Podcasts about viri

Ein paar ganz Verrückte von euch haben den MBD-Talk zu Ihrem Lieblingspodcast in 2025 erklärt. Zumindest laut Spotify. Als kleines Dankeschön gibt es diese Bonusausgabe über die diesjährige ComicCon in Stuttgart. Viri war da, Pascal hat es verplant. Wenn ihr unsicher seid, ob sich die Anreise lohnt und womit ihr rechnen könnt, dann ist das eure Folge. Viel Spaß beim Hören.

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Ein Jahr, als wäre es erst gestern gewesen... Das letzte Jahr vor dem Marvel Cinematic Universe hat so einiges zu bieten. Manches gut, Vieles nicht. Viri und Pascal nehmen euch mit auf einen kleinen Nostalgietrip in die Vergangenheit.

Deutschland wird eisig. Zeit für Tee, Lebkuchen und den besten Podcast der Welt.Viri und Pascal haben in der aktuellen Ausgabe des MBD-Talks so einige News zusammengetragen, die sie mit dir teilen möchten.Mit dabei sind Gefühle aus der Kindheit, Trash-Talk vom Schulhof, die beste elderly Bromance im Nerdkosmos, das Ende einer Institution und vieles mehr.

Today we welcome Editor Viridiana Lieberman who joins us to talk about their work on the documentary The Perfect Neighbour. Viri will talk us through editing a film primarily shot through body cam and archival footage. The Perfect Neighbor Trailer : https://www.youtube.com/watch?v=fNp85HGJtooProduced by Daniel Miller and Monika DittonArtwork Designed by Piotr MotykaMusic by ELPHNTContact: creativeindustryinsight@gmail.com

Eine Folge mit Easter Egg. Viri wird emotional und sorgt für eine Premiere im MBD-Talk. Sowas hat es noch nie gegeben. Darüber hinaus geht es um ein paar liegen gebliebene Themen, selbstverständlich nicht ohne die gewohnten Ausschweifungen.

Nach dem fuluminanten Auftakt, verschlägt es Viri und Pascal diesmal noch ein paar Jährchen näher an das Milenium. Schnallt euch an, denn wir blicken zurück auf eine Filmwelt im Umbruch, Leder, so weit das Auge reicht und das letzte brauchbare soziale Netzwerk. Viel Spaß mit den Retro Boyz

Todos sabemos que es importante seguir aprendiendo, pero en que momento decidimos que hay que reaprender el ser adulto, las relaciones con nuestros padres, hijos, los demás adultos con los que convivimos.¿Cómo hacemos que esa transición de jerarquía de poder se convierta solo personas conviviendo por gusto y no por obligación? Desde el lado de la psicología Viri nos va ayudar a entender un poco mas como si es posible hacer esta transición sin que nadie muera en el intento.El libro recomendado:  Cuando digo No me siento culpable de Manuel J. SmithSigue a Viri: https://www.instagram.com/psicologa_viridiana_rosas/?utm_source=ig_web_button_share_sheet¿Quieres más capítulos al mes y conocer varias estrategias para echar a andar la intuición, dudes en ser parte de esta comunidad, en la siguiente liga: https://www.patreon.com/ligeradeequipaje.

Pascal war im Urlaub, Viri im Kino. Beide haben mehr oder weniger Erzählenswertes mitgebracht. Zudem gibt es noch ein paar Serienupdates, traurige Nachrichten und das Comeback, das sicher niemand auf der Bingo-Karte hatte. Disclaimer: Wegen technischer Schwierigkeiten ist die Soundqualität leider nicht die Beste :(!

 Y de repente la frase: “Dios las hace y las patologías las juntan” se hace capítulo y tenemos hoy a Viri, cuya curiosidad por comprendernos como animales humanos transpasa sus estudios y se convierte en su profesión.Ese tipo de persona que esta para cuestionarte y para hacerte pensar y no solo dejarlo ahí, ni no llevarte a hacer. Muchos temas aún por tratar… ¿Quieres más capítulos al mes y conocer varias estrategias para echar a andar la intuición, dudes en ser parte de esta comunidad, en la siguiente liga: https://www.patreon.com/ligeradeequipaje.

Was wäre der Wochenstart ohne eure Dosis MBD-Talk. Viri und Pascal spielen NPC's, sprechen über Tratsch vom Doomsday Set und Träumen von Mutanten.Pascal ergänzt dann noch mit der wildesten News der Woche und einer Ankündigung, die man gehört haben sollte. Reinhören, ist also die Devise!

Zum Start der Woche nehmen sich Viri und Pascal dem neusten MCU-Film an. Kann eine Verfilmung von Marvels langweiligster und angestaubtester Comicreihe auf der Leinwand punkten? Dazu gibt es noch Neues von der Söderskala und ihr erfahrt, was Pascal untenrum so trägt. Obendrauf gibt es noch Filmtipps, ein kurzer Abriss zu Dark und musikalisch wird es auch noch,Würde nicht die Sonne scheinen, könnte man meinen, dass schon wieder Weihnachten ist. Die benannten Alben:Sleep Token - Even in Arcadia Clipse Pusha T Malice - Let God Sort EM Out

Viri was our guest speaker on the 1st of June 2025, sharing her experience, strength and hope with the disease of compulsive overeating and recovery. The meeting topic from Viri's share was 'The Gift of Desperation' Stream of Life (SOL) OA Speaker Meeting Meeting #: 800250 (OA.org)Every week on Sunday at 09:30 AM (Sydney time)https://us02web.zoom.us/j/89701998028?pwd=M0hEZThWMkcyS3B1WjZ3UXc2eTVCUT09Meeting ID: 897 0199 8028Passcode: 769518

In einer Zeit in der alles zunehmend dunkler wird, ist ein bunter Superheld mit großem Herzen genau das Richtige, oder? Viri und Pascal besprechen in dieser Ausgabe den Start des neuen DC Universe mit James Gunns Superman. Ist der Auftakt gelungen? Was waren die Erwartungen? Wer könnte das besser beantworten, als zwei erwiesene Superman-Laien. Um das auszugleichen, haben wir uns Chris aka createmycomic dazugeholt. Macht euch gefasst auf eine der längsten Ausgaben des Jahres.

Nikoli več je zaobljuba, ki še vedno vztraja med govori ob obletnicah grozodejstev, medtem ko v vsakdanjem življenju izgublja še zadnje ostanke pomena. “Zgodilo se je, torej se lahko spet zgodi.” Te besede je v knjigi Potopljeni in rešeni pred skoraj štirimi desetletji zapisal Primo Levi, preživela priča nacističnih taborišč, eden ključnih popisovalcev grozot holokavsta. To poletje pa izraelska oblast razpravlja o vzpostavitvi humanitarnega mesta na severu Gaze. V mednarodni javnosti in izraelski opoziciji so to označili kot evfemizem za koncentracijsko taborišče. Upe na boljši jutri medtem polagamo, skupaj z odgovornostjo, na mlade, vključno z maturanti, ki pa jim pri tem nič kaj prida ne pomagamo.Viri: Informativne oddaje Radia Slovenija, New York Times, I’m a Genocide Scholar. I Know It When I See It, Ars humana, Peter Klepec – "vzdušje, ki prevladuje v današnji družbi, je zelo slabo", Delo, Že 20 let se vrtimo okoli enega odstotka namakanih zemljišč. Kakšne so rešitve?, Botrstvo, Leto dni brez Anite Ogulin, Vroči mikrofon, Samooskrba in prehranska varnost v praksi, Primo Levi, Potopljeni in rešeni, Eppur si muove - In vendar se vrti, Izraelska družba v času vojne.

Marvel hat mehr oder weniger lieblos eine Serie auf Disney+ veröffentlicht. Viri und Pascal haben sie gesehen und müssen reden. Da bleiben Spoiler nicht aus. Ansonsten gibt es noch Pascal's Fazit zu Mission Impossible 8 und ein paar Empfehlungen für die kommenden Tage. Also genau das Richtige für das Wetter und den Sommer, der sich noch nicht so recht festlegen will.

De espíritu comercial por naturaleza, Elvira Fernández decidió un día cambiar de aires y montar 'El Llar de Viri', que se convirtió en uno de los primeros restaurantes con etiqueta 'slow food' cuando nadie sabía, ni siquiera ella, qué era eso. Recibió la primera Estrella Michelín Verde de Asturias y su fabada es una de las mejores del mundo. No hay secretos: su receta es tiempo más producto de primera calidad.

En el 'Comando Norte' nos planteamos la idea de viajar cerca con Andy Robinson, corresponsal itinerante de 'La Vanguardia'. En el club de las 'Miss Experiencia' damos la bienvenida a Viri, alma mater de un restaurante que recibió la primera Estrella Verde en Asturias de la Guía Michelín. Eduardo Barba nos habla en su jardín sobre las plantas de boniato, las trepadoras del hambre y las semillas de caléndula. Cerramos el programa con Martín Bianchi, que nos habla de la primera entrevista de Iñaki Urdangarin tras salir de prisión y del último retiro de Julio Iglesias en España.

De espíritu comercial por naturaleza, Elvira Fernández decidió un día cambiar de aires y montar 'El Llar de Viri', que se convirtió en uno de los primeros restaurantes con etiqueta 'slow food' cuando nadie sabía, ni siquiera ella, qué era eso. Recibió la primera Estrella Michelín Verde de Asturias y su fabada es una de las mejores del mundo. No hay secretos: su receta es tiempo más producto de primera calidad.

En el 'Comando Norte' nos planteamos la idea de viajar cerca con Andy Robinson, corresponsal itinerante de 'La Vanguardia'. En el club de las 'Miss Experiencia' damos la bienvenida a Viri, alma mater de un restaurante que recibió la primera Estrella Verde en Asturias de la Guía Michelín. Eduardo Barba nos habla en su jardín sobre las plantas de boniato, las trepadoras del hambre y las semillas de caléndula. Cerramos el programa con Martín Bianchi, que nos habla de la primera entrevista de Iñaki Urdangarin tras salir de prisión y del último retiro de Julio Iglesias en España.

Kann ein Podcast mit so einem Titel schlecht sein?! Viri und Pascal sind sich sicher: Nein.In der aktuellen Ausgabe des MBD-Talks sprechen die beiden über Andor, was im Star Wars Universum alles erzählbar wäre und vor Allem, was nicht. Triggerwarnung: Hinten raus gibt es Ohrwürmer. Durchhören auf eigenes Risiko

Monthly Radio Show: Behind The Blendz Mixed By Tony Metric with Guest Mix By Viri Tiger Tony Metric presents """"Behind The Blendz,"""" an exclusive hour-long selection of non-stop electronic music. Navigating through various subgenres of House, mainly Tech House. It features unreleased tracks from Tony Metric and artists worldwide. ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!

Cometen un error quienes sentencian que la única característica de la nueva Suprema Corte será su sumisión a Morena. Omiten preguntarse lo más crítico: a qué Morena.

Wer kennt das nicht, die kleinen Dinge im Alltag, die man viel zu lange an sich vorbeiziehen lässt. Viri und Pascal rufen in dieser Ausgabe des MBD-Talk zu mehr Mut auf, auch mal die uncoole Variante zu probieren. Dazu gibt es noch Termininformationen aus dem MCU, sowie Tops und Flops der letzten Monate. Ein bunter Strauß, verpackt als Gruß aus der Küche.

En este episodio hablamos de eso que muchas hacemos en silencio: guardarnos todo… hasta que truena.Jenny, nuestra psicóloga favorita, nos explica por qué desahogarse no es un lujo, es una necesidad.Viri se nos confiesa (y sí, también se suelta tantito), y leemos lo que algunas de ustedes nos compartieron en redes.Y Sara nos explica la diferencia entre quejarse y desahogarse (porque sí hay una gran diferencia).Dale play. Desahógate con nosotras y escribe en los comentarios algún desahogo.

In this episode of the Say Hola Well podcast, hosts Luzy King and Viridiana Ponce discuss the journey of Latina entrepreneurs, focusing on the importance of financial literacy, access to capital, and the balance between motherhood and business. They share personal stories, insights on pricing strategies, and the mindset shifts necessary for success in entrepreneurship. The conversation emphasizes collaboration among women and the need for community support in achieving financial goals. Episode Highlights: 00:00 Introduction and Connection Between Hosts 01:58 Viridiana's Journey: From Mexico to Entrepreneurship 10:06 The Importance of Financial Literacy in Business 12:09 Accessing Capital: Resources for Small Businesses 16:34 Balancing Motherhood and Business 20:12 Mindset Shifts in Entrepreneurship 22:22 Pricing Strategies and Overcoming Sticker Shock 25:14 Adapting to Market Changes and Learning from Failure 27:37 Financial Success and Future Goals   About our guest Viri: Viridiana Ponce is a Latina Business Consultant and founder of VP Consulting, where she helps food entrepreneurs build profitable, sustainable businesses. With over a decade of experience, she specializes in financial education, pricing strategy, and business planning—empowering Latina business owners to grow with confidence. Her mission is simple: turn passion into profit and build generational wealth through strategy, not hustle. Connect with Viri on Instagram   Apply to be part of Jefas & Wealth Mastermind.   

Manchmal ist ein Freitag so gut, wie ein Sonntag. Viri und Pascal haben ein paar News gesammelt und plaudern über das Ende von Freundschaften. Diesmal mit Bierchen und Cola, statt Kaffee und Tee. Zudem spenden die beiden euch eine neue Servicekategorie. Sorry für die Soundqualität... Irgendwie war in der Aufnahme etwas der Wurm drin...

In der neusten Ausgabe des MBD-Talks widmen sich Viri und Pascal dem neusten MCU-Streifen: Thunderbolts. Sie klären auf, was es mit dem Sternchen im Titel auf sich hat, erzählen euch, wie Fantastic Four endet und was uns in kommenden Filmen erwarten könnte. Nicht aber ohne einen Ausflug in die Kindheit mit Musik und Nostalgie. Wie immer gilt: SPOILERALARM

Rosalinda Ballesteros y Luis Raúl Domínguez conversan con Viri de la Cruz, mentora estudiantil del Tec CCM, sobre el impacto del mentoring en la dimensión social del bienestar. Con más de diez años de experiencia en comunicación y acompañamiento estudiantil, Viri comparte cómo las relaciones significativas pueden marcar la diferencia en la vida universitaria. Habla sobre el reto de conectar en tiempos de hiperconectividad digital, el equilibrio entre lo académico y lo social, y las formas en que el Tec impulsa espacios para crear comunidad. Encuentra más recursos para tu bienestar en tqueremos.tec.mx.

Was einst auf Netflix für Aufsehen sorgte, kann doch bei Disney+ nicht schlechter sein, oder? Pascal und Viri widmen sich ausgiebig der Frage, ob die Wiedergeburt unter Disney gelungen ist. Trafen die Befürchtungen zu oder waren wir Zeuge von etwas ganz Großem? Eure Lieblingshosts sind den DeepDive gegangen und haben sich mit den Höhen und Tiefen, den Stärken und Schwächen der neusten MCU-Serie befasst. Es geht um Product Placement, den Status Quo und warum weniger - wie so oft - mehr ist. Viel Spaß beim Reinhören.

Gaja Brecelj je direktorica nevladne organizacije Umanotera, ki letos praznuje 30 let delovanja. Organizacija v ospredje postavlja trajnostni razvoj in vzpostavljanje ravnotežja med človekom in okoljem. Ob tem, ko so se v zadnjem času, zlasti pa po inavguraciji ameriškega predsednika Donalda Trumpa, številna pravila in tudi načela v mednarodni skupnosti postavila na glavo, so žrtve teh novih razmer tudi okoljske politike, kar je slaba novica za celotno civilizacijo. V svetu slabih novic pa imamo tudi nekaj dobrih, ki se, povezane z dobrimi praksami, vsemu navkljub oblikujejo v nekaterih lokalnih skupnostih. Tem se posvečajo na vsakoletni nacionalni konferenci Dovolj za vse v soorganizaciji Umanotere, ki je prejšnji teden potekala že desetič.

Der Frühling naht und das Draußen ruft. Nicht aber eure beiden Lieblingsnerds. Viri und Pascal arbeiten die News der vergangenen Wochen ab, sprechen über den Cast von Avengers: Doomsday und endlich final über Agatha all Along. Zusätzlich gibt es noch einen Abriss über die besten Süßigkeiten, die keiner mag. Schlussendlich muss dann noch ein Trauerfall im MCU besprochen werden. Ihr merkt schon... Eine dieser Folgen...

Are you ready to buy your first home but feeling overwhelmed by the process? In this episode, Viri, a real estate broker specializing in first-time homebuyers, walks us through the mortgage approval process. Learn what lenders look for, how to avoid common mistakes, and what you can do today to make homeownership a reality.   About our guest: Viri is a licensed real estate broker in Washington who specializes in first-time homebuyer education. She has a deep passion for helping families achieve the dream of homeownership by providing them with the knowledge and guidance they need to navigate the mortgage approval process. Viri is committed to making real estate more accessible for the Latino community, offering education, bilingual resources, and trusted referrals to help clients make informed decisions. Connect with Viri on Instagram.   Luzy King is an award-winning Latina Wealth Coach. She became a first-gen investor after learning about investing and wealth building by accident through her MBA program in 2019. During the same year, Luzy was denied access to financial advice because she didn't have $100K to start investing, and she made a commitment to learn things on her own and become the first one in her family to start investing. Now, she is passionate about teaching women of color all of the strategies she wishes someone would have taught her in school. Luzy is a certified trauma-informed Financial & Business Coach, contributing author, and Community Leader. Luzy is on a mission to destigmatize the idea of wanting more money, more money, and more options. She is ready to teach women of color how to build a legacy through stock market investing and entrepreneurship.   Connect with Luzy Say Hola Wealth Website Follow Luzy on Instagram, Tiktok @sayholawealth, and on Linkedin.   To join the CASH LIBRE newsletter or apply for coaching, click here! 

Veliki bi še več ozemlja, vplivni bi radi svoja omrežja razširili, bogati imajo premalo. Nasilneži vseh vrst so na pohodu. V tesnobnem svetu se vendarle ne gre povsem prepustiti strahu, ki hromi, obenem pa bi se veljalo izogniti naivnosti. Sliši se enostavneje, kakor v resnici je.Viri: Eppur si muove - In vendar se vrti: Sudan, vojna, ki nas ne zanima  In the Gaza Strip, children have endured devastating hardships since October 2023 Ars aktualno: Genocid - beseda leta 2024  Dogodki in odmevi: Vlada in agencija za energijo glede omrežnin še vedno na nasprotnih bregovih Vroči mikrofon: EU nima pravega političnega vodenja  Marcel: O državnih financah (Klemen Boštjančič), podnebni krizi (dr. Žiga Zaplotnik in dr. Žiga Malek) in medijskem zakonu (Jasna Zakonjšek in dr. Marko Milosavljević) Tehnična podpora: Zuckerbergovo "ukinjanje preverjanja dejstev" je le vrh ledene gore Frekvenca X: So AI agenti naslednja velika stvar?  Botrstvo: Anže: Vsak dan mi je žal, da časa ne preživljam s hčerko  Mihilizem: Marija Štremfelj: Smo duhovna bitja s kratko človeško izkušnjo  Med štirimi stenami: "Ko sem odložil kamenček, sem odložil del bremena preteklosti."

¿Acaso me estoy volviendo loca? ¿Por qué no duermo bien? ¿Mis hijos me robaron las neuronas? ¿Qué le pasa a mi marido? ¿Y qué me pasa a mí? En este episodio de Poca Madre resolvemos todas estas dudas con la Dra. Daniela Campos, psiquiatra perinatal especializada en el cerebro de las mamás, con estudios en Argentina y España. Platicamos sobre cómo cambia el cerebro al convertirnos en mamás, los retos emocionales y cognitivos que enfrentamos, la importancia del sueño, tener un tiempo personal para relajarte, y cómo esto puede mejorar tu vida. Además, descubrirás cómo convivir con amigas o ver una serie o película puede literalmente salvarte la vida. Ah, y claro, Viri nos cuenta por qué cree que ya se está volviendo mamá Coco. ¡No te lo pierdas! Hosted on Acast. See acast.com/privacy for more information.

Hablar con Viri es hablar de datos, de investigación, de resultados. Es un fuente inagotable de información y una buscadora de respuestas, argumentos y conclusiones profesional. Hoy nos vino a platicar de su nuevo libro, Así no es, que presenta una serie de resultados obtenidos a partir de encuestas que desmitifican o comprueban muchas creencias y conocimientos de conceptos que tenemos los mexicanos frente a los temas sociales, políticos, y económicos y que nos permiten aprender y comprender mejor la sociedad en la que vivimos. Esto no sale en el libro de Viri, pero una cosa muy común que creemos las mexicanas, es que tener sangrados abundantes por más de 8 días es normal y pues ¡así no es manas! si a ustedes les pasa eso y quieren saber más de lo que está OK o si lo que necesitan es ir con un especialista para que las atienda como debe de ser vayan a @saludfemconsciente, no se dejen para después. @viririosc Si te gustó este episodio y te gusta La Burra Arisca, acuérdate de darle like, compartir, seguirnos y activar las notificaciones para que no te pierdas de ningún episodio. Síguenos en nuestras redes sociales: Facebook Instagram Twitter TikTok Youtube @lauramanzo @lamargeitor @adinachel

Viri rías, analista política y columnista

Viri Ríos, analista política columnista de El País y Milenio

In Episode 5 of Guided Home Podcast, I sit down with my soul sister and colleague in the healing space, Viridiana Rodriguez. She is a Licensed Therapist and Clinical Social Worker that learned through her life experience and traumatic loss, how her body was calling her to heal even deeper than she thought was possible! Today, in addition to seeing clients 1:1, Viri curates spaces for healing in community for men and women, bringing a deeper awareness to the depth that our body calls us to our healing! Guest: Viridiana Rodriguez, LCSW www.amartherapy.com IG: @amartherapy @amarte.community Host: Kristine Linares Website: ascensionqw.com Instagram: @soundsofthesoulhealer @guidedhomepodcast @ascensionqw Music: Voyage by Blake Selayandia Produced and Filmed by: Leo K Website: visualsbyleo.com Instagram: @visualsbyleo

¡No te pierdas el segundo capítulo de nuestro podcast! En esta ocasión, contamos con la presencia de una invitada muy especial: nuestra madrina Viridiana Ríos. Viridiana es una destacada escritora y autora de uno de los libros esenciales para entender la complejidad de nuestro Mexico: "NO ES NORMAL".En este episodio, abordamos temas cruciales para comprender la realidad mexicana. Discutimos por qué la pobreza no es una elección individual, sino el resultado de profundas desigualdades estructurales en México. Analizamos la situación actual del país en el contexto de las próximas elecciones de 2024, los impuestos que se pagan en Mexico y en que se destinan estos, explorando las propuestas y las estrategias de los candidatos a la presidencia. Además, nos adentramos en el interesante fenómeno de Clauxochitl, una cuestión que ha capturado la atención de muchos.Este capítulo es una oportunidad invaluable para ampliar tu perspectiva sobre los desafíos y las oportunidades que enfrenta México en el futuro próximo. No solo aprenderás sobre los temas que definen la coyuntura actual, sino que también estarás mejor preparado para las decisiones que nos esperan en 2024.¡No te lo pierdas! Acompáñanos, sabemos que te va a encantar

Learn to sing the Introit with a step by step approach using solfege with repetitions at sections and clauses then applying the texts. Suitable for beginners.Liber Usualis 1961, page 846 for the score.

Viri es una mujer que a los 17 años cayó víctima a través de las redes sociales. Fue engañada por una supuesta amistad y vivió días de pesadilla, sufriendo traumas profundos e irreversibles. Sin embargo, logró escapar y ahora comparte su experiencia para advertir sobre los peligros de las redes sociales. Su relato muestra cómo la resiliencia puede ayudarte a surgir renacido incluso de las situaciones más oscuras, transformando el dolor en una misión para ayudar a otros a evitar el mismo destino. Learn more about your ad choices. Visit megaphone.fm/adchoices

Viri volvió a Noche De Chicxs en forma de fichas!! Hoy presentamos: Propuesta de Coto + Pastel Despreciado + No Me Acompaña Al Ginecólogo + R.I.P. Bully Así que acomódense en el sillón ✨, prepárense unas palomitas

¿Te ha pasado que sientes que TODOS están mal menos tú? ¿Que tus creencias son las correctas y las de los demás están mal? o ¿conoces a alguien así? En este episodio platicamos sobre la importancia de cuestionarte antes de pensar que tienes la verdad absoluta, la flexibilidad de pensamiento cómo puede cambiar tu vida y sobre el nuevo culto di Viri donde : "No te promete sanción pero sí mucha diversión". Hosted on Acast. See acast.com/privacy for more information.

Na Bližnjem vzhodu in tudi drugod po svetu z nestrpnostjo pričakujejo začetek začasne prekinitve spopadov v Gazi. To naj bi se po dogovoru med Izraelom in Hamasom po napovedih zgodilo danes, vendar pa, kot kaže, začasni premor danes še ne bo začel veljati danes. Izraelska stran je namreč v večernih urah sporočila, da izmenjave talcev ne bodo izvedli pred jutrišnjim dnem, zato se spopadi nadaljujejo. Drugi poudarki oddaje: - Na predčasnih parlamentarnih volitvah na Nizozemskem se zmaga obeta skrajno desni stranki Geerta Wildersa. - Državni zbor po več zapletih opolnoči prekinil proračunsko sejo. Zaradi dodatnega pregleda glasovalnih naprav se bo seja nadaljevala opoldne. - Danes zaznamujemo državni praznik, dan Rudolfa Maistra.

Can sharing your story change your life?   For this Women of Color Rise episode, Analiza talks with Viridiana (Viri) Carrizales, CEO of ImmSchools. Born in Michoacán, Mexico, Viri didn't realize she was poor until age 11. Her father decided to make the trek to the US for better schools for his four girls. A year later, Viri, her sisters, and mother followed, almost getting lost walking in the desert. In America, Viri's challenges continued. Even after graduating high school with top honors, she could not go to college due to her undocumented status. Despite the risk, she contacted a newspaper who published her picture and story on the front page. Because of that story, one reader reached out and told her, “I'm an undocumented student in college. You can go to college, here's how, here's the law.”   Viri founded ImmSchools, a nonprofit that works with schools to create safe and welcoming classrooms for immigrant and undocumented students. While she gained her US citizenship through her husband, millions of other undocumented students remain in limbo, not able to contribute to the highest of their ability to our country, and at risk of deportation.   Despite the unfavorable political climate for passing laws to support the undocumented, Viri shares advice about what we can do to help:   Break stereotypes of the undocumented. Learn stories of those formerly undocumented and how their change of status are allowing them to contribute to the country as teachers, engineers, and leaders like Viri. Vote. Support candidates with similar values. Educate ourselves. The media's misinformation prevents us from better understanding how undocumented children and people are being hurt. Empathize. What would you do for your loved ones? For parents, what would you be willing to do for your child? If you were in a similar position, what would you do?   Consider supporting Viri and ImmSchools here.   Get full show notes and more information here: https://analizawolf.com/ep-64-share-your-story-to-change-your-life-viridiana-viri-carrizales-ceo-of-immschools

Viri se abre con nosotras y nos confiesa algo sensible sobre expectativas que tenía en su maternidad. Jenny nos regala un consejo de oro a los papás hablándonos de la flexibilidad de pensamiento. Hosted on Acast. See acast.com/privacy for more information.

¿Perdonarías un cuerno? algunas historias graciosas y otras no tanto de nuestras seguidoras.Jenny da su opinión profesional sobre la infidelidad, mientras Sara y Viri comparten observaciones progresistas y conservadoras. Hosted on Acast. See acast.com/privacy for more information.

En este episodio Viri nos cuenta sus sueños más macabros. Learn more about your ad choices. Visit megaphone.fm/adchoices

En sin broncas con la Bronca, Viri Álvarez, una mexicana que dejó la vida de escritorio para convertirse en una de las alpinistas con más premios obtenidos que recibió el World Guinness Record por subir las tres más altas montañas. Ella nos contará sobre el poder de la pasión y del poder estar en las cimas.