeding. Well, there is a police officer character in On the Bus, my movie. You see, grandiosity, both real and imagined, content, time inconsistencies, and now this character was in the movie, so, because we were all in the car, we were in the movie while in the car, so the police officer was playing her role—it all happened for a reason. And beyond that, paranoia might also slip in—the officer who pulled us over was male (not female), and in my movie she was female, so she was disguising herself in order to take our money and meet three famous people (even Brian Wilson on the radio). Theoretically, this might suffice as a pseudo-case study, and yet in normal reality, for us schizophrenics, this type or process of thinking compounds itself and thus it can become completely distorted. Our friends and families start to think we're going crazy (although in a way we are), and stigma arises, plus confusion and thinking, “What the heck happened to this guy—he's speaking like a drug addict who's lost his mind. Where is all this coming from?” We would all benefit from greater awareness of what schizophrenia is and how to know if someone we love might be predisposed to the illness (through family history, etc.). But this is what we with schizophrenia usually experience early on, as the illness is progressing—we believe this thinking based on other facts—facts which are disconnected, something we cannot see without appropriate help. Later, yes, we can have this type of thinking while recovered or recovering, but we are able, hopefully, to be mindful enough to have such thinking but to cope with it differently, and even, down the road, to do our own “reality checks,” so that we do not not talk about these things inappropriately, in public, let's say. We can also use the hallmark of CBT, which is “evidence”, on our own in order to connect the disconnected parts of our thoughts—thus our reality. We can also do this with the support of loved ones, family, doctors, medications, friends, and support groups who help us and love us enough to be able to assist us in connecting the right pieces together and who explain why they connect—the reasons why. To wrap this up for now, I have not even mentioned the hearing of voices and hallucinations—everything from shadows to people, even friends—and the hidden, traumatic, and paranoid features of schizophrenia of which we are often too afraid to speak. We might sound or behave cryptically, in code, with pressured speech and flight of ideas. Add to this the “zombie-like” features, the manic episodes, the muscle dystonia, and the side effects of medication, and if we have turned to drugs, often just one hit of pot to quell the symptoms—yikes! We're often too embarrassed to speak of our early experiences with schizophrenia, to say that, “Yes, indeed, this is an extremely devastating and debilitating illness.” I am so glad that I am at a place in my recovery. I do have my bad days. I haven't even slept during the last day—insomnia (technically, another symptom), but I am glad that I have been to this intoxicating wonderland and come back—just enough to be able to deliver this kind of explanation, perhaps demystifying in a way that others can understand some of these processes that affect about 1% of the world's population. Schizoaffective disorder, then, includes manic highs and periods of deep depression. My Tourette's syndrome features the obvious muscle tics but also obsessive/compulsive tendencies and elements of autism or Asperger's (often referred to as higher functioning form autism—in summary, but it is, of course, much more than that). We all have our issues. It's how we deal with them that sets us apart. As always, my journey continues, on and on. Yes, you could say I've been through the wringer. I am opening up and sharing my world and my experiences—with hope. Participation in my own recovery, along with metacognition (usually in deficit for those with schizophrenia) and mindfulness, have all helped me become who I am today: an accomplished writer (literature and film/TV) and technically a professional author of erotic fiction. I often laugh at this because there are so many sides of me—the “angel demon human dichotomy”—as I use various outlets to express my creativity. I have an education primarily in the arts, but I worked on Wall Street in my “healthier” days, so I know a bit about that! However, I ultimately chose to do what I am doing now—which is just this. I am also a film producer and a musician. My new full 15-track LP will be arriving at over 60 retailers in the coming weeks, possibly under the band name Waspy Honk Afro. All my work is also available for free and will always be free, as far as I know. My thoughts are free—my public life, the “open source” information-life of J.H. I've lived in New York, Connecticut, Paris France, Los Angeles, and now New Mexico; I am now married and I write a diary and podcast mostly about mental illness, inspiration, New Age ideas, and transgressive material—transgressional fiction. [If you've seen or read Fight Club—it's pretty much like that!]I am, myself, an expert on my own experiences and myself; that's about all I'm an expert on. I am not a doctor of any kind. I enjoy learning, reading, and communicating. Whatever I say or write, I like to add: “take what you will, leave the rest.” I try my best to speak for myself when it comes down to it. Please take note that some of the above writing has been paraphrased from my second novel, Second Alibi: The Banality of Life (2014).

Anna Kipervaser is a Ukrainian-born multimedia artist. Her work spans multiple disciplines including experimental and documentary moving image works in both 16mm film and HD video. Anna is also painter, printmaker, curator of exhibitions and programmer of screenings showcasing the works of contemporary international artists. Anna founded Manual Productions, a mobile artist space in 2003, organizing exhibitions nationally. In 2008, she founded On Look Films with Rodion Galperin as their first feature documentary film, CAIRO IN ONE BREATH, was taking form; CAIRO IN ONE BREATH premiered at Full Frame Documentary Film Festival in April 2015. Anna’s work has been recognized through awards from Hartley Film Foundation, National Geographic’s All Roads Film Project, Lucius and Eva Eastman Fund, Carnegie Foundation, George Sugarman Foundation, New York Studio Program, Wilder Traveling Scholarship, and the Foreign Language and Area Studies Fellowship. Her moving image work has also screened at the Chicago Underground Film Festival, Athens International Film and Video Festival, Indie Grits Film Festival, Montreal Underground Film Festival, Haverhill Experimental Film Festival, and 12Gates Video Art Fest. She holds a BFA from the Art Academy of Cincinnati, Class 2003. As of May 2015, Anna holds a Graduate Certificate in Middle East Studies, and, an MFA in Experimental and Documentary Arts from Duke University. It happened to be Ramadan when On Look Films took their first production trip to Cairo in August of 2009. They were beginning to work on their feature documentary film Cairo in One Breath which had its world premiere at Full Frame Documentary Film Festival in 2015. Over the course of these several years, the On Look Films team has been documenting the transformation of the 1,400 year-old tradition of the adhan as a government plan to systemize the call to prayer was being implemented. The Adhan Unification Project proposed to replace the thousands of individual muezzins who had been reciting the adhan five times each day with a single muezzin’s voice broadcast live from a central radio station to wireless receivers installed in all of Cairo’s officially recognized mosques. As the AUP took hold, Egypt underwent Revolution and regime change, and On Look Films kept filming. Cairo in One Breath follows muezzins from when they first heard rumors of plans to install wireless receivers through two years after implementation of the AUP, which has displaced thousands of employees and volunteers. Now, most mosques have receivers installed, though political changes have halted inspection and maintenance. This selection of photographs is an introduction to some of the film’s characters and their lives, taken between 2009 and 2014 by Anna Kipervaser, David Degner, Jeremy Johnson, and Meredith Zielke, and edited by Rodion Galperin.

The point of this series is to start a conversation about how those of us diagnosed with psychotic disorders get people to believe our truths. After all, once you've been diagnosed as being psychotic, your credibility is never the same, even when you're speaking the truth. I have a podcast on iTunes in which I reveal a lot about myself, and lately I've noticed how much these podcasts have been teaching me about myself and what I've lost. This illness has taken a great deal from me, including my ability to gain recognition for my accomplishments. So, what I'd like to do here is recognize some of these accomplishments, knowing that had my life been different, they could have been acknowledged in a more public arena. Knowing, too, that, because I have schizoaffective disorder that is characterized by delusional thinking, hallucinations, and mood fluctuations, even when I speak the truth, I am often dismissed and not believed, with my truths described as mere delusions. I want to acknowledge my accomplishments not only for myself but also for all you out there. Those of you who may or may not already be diagnosed with schizophrenia, bipolar disorder, or any other serious mental condition, whose truths, like mine, are so frequently dismissed as delusions. It upsets me even to write this, to realize that those around me can—and do—categorize what I say as delusional, and I wonder if that also happens to you. I'd like to begin by briefly mentioning that I was diagnosed with Tourette's at the age of 12, although, according to my mother, I had shown symptoms since I was two. I sometimes wonder whether I was even then showing signs of the psychosis that has plagued me for my entire adult life. I was 18 when I had my first psychotic episode. It was Christmas Day, 1994. I was living in New York City and was admitted to Beth Israel, where I was given a number of tests—medical and psychological. My toxicology report came up 100% clean, a clear indication that my psychosis was not drug-induced. My intake report by the ER doctor shows that I had a “loosening of association” and “pressured speech,” both of which can indicate schizophrenia, schizoaffective disorder, or bipolar disorder with psychotic features. No wonder it took so long for me to get the right diagnosis; so many of the symptoms overlap. However, I want to bring this back to delusion and truth, and how people so frequently label your truths as delusional as soon as you've been diagnosed with a psychotic disorder. I will also discuss my condition's genesis and prognosis—and then move onto those accomplishments for which I've never been truly recognized. I often wonder if other people, like me, have trouble being believed. As I may have mentioned already, serious mental illness, such as schizoaffective disorder, is believed to be caused first by a genetic predisposition to develop mental illness and second by environmental factors. In my family, I have a grandfather who seems to have been diagnosed with schizophrenia, according to old medical records that I recently found. In addition, I have two second cousins, both of whom have been publicly diagnosed with mental illness. So, I would definitely seem to be genetically predisposed to becoming mentally ill. However, having this predisposition isn't enough. You also need certain environmental factors. What I've read in some of the literature is that mental illness can be compared to diabetes. A person may be genetically predisposed to develop diabetes, but if that person gets enough exercise and watches their sugar intake, then the diabetes may never take hold—it's the same with mental illness. In my case, I had the predisposition, but I also underwent enough traumas (sexual, physical, and emotional abuse) and upheavals (such as my parents' divorce when I was young) for the illness to take hold. Boy, did it take hold. Sometimes, though, people like my sister, who has a genetic predisposition plus environmental factors (my sister comes from the same family and has had the same kind of upheavals), do not become mentally ill. Nobody knows why. Maybe, as my wife says, it's just the luck of the draw. She's kidding. At least about the luck part, because having mental illness isn't lucky, although we do have to keep laughing about it. Keep positive. You're never alone if you can laugh with someone about it. As I've mentioned, I have schizoaffective disorder. Originally, though, I was diagnosed with depression. That was back in 1994, when I was 18. Over the next 10 years or so, I saw doctor after doctor, moving here and there, trying to find my place in the world. I made seven suicide attempts and had years of alcohol and drug abuse issues. My last suicide attempt was in 2001, and I was freed from my drug and alcohol addictions in early 2003. More than 11 years ago. As I was getting off the drugs, I saw a doctor who diagnosed me with schizoaffective disorder, which basically means schizophrenia with a mood disorder thrown in, and, in my case, that mood disorder is bipolar with manic features. However, in 2005 and 2006 I saw a doctor who said that I did not have schizoaffective disorder. Instead, I had a personality disorder. The point is that getting the right diagnosis can be time-consuming and frustrating, but it is also necessary, as once I was “re- diagnosed” with schizoaffective disorder, I was able to get on the right medication. But that's a different story altogether. I'm focusing here on being diagnosed with any type of mental illness that includes psychotic features that then make it almost impossible for people around you to believe your truths. However, not only do I have the double whammy of a thought disorder coupled with a mood disorder, I also have Tourette's syndrome, which is considered severe since this usually tapers off in one's 20s but mine did not. I'm 39 now, so, along with the confusion I suffer and the mood fluctuations, I also tic and sometimes engage in coprolalia, which is involuntary swearing or yelling out racial epithets. Hard combination. Added to that mix, I also seem to have aspects of obsessive compulsive disorder—I have to keep my computer arranged ‘just so'; Post-traumatic Stress Disorder (PTSD)—I frequently relive earlier traumas; attention deficit disorder—I can't focus on anything for any period of time; autism or Asperger's—like Temple Grandin, I may be smart, but I can't read social cues at all. Makes it difficult to hang out and just be “one of the guys.”My current psychiatrist, Dr. C, who—unlike others—never hesitated to diagnose me, saw me when I was at my worst. I was in the middle of a psychotic episode. I was in the process of a divorce (my wife and I have since reconciled), and I had no money, as my family had cut me off from my trust income. In the past, too many doctors had seen me when I did have money and was able to hire people to do what I could not—for example shopping, driving, and cleaning. Because these doctors saw me when I could hire people, they all considered me to be “too high functioning” to have any form of schizophrenia. As a result of being considered “high functioning,” I was diagnosed for years as having a personality disorder. Some doctors thought I had borderline personality disorder (BPD); others thought I had a personality disorder not otherwise specified (NOS). Let me tell you, having the right diagnosis has turned things around at last. I'm now on the right medication. My wife and caregivers understand the nature of the illness and know some excellent ways of dealing with it and with me. Although the illness will never go away, I do have hope that I'll continue to get the right treatment and that my life will continue to get better. Now, the big one: What do you do when people assume your truths are delusions? Let's start with just a little bit more background. At the last count, I have had approximately 30 rehab stints and/or hospitalizations. That's a lot. When you're hospitalized, especially involuntarily, people tend to dismiss everything you say as a symptom of your illness. I understand that, but I don't like it, because it's hard when people don't believe you. A couple of examples. I moved to Los Angeles in January 2001 because I wanted to be a Hollywood screenwriter. I was two days shy of my 25th birthday. I was a go-getter back then, a social butterfly, and found it easy to introduce myself to just about anyone. As a result, I met Joanna Cassidy, Dick Van Dyke, Robert Downey Jr., Mel Gibson, and others. Then, as my drug and alcohol use spiraled out of control, I got myself into rehab. Since I had access to my trust fund, I could afford the rehab facilities where “celebrities” went, places such as Promises in Malibu. In these places, I met movie producers, writers, actors, musicians, and kids of celebrities. The point is, I met all these people, and some of them I befriended. Because so many of the rehab facilities didn't help me stay off drugs and alcohol, a friend and I started our own facility, Wavelengths, which also catered to celebrities. Wavelengths took a more proactive approach to getting people off drugs and alcohol. If you ever saw the show The Cleaner, you'll have a better idea of what I mean by “proactive.” In fact, that show was based on the friend with whom I started Wavelengths, and, although I was never credited, I was the co-creator of the show. But now, when I tell people about The Cleaner or knowing Chuck Lorre, Robert Downey Jr., or Mel Gibson, they smile blankly, nod their head, and dismiss what I say as a delusion. That's maddening—if you'll pardon the pun. Another example. In the summer of 2010, I checked myself into a facility in Colorado so I could get on the right meds and try to get myself re-stabilized. As I was being admitted as a patient with schizoaffective disorder, which is characterized by a thought disorder, including delusions, both my wife and my doctor spoke with the facility before I was admitted so that the doctors and social workers would know I wasn't delusional about the people I knew. My wife and doctor also let the facility know about my financial background, because I don't always look “rich.” Lately, I like to dress in t-shirts and pajama bottoms. I like to keep my hair permed and wild, and I like to wear a beard. As a result, sometimes when I'm admitted, the staff person will write that I'm a little unkempt, and when I then start talking about the money I'm worth, the same staff person will flash a little, tight smile as if to say: “Of course, you are. And I have a Swiss bank account.” Those staff people don't always know that I can “tell” what they're thinking—I can see it on their faces—, and they feel free to openly doubt my truth. More on “delusions.” The reason I write is to share my story, and sometimes—I've got to admit—it's hard knowing that a lot of people may not believe me. I bring this up because I'm sure that those of you who read what I write must have as complicated a story as mine. I am just spelling out some things—kind of “straight-from-the-heart” sharing with you all. My family, as I've mentioned, is rich and powerful. Maybe your family is not rich or powerful, but still I think you'll understand. Their money and their power helped make me who I am, just as your parents helped make you who you are. I'm not attacking anyone. I am simply telling the story of my life. I have earned the right to do that. Come to think of it, though, maybe I never did have to “earn the right” to tell the story of my life. People have a right to their own stories and to tell these stories in their own voice, not anybody else's. This is my time. My story. Not my family's. And I owe it to you to share a taste of the complexity of my life, so you'll understand the complexity of your own. So, yes, my family is rich and powerful. That is not a delusion. You can look them up yourself. They are public people. Sometimes I think that because they are public people, they have had a hard time accepting me for who I am. I know they have had a hard time accepting my diagnosis. And, really, I am not attacking them. Maybe they can't accept my diagnosis because they think it will reflect badly on them. I haven't talked to my family in a few years. I wish I felt sad about that, but I can't. My family doesn't love me. Sometimes I think they might even hate me, because they cut off my money and they cut off contact with me. But I'm getting sidetracked—what my wife calls “going off on a tangent.” So I'll stop. One area that has always been hard and that created a lot of misunderstanding in my family is my diagnosis. No one has ever accepted that I had the wrong diagnosis for years and that getting the right diagnosis has helped me move forward. Not that a diagnosis makes the illness easy, and, in many respects, a diagnosis is nothing but a label. However, with the right diagnosis (or label), you can get the right medication, the right therapy, and people—like caregivers—who know how to deal with you. The right diagnosis is a starting point that means you can read about whatever “label” you have been tagged with—or might need to be tagged with. In my case, I was “tagged with” BPD for years. On the one hand, that wasn't such a bad diagnosis, because people wouldn't then label me as being delusional. On the other hand, when people thought I had BPD, they accused me of lying, which brings me back to my family. In the past, my family has told me to “snap out of it” and to “get my act together”—that I would then be “fine.” You can't “snap out” of schizophrenia. You may get the symptoms under control, and you may even, like John Nash, seem to recover from the disorder, but you don't—and can't—“snap out of it.” My family, believing that I was capable of getting my act together, created a lot of tension between us. I use the past tense here because I don't know if they now believe my diagnosis. As I've mentioned, we've had no contact since January 2010, so I don't know what they believe. In January of that year, my family cut me off and stripped me of any help. I had no gardeners and no driver (I no longer drive). I had nothing. Based on what they wrote to me at the time, they seemed to think that they should provide a little “tough love” (like you see on Intervention) and that I would then agree to get better. I was never not agreeing to get better. Believe me, it's no fun having schizoaffective disorder. If your family or loved ones already believe your diagnosis, you are that much farther ahead because, if they believe the diagnosis, they can help. I'm taking my own advice today and staying positive. I think of all I have lost, and I can get very depressed. At one time, I had editors, housekeepers, free travel, a huge inheritance, my trust funds, and lavish cars. I've been to the best schools in the country. I had public-figure parents and several celebrities in my extended family, some of whom had actually, quite publicly, been diagnosed with mental illnesses. When I compare what I once had to what I now have, I can get depressed. I focus on the past and fail to appreciate the present. Taking my own advice to stay positive, I have three dogs, seven cats, and one bird. Now, some people might not think having so many animals is so positive, but I like walking through the house and every time being followed by at least one of them. My animals are one positive. Another positive. I no longer have diabetes. I have lost so much weight that my blood sugar is normal. I still take one of the diabetic meds because it can prevent diabetes—and also because my other meds can cause diabetes. But I am healthier than I was. No diabetes is another positive. My wife is the third positive. We reconciled two years ago, and so far we are working things out and trying to help each other. My work is the fourth positive. The schizoaffective disorder has really affected my thinking and my emotions, but it hasn't touched my creativity. I podcast, I write a journal, and I make music and movies. I have even sold a couple of songs on iTunes. My memories are the fifth and final positive for today. Although my father and I had a falling out in 2009, that's his issue. He and I have had great, absolutely fantastic, times together, and I treasure the memories. When I focus only on these memories, I can stay positive. For many reasons, I have had quite a few psychiatrists over the years. My current doctor—whom I call Dr. C—is the one that most recently diagnosed me as having schizoaffective disorder. When I went to see her the second or third time, I brought along five bookshelves' worth of my journals. My diaries. All my written documentation of madness—the faxes and emails that proved that 1,000 hours of film that I had shot had been stolen. That's it. I can't do anything about it. I have proof of a software development proposal I made when I was 15. I received a scholarship to business school, honors, and recognition. I was like John Nash except I was proposing software, not math. What I proposed would have been the first online shopping interface. But it got taken away, like everything. I have the proof, the actual documents. Real. These truths are mine. And I have schizophrenia, and I even have delusions, but I know, and my wife knows, and my close friends know, that these truths are real—not delusions. I spent three years of my life developing a show for A&E Television. I have the proof. I save everything. Faxes to the producers. My point is that I have lived an incredible life and often, all too often, facts become so-called delusions to others, especially to those others who actually count, like medical professionals. And it matters to me. All of this really matters to me. It means something very special to me because it is about me. It is from my perspective and only my perspective—the only perspective I know for sure. It's part of my story, or, as some might consider it, the “myth of that stupid Jonathan kid.” I know who I am. And I think I know who my friends are. I know that I am a legitimate, loving, grateful and spiritual human being who deserves to be loved and accepted and who deserves to make decisions, to make mistakes, and to be forgiven—to be myself. The real me. The Jonathan Harnisch who is not alone—who is loved. The Jonathan whose moods and behaviors might be a bit difficult to predict. A guy. A citizen, with schizophrenia and a full spectrum of mental maladies, who believes in some kind of higher power—who believes in himself. Who tries, tries, and tries—who never gives up on, or even thinks of giving up on, resilience. Who struggles every single day as an adult that is still being abused. Who has been abandoned and treated like waste—a mistake. Who is manipulated. Jonathan Harnisch. A teacher and a student. A rich kid who used to ride up front with his limousine driver. Who used to be a real asshole, often due to his drinking and drugging—and to his mimicking what he saw growing up among people who should have acted better but who just didn't know how to protect him. I have been in therapy since I was 9, and from the age of 12 I was “put away” on far too many medications, some of which I am still physically addicted to, some of which caused me to gain weight and to develop tardive dyskinesia (chronic muscle stiffness), and some of which I was actually allergic to, causing me to rage and even increasing my tendency to drink alcohol. I chose what I did, regardless what the literature suggests or what certain medical studies indicate. I am who I am, and I have my own story—my own version of my own story. It changes and adjusts on a constant basis. I've been closed up for so long. I am opening up. I am not being inappropriate. I don't need to be judged. But I will be judged. I don't need to worry about what others think of me. But I actually do care what other people think of me. I can't control other people. Come to think of it, I can't control what thoughts come into my head, just as I can't control which ones leave. So how can I control other people or their thoughts? How can anybody control the galaxy? How about the billions upon billions of existing galaxies or the billions of galaxies that have not yet even been discovered? That is what we are living with—within. Even Jesus experienced the full gamut of the human emotion spectrum, having been so-called spirit in human form. He was killed for that, for being who he was—for being honest and sincere, and, essentially, for being real. His life was far from easy. The most enlightened beings in the history of mankind—Buddha, Jesus, Mother Teresa, Gandhi, Krishna, and the Dalai Lama—have struggled and suffered every single day of their lives. And they too, in a way, live within us all. I want to let you know that you are not alone. You will never, ever be alone. I am excited and determined to come to you, who are seeking . . . seeking something. Maybe you're just reading as you sit there at work, or maybe you're my family, checking to see how I am, if I'm “misbehaving.” What I am is a disabled and, yes, a very troubled adult. But I am allowed to share my story. My life. I am safe. Now, I laugh now when I say this, but my wife is 24 years older than I am. And if and when she passes away before I do, or for any reason leaves me (I doubt she will—we seem to be doing very well together), I worry that I will be forced into a psychiatric institution back east, back near my family, when we don't even talk. I worry that it's inevitable. I guess, in conclusion, my life is full of grandiosity. But I still have schizophrenia, and I still have people who seem to have a need to control me and yet want nothing to do with me. This fascinates me. Why do they still want that much to do with me? Somebody who happens to also be a staff writer for a local news magazine independently wrote the following about me, which I have included on my website. It makes me feel so good. See! Things can change.Envision a blend of a mentally ill mind with unsurpassed resiliency and fiery intellect and your result would be the brilliant Jonathan Harnisch. An all-around artist, Jonathan writes fiction and screenplays, sketches, imagines, and creates. His most recent artistic endeavor is developing music, a newfound passion with visible and of course audible results already in the making. Produced filmmaker and published erotica author, Jonathan holds myriad accolades, and his works captivate the attention of those who experience it. Manic-toned scripts with parallel lives, masochistic tendencies in sexual escapades, and disturbing clarities embellished with addiction, fetish, lust, and love, are just a taste of themes found in Jonathan's transgressive literature. Conversely, his award-winning films capture the ironies of life, love, self-acceptance, tragedy, and fantasy. Jonathan's art evokes laughter and shock, elation and sadness, but overall forces you to step back and question your own version of reality. Scripts, screenplays, and schizophrenia are defining factors of Jonathan's life and reality—but surface labels are often incomplete. Jonathan is diagnosed with several mental illnesses from schizoaffective disorder to Tourette's syndrome; playfully, he dubs himself the “King of Mental Illness.” Despite daily symptomatic struggles and thoughts, Jonathan radiates an authentic, effervescent, and loving spirit. His resiliency emanates from the greatest lesson he's learned: laughter. His diagnoses and life experiences encourage him to laugh at reality as others see it. Wildly eccentric, open-minded, passionate, and driven, Jonathan has a feral imagination. His inherent traits transpose to his art, making his works some of the most original and thought provoking of modern day. Jonathan is an alumnus of Choate Rosemary Hall. Subsequently, he attended NYU's Tisch School of the Arts where he studied film production and screenwriting under Gary Winick and David Irving. During his studies at NYU, he held internships under renowned producers Steven Haft and Ismail Merchant. He is best known for his short films, On the Bus and Wax, both of which boast countless awards including five Indie Film Awards, three Accolade Awards, and Ten Years won, which won the Best Short Film and Audience Award in the New York International Independent Film and Video Festival, to name a few. Despite his impressive formal education and awarded honors, Jonathan is your normal, down-to-earth guy. Meditation, Duran Duran, vivid colors, Patrick Nagel prints, and rearranging furniture are some of his favorite things. Vices include cigarettes, Diet Coke, inappropriate swearing, and sausage and green chili pizza. He enjoys irony, planned spontaneity, redefining himself, and change. Jonathan lives with his beautiful wife, their three dogs and seven cats, in the unique, desert village of Corrales, New Mexico. What follows gives a glimpse into how I have been putting together some of the pieces of the otherwise “shattered stained glass” of schizophrenia, as I see it—from what I have read and heard and just . . . believe. My psychiatrist has often asked me to describe or explain my symptoms, and thus schizophrenia, and I usually do not know how to do so. I simply reply that it is all “indescribable.” Since then, I have been looking deeper into myself so that I am able, at minimum, to summarize at least a few of my experiences, past and present, in order to share with you too some of the complexity—demystified. I'd like to share some of my discoveries, as I find them, concerning my experiences, false perceptions, and schizophrenic psychosis. Hopefully, I'll succeed in maintaining simplicity so that others can benefit and perhaps understand this otherwise extremely complex disorder. I have come to realize that thanks to my own self, my lovely wife (whom I've known for over six years now), my support team (medical doctors and friends), and even those who might be considered my enemies, I have been helped along the path to self-actualization and thus to self-understanding—to where I find myself today. I've been able to find some meaning in schizophrenia, which helps me redefine how I see myself and how the symptoms of schizophrenia came to be—so that I can describe these without simply dismissing them as “indescribable.” Please forgive any terminology I might use incorrectly, as I am not a doctor. Also, I do have schizophrenia, so although I have stabilized (recovered, not been cured), I must still admit that I might get it wrong sometimes. We schizophrenics, through our psychosis—our delusions, our hallucinations, or reality—create or develop a story, a storyline. What is real has many universal implications. Many are extremely personal, symbolic, and moral. As we build the framework of our delusional reality, which tends to fade in and fade out, as with dreaming, it can all become very mystical. Our realities, which we may not have had all our lives, can become delusional for mystical and magical reasons. This might be why, for example, when we are psychotic, the television seems to talk to us, or we might see and know Jesus—again, for reasons of a mystical or even religious nature. It becomes difficult for us then to realize that it is not necessarily real. The further and further we are or are not drawn deeper into a full blown psychosis—it's just baffling, to say the least—the more it is complex and disorganized. Yet we might believe wholeheartedly that our delusions are real and based on facts—facts that are not correct to others without the illness. Many episodes, thoughts, and experiences combine, thus building up a storyline, which then becomes more intense and even fascinating and seductive, with more and more meaning as the delusional realities or events go on—as our lives go on. The meanings become “hidden” or disguised—our realities, in a way, hidden. This illness can thus become very isolating because we have a whole different belief system about the entire world, especially when we are in a major psychotic episode. It can take years and years to arrive at this fully agitated state, but that is often how we schizophrenics will end up being diagnosed, just as an alcoholic usually “needs” to bottom out completely before getting help. Through our perceptions, which change over time, we develop a new way of thinking that becomes very hard for us to disengage from. It is exactly like being on a constant, continuous LSD trip, every single day. This is the bottom line, and, for me, this “acid trip” never stops, even when recover. It is a matter of training and re-training our minds, through therapies like cognitive behavioral therapy (CBT), medications, treatments, and also a lot of training—mental training, which I certainly do on my own, especially when not in a session with my doctor. I'm always checking things over and “reality checking.” I also find it very helpful to have a friend or loved one do what I call “mediating my reality.” I can, for example, ask my wife, who loves me deeply, to see if something is or is not what or how I might be perceiving it to be—from her there is perspective without the illness. There is an element of us losing what is called object permanence or object consistency—as my doctor in California once told me. The famous child psychologist Piaget discovered that, at a very young age, infants will forget about a toy they have been playing with if it disappears from their vision: for example, if a ball rolls out of sight or someone puts it underneath a blanket. At a certain age, that child will begin to look for that missing toy, and, finding it under the blanket, realize that it was in fact there the whole time. It was always there. Before that it had, to the infant, mystically gone away—disappeared from the world entirely. That's what I mean by mystical reasons, because we lose this object permanence, as after all, this could be a sensation rather than the fundamental reality one would have perhaps thought. We see this mysticism in most of our experiences and, yes, it fades in and out, but we basically feel that things, in general, will usually happen for mystical reasons. This becomes a part of our belief system, which is pretty hard to change. Enter the double bind, as, when object permanence is out of the picture, we can be caught in a contradiction, or a series of contradictions, due to cultural or moral, as well as both personal and universal, reasons. We might, for example, in place of object permanence, experience a “multiple realities” effect, as if we were in several dimensions at one time—several realities. Based on how we grew up, at any given time a reality may slip into our mindset, and so, for example, we might behave like a racist even though our best friend is African American. It doesn't “make sense.” During my last psychotic episode early in 2010, I collected, and even wore, Nazi memorabilia, and yet I am both half Jewish, on my mother's side, and handicapped. I also behaved as if I was a racist, even though my best friend was, and is, African American. We might want to save the world from global warming; however, in doing so we might pollute it and drive gasoline cars, on purpose, in order to save this world. Grandiosity, extreme thinking, and thus extreme behavior—with realities slipping in and out—are only a part of what baffles science and medicine. Different realities slipping in, overlapping, and combining make for an extremely difficult scenario to treat and understand from a scientific perspective. We will often think poetically, as well as symbolically and metaphorically. Poetic thinking can take over, and thus our symbolic and deep personal feelings are a huge part of how we schizophrenics think and reason. We might hallucinate about Jesus for a seemingly concrete reason, a very special reason. When helping someone with schizophrenia, a good start is to consider that he or she thinks mostly through concepts of mysticism—the idea that everything happens for a deep reason, that everything has a very special meaning, and that everything is synchronistic. A schizophrenic is often a very traumatized and sensitive person, much more so than your average Joe, living in a brutal world. That's where the help—the recovery—really starts to take place and healing begins. We schizophrenics must learn, through counseling, to understand ourselves and participate in therapy, to sort through our delusional thinking, and, often with help, to get back as much of our accurate intuition as possible, to take our medicine, and to have love and understanding in our lives. In this way, we might be able to reveal our secrets to someone we can trust, our secrets of trauma, day in and day out—and to do our best, resolving as much inner conflict as we can. Peace of mind is what we all want and need. It is my number one goal in life and has always been. It is what we all deserve. Developing a new identity through our recovery is key in many ways—finding our voice so that we can be heard and sorting through our mysticism and religious or spiritual experiences and observations of reality. It's a matter of finding those people we can trust, as I said, to help us define or redefine our reality. I have that these days, especially through my wife and my doctors. I live with gratitude. Just like diabetes, schizophrenia simply does not go away—not yet—for any of us. It's always there in the background. The “lifelong acid trip”. But, with respect to delusions specifically, I have also had delusions that weren't real. And I wanted to start with why and how we tend to cling to delusional thinking and thus why I perhaps cling not necessarily to a delusion but to this kind of thinking. It is “dimensional” for me. It is a grieving process for me. I am referring to missing my old Hollywood lifestyle—the content involved with that lifestyle of the rich and famous and the grandiose nature of the thinking itself. The celebrities I befriended when I lived and worked in Los Angeles, for example. During the onset period of schizophrenia, delusions, and perceptions, we often begin with smaller-scale hallucinations. There is a root that is actually rational, wrapped inside a delusional outer layer. I think we can actually reach the schizophrenic while that individual is in a completely psychotic state—which often our doctors, caregivers, and loved ones fail to do—by understanding that everything the psychotic schizophrenic individual thinks is done in a synchronistic way. It all starts with object permanence—that we have lost this and that the one reality we once believed in has been replaced as a result of thoughts and events in our lives. A flow of realities, of things appearing and disappearing at the same time—not just the simple ball under the blanket, as the rules of both time and place come into effect here: The time is now, and the place is grounded right here on earth. Let's call it an earth belief or thought. These thoughts and beliefs can, through the “schizophrenic lens,” basically occur at the same time. This waking dream, this constant LSD trip, this real-life synchronicity (Carl Jung first coined the term “synchronicity”), and this more fluid mindset. If we are to think at the core of a schizophrenic in order to reach him or her, this means thinking synchronistically. If we are not stable enough or properly medicated, our dreams can actually become part of the same reality as reality itself. For example, my wife once asked me, “Jonathan, are you going to be recording an episode for your podcast today?” I had been planning on doing so, but I had not yet told my wife. I simply said, “Oh yes, I was actually thinking about it. It's been a while since the last one.” Now, if I were in a more psychotic state, I might have (or, rather, the delusional process might have) started with my real-life fascination with Edgar Cayce and psychic ideas, my New Age books, and my meditations into the Akashic field—and so I would have concluded that my wife was secretly reading my mind, or that she and what she said were mystically connected in some way—that she “knew something.” My psychic experiences in the past would have then overlapped with my wife knowing something psychically, mystically, and symbolically, and also with synchronicity—creating a deep and personal meaning. Add to that the paranoia that comes from her “reading my mind”—that she is therefore “God” because she knows I'm planning on recording my podcast today, even though I haven't told her. The terrifying belief is now engrained, as we are to begin with often more sensitive to the world as a whole—even being touched on the hand or the ear can create extreme fear for us schizophrenics. The belief that “she knew I was going to record a podcast today.” Synchronicity may have a little or some scientific evidence, at least theoretically. However, there are things that we cannot prove through science, such as the definition of time—or even God. In a state of schizophrenic psychosis, this overlap becomes compounded, as it builds up more intensely and thus perhaps takes over our entire belief system. Perhaps there is a coherent way of explaining how we schizophrenics might create our own reality, our delusional or schizophrenic reality, as I see it, through some of the things I have laid out so far—please bear with me here. I'll speak for myself, and my own experiences, although the end result is now something I can talk about and demystify rather than actually believe—thanks to the proper treatment, therapies, and support I now receive. I'll first start with a collection of thoughts. Theoretically, let's say, for real: • In 2008, I made a film called On the Bus about mental illness—it was part of the story in the film. • Mel Gibson (an old friend from California)—he and I were first introduced to each other in 2001. • I listened to The Beach Boys. We'll assume that the music was playing in the car with Mel as we went for a drive, as we did up in the hills of Malibu. • Mel Gibson is rich and famous. Whether in a state of schizophrenic psychosis or not, since this seems to be a matter of degree—depending on how psychotic we might or might not be and how much the psychotic part of our minds has taken hold. This is a matter of our abilities and the constantly fluctuating brain chemistry that we might—or perhaps might not—be able to filter through. It depends on whether we have been successful in redefining our delusional realities to a generally consistent state of well-being and peace of mind. In a psychotic state, due to our hallucinatory thinking, the chemistry in my brain, our brains, is constantly misfiring, so that the stimuli from the environment go to the wrong places in our brains. The effect is similar to putting our hand under cold water and feeling hot. Essentially, though, with this schizophrenic thinking process, I would come up with a “composite sketch,” if you will, a sort of “Frankenstein” version—a storyline that might be experienced as: • I knew Mel Gibson, and therefore I am famous. (Based on: Mel Gibson is famous and is rich.) • Then—but at the same time—I am rich because I made a movie called Ten Years, and I am convinced it made me rich because Mel Gibson is rich, and I am famous because I made my movie, it won awards, and Mel Gibson did, too. I must have met Mel Gibson because I made a movie, and he did, too, and we are both rich and famous. So far—this might not be the best example, but time can thus be altered—2008 is coming before 2003 in this case. This might be a little hard to follow, but please bear with me here.If I were asked to explain this while still psychotic, I'd say first that I am not mentally ill—I am simply psychic, rich, and famous. Besides, the Beach Boys were playing, and one of the Beach Boys has a mental illness, not me, but my film was about mental illness. Brian Wilson is still rich and famous, and also an artist, so he was playing on the radio because both Mel and I were both artists and it was “meant to be” that he would be playing music for us because we were all connected through art, fame, and money. Exhausting, isn't it? But this is actually how jumbled it can be for us and thus for those witnessing us speaking or even communicating in general terms. It's schizophrenia. Let's assume that we got pulled over for speeding. Well, there is a police officer character in On the Bus, my movie. You see, grandiosity, both real and imagined, content, time inconsistencies, and now this character was in the movie, so, because we were all in the car, we were in the movie while in the car, so the police officer was playing her role—it all happened for a reason. And beyond that, paranoia might also slip in—the officer who pulled us over was male (not female), and in my movie she was female, so she was disguising herself in order to take our money and meet three famous people (even Brian Wilson on the radio). Theoretically, this might suffice as a pseudo-case study, and yet in normal reality, for us schizophrenics, this type or process of thinking compounds itself and thus it can become completely distorted. Our friends and families start to think we're going crazy (although in a way we are), and stigma arises, plus confusion and thinking, “What the heck happened to this guy—he's speaking like a drug addict who's lost his mind. Where is all this coming from?” We would all benefit from greater awareness of what schizophrenia is and how to know if someone we love might be predisposed to the illness (through family history, etc.). But this is what we with schizophrenia usually experience early on, as the illness is progressing—we believe this thinking based on other facts—facts which are disconnected, something we cannot see without appropriate help. Later, yes, we can have this type of thinking while recovered or recovering, but we are able, hopefully, to be mindful enough to have such thinking but to cope with it differently, and even, down the road, to do our own “reality checks,” so that we do not not talk about these things inappropriately, in public, let's say. We can also use the hallmark of CBT, which is “evidence”, on our own in order to connect the disconnected parts of our thoughts—thus our reality. We can also do this with the support of loved ones, family, doctors, medications, friends, and support groups who help us and love us enough to be able to assist us in connecting the right pieces together and who explain why they connect—the reasons why. To wrap this up for now, I have not even mentioned the hearing of voices and hallucinations—everything from shadows to people, even friends—and the hidden, traumatic, and paranoid features of schizophrenia of which we are often too afraid to speak. We might sound or behave cryptically, in code, with pressured speech and flight of ideas. Add to this the “zombie-like” features, the manic episodes, the muscle dystonia, and the side effects of medication, and if we have turned to drugs, often just one hit of pot to quell the symptoms—yikes! We're often too embarrassed to speak of our early experiences with schizophrenia, to say that, “Yes, indeed, this is an extremely devastating and debilitating illness.” I am so glad that I am at a place in my recovery. I do have my bad days. I haven't even slept during the last day—insomnia (technically, another symptom), but I am glad that I have been to this intoxicating wonderland and come back—just enough to be able to deliver this kind of explanation, perhaps demystifying in a way that others can understand some of these processes that affect about 1% of the world's population. Schizoaffective disorder, then, includes manic highs and periods of deep depression. My Tourette's syndrome features the obvious muscle tics but also obsessive/compulsive tendencies and elements of autism or Asperger's (often referred to as higher functioning form autism—in summary, but it is, of course, much more than that). We all have our issues. It's how we deal with them that sets us apart. As always, my journey continues, on and on. Yes, you could say I've been through the wringer. I am opening up and sharing my world and my experiences—with hope. Participation in my own recovery, along with metacognition (usually in deficit for those with schizophrenia) and mindfulness, have all helped me become who I am today: an accomplished writer (literature and film/TV) and technically a professional author of erotic fiction. I often laugh at this because there are so many sides of me—the “angel demon human dichotomy”—as I use various outlets to express my creativity. I have an education primarily in the arts, but I worked on Wall Street in my “healthier” days, so I know a bit about that! However, I ultimately chose to do what I am doing now—which is just this. I am also a film producer and a musician. My new full 15-track LP will be arriving at over 60 retailers in the coming weeks, possibly under the band name Waspy Honk Afro. All my work is also available for free and will always be free, as far as I know. My thoughts are free—my public life, the “open source” information-life of J.H. I've lived in New York, Connecticut, Paris France, Los Angeles, and now New Mexico; I am now married and I write a diary and podcast mostly about mental illness, inspiration, New Age ideas, and transgressive material—transgressional fiction. [If you've seen or read Fight Club—it's pretty much like that!]I am, myself, an expert on my own experiences and myself; that's about all I'm an expert on. I am not a doctor of any kind. I enjoy learning, reading, and communicating. Whatever I say or write, I like to add: “take what you will, leave the rest.” I try my best to speak for myself when it comes down to it. Please take note that some of the above writing has been paraphrased from my second novel, Second Alibi: The Banality of Life (2014).

WRITER | DIRECTOR | PRODUCER - Cevin Soling, President of Spectacle Films, is involved in the entertainment industry as: Writer, Director, Producer and Artist. Soling directed and produced, "The War On Kids," winner of the Best Educational Documentary award at the New York Independent Film and Video Festival. The film demonstrates how American public schools have become modeled after prisons in response to fear and a burgeoning intolerance of youth. It is currently airing on the Documentary Channel. It has received accolades from: The New York Times, Variety and The Huffington Post. In addition, the film was featured on national television along with an interview on The Dr. Nancy Show on MSNBC and Soling was the featured guest on The Colbert Report. Soling was Executive Producer of the independent feature "Relax, It's Just Sex" starring Jennifer Tilly and Lori Petty, which premiered at the Sundance Film Festival and was seen on HBO and Showtime. Cevin Soling also has a ton of other projects that have been produced, are in production and development. INTERVIEW QUESTIONS INCLUDE: Is crowdfunding the best way to raise money for a film? If not, is there a better way? Who should use Crowd Funding campaigns? What's the hardest thing about being a documentary producer, director? What things should you absolutely avoid doing if you’re pursuing a career as an documentary producer? WEBSITE: CevinSoling.com

WRITER | DIRECTOR | PRODUCER - Cevin Soling, President of Spectacle Films, is involved in the entertainment industry as: Writer, Director, Producer and Artist. Soling directed and produced, "The War On Kids," winner of the Best Educational Documentary award at the New York Independent Film and Video Festival. The film demonstrates how American public schools have become modeled after prisons in response to fear and a burgeoning intolerance of youth. It is currently airing on the Documentary Channel. It has received accolades from: The New York Times, Variety and The Huffington Post. In addition, the film was featured on national television along with an interview on The Dr. Nancy Show on MSNBC and Soling was the featured guest on The Colbert Report. Soling was Executive Producer of the independent feature "Relax, It's Just Sex" starring Jennifer Tilly and Lori Petty, which premiered at the Sundance Film Festival and was seen on HBO and Showtime. Cevin Soling also has a ton of other projects that have been produced, are in production and development. INTERVIEW QUESTIONS INCLUDE: Is crowdfunding the best way to raise money for a film? If not, is there a better way? Who should use Crowd Funding campaigns? What's the hardest thing about being a documentary producer, director? What things should you absolutely avoid doing if you’re pursuing a career as an documentary producer? WEBSITE: CevinSoling.com

Kathryn interviews Dee Williams, author of “The Big Tiny: A Built-it-Myself Memoir”. The Big Tiny is a graceful, inspired memoir about building a home from scratch and discovering a true sense of self-in just 84 square feet. This experience has shown how Williams lives: simply and efficiently, with awareness of the community and environment, and with an open mind. Her story has been featured on Good Morning America and NBC Nightly News, and on NPR, PBS, MSNBC, CNN, and CBC. Kathryn also interviews filmmaker and producer Cevin Soling on his documentary “The War on Kids” about the American school system and how schools have been transformed into what are effectively prisons. The film received critical acclaim from the New York Times, Variety and Huffington Post and was named the best educational documentary by the New York International Independent Film and Video Festival.

Kathryn interviews Dee Williams, author of “The Big Tiny: A Built-it-Myself Memoir”. The Big Tiny is a graceful, inspired memoir about building a home from scratch and discovering a true sense of self-in just 84 square feet. This experience has shown how Williams lives: simply and efficiently, with awareness of the community and environment, and with an open mind. Her story has been featured on Good Morning America and NBC Nightly News, and on NPR, PBS, MSNBC, CNN, and CBC. Kathryn also interviews filmmaker and producer Cevin Soling on his documentary “The War on Kids” about the American school system and how schools have been transformed into what are effectively prisons. The film received critical acclaim from the New York Times, Variety and Huffington Post and was named the best educational documentary by the New York International Independent Film and Video Festival.