Podcasts about women directors

Film critic Katie Walsh joins us to take a close look at the various desirable qualities of MATERIALISTS, the sophomore feature from director Celine Song. Then, we talk about movies that didn't quite match what their trailers were selling.What's GoodAlonso - Sick and Dirty by Michael KoreskyKatie - Love Island “I'm a mommy” memeKevin - full-on astrology chartITIDIC48 Films Awarded Tax Credits To Shoot in CaliforniaMegalopolis is Going on a RoadshowRobert Eggers Developing ‘A Christmas Carol' Adaptation at WBStaff PicksAlonso - Sorry, BabyKatie - Christiane FKevin - The Hunt for Red October Follow us on BlueSky, Facebook, Instagram, or LetterboxdWithKevin AveryDrea ClarkAlonso DuraldeProduced by Marissa FlaxbartSr. Producer Laura Swisher

Hi Barbie!This week Natalie and Julia Washington are combining their forces to talk about The Barbie movie. Each woman delves into their special relationship and memories they have with Barbie. They then decide it is time to come out of hiding and join the discourse and discussion following Greta Geriwg's film. The episode will revolve around the movie serving as an awareness piece on everyday misogyny, the roles Ken played in the movie, Barbie's journey to becoming a human, and more! This episode is more than Kenough!Support the Show:Follow us at @menivetoleratedpod on Instagram! https://www.patreon.com/menivetoleratedpod on Patreon for bonus content! We are currently running a free trial on all three tiers! All ways to support the show can be found at https://linktr.ee/menivetoleratedpod. Join the newsletter so you know when all bonus material is out and learn about all our other projects.Find Julia:On instagram: @popculturemakesmejealous and @thejuliawashingtonShop Prose and Glow: https://www.juliawashingtonproductions.com/Podcasts: Pop Culture Makes Me Jealous and Jelly Pops Book Club

Welcome to Decorating the Set: From Hollywood to Your Home with Beth Kushnick! This week on Decorating the Set, Beth and Caroline sit down to chat with Rosemary Rodriguez, the prolific director of some of your favorite television shows from the last 20 years, including The Walking Dead, Your Honor, and The Good Wife! Rosemary is also the writer, director, and producer on 2 feature films, Acts of Worship and Silver Skies. Rosemary's passion for the work shines through in this interview and we are so excited for you to hear it. The Interview with Rosemary begins at Time Code: 5:27 Join the Decorating the Set Community by subscribing to our Official Facebook Group (https://www.facebook.com/groups/decoratingthesetpodcast)! Interact with Beth, Caroline, Producer Mike, and all of the DTS listeners! GUEST BIO: Rosemary Rodriguez Rosemary's upcoming feature Hail Mary, starring Jack Huston and Angela Sarafyan, had its world premiere at SXSW, where it was named one of the Best Horror Films. It was Opening Night film at the DTLA Film Festival, taking home Best Director and Best Actor prizes. Rosemary also wrote and directed the Sundance feature Acts of Worship, which was nominated for 2 Independent Spirit Awards and received a glowing New York Times review. Her second feature, Silver Skies, executive produced by Fred Roos (The Godfather) and Arthur Sarkissian (Rush Hour), went on to many festival awards, including the Audience Award at FLIFF. Rosemary directed TV episodes of Elsbeth; the series finale of Showtime's Your Honor with Bryan Cranston; and James Gunn's Peacemaker, with John Cena for HBOMax. Past episodes include The Walking Dead, Dickinson with Hailee Steinfeld, Marvel/Netflix series Jessica Jones with Krysten Ritter, Apple's Truth Be Told, starring Octavia Spencer, The Tick, The Good Wife (18 episodes, including the 100th). She was Executive Producer/Director on Apple's Home Before Dark, with Brooklynn Prince, and Producer/Director on Jason Katim's Rise with Auli'i Cravalho. Upcoming films are The Wonder Yard, starring Jacki Weaver, Tony Shaloub and Kate Mara; and Gated, produced by Rick Telles (A Million Miles Away). Rosemary is an active member of the DGA, WGA and an Icon Member of Alliance of Women Directors. She lives in LA and NYC with her husband Nestor Rodriguez. Follow Rosemary on Instagram: @rosemarydirects Rosemary's Website: https://www.rosemaryrodriguez.com/ ### For over 35 years, Beth Kushnick has created character-driven settings for countless award-winning television series and feature films. As a Set Decorator, she's composed visuals that both capture and enhance any story. Now, she wants to help you capture and enhance YOUR story. Join Beth and her co-host, Caroline Daley, each week as they go behind the scenes of Hollywood's magic, and give you approachable, yet sophisticated tips to realize the space that best expresses who you are. ### Follow Beth Kushnick on Social Media:  Instagram: @bethkushnick Twitter: @bethkushnick Website: BethKushnick.com Beth is the Decorator By Your Side and now, you can shop her Amazon Store! CLICK HERE! Follow Caroline Daley on Social Media: Twitter: @Tweet2Caroline Website: PodClubhouse.com ### Credits: "Giraffes" by Harrison Amer, licensed by Pod Clubhouse. This is an original production of Pod Clubhouse Productions, LLC. Produced, engineered and edited at Pod Clubhouse Studios. For more information, visit our Website.

Well we just finished shooting the final pick-ups on our film GRIND and we are bruised and battered. How many things can go wrong when shooting a couple of simple things? Tune in to find out!  Theme song by Matt Glass (@glassbrain), Artwork by Felipe Sobreiro (@sobreiro) Hosted by Brea Grant (@breagrant) and Ed Dougherty (@eddied4me)Join our Patreon for extra content!

At Sundance 2025, Alex saw a lovely debut feature from a Tunisian woman director, Where the Wind Comes From. And it made her think about how difficult it can be to find films by women from Africa and the Middle East. But she can recommend several first features from Tunisian women directors that you can watch right now. In this episode, Alex discusses why it's so hard to see films by women from Africa and the Middle East. She talks about why you should watch for Where the Wind Comes From in the future and two films by Tunisian women that you can watch now: As I Open My Eyes (2015) and Under the Fig Trees (2022). ***Join the Seventh Row newsletter to stay updated on Reel Ruminators, free Q&As, and unique opportunities to watch under-the-radar films: http://email.seventh-row.com Related Episodes Women at Cannes Ep. 5: Reviews of Cannes 2022 films by women, including Under the Fig Trees ------- Stay updated on Seventh Row Follow Seventh Row on Twitter, Bluesky and Instagram. Read our articles at seventh-row.com. Follow Alex Heeney on Bluesky, Twitter and Instagram.   

Episode Notes S6E1 -- Join us as we sit down with the amazinly talented American Film Director & Actress Susie Singer Carter. Susie will be telling us tales of her newest documentary "No Country or Old People" A filmmaker chronicles the last 6 months of her mother's life in a 5-star nursing home and discovers the system designed to protect our most vulnerable has been flouted by venture capitalists and real estate investment trusts. For decades greed has caused millions of people insufferable consequences and even death, yet most of the public has no idea until it's too late. No Country for Old People is a cautionary tale and a public rally for change. HELPFUL LINKS: VETERANS: https://www.va.gov/.../mental-health/suicide-prevention/ https://www.veteranscrisisline.net/ ADDICTION: https://lp.recoverycentersofamerica.com/.../continuum-of.../ https://www.refreshrecoverycenters.com/reclaim-your-life.../ Due you know someone that has lost their lives due to addiction? Or even someone that has made a full recovery? Reach out to Johnny Whitaker so they can help to celebrate the lives lost/ lives recovered at overdoseawareness0831@gmail.com Follow our guest https://vimeo.com/967448185?share=copy https://www.imdb.com/name/nm0802053/ https://en.wikipedia.org/wiki/Susie_Singer_Carter Follow Still Toking With and their friends! https://smartpa.ge/5zv1 ————————————— MORE ABOUT THE GUEST: Susie Singer Carter is an American film director and actress. She is best known for her work on My Mom and the Girl, Soul Surfer, Bratz, Cake and Dance Revolution. Susie was born in Los Angeles, California. She was majored in communication at University of California, Los Angeles and began writing for the Daily Bruin. Susie began her career by writing and producing Dance Revolution and Cake for CBS. In 2007, she wrote and produced Bratz for Lionsgate but lost her credit in a Writers Guild arbitration, though her name appears as screenwriter on the final movie poster. In 2011 she co-produced Soul Surfer and penned the screenplay for the animated musical Twinkle Toes Lights Up New York. In 2016 she wrote, produced, directed and acted the short film My Mom and the Girl starring Valerie Harper, which won awards in Cleveland International Film Festival, Pittsburgh short film festival and Oscar qualified. Susie wrote and directed two documentaries, Breaking Good and Women Who Wrote the Way and it was premiered at the Writers Guild of America for Women's History Month in 2018.[citation needed] She is a member of the Alliance of Women Directors.she has 2 daughters Find out more at https://still-toking-with.pinecast.co Send us your feedback online: https://pinecast.com/feedback/still-toking-with/b10b9c47-bbf1-43f2-99c4-af1c292a4381

As 2024 comes to an end, we look in a rearview mirror filled with some amazing films, especially ones that came out this year. Filmmakers around the world wowed us with creative stories, intriguing plots and outstanding techniques. It is definitely a great time to be a horror fan. 2024 was another stellar year for us at the podcast, where we covered a wide variety of subjects, from Bigfoot to Amicus Films, from Women Directors to Al Adamson & Sam Sherman, to more obscure topics like German Expressionism, and much more. We also had an astonishing lineup of special guests including Severin's David Gregory, Vinegar Syndrome's Archivist Oscar Becher, HorrorHound's Aaron Crowell, and Will Morris from Oscarbate and The Music Box Theatre, just to name a few. One thing that continues through this year is our constant love and admiration for those that have made some long lasting impact on the genre, and our constant striving to help share that love with our listeners. Nothing excites us more than hearing that we've turned someone on to a film or filmmaker or even sub-genre that they might have not experienced before. And you can be damned sure that we plan to continue that in 2025. So join us in this extra long special episode as we go over our favorite viewings of this year, as well as some shout-outs and discussions on other films that came out in 2024.  Titles mentioned in this episode: Abilgail (2024), Alien Romulus (2024), All You Need is Death (2023), An American Werewolf in London (1981), Azrael (2024), Baghead (2024), Beetlejuice Beetlejuice (2024), The Blackcoat's Daughter (2015), Blackout (2024), Caveat (2020), Cemetery of Terror (1985), Contracted (2013), Crawl (2019), Cuckoo (2024), Daddy's Head (2024), Darker Than Night (1975), The Deliverance (2024), Depraved (2019), The Descent (2005), The Devil's Bath (2024), Don't Panic (1987), The Dead (2010), The Equalizer (2014), Exhuma (2024), The First Omen (2024), Godzilla Minus One (2023), Godzilla x Kong: The New Empire (2024), Grave Torture (2024), Habit (1995), Heretic (2024), High Tension (2003), His House (2020), The House of the Devil (2009), Humane (2024), Immaculate (2024), Impetigore (2019), In a Violent Nature (2024), Infested (2024), Infinity Pool (2023), The Innkeepers (2011), I Saw the TV Glow (2024), I See You (2019), Late Night with the Devil (2024), Like Me (2017), Little Bites (2024), Longlegs (2024), Macumba Sexual (1983), Maxxxine (2024), Mr. Vampire (1985), Never Let Go (2024), Night Swim (2024), Nosferatu (2024), Oddity (2024), Pearl (2022), Poison for the Fairies (1986), Re-Animator (1985), Robot Jox (1989), Salem's Lot (2024), Salò, or the 120 Days of Sodom (1975), Saloum (2021), Satan's Slave (2017), Savage Hunt of King Stakh (1980), Sea Fever (2019), Smile 2 (2024), Something in the Water (2024), A Song from the Dark (2024), Starve Acre (2023), Sting (2024), Stopmotion (2024), Strange Darling (2024), Suzzanna: Queen of Black Magic (2024), The Substance (2024), Talk to Me (2022), Terrifier (2016), Terrifier 3 (2024), The Terror (2018), The Texas Chain Saw Massacre (1974), The Texas Chainsaw Massacre (2003), Texas Chainsaw Massacre (2022), Things Will Be Different (2024), Under Paris (2024), Under the Shadow (2016), Vampyros Lesbos (1971), V/H/S/Beyond (2024), The Wind (2018), Winterbeast (1992), X (2022)

The monthly magazine podcast for the discerning film nerd brings you its latest issue, starting with Double Reel Monthly. Along with news and a look at new releases, we review new films including Alien Romulus, Lee, Rebel Ridge, Lumberjack the monster and a slew of Netflix dreck; Alan and James (no the other one) discuss a couple of older films that they watched recently including Psycho and War Dogs; James (yes that one) continues his Women Directors project for 2024 with pioneering 90s tone poem Daughters of the Dust and James (no the other one) gets us back up to date with two entries for his Year of the Nolan - Inception and the Prestige. We'll be back in a week's time with the next part of the issue, Classics and Hidden Gems.

Traci Hays is an award-winning director known for her work in the indie horror genre. Her latest film, *On The Run*, now streaming on Tubi, follows two sisters, Kayla (Sofia Masson) and Paige Jones (Taylor Geare), who are polar opposites. After their mother is murdered, they discover they've been in Witness Protection due to their father's betrayal of Vince, the president of a motorcycle club. With Vince out of prison and seeking vengeance, the sisters must rely on each other to survive. *On The Run* was featured in Variety's "What's Coming to Tubi Roundup."Hays continues to make waves in the horror genre with her film *Blood, Sweat, and Cheer*, which was included in Vulture's list of Top Ten Best Tubi Original Movies. Another recent success, *My Bloody Galentine*, featured in Creepy Catalog's "75+ Best (and Worst) Horror Movies of 2024," chronicles three women seeking revenge on their exes in a bloody twist.In addition to her films, Traci Hays has earned numerous accolades. She was a finalist at the DGA Student Film Awards for *Lions Among Men* and won Best Director at the LA Film Awards for *Frederick*. An alumna of Chapman University's Film & Television Program, Hays was mentored by directors Randal Klesier, Martha Coolidge, and John Badham. Hays is also a proud member of Women In Film, the Alliance of Women Directors, Free The Work, and Film Fatales.

In this episode of the She+ Geeks Out podcast presented by Inclusion Geeks, we interview Sara Seligman, a writer, producer, and director whose work includes the film "Ramadan America" and the feature "Coyote Lake." Sara shares her journey from training as a ballet dancer in Mexico to becoming an actress in telenovelas to transitioning into directing and producing films. She discusses the challenges of breaking into the industry as a Latina and the complexities of different directing and producing roles in film and television. Sara also touches on the significance and controversies of the term 'Latinx,' and the importance of diverse representation in the media. We also discuss our journey from "She Geeks Out" to "Inclusion Geeks," explaining how our name change better reflects our dedication to Diversity, Equity, and Inclusion (DEI) training. Join us as we discuss our evolution from "Boston Girl Geek Dinners" to our current mission, highlighting our broader focus beyond gender to include race, ethnicity, social class, disability, and more.Links we discussed:Ramadan AmericaCoyote LakeSara Seligman InstagramInclusion GeeksInclusion Geeks InstagramChapters:(00:00) Introduction and Podcast Rebranding(00:53) The Evolution of Our Name(03:40) Why 'Inclusion Geeks'?(06:34) Celebrating Birthdays and Switching Topics(08:13) Interview with Sarah Seligman(09:37) Sarah's Villain Origin Story(18:05) Moving to LA and Producing Films(27:16) Role of a Line Producer(28:46) Balancing Director and Producer Responsibilities(32:55) Breaking into Directing(33:42) Challenges in Different Directing Fields(37:50) Commercials vs. Narrative Directing(45:38) Leadership and Management in Film(52:28) Representation and Identity in Film(01:01:40) Final Thoughts and Contact Information Visit us at InclusionGeeks.com to stay up to date on all the ways you can make the workplace work for everyone! Check out Inclusion Geeks Academy and InclusionGeeks.com/podcast for the code to get a free mini course.

They ducked this one for centuries, but now it is finally time to talk about the movie-- what went right, what went wrong, and everything in between! There will be funny stories, controversial statements, interpersonal conflict, and tips and tricks for becoming a better director! OK maybe I'm overselling it but we do tell stories here we won't be telling at any Q&A so tune in for this episode of anthology (anthology).Theme song by Matt Glass (@glassbrain), Artwork by Felipe Sobreiro (@sobreiro) Hosted by Brea Grant (@breagrant) and Ed Dougherty (@eddied4me) Amazon Wishlist

Follow @jillsixx on instagram!  Theme song by Matt Glass (@glassbrain), Artwork by Felipe Sobreiro (@sobreiro) Hosted by Brea Grant (@breagrant) and Ed Dougherty (@eddied4me)Amazon Wishlist

Rachel Miller is a founding partner of Haven Entertainment (haven.la), a management and production company based in Los Angeles. Haven produces award-winning documentaries, feature films and television shows; represents top writers, directors, actors, and comedians; and collaborates with brands to develop cutting-edge digital content. She is Executive Producer of Netflix's limited series Devil in Ohio starring Emily Deschanel which debuted to #1 in the US and #3 in the world and within 48 hours of its premiere rose to the #1 TV series in the world on Netflix. Miller also produced the 3D documentary Under the Electric Sky, which premiered at the Sundance Film Festival and sold to Focus Features.   Miller is the founder of non-profit Film2Future, which builds a direct pipeline for underserved diverse youth to gain access to Hollywood – all at zero cost to participate. Since its inception in 2016, F2F has educated over 225 students, placed students in over 135 paid internship/PA opportunities and its students have earned over $2 million in college scholarships. She encourages all entertainment industry professionals to get involved in the organization and to support the next generation of diverse filmmakers. Miller is an active public speaker with an emphasis on emerging talent, pipeline strategies and inclusion. Recent appearances include UCLA, New York University, the CBS Diversity Program, Alliance of Women Directors, AFI (American Film Institute), Monterrey Film Festival (Monterrey, Mexico), the Rio International Film Festival (Rio de Janeiro, Brazil) and on many podcasts including John August's ScriptNotes.   In Miller's free time, she can usually be found curled up on the couch reading esoteric Russian novels or YA adventures.    Resources Film2Future Haven Entertainment  Rachel Miller's IMDB ──────────────────────────── ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting

This episode originally aired in April of 2023, but has been edited to include a new and updated "One Quick Thing" at the end! Season 2 of  Manzoor's We Are Lady Parts is now streaming on Peacock in the US.Balancing the dark and the light sides of coming of age, womanhood, and navigating the social order is something filmmaker Nida Manzoor always strives for in her projects (like WE ARE LADY PARTS and POLITE SOCIETY). And she wants to shout one of her biggest inspirations from the rooftops: SLUMS OF BEVERLY HILLS (1998, Tamara Jenkins), which centers on high-schooler Vivian Abromowitz, as played by a young Natasha Lyonne.Then, Jordan has one quick thing about her momentous latest appearance on Screen Drafts.***With Jordan Crucchiola and Nida Manzoor

Giovannie Espiritu's identity is inherently political: A bisexual, once-undocumented immigrant Filipina mom who spent time in a Biblical doomsday cult as a teen. Her first short film, “Ultra-Feminist,” got an Honorable Mention at Outfest:Fusion, and her second film, “ALLY 3000,” won over 12 awards at film festivals mainly in scriptwriting and social justice. Her newest short doc film, “Legacy,” won the Hyundai Evolve Innovation Award is in the film festival circuit. It has exhibited at the OutMuseum, and will be showing in the New Americans Museum in San Diego. Most of her work has taken aim at dismantling the patriarchy, healing generational trauma, and exposing systems of bias with humor. Her IRL and reel life mantra is to “Break Hearts Wide Open and Create More Moments of Joy.” As an actor, she was once nominated alongside Academy Award nominees Alfre Woodard and Amy Irving for Best Supporting Actress, but she didn't know what to do with that information other than put it on her business card. Her primetime credits include a recurring role on Young Sheldon, ER (NBC), Bones (FOX), Gilmore Girls (ABC), and Trauma (NBC). She can be seen as the lead in the Amazon series, “Dyke Central,” which was featured in After Ellen, BuzzFeed, Bust Magazine and Curve Magazine as a top LGBTQ series to watch, Nancy on the Tubi Original “Titanic 666,” alongside AnnaLynneMcCord and will be on Season 4 of 911 Lone Star as Joni. In her spare time, she rock climbs and advocates for Domestic Violence Awareness/Prevention and LGBTQ equality. She has served on the Board of Directors for C.O.R.A. (a Bay Area domestic violence hotline and agency) and been awarded a Certificate of Recognition from the Senate and California Assembly for her community service. She was recognized as one of 23 "Most Influential Filipina Women in the World" in the Innovator & Thought Leader category by the Filipina Women's Network. She is a proud member of the Alliance of Women Directors and the Producer's Guild of America. --- Send in a voice message: https://podcasters.spotify.com/pod/show/bravemaker/message Support this podcast: https://podcasters.spotify.com/pod/show/bravemaker/support

SummaryJennifer Warren, a former actress turned director, shares her journey in the film industry and the challenges she faced as a working parent. She discusses her early movie memories, growing up in a family of actors, and the influence of her famous Yiddish actor uncle. Jennifer also talks about her transition from acting to directing and the importance of having a support system while balancing work and family life. She emphasizes the changing landscape of the industry and the need for more opportunities for women directors. The conversation covers topics such as the challenges of breaking into the film industry, the role of technology in filmmaking, the importance of building a creative community, and introducing children to the cinema. The guests discuss the difficulty of getting a foot in the door of the industry and the recent resurgence of independent financing. They also explore the potential of AI in film production and the need for a balance between technology and human creativity. The guests share their experiences in teaching and mentoring aspiring filmmakers and emphasize the importance of finding a supportive, creative community. They also discuss the influence of personal taste and interests on children's movie preferences.TakeawaysThe importance of finding a support system while balancing work and family lifeThe challenges faced by women in the film industry, particularly as they ageThe changing landscape of the industry, with more opportunities in television and independent filmThe need for more opportunities for women directors Breaking into the film industry can be challenging, but opportunities for independent financing are resurging.AI has the potential to enhance efficiency and reduce costs in film production, but it should be used to empower creativity rather than replace human filmmakers.Building a creative community is crucial for aspiring filmmakers, as it provides support, feedback, and collaboration opportunities.Introducing children to cinema can be done through a variety of films, including silent films and physical comedies, which can engage their imagination and appreciation for storytelling.Finding a balance between technology and human creativity is essential for the future of filmmaking.Chapters00:00Introduction and Background09:24Early Movie Memories and Family Influence26:19Balancing Work and Family Life32:11The Changing Landscape of the Film Industry34:47Empowering Women Directors37:27The Resurgence of Independent Financing39:24Building a Supportive Creative Community52:11Introducing Children to Cinema58:41Balancing Technology and Human Creativity in Filmmaking  New Episodes Every Wednesday!EPISODE CREDITS:Host, Producer, Editor: Jessica KantorBooker: Noelia MurphyBe sure to follow and tag Raising Cinephiles on Instagram

 Listen to the Show Right Click to Save Guests Filigree Theatre Above The FoldHyde Park Theatre The Good ThiefWhat We Talked About

The Adamsons are back with the latest issue of Double Reel, the monthly magazine podcast for the discerning film nerd. Released in four parts through the month, we start with Double Reel Monthly, featuring news, new releases, reviews of new films including Dune Part 2, The Zone of Interest, Madame Web and The Kitchen, our Women Directors project feature Nomadland and the latest in our Year of the Nolan project which is Batman Begins.    In a few days we will release the next part: the latest Penalty Shootout Film Quiz

Chained (2012), Honeymoon (2014), and Relic (2020) With over 60 episodes so far in our podcast history, we realized that in all that we covered, we had never covered anything by a woman director. We knew we needed to change that. Going through the history of women directors, we realized that not only wasn't something new, but have been working in the industry since the beginning of film. And in the last two decades, have really started to show their stuff. So to help celebrate Women's History Month, we figured it was well past due that we tackle three films that were directed by women, once again, picking three random titles, but amazed to find just how similar they were to each other, not to mention being very effective in their craft, and storytelling. Movies mentioned in this episode: American Mary (2012), Army of Darkness (1992), The Babadook (2014), Chained (2012), Cockney vs Zombies (2012), Coffy (1973), Dead Hooker in a Trunk (2009), Fear Street: Part One 1994 (2021), Fear Street: Part Two 1978 (2021), Fear Street: Part Three 1666 (2021), Ganja and Hess (1973), Ginger Snaps (2000), Hollywood Chainsaw Hookers (1988), Honeymoon (2014), Humanoids from the Deep (1980), In My Skin (2002), Inside (2007), Invasion of the Body Snatcher (1956), Kids (1995), Look What Happened to Rosemary's Baby (1976), Maniac (1980), The Monster and the Girl (1914), Near Dark (1987), The Nightingale (2018), Pet Sematary (1989), The Pit and the Pendulum (1913), The Relic (1997), Relic (2020), A Serbian Film (2010), The Silence of the Lambs (1991), Starry Eyes (2014), Slumber Party Massacre (1982), Street Trash (1987), The Taking of Deborah Logan (2014), Vampire (1915)

On this month's episode we talk about some of the books and movies available at the library by and about women, many of them about women with interesting Oklahoma ties. 

It's Women's History Month and Josh and Jade discuss their favorite films written and directed by women. They also review the Oscar nominated film, Poor Things, and dissect the Love is Blind Season 6 finale. All that and more inside the episode. Hit the play button.

“The thing I loved about the theater was ‘the puzzle'. And in television, it was a new puzzle every week. And I LOVED that.” – Mary Lou Belli, on the joy of directing.In a career spanning five decades, Emmy Award-winning director Mary Lou has directed episodes of Charles In Charge, Major Dad, The Hughleys, Girlfriends, Monk, The Game, Heart of Dixie, Devious Maids, Station 19, Black Lightening, NCIS: New Orleans, Sweet Magnolias and The Ms. Pat Show. She is the co-author of four books: Director's Tell the Story, The Sitcom Career Book, Acting For Young Actors and The NEW Sitcom Career Book.She has also opened doors for the next generation of women directors through diversity programs at ABC and CBS, and teaching and mentoring young directors through DGA, AFI, Women in Film, Film Fatale, Women in Media and Alliance of Women Directors. Ms. Belli reflects on her transition into directing, and how the landscape of opportunities has changed for women in Hollywood over the past four decades.THE CONVERSATIONSTARTING SMALL: After graduating college at Penn State, Mary Lou still “looked 14 years old” -- so she went to New York where she immediately got roles playing children on stage and in films.Domestic Life – learning about “perfection, refinement and improvement” with Steve Martin and Martin Mull.Teaching “Anne Shirley” (Megan Follows, Anne of Green Gables) how to drive on the back lot at Universal Studios!How Jack Riley – Mr. Carlin from The Bob Newhart Show – lit the fire that led to Mary Lou becoming a director.Getting her start as a director at Betty Garrett's Theater West in Los Angeles.Being mentored by Debbie Allen, Nancy Malone, Lee Shallat-Chemel, Linda Day, Joan Darling.MARY LOU IN CHARGE: Directing Ellen Travolta and Scott Baio on Charles in Charge.How identifying women as minorities opened up the playing field – and how affirmative action overwhelmingly helps open up career pathways.How being “the only woman in the room” leads to a lack of opportunity – but with MORE women in the room, generosity of opportunity follows.Running into CCH Pounder at Trader Joe's!So join Susan and Sharon – and Mary Lou – as they talk road trips, Estelle Getty, Sydney Pollack, Emmy nominations, “Don't Touch My Hair”, the joy of Scott Bakula – and the wisdom of passing out Xerox copies of your good reviews!AUDIOGRAPHYFind out more at her website, MaryLouBelli.com.Buy Mary Lou Belli's books at Bookshop.org.Watch The Ms. Pat Show on BET. On Amazon Video.Listen to Julia Louis-Dreyfus' podcast Wiser Than Me.SPECIAL PATREON-ONLY EPISODE! – Listen to a live watch-thru of Lifetime's Ladies of the 80's: A Diva's Christmas with Susan, Sharon, Melissa and 90's TV Baby Serita Fontanesi! Don't miss it on Patreon (Try it for FREE for 7 days!).CONNECTRead transcripts and more at 80sTVLadies.com.Sign up for the 80s TV Ladies mailing list.Follow 8TL on Facebook.Check out Instagram/80sTVLadies.Get ad-free episodes and exclusive videos on PATREON.Find more cool podcasts at our host sight, Weirding Way Media.LISTENER FEEDBACKSend us a message on our 8TL website:What 80s Ladies Directors should we have on the show?What show should we cover next on 80s TV Ladies?And let us know: Do you watch holiday movies? Where do you watch them? What are your favorites?Wishing you a wonderful holiday, Merry Christmas and a very Happy New Year!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement

Irene Staub emerged from Zurich's underground scene in the 70s and 80s. With a mystique that rivaled Marilyn Monroe's, her iconic magnetism also carried Monroe's predestination for tragedy. Straub's looks, talent and alure charmed the likes of Mick Jagger, David Bowie, Felini, Deneuve and more. Felini, in fact, remarked of her, “Someone who burns that bright, dies young.” She was a model, a singer and the muse of designers and artists. To that end, possibly her most recent impression as a muse was on director and writer Gabriel Bauer, who used never-before-seen archival footage and interviews with prominent contemporaries to create the stunning documentary GLOW, which is now available for streaming. Today we talk to Gabriel for an inside look at a diva you will not forget, and the film that immortalizes her. Gabriel is a respected director, author and producer. Her films and scripts include  Cada Dia Historia (Every Day History, NIC/CH), Die Bettkönigin (Queen of Bed, CH) and Venus Boyz (CH/DE/USA). She has received national and international awards for her films, and is a member of the European Film Academy EFA and the Swiss Film Academy. Additionally she was Co-founder of ONIX Film and ONFEATURES Film. With co-host Brody Levesque

Irene Staub emerged from Zurich's underground scene in the 70s and 80s. With a mystique that rivaled Marilyn Monroe's, her iconic magnetism also carried Monroe's predestination for tragedy. Straub's looks, talent and alure charmed the likes of Mick Jagger, David Bowie, Felini, Deneuve and more. Felini, in fact, remarked of her, “Someone who burns that bright, dies young.” She was a model, a singer and the muse of designers and artists. To that end, possibly her most recent impression as a muse was on director and writer Gabriel Bauer, who used never-before-seen archival footage and interviews with prominent contemporaries to create the stunning documentary GLOW, which is now available for streaming. Today we talk to Gabriel for an inside look at a diva you will not forget, and the film that immortalizes her. Gabriel is a respected director, author and producer. Her films and scripts include  Cada Dia Historia (Every Day History, NIC/CH), Die Bettkönigin (Queen of Bed, CH) and Venus Boyz (CH/DE/USA). She has received national and international awards for her films, and is a member of the European Film Academy EFA and the Swiss Film Academy. Additionally she was Co-founder of ONIX Film and ONFEATURES Film. With co-host Brody Levesque

Directing Comedy with Emmy-Award-Winning Comedy Director Mary Lou Belli. Some things we cover: -How do you tackle blocking a multicam show? -Who's close up do you do first? -How important are reaction shots? -How can you find the comedy beats in a script? -How can you help actors find & perform  the comedy beats? -How can an editor save your comedy? -How much blocking prep should you do? -How can you work with an actor who wants to do different blocking than you need? -What's one of the first things you should do on a new set?   (Episode 54) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Mary Lou: https://www.maryloubelli.com/ Two time Emmy award-winning MARY LOU BELLI has been directing television for over 30 years including NCIS New Orleans, True Lies, Black Lightning, Bull, Legacies, Station 19, Sweet Magnolias, Pitch, Monk, Famous In Love, Devious Maids, The Quad, American Woman, and Hart of Dixie as well as Disney's The Secret of Sulphur Springs, Ms. Pat, Wizards of Waverly Place, Sister, Sister, Girlfriends, and The Game. Her short film, Straight Eye for the Gay Guy won “Best Mini-short” at the California Independent Film Fest where she also premiered I Heard Something, a thriller that went on to play fests internationally. She has done ground-breaking work on web-series. Her award-winning short, America, played its 14th fest on its 4th continent at The Hague and won best micro short. She was recently nominated for a Primetime Emmy for Comedy Directing as well an another Emmy in the Children's Programming category. Mary Lou served two terms as the Co-chair of the Women's Steering Committee at the DGA where she also has served on the Western Director's Council, presently she is on Leadership Council PAC and as an alternate to the National Board. She is an Honorary Board member of the Alliance of Women Directors and Advisory Board member of Women in Media. Mary Lou also serves on the Advisory Circle of Film Fatales is and a long time member of Women In Film as well as the Peer Group Executive Committee of the Academy of Television Arts & Sciences where she presently serves as one of the Governors. She has served as judge and/or guest speaker for the CSU Media Arts Fest, a judge for the Miss America Outstanding Teen Pageant, a jury member at the Sapporo Short Festival, Newport Beach Film Fest, Regina International Film Festival, and The Voice awards, a lecturer at the Chautauqua Institute, and a panelist for Women In Film, the DGA, SAG, and AFTRA and the LA Times Festival of Books. She has been a guest artist at the International Thespian Festival for secondary school theatre where she gave workshops to thousands of teens and high school theatre teachers. Through her teaching, she supports many of the vibrant diversity programs including ABC/Disney, CBS, Sony, HBO Access, AFI's Directing Workshop for Women, and Warner Bros. Directing Workshop mentoring the next generation of directors. She is the co-author of four books: “The NEW Sitcom Career Book,” “Acting for Young Actors,” and “Directors Tell the Story” which she co-wrote with fellow DGA member Bethany Rooney. Her 4th book, “Acting for the Screen” was published by Focal Press summer 2019. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theworkingdirector/message

As Alonso says, Priscilla Presley's life was a Sofia Coppola movie before it was literally a Sofia Coppola movie. Now, that movie has come to pass…and former Producer Casey O'Brien is here to bask in the pastel glow! Then, a movie quiz that could only be called “NAME that movie.”What's GoodAlonso - SiriusXM Holiday ChannelsDrea - Mad Honey by Jodi Picoult and Jennifer Finney BoylanCasey - Minnesota's frozen pizza sceneIfy - snow season and new, dumb kittenITIDICScarlett Johansson Sues AI App Using Her Voice Likeness in Marketing CampaignMarvel Announces “Marvel Spotlight” Banner with Less Concern for MCU ContinuityRobert Pattinson's Surprising Voice Acting Debut in Miyazaki's New ‘The Boy and the Heron'Staff PicksDrea - WingwomenAlonso - On the RocksCasey - SkinamarinkIfy - A Christmas LetterSupport Casey's 14 Stories in a BathroomListen to FarthouseSupport our sponsor!Museum of Flight's "The Flight Deck" PodcastListen at museumofflight.org/podcast or search “The Flight Deck” on your favorite podcatcher. New episode every Tuesday beginning October 24.Follow us on BlueSky, Twitter, Facebook, or InstagramWithDrea ClarkAlonso DuraldeIfy NwadiweCasey O'BrienProduced by Marissa FlaxbartSr. Producer Laura Swisher

Maryam Keshavarz's semi-autobiographical film won awards at Sundance and jumps between tones as it switches from the perspective of daughter, mother, and grandmother. Our hosts, along with guest Artemis Pebdani, talk about the effect of THE PERSIAN VERSION, then share some of their favorite genre-bending (or genre-defying) films.What's GoodDrea - Q&A Moderation SeasonArtemis - Celebrating HalloweenAlonso - Matt Singer's Opposable ThumbsITIDICSome Theaters Went Rogue and Added an Intermission to Killers of the Flower MoonThe Hunger Games Prequel Granted a Late SAG-AFTRA WaiverSci-Fi Sleeper The Creator Is Inching Toward Box Office “Success”Staff PicksDrea - The HoldoversArtemis - Married to the MobAlonso - Johnny GuitarSupport our sponsor!Museum of Flight's "The Flight Deck" PodcastListen at museumofflight.org/podcast or search “The Flight Deck” on your favorite podcatcher. New episode every Tuesday beginning October 24.Follow us on BlueSky, Twitter, Facebook, or InstagramWithDrea ClarkAlonso DuraldeArtemis Pebdani Produced by Marissa FlaxbartSr. Producer Laura Swisher

Over the past several years, there has been controversy in many fields of the art world, including literature, film and television. Questions have been posed regarding the appropriateness of authors writing about certain topics, and actors portraying certain characters. For example, is it okay for a White author to write a fictional book about slavery in the United States? Is it okay for a cis male to play a trans male in a movie? At the heart of these questions lies the concepts of cultural appropriation and artistic authenticity. So how do we decide what is acceptable artistry, and what crosses a line, if such a line even does exist in such art forms. Culture writer Rachel Brodsky joins the podcast. Check out Rachel Brodsky's New Podcasthttps://rocknloadmag.com/news/introducing-in-sync-podcast/This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5432816/advertisement

Empowering Women in Film: Laura & Film Fatales.  To learn more about Carole Dean and From the Heart Productions visit www.FromtheHeartProductions.com.

When Emma Seligman's debut film SHIVA BABY premiered in on a Brooklyn rooftop in 2021, Jordan was there to see the event first-hand. That was arguably the start of a whirlwind of movie deals and news that led straight to BOTTOMS, Seligman's new film, co-written by Rachel Sennott (who stars in both films). On this week's episode, Emma and Jordan talk through that trajectory as they compare notes on Needy Lesnicki, the heroine of one of FEELING SEEN's most beloved texts.Then, Jordan has one quick thing about ***With Jordan Crucchiola and Emma Seligman 

Announcing the auteur for August is for Auteur's month.

In this episode, Gaby and Andreina discuss the 2022 film Emily, written and directed by Frances O'Connor in her directorial debut. Emily is a part-fictional portrait of English writer Emily Brontë mostly converting the period of her life before she wrote her novel Wuthering Heights. Gaby and Andreina talk about the cinematic representation of Emily as a historical character, Brontë's relationship with her equally celebrated siblings, and how the film fits within the period film movie genre.***Spoiler alert! While reviewing this show we go through key scenes and may reveal the ending, so be warned of spoilers!***Sources & further readings:Interview with director Frances O'Connor and main cast at the People + Entertainment at TIFF 2022And because they're so good, here's also the Q&A at the TIFF 2022Film Review from The New York Times

Balancing the dark and the light sides of coming of age, womanhood, and navigating the social order is something filmmaker Nida Manzoor always strives for in her projects (like WE ARE LADY PARTS and POLITE SOCIETY, in theaters now). And she wants to shout one of her biggest inspirations from the rooftops: SLUMS OF BEVERLY HILLS (1998, Tamara Jenkins), which centers on high-schooler Vivian Abromowitz, as played by a young Natasha Lyonne.***With Jordan Crucchiola and Nida Manzoor

Director Catherine Hardwicke's latest film is MAFIA MAMMA, and you probably know her as the director of TWILIGHT, LORDS OF DOGTOWN, or THIRTEEN. But did you know that she got her start as a production designer, and that she production designed TANK GIRL? Well, this was after she got her degree in architecture. All this, plus dressing like a building, dealing with on-set toxic events, directing Monica Bellucci, and the kinds of characters she'd like to see on screen, come up in this sprawling conversation that reveals an artist as fun, badass, and idiosyncratic as the titular TANK GIRL.***With Jordan Crucchiola and Catherine Hardwicke

April Wright is an award-winning filmmaker who fell in love with movies going to drive-ins and movie palaces in the Chicago area where she grew up. She brings a fresh and creative approach to her narrative projects and documentaries, and is drawn to material inspired by real people and events, especially stories with an underdog point of view. April's doc “Going Attractions: The Definitive Story of the American Drive-in Movie” enjoyed a theatrical release in 2013. Having visited over 500 open, abandoned, and former sites of drive-ins in 49 states, April has been recognized as a historian and supporter of drive-ins, appearing in media like Time, USA Today, Parade, BBC World News, WGN Radio, The Chicago Tribune, CNN online, CBC. April loved directing the critically acclaimed “Stuntwomen:The Untold Hollywood Story” executive produced by Michelle Rodriguez, which was awarded Best Documentary of 2020 from the national Women Film Critics Circle and Best Sports Doc of 2020 by Film Threat's Award This. She visited some of the best stuntwomen in the business on the Marvel set in Atlanta, and it's not often in a doc that you get to direct a drift car racing sequence with Michelle Rodriguez and her amazing stunt driver from the Fast series. Her doc “Going Attractions: The Definitive Story of the Movie Palace” enjoyed a theatrical release and won numerous Best Documentary and Grand Prize awards at film festivals prior to its broadcast premiere on TCM Turner Classic Movies. Leonard Maltin appears in the doc and Forbes, called it “a richly crafted look at our passion for movie theaters.” She's in post-production on two new documentaries: “Back to the Drive-in” goes behind the headlines of the drive-in resurgence to show the truth that families are struggling to keep them alive, and “Carnival” a finalist for Tribeca's IF/THEN at Big Sky Film Festival, is about a family that forms within a traveling carnival in the northwest.April worked as a narrative programmer for the Sundance Film Festival and AFI Fest for over 15 years, which was a wonderful film education. She has an MBA from the Kellogg School at Northwestern University and is an alumni of the Sundance Institute, member of Women in Film, Film Fatales, Film Independent, the Documentary Association and the Alliance of Women Directors. http://goingattractions.comThe 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

Just because the Oscars didn't recognize any women directors this year doesn't mean there weren't awesome films made by women in 2022. This week, Kelly and Cort discuss two of our favorite films of 2022 that were directed by women: “The Woman King” and “Women Talking.”“The Woman King” was directed by Gina Prince-Bythewood and wasn't nominated for even a single Academy Award.“Women Talking” was directed by Sarah Polley, was nominated for two Oscars, and won the Oscar for Best Adapted Screenplay.Spoilers abound in this episode!-Original music by Garrett ThompsonFollow us on Instagram @GeekGirlSoupContinue the conversation on FacebookListen to Cort's podcast with Brad at PureFandom.comCheck out Susan's movie stats on Letterboxd Email your questions and comments to GeekGirlSoup@gmail.comGeek on!

This week, we chat with Development Executive Laura Woodworth from Cooke Media Group in Burbank, CA. Laura is a Writer, Producer, Director. She is a multi platform screenwriter for VR, film, TV and new media.  She is a member of the Alliance of Women Directors based in Los Angeles. Award winning producer with experience and education in multiple aspects of production in film, television, new media and radio, including conception through development, pre-production, production and post and into marketing and distribution. Author of “Effective Writing for Ministry and Business” and editor of multiple books and study guides.  Developer and instructor of several college-level courses on communication. We'll be talking with Laura about 4 Keys to Developing Compelling Content in Your Communication. This interview was recorded at the Church Facilities Expo in front of a live audience. This is great for pastors and communicators. How do you share your message effectively? SHOW NOTES --- Support this podcast: https://anchor.fm/makingsundayhappen/support

In nearly 100 years, the Oscar award for Best Director has only gone to three women. The film industry as a whole has been heavily dominated by men, but it wasn't always this way. Ahead of Academy Awards, Brittany chops it up with Maya Montañez Smukler, author of Liberating Hollywood: Women Directors and the Feminist Reform of 1970s American Cinema, to discuss the state of women directors and how the industry systematically shifted them out of the spotlight.Then, we ask Chicago Tribune TV and film critic Nina Metz about the oversaturation of fictional, churlish billionaires on screen - and why there should be more depictions of the workers they exploit.You can follow us on Twitter @ItsBeenAMin or email us at ibam@npr.org.

This episode of the Governance Matters podcast looks at academic research revealing how women can negotiate traditional social expectations to have more influence in the boardroom

Talk about a two-hand spectacular! We've got Nikole Beckwith, the director of one phenomenal indie two-hander (Together Together, starring Ed Helms and Patti Harrison) talking about the two-hander debut from director Charlotte Wells (in which the two “hands” are Paul Mescal and Frankie Corio). And only two of our usual hosts are here (which was totally planned, look how nice it all lines up, no holes in this story!). Then there's a quiz about – what else – Two-Handers! (A two-hander is a movie that mainly focuses on on two leads, in case that wasn't clear from context.)What's GoodDrea- Birthday float tank visitNikole - fresh snowAlonso - Liza Minnelli's album w/ Pet Shop BoysITIDICThis past holiday weekend was the strongest at the box office in a whileNetflix is planning a lot of Korean programming for 2023Sundance 2023 Has Begun!Staff PicksDrea - Saint OmerNikole - The CathedralAlonso - Slither (1973)We're sponsored this week by MasterClass.Get unlimited access to EVERY MasterClass, and as a Maximum Film listener, you get 15% off an annual membership! Go to MasterClass.com/MAXFILM.With:Drea ClarkAlonso DuraldeNikole BeckwithProduced by Marissa FlaxbartSr. Producer Laura Swisher

Today's Episode Dr Raj and Victoria Sampson discuss the roles of sound editing and film throughout her life, starting from childhood. She breaks down audio and film industry lingo including ADR, mixing, and foley into common language in relation to her own experiences in the entertainment industry.  Today's Guest  Victoria Sampson is an Emmy Award-winning producer, writer, director, film & sound editor, and educator. She is a veteran supervising sound editor with over forty years of experience and over 201 sound credits including sound editing on Academy Award-winning films such as Speed and The River. She has also won four golden reel awards and an Emmy for her sound work. In order to give back in creating a new generation of informed sound editors and filmmakers, she began teaching at UCLA in 1992. She has many affiliations and memberships such as The Academy of Motion Picture Arts and Sciences in the Sound Branch, The Motion Picture Sound Editors, Women in Media, LA Sound Sisters, Alliance of Women Directors, and Motion Picture Editors Guild.  Contact Victoria Sampson Here  About Dr. Raj Dr Raj is a quadruple board certified physician and associate professor at the University of Southern California. He was a co-host on the TNT series Chasing the Cure with Ann Curry, a regular on the TV Show The Doctors for the past 7 seasons and has a weekly medical segment on ABC news Los Angeles.   Want more Dr. Raj? Check out the Beyond the Pearls lecture series! The Ultimate High Yield Bundle: The complete review of high-yield clinical medicine topics necessary for graduate medical education board exams including NBME, USMLE Steps 1/2/3, ITE and ABIM Boards. You can also listen to the Beyond the Pearls podcast.   Check out our other shows: Physiology by Physeo Step 1 Success Stories The InsideTheBoards Study Smarter Podcast The InsideTheBoards Podcast   Produced by Ars Longa Media To learn more about us and this podcast, visit arslonga.media. You can leave feedback or suggestions at arslonga.media/contact or by emailing info@arslonga.media. Produced by: Christopher Breitigan and Erin McCue. Executive Producer: Patrick C. Beeman, MD The information presented in this podcast is intended for educational purposes only and should not be construed as professional or medical advice. Learn more about your ad choices. Visit megaphone.fm/adchoices

The co-host of Good Christian Fun joins us to talk about a movie that is quite good, pretty Christian, and not a ton of fun. But it's also not, as Caroline points out, a "stone cold bummer." It's the latest film from Sarah Polley, based on a book by Miriam Toews, and is fascinating both on a literal and a metaphorical level. We get serious between goofs, and then lighten the mood with a Hotline letter about movie scores.What's GoodAlonso - Pointer Sisters' Sesame Street SongDrea - Yung Gravy gives bras to charityCaroline - Jessica Simpson's Open BookIfy - TikTok refrigerator hackITIDICThe Golden Globes Were on TV Again…Dave Bautista Says He's Ready to Leave Drax and the MCU Behind AFI Study Documents Women's Contributions to Early CinemaStaff PicksAlonso - Petite MamanDrea - My Year of DicksCaroline - M3GANIfy - also M3GANWith:Ify NwadiweDrea ClarkAlonso DuraldeCaroline ElyProduced by Marissa FlaxbartSr. Producer Laura Swisher

In this episode, we discuss why the film Women Talking didn't work on every level. This includes the didactic screenplay, the bland and placeless production design, the typecasting, and the poor direction of group scenes. We are joined by special guest Dr. Angelo Muredda, who has a PhD in CanLit. To read the show notes and get the AI-generated transcript of the episode, click here. At Seventh Row, we've been long-time fans of Sarah Polley. We have even published episodes on her films Take This Waltz and Stories We Tell. Women Talking is her first bad, if well-intentioned, film. But it's been getting enormous Oscar buzz since its Telluride premiere. Angelo and Alex read the book by Miriam Toews, on which the film is based. We discuss the problems in the source text that get translated into the film — and how the film works (or doesn't) as a page-to-screen adaptation. This episode features Editor-in-Chief Alex Heeney, Executive Editor Orla Smith, as well as special guest Dr. Angelo Muredda. About the film Women Talking Based on a true story that happened in Bolivia, Women Talking is a fictional reimagining with an alternate ending. Almost every woman and girl in a small Mennonite community has been raped in their sleep by men or boys in the community. Traumatized and beaten down, a group of women volunteers from three families convene for a couple of days to discuss what the women should do. They must decide whether to stay and fight or to leave. The film then follows them through their discussions. The film Women Talking was adapted from the Miriam Toewes novel of the same name by Sarah Polley. Timings 00:00 Introduction 04:40 Why are talking about Women Talking? 07:20 An overview of our problems with Women Talking 25:05 Adapting Miriam Toews's novel 34:00 The lack of specificity in Women Talking's depiction of a Mennonite community 36:50 The casting and performances in Women Talking 52:10 The film's treatment of its trans and disabled characters 1:06:05 Sarah Polley's direction and the film's cinematography 1:19:55 How Women Talking fits into CanLit 1:24:00 Why is this film resonating? Show Notes Read the 2019 New York Times article that Alex cites on the episode: in the piece, mennonites are interviewed about their thoughts on Miriam Toews's novel, Women Talking. Read Alex's interview with the writer-director of Felix & Meira, a film about a Hasidic Jewish woman who decides to leave her community. On the episode, Alex compares Women Talking to films about Hasidic Jews. Read Alex's interview with the writer-director of Menashe, a film about Hasidic Jews made with actors who are part of the Hasidic Jewish community. On the episode, Alex compares the depiction of mennonites in Women Talking to the depiction of Hasidic Jewish characters in Menace Read Angelo's recent review of Armageddon Time for Film Freak Central. Related episodes Ep. 43: Take This Waltz and Paper Year: Canadian marriage stories (Members Only) - We go deep on Sarah Polley's second feature, Take This Waltz, a film about a marriage breaking up, and compare it to another female-directed Canadian film about a troubled marriage, Paper Year. Ep. 40: Stories We Tell, Louder Than Bombs, & Mouthpiece: Dead mothers (Members Only): We discuss Sarah Polley's third feature, the creative nonfiction film Stories We Tell alongside two of our favourite films that are also about dead mothers. All three films were on Seventh Row's 50 favourite films of the decade list. Ep. 73: Promising Young Woman and The Assistant: Explorations of rape culture (Members only): We discuss two films that explore rape culture, one that does it thoughtfully (The Assistant) and one that does it poorly (Promising Young Woman). In the current episode, we regularly compare Women Talking to Promising Young Woman and refer back to this discussion in Ep. 73 Bonus 27: Empathy on film with Dr. Brett Pardy (FREE to everyone) - Dr. Pardy did his PhD research on how films can create empathy, and we discuss on Ep. 132 how Women Talking fails to create empathy. Where to find us Special Guest Angelo Muredda holds a PhD in disability studies on Canadian Literature and is a lecturer in the English department at Humber College. Angelo has also contributed to our ebook Portraits of resistance: The cinema of Céline Sciamma with an essay on the female gaze, and to our ebook Roads to nowhere: Kelly Reichardt's broken American dreams with an essay on Wendy and Lucy. You can find Angelo on Twitter and Instagram @amuredda. Host Alex Heeney is the Editor-in-Chief of Seventh Row. Find her on Twitter @bwestcineaste. Host Orla Smith is the Executive Editor of Seventh Row. Find her on Twitter @orlamango and on Instagram @orla_p_smith. Become a Member All of our episodes that are over 6 months old are available to members only. We also regularly record members only episodes. To get full access to the podcast, become a member at http://seventh-row.com/join

How do you shot list? How do you breakdown character arcs? How do you prep with your DP and department heads? Those questions and more will be answered on this episode with filmmaker Soma Helmi as we talk all things director prep! (Episode 33) Hosted by Director/Producer Jenn Page. To join our private FB group for directors, or to learn about The Working Director accelerator that helps emerging filmmakers become working directors faster, visit TheWorkingDirector.Pro. More on Soma: Born to an Indonesian father and a Polish mother, Soma Helmi hails from Bali and directed all 20 episodes of Season 3 of Snapchat‘s original series The Dead Girls Detective Agency. The series is produced by Keshet Media and Insurrection Media. She worked frequently with Catherine Hardwicke as a creative consultant. Soma most recently consulted for Ms. Hardwicke on her feature Mafia Mamma (2022) for Bleecker Street and as a creative consultant on her Quibi Series Don't Look Deeper. Soma's work has screened at Sundance, Hollyshorts, Outfest and Amazon's New Voices Film Festival among many others. Soma began her career working as an Art Director for J. Walter Thompson in Jakarta, where her clients were Unilever and Pfizer. She would go on to direct commercial spots for Google, Klondike, Nike, Chevrolet, and Campbell's. She is a 2021 Paramount Viewfinder Directors Program fellow and was named one of the “8 directors to watch” by Alliance of Women Directors. Soma is on the 2021 CAPE List x Blacklist and created Blackmagic Collective's Breakthrough Initiative for BIPOC TV writers and directors. Instagram: @SomaHelmi Website: somahelmi.com --- Send in a voice message: https://anchor.fm/theworkingdirector/message

Award-winning, writer, director, actress Christina began her career acting in such cult films as Suburbia, Boys next door and Dudes. She was one of three women accepted into Fox Searchlights new director s program, her IFP nominated Best screenplay, debut feature, PERFECTION was part of their rough-cut labs, Independent film week and winner of The Adrienne Shelly female directing award.PERFECTION screened at The Oxford film festival where Christina won Best Actor and Best Narrative feature and also screened in the San Francisco International Women's film festival, the USA film festival in Dallas, Texas, The Egyptian theatre in Hollywood, CA, premiered at the RIO cinema London, The Quad cinema, New York and screened at The Laemmle' s Monica 4plex in Santa Monica, CA.Christina has sat on the juries for the London feminist film festival, the Eastern European film festival, the 100 word film festival, NC and has served head of the jury at the USA film festival, Dallas.Her upcoming projects include, EXPECTING GRACE set in Marseilles France, her short, HOOKER #2 and the punk rock pilot, POSEUR. Christina has lectured at The New York film academy, The Met School, London, Harvard Westlake, Cal State Fullerton and is an adjunct professor at Loyola Marymount University in Los Angeles in the film and television department.Show NotesChristina Beck's Website - https://www.christinabeck.comChristina Beck on Instagram - https://www.instagram.com/cbrubylee_xtinabeck/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistTranscripts Are Auto-GeneratedChristina Beck:I always say to my students, Pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories. But to say something visually is powerful. I think it can change minds and hearts.Michael Jamin:You're listening to Screenwriters Need To Hear This with Michael Jen. Hey everyone, this is Michael Jamin and you're listening to Screenwriters. Need to Hear This. We got a special guest for you today. If you are an indie filmmaker, an aspiring indie filmmaker, you're gonna wanna listen to this. You're gonna wanna meet Christina Beck, who I've known forever. She's an old friend, independent filmmaker, but she's you. She also teaches at Loyola Marmont University and the Fame Stella Adler Theater where she teaches screen screenwriting as well as film producing filmmaking, all that stuff. Well Christina, welcome to the big show.Christina Beck:Thank you. Thank you so much. I was gonna call you Mr. Jam and it's a habit. I can't help it.Michael Jamin:It's a habit. There it is. Cause cuz Christina briefly worked for me as an assistant for me and my partner on a show. And then I force you to call me Mr. JaminChristina Beck:. it just kind of fell into this thing. Yeah, no, you did not force me. You didn't force me at all.Michael Jamin:I never did that.Christina Beck:But I will correct you Mr. Jamin. So I actually don't teach at Stella Adler. I teach at least Strassburg, but I could see where you would choose that. Oh, at least Strasberg. Yeah,Michael Jamin:Just I would think,Christina Beck:Right. Well, they're all,Michael Jamin:They're East Strasberg. Go to that one.Christina Beck:Yeah, but sad. They're not around anymore. But the legacies are for sure.Michael Jamin:I haven't been to West Hollywood forever. Yeah. And you guys see, you got your one sheet from, That's from Perfection. Let's talk about what you're at, some of your movies that you've done, cuz Christina is an indie filmmaker. She's a hustler. She makes her movie, she writes your stuff. You also started as an actor, right? Where, let's take me back to the beginning. You basically started, you wanted to be an actress, right?Christina Beck:Yes, yes. Yeah. So I grew up here in Hollywood, actually not in Hollywood. I grew up in the Valley. Let's get real about that. So I like to call it the main streets of Studio City. And although it was very different back then, I know today it's a unaffordable, you can't even get in there. But back in the day it was the suburbs, basically. And my folks were in show business. My father was a screenwriter and an actor, and my mother was an actress, a model kind of actress. She ended up studying in New York with some very significant people. Sandy Meisner had a full scholarship for the Neighborhood Playhouse, which was a big deal back in those days. But my beginning with acting really started just as a kid. being extremely bored in the valley and putting on shows. I was that kid. I was putting on shows, arranging the stuffed animals. If we ever had company, they were held hostage to my extravagant. Really? Yeah. It was Cabaret 24 7 and . I know. Yeah. You didn't know that about me. Yep. I didn't know that. Yeah.Michael Jamin:I also didn't know your dad was a screenwriter. I didn't know that as well. Did he work aChristina Beck:Lot? Yes, he didn't work a lot as a screenwriter. He worked a lot as an actor. So when he came out to Hollywood, he's from Texas originally, and he came out to Hollywood and straight away got signed to William Morris, got put under contract at Universal and did a bunch of movies. But then he did westerns. I always played the bad guy on Bonanza andMichael Jamin:Yeah, Christina, I didn't know your Hollywood royalty Well,Christina Beck:A little bit, yeah. Yeah. Oh wow. Definitely the lineage is there. Yeah. But his real love was screenwriting. He didn't love acting. He really did fall into it. And he had a great look and he was a cowboy, so he played a cowboy, but he wasn't even really a cowboy. He's just from Texas. But yeah, there's this really great story. So Robert Blake, who some of us know strange stuff all around that guy. But that said, back in the fifties, he was friends with my father was friends with him, and Robert Blake had a part where he had to ride a horse. And my dad said, All right buddy, I'll take you out. And they went to, I think probably, well, I don't know what it's called now, but it used to be called Pickwick, which is in Burbank near Disney. They went out over there and not only did he teach him how to ride a horse, he helped him learn his lines. And because I heard this story later after my father passed Robert said, Your father, he really sat with me in this tiny little apartment and he had me drill my dialogue and I got the roof because of him and just very sweet old school. Wow. Hollywood, stuff like that. But that said, when my father wasn't working as an actor, he was always in his, it was dad's den type, type type, type type. He was always working on screenplays and he loved writing.Michael Jamin:Yeah. Do you feel the same? Do you acting more, writing more for you? Well, are you like your dad orChristina Beck:Not? No. Yeah. No, I'm not like my dad. I, there's bits of me that I like him, but it's more acting was definitely the first bug. And like I said, putting on shows at home. But then I got kind of lucky, I was in the valley still. So on Ventura Boulevard near Vineland there was this place called Moral Landis Dance Studio. And my mother used to go and take a jazz class there. This is the late seventies. And next door was a place called the American National Academy of Performing Arts. So I kind of wandered over there and at this academy place, and I ended up joining an acting class. And my very first acting class, an acting teacher, was a man named Francis Letter. And I didn't notice at the time, so I'm like nine years old, 10 years old, and he is about 80 or maybe seven in his seventies. And so I joined this acting class and then he asked me to be in the adult acting class, and I gotta play all the juicy, the bad seed and just fun stuff like that. Oh wow. And so it turns out that later on I found out that he was a big deal and he was in Pandora's Box, the silent film starring opposite Louise Brooks. And he's, and he did a ton of stuff for a long time. And then he was part of the actor studio in New York, and he was from Eastern Europe, but came over here right before the war, I think, . So that's when I really just was in heaven as a kid acting in this class. And then I also did some commercials with my brother. We were in some commercials. And then I became a teenager, , and then I became really rebellious and mm-hmm got into the punk rock scene and completely fell in love with music and artistry. I mean, really at that time too, this was the early eighties when punk rock wasn't necessarily vi What's so funny,Michael Jamin:Cause I can't picture you doing being into punk rock. I guess it,Christina Beck:I got pictures. I got pictures, and I've actually written the whole show about it. Yeah, I . But all that to say, yeah, I, I never wasn't like the punk rock chick. I more, I liked the artistry of it. I liked the right, And when I say that, I mean there were a lot of wonderful, cool artist people that I'd met mostly, much older than me at the time, but they were musicians and writers and actors. But they were on this kind of rebellious thing where we don't need permission to do anything, we just get to be creative. And that's what I loved mostly about that whole scene. And then there were different facets of it that were cuckoo and, and intense and lots of drugs and lots of alcohol and lots of inappropriate stuff. But then I got cast in a movie, so now it's my late teens.And my best friend, she was well there is a woman named Penelope's Theorists who has made films that we know of Wayne's World and different Hollywood films. But at that time she had made a documentary called The Decline of the Western Civilization, which is a really amazing film even to this day because she really got into that la punk rock scene at that particular time in space. And it was an incredible film. And she wanted to make a narrative film. So she wrote a script and got it produced by a furniture salesman guy. And I think Roger Corman of course. And so I got cast in that. And like I said, I was in my late teens and at that time I was kind of over punk rock and I was like, Eh, don't wanna, this is stupid. But I ended up doing it. And that is where I really was like, okay, this is the way I wanna spend the rest of my life.I loved being on set. And to answer your question, it's really tricky. I love in the realm of all that we do in terms of writing has its moments and then the pre-production, but being on set to me is definitely my favorite. And post is a whole nother exploration. But yeah, so it was from that moment on that I was just like, Okay, this is what I wanna do. And I did a couple more films with Penelope and then I moved to New York City and I wanted to be a real, I also felt like, okay, I didn't really, I need to be a real actor. I really have. And soMichael Jamin:A theatrical actor, is that why you moved toChristina Beck:New York? Well, yeah, I mean I love theater and my very best friend, you might know her, Cynthia, Man. Oh, okay. Yeah, it's Shannon. Familiar . Yeah. So we wereMichael Jamin:Frozen. That's how I met my wife. That's how I met her. I met you through her. I met you honestly, Christina. That was the first time it was really, I met you really on real early on, but go on. When I was with Cynthia. Really? Yeah. Tour or something.Christina Beck:I know, it's so great. Michael Jamin:But go on. AndChristina Beck:So Cynthia was in New York and at that time, for me, I felt like I really wanted to study and be a serious actor because I come from more of a film background. I did study a bit with Francis, but I really wanted to pay my dues as an actor. And I, I studied with a bunch of different great people. I auditioned for everything that was there at the time. AndMichael Jamin:Tell me, I'm gonna interrupt for a second, hold on. But tell me what your thoughts are, the difference between acting for film or television and acting for the stage.Christina Beck:Well, in my experience and what I'm also kind of revisiting lately, well when you're acting in film, it's very subtle. There's a camera and the camera picks up everything. And so when you're on stage, you are playing to the back row. People in the back need to see and understand what's going on. And it's just a very different, and I think most actors can do both. Some are, I guess more comfortable doing one or the other.Michael Jamin:But when you study and you train, do you sometimes study specifically or did you specifically for film versusChristina Beck:No, no, I didn't. No.Michael Jamin:Are are classes like that? Yeah. Just forChristina Beck:Fun. Yeah. Yeah. There's like on camera classes where people, it's for auditions I think, but also to get to practice how you come off on camera. Yeah. I never did that . I never, yeah. Really did that. But here's a weird, maybe creepy thing. Ever since I was a kid though, I always felt like there was a camera on me. , I would visualize, I could almost disassociate a little bit, this is a psychological thing here, but I felt, I would kind of imagine walking to school, what would it be if this character was walking to school? I almost was above myself a little bit watching myself. And that's a weird thing to say cuz actually when you're acting in a film, you really shouldn't be watching yourself. But that's where I am also a director. SoMichael Jamin:In other words, you were visualizing visualize how you would shoot yourself or is it more of Yeah. Was it more of a fantasy thing or how would I appear on, I wanna shoot myself if I was walking down the street?Christina Beck:Yeah, it's more the that one. And of course a little bit of fantasy, but it was escapism. But it was also, I was sort of able to take myself little Christina walking to school fifth grade out of it and see it from this other angle. And I don't know what that's about, but I do now I I see things that way all the time.Michael Jamin:Really How you would shoot it, where you would place the camera Christina Beck:Or where is the camera? Yeah. And it's such a funny thing cuz we live in a world now where everyone has a phone and everyone is documenting, everyone is shooting themselves. And that's a little different. But I guess it's similar in a way.Michael Jamin:Did you have film equipment when you were that Young? Christina Beck:I mean, Well my dad I none. We really didn't. My dad, no, my dad did my made some super great films and actually. Yeah, we did a lot of home movies when I was little. So I was usedMichael Jamin:To with sound.Christina Beck:No, no sound. No, it'sMichael Jamin:Interesting.Christina Beck:So yeah, yeah, being tied up on a tree and then my brother coming up on a horse and all sorts of me crying. Yeah, I got it. I got it all.Michael Jamin:Wow. Then so after New York, so how long were you in New York?Christina Beck:Three years. I was there for three years. AndMichael Jamin:Then what made you decide to come back?Christina Beck:Well, I wrote a play and that's kind of what happened. So I'm in New York, I'm studying, I'm auditioning for Everything film. I remember that there was one year where I really went out for everything that was shot in New York or anywhere around there and didn't get anything. And at the time I was studying with a woman at Playwrights Horizons who was a writer and an actress. And she said, Listen, you guys really should start writing characters that you feel you could play or just more of an empowerment in terms of instead of waiting around for everyone to give you a role, write something. So a bunch of us did, and it really started out by writing monologues. So I was in a group of women and we formed a little theater company and so we wrote characters and monologues for these characters and then we put it up and that was really great. And then I gotMichael Jamin:You. Don't skip that step. How did you put it up? How do people stage playsChristina Beck:You a lot of time? Well, at that time, at that time, which was a long time ago we raised a little bit of money, kind of similar to a lot of independent film stuff. But we raised a little money, family and friends type of thing. We actually did it at the Samuel Beckett Theater, which was where Playwright Horizon, I think they're still there on 42nd Street, I think eighth and ninth, 42nd Street, . And we put it up for a weekend and we got reviewed and we got in. It was great. It was super fun. And it also felt like I started to feel more complete as stuff that I could do as an actress. I always, I didn't, waiting around, I don't waiting for, I just felt like I have more to do and I was always journaling and stuff as a kid and as I got in my teens.And so writing to me didn't feel that far off from what I was already doing. And coming into it as an actor, I knew I've read enough plays and I've read enough monologues to understand how to write in that form. So I ended up when I was living in New York, I'd come back to LA and visit in the summers. Cause summers are horrific in Manhattan. So there were some musicians that I met that were doing some kind of cool stuff. And this one guy played, he had a character that he did. And so I wrote a play. I kind of inspired me to write this play about him. He was playing a lounge singer and he, his friend had this group and it was kind of rock and roll stuff, but then they would go into a lounge sort of thing. And I thought, oh, that would be funny to, what would it be if these lounge singers had a kid and tried to live their life? And it was a little autobiographical, the father's alcoholic and the mother's sort of obsessed with her beauty. And so these themes started to come up in my work. So I wrote this full length play and there was music in it too. And then we also shot some video footage, so it was sort of like a multimedia thing. So I kind of had to come back to LA to do that.Michael Jamin:So you staged it?Christina Beck:Yes. I didn't direct it, so I wrote it and I starred in it. But a friend of mine this woman named Modi, who I met from the punk rock days, but also she was Penelope's assistant on some of the film stuff I worked on with her and was a video director in her own. And so she came in and she directed it and it was great. It was amazing. It was.Michael Jamin:And how do you even get the theater to put it up?Christina Beck:We raced a little bit of money and then we got producers and they put it up up.Michael Jamin:What do you mean? How does that work? You got producers, what doesChristina Beck:That mean? Yeah, so the woman who played my mother in this is an amazing singer, artist, actor. Her name is Jane Cotillion. And so she loved the play and she said, Oh, I know this guy Billy DeModa and he's a casting director and maybe he could produce it. And he didMichael Jamin:. This is just from being out here, just from honestly, just meeting people, being in circles, taking acting classes and because that's the thing about la everyone's trying to do something right?Christina Beck:Absolutely, yeah. I mean think it's now because of Zoom and different things in the world and there's so much more accessibility. I think it's possible to collaborate and not be here. But all that said, especially at that time, you had to be here. And I do think it's still important to be in the place where you wanna be if you can. And these people I knew, so I knew about the guy, his name is Manny Chevrolet and he and his friend had this act and they were opening up for the Red Hot Chili Peppers and I knew them from suburbia, which was the movie I did with Penelope I knew. And so it was kinda a group of people that I already knew. And then the musical directors, this guy named Tree, who's good friends with, and they were just all these people that kind of organically came on board.Michael Jamin:Interesting. And tell me, but how do, you're also, obviously you've written and directed and produced a bunch of movies, indie movies, some are shorts, some are full length, but do you go about, alright, so you work on the script. How long do you work on the script and when do you know it's done?Christina Beck:Yeah, that's a great question. And then everything's a little bit different. So with short films, well I'm teaching a course right now, so I feel like I already have this in my mind. Short film is one idea and that script can take a long time to write. It's not easy to write a short film because basically you're trying to squeeze in this one idea in a way that has a beginning, middle, and end. So you don't have the luxury of necessarily three acts, but you have to have this.Michael Jamin:How long is it short for you? Well,Christina Beck:Okay, so that's another great question because what I have learned now, I think a sweet spot for a short is anywhere from 10 to 12 minutes. I think if you can sit, do it in a shorter amount of time, even better because depending on what you wanna do with it. So there's a whole film festival world, which is pretty much the best place for your shorts to be seen if you can get them produced. So it's a matter of programming these films. So if you have a film that's 20, 25 minutes, that obviously takes up more time. And most film festivals, they program the short films in a block. So they're literally trying to pack in as many as they can and good ones. And it's all different too because the academy nominated films, they can be up to 40 minutes. But even again,Michael Jamin:When you say program, when they're looking for blocks, what is their intention?Christina Beck:Well, they'reMichael Jamin:Showcasing what I mean, you have to understand that right as well. How does the film festival, how do they make money so that they would want you?Christina Beck:Right. Well that's a whole other thing. So there's different kind of aspects to that. So there's short films that are star driven, meaning you can put a star name in it. Now that always brings money and cache to a festival but not you can make a great short film and not have a star in it, is really what I wanna say. Because a good short film is something that has a very original idea. Again, it's short enough where you want more basically. And it's not making a feature and then picking a scene from the feature and making a short out of it. Sometimes you can create characters or create a separate script. So I made a short film for Fox Searchlight, I got in this new director's program with a feature script and they would not let us just take us a scene from the feature.They were like, no, no, no, you have to make a short on its own, but with the same characters and the same relative premise. So that's kind of how I learned about that trap. But to answer your question the short films that get noticed at festivals or can even get into a festival are ones that are very authentic to whatever the genre is and the writer's vision. What are you talking about? Is it something, And that's also a weird trap too, because as a writer, I don't wanna be thinking about a festival, you know? I mean that's way down the line. But you have to live in both of those realities in a way. Because if this is a calling card as a writer or as a director of Indy films you have, it's good to keep in mind, okay, I'm not gonna write a 45 minute short film and expect it to be programmed. That would set myself up to fail if I could write. WhenMichael Jamin:You say programmed, you mean, what do you mean by programmed? Are they gonna play for that weekend?Christina Beck:Yeah, so in a film festival, they have a program of films they have, whether the festival is a week long or a weekend , depending on what festival it is. But for instance, let's just say Sundance, I believe a week. So there's some pretty intense statistics that I just found out from a friend of mine. So they had the largest amount of submissions of short films this past year than ever over 10,000 short films. And they only program 59 films. So wow. like, oh my God. And Sundance is wonderful and amazing and if you can get in, great, It's not the only festival. There's a gazillion festivals and anyone is a great experience to get in and go to have that festival experience. But to answer your question about programming , are we there? The people that program the festivals are people that watch the films and decide, we have a three short film programs, A, B, and C. This is just making this up, but it's kind of how they do it. We have 30 minutes in each block, so I gotta squeeze. It all depends. Sometimes there's a film that's a little longer, but they really like it, so they're gonna put that in there. And then there's less room for other films.Michael Jamin:. And how much does it cost to submit to a festival? Usually?Christina Beck:It varies. It definitely varies and it varies. Sometimes they have early submissions that are always a little cheaper. Also depending on you can always ask for a waiver. Sometimes they give them to you, sometimes they don't. So it can be anywhere from 20 bucks to 75 to 150 bucks. It definitely can add up.Michael Jamin:When you make a film, how many festivals will you submit to?Christina Beck:Again, that all depends. There's certain festivals that you can target for. Again, there's the big five seven festivals, Sundance and Berlin and Toronto Telluride and then those are kind of the biggies. But then there's everything that tears down from there. So yeah, it can get very expensive and super daunting. And that's a whole other conversation. The film festival world. Huge, big.Michael Jamin:Now let's say you get into a festival into a big prestigious one. What is the goal? Eventually I And what is the goal? You got, you're short, eight minute film is in Sundance. What are you hoping?Christina Beck:Right, right. Well you're hoping for Eyes on the Film and that's a really also interesting question that you asked because back when those festivals, especially Sundance is a very different festival today than it was when it first started as most things are. But those, that would be the eyes, all the, everyone would be there and you would get would just get the cache of this is a Sundance film. It would give you opportunities to meet agents and if you don't have representation it'll help with that. And it's still, those things can still happen, but now you can get eyes on your film, on the internet, you know, can generate that if that's what you really want, if that's your goal. So know we need those things, but we don't as much anymore. It's a very different business today. But initially you wanna get eyes on your film people to see your work, hire you for more stuff.Michael Jamin:And when you say on the internet, you mean YouTube or Vimeo or what's the platform? Both.Christina Beck:Yeah, I think YouTube is, I don't know if Jimmy I don't know how many people, I mean you can certainly send people there, but I think YouTube a little more, right,Michael Jamin:People find right. But what do you tell your kids in your class today? Are you telling to do more on social media? Are you like a TikTok or what else are you telling to get found?Christina Beck:Well don't more talking about the actual craft of the work, whether it's directing or screenwriting. I don't come up with all of that in terms of my work is as a writer director when I made my feature, I was very fortunate to I submitted the script to well I got into that Fox Searchlight program, which no longer exists. But there are other programs, there's lots of diversity programs, different studios have programs for emerging writers. And that one at the time I was one of two women, there were all men. There was like 40 men and two women. And nowadays it's definitely even doubt a lot. But all that to say that helped with, oh she was in that program, so let's take a look at her script. And then I submitted to an organization in New York called the If P, which now is called Gotham, but they do the spirit awards and Filmmaker magazine, which is something that I started reading very early on and I got nominated for best screenplay. So from that I got on their radar. So it's kind of just taking steps to be seen. It's always about people. Knowing what you're doing and what your vision is for this work,Michael Jamin:Do you go to a lot of film festivals even when you're not in them? Do you go just to watch or to meet people or anything?Christina Beck:I do in town. Yeah, in LA I will. I went to right Berlin when I didn't have anything in Berlin sadly. But I was there, I for a meeting with some European producers and then just happened to watch some amazing films. Film festivals are great cuz you meet like-minded people, whether it's people in the industry but also you meet other filmmakers, other writers, other directors, people that are maybe a little above you, maybe you've done a little more than them, but it's a really cool, cause the energy at most festivals I went to Can God, when was it 2006? I was trying to get my feature made and I was very naive. I made a short film version of my feature and I went to Can and I had my DVDs and I had my little pitch idea and I didn't really know that these meetings that they have, cuz there's a film market, some festivals have a film market and that's always really great. Berlin has one there's a film market here at afm. Kind of different energy though for sure, but can, it was like, oh my god, I was so lost. I was just like, what am I doing here? It was amazing and it was horrible and it was like that within each hour I just felt like I was in, was so over my head and yet really cool, wonderful things happened and I met people there that I'm still in touch with today.Michael Jamin:Hey, it's Michael Jam. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist. People ask me this a lot, but do you find from where are that, it's that right meeting writers and actors and directors. Do you feel it's like collaborative or is it competitive?Christina Beck:Well, I think it's collaborative and you can kind of sniff out people that are competitive. I, I've been in quite a few groups of women especially, so back a couple, one when my first short film screened with the American Cinema Tech, not my very first short film, but the first short that I directed. And I met a woman there named Kim Adelman and she's amazing. She's written a book about short films. She's incredible and she supports a lot of female directors. And her and this guy named Andrew Crane created a program at the cinema tech. And so through that we made this thing called the Female Filmmaking Collective. And so we would bring other women directors and this was kind of, well this is like 15, 16 years ago. And then there's been other women's filmmaking groups. The film Fatals, a member of the a w Alliance of Women Directors.So all that to say there's, for the most part, the energy is very much like, yay, how can I help you? And then there's a few people that are anywhere in the world. It is, it's their personalities, the spirit of, I try to stay in the spirit of that there's enough for all of us. Cause otherwise that makes me uptight and I don't wanna be uptight. But definitely, yeah, I think I don't write with other people. I haven't yet. I've tried to in different increments, but it just hasn't quite felt right. But I do collaborating for sure. And especially filmmaking when you're actually getting in production that's like all about collaboration,Michael Jamin:Especially with the good dp, you know, What are you shooting? What do you like to shoot on? Or do you care that much? What kind of camera?Christina Beck:Well, I like things to look like film . I mean, we shot my first short that I wrote Disco Man that was shot on 16. And my dp, I found him at USC Film School and he's a really good friend and we just shot something this last spring. So that was a long time ago. He became chair of the film school that I teach at now. But all that to say, yeah, again, it's the people that you meet here, you meet them there, we're all still here and still love film making. So that said, my DP for Perfection, my feature, his name's Robert Psal and he's amazing. Cause this guy, not only is he super talented, we shot that film for two years on the weekends, two and a half years. So to get someone to literally, okay, we got a little more money, Rob, come over, we gotta shoot this other would. And then a lot of times just he and I would jump on a bus and I'd borrow a camera from a friend. We had prime lenses, which if you put that on digital cameras, it gives a more cinematic look. So we had those for a while. We shot that film literally in four different formats, meaning four different cameras. And I DidMichael Jamin:You find it matched? Okay, Did itChristina Beck:Worked for the film? I don't know. Recently someone asked to see it, this wonderful DP that I was talking to, he lives in France and I felt a little self, cause I'm like, Oh my God, he's gonna see how, And he is like, Oh, it's shot so beautifully. And I'm like, wow, nobody knowsMichael Jamin:All this.Christina Beck:Yeah,Michael Jamin:Why you don't have to worry about that stuff. Well, and what aboutChristina Beck:It's gotta be in focus, let's put it that way, . Yeah. And sound is a big deal too,Michael Jamin:For sure. Absolutely. That's huge. It's hugely important if you can't hear it. Right. But what about how concerned are you when you shoot the stuff crossing the line or the cameras? Are you relying your DP for that, making sure that you know, don't have these jump cuts because the character's looking the wrong way? AndChristina Beck:IsMichael Jamin:That your concern or you let the DP handle that?Christina Beck:Well, because so far I've been mostly acting in the stuff that I've shot. I definitely rely on my DP as well as my script supervisor. . I mean, I can tell myself when we're setting up a shot and then sometimes you can cross that line and it's okay, it's not gonna be an editing nightmare, but you sort of have to gauge it. And I don't make those kind of decisions by myself. And I really do rely so much on my DP and my script D because it's, it's that funny thing for me. What the reason I became a director in film was because I made a short that another different short besides Disco Man that it's called Blow Me. And I didn't direct it. And I did a lot of directorial stuff on that project. And my director at the time was busy with other things.And so we weren't really able to finish the film for a long time. And actually my co-star was an editor as well. So he kind of got the film and he edited and we worked on it together. And what I learned, and this goes back to the film festival thing. So in film director has the say in everything in terms of how final say on music and different stuff. And being a screenwriter and an actor and even a producer, I didn't have the same access to the vision that I had. So I thought, ooh, I need to direct this stuff . SoMichael Jamin:Yeah,Christina Beck:That's how that shifted. HowMichael Jamin:Do you go about, but how do you go about fundraising for all this stuff and what kind of budget do you usually try to get?Christina Beck:Well, it's tricky. That's the hardest part. And I just was at a film festival here in la, it's the American French Film Festival. They have it every year at the dga. And I was listening to a panel of producers and directors and from Europe and the UK and Los Angeles. And the thing is, those foreign countries, they have film funding built into their system, literally the government. And there are different types of ways that those more character driven films. This is what I'm pretty much more interested in what we would call art house films. , especially right now, there's just this huge divide, which is very mm-hmm , much like the whole world that we're in right now. So there's tiny budgets and huge budgets and the middle size budget isn't really around anymore. No support for it. And it's happening in Europe too right now. So I was listening to see, okay, are they going through it too? So that said, yeah, there's different ways. And I would say for first time directors that are making a feature or a short film for the first time, Crowdfunding's great, there's amazing platforms. I did that with a company called Seed and Spark and they were really supportive and helpful. And we haveMichael Jamin:Some, Well what do they do? What do they do that's better than putting it up on what's some crowdfunding site?Christina Beck:Well they are a crowdfunding site, butMichael Jamin:Why not just use your own, I don't know what's the difference between, well go fund me or whatever.Christina Beck:Well I don't, yeah, get, well go Fund Me I thought was more for donations. Yeah, so there's fiscal sponsorship, which is something you'd need so that people that are donating to your project get an actual tax write off that's properly done. So you wanna do that but they help curate and they have a platform. I mean, look, you've written the thing, you're doing all this work. Are you gonna set up a website so people can give you money? So, and maybe you're really good at that. Places. Well indeed, Gogo and Kickstarter, and I mentioned Student Spark because they're someone that I did it with, but all those places haven't already. It's like, why reinvent the wheel? They've done all that work. So literally you can just send people there. They take a small percentage of whatever you get and different platforms have different things. I don't know. I know there's one that if you don't make your gold then you don't get any of the money. So I didn't do that one , butBut going back to someone who's starting out and wants to make something a short or a feature and hasn't already exhausted their family and friends, there's nothing wrong with doing that. Also there's grants and And those aren't easy to come by, but they're there. And depending on, there's different places. There's like in San Francisco, there's the San Francisco Film Society has very specific grants for people that shoot in the Bay Area. And a lot of films have gotten made through that grant. They give a significant amount of money. So there are ways, and it's not easy. I mean really, ideally a private investor is great and there's gonna be a loss. So now most of the indie films, and these aren't Es, and I'm not an expert, I'm just speaking from my own experience. But an indie film may not get a theatrical release. I did not with my feature. What I did get is I got the theatrical experience in film festivals and I was lucky to be programmed in Los Angeles through the American Cinema Tech. And I got to see my film at the Egyptian Theater, which was heaven. And I was there for that. You were there. So, and now it's available to stream. So most projects go to streaming and huge projects go to streaming now. So it's just in this very differentMichael Jamin:World. Is it, where is your playing, where is the streaming now?Christina Beck:On Tubby? Tubby . AndMichael Jamin:This is per perfectionist. Which one isChristina Beck:Yes. Perfection.Michael Jamin:Which, yeah,Christina Beck:Yeah. Okay. And all that's on my website. Christina Beck do com.Michael Jamin:Christina beck.com. Interesting. Wow, that's interest. ButChristina Beck:This is, and my shorts are on there too.Michael Jamin:All your short. Is there a down, getting to a big festival, that's gotta be a game changer. But can a little festival help you?Christina Beck:Well, yes, because again, you see your film on a big screen, you see your film with an audience, you meet other filmmakers and yeah, as you know, Mr. Jamin, everything in this business is preparation and luck. So you're honing your craft , you're doing what you love. There's no slam dunk guarantee. Even with the bigger festivals. I know people that have gotten into huge festivals and got big representation and then a year later nothing. So it's like nothing. Yeah. Yeah. I guess I always say to my students, pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories.But to say something visually is powerful. I think it can change minds and hearts. So I come to it with that. And it is frustrating. I have a feature that I wrote last year that I have not made yet. We shot a few scenes in the spring with some of my students and my first dp, me, Kyle to kind of see where it lands and figure out do we wanna do a crowdfunding thing? Do we wanna try to get in Grant? Like what? And I don't know honestly, I don't know if I have the bandwidth to go through that hustle for getting financing right now. Right now. BecauseMichael Jamin:If not that, Oh well I was gonna say, if not that, then what? You know.Christina Beck:Well, right. Well, I mean look, ideally if we were all Henry Ja or somebody who has a trust fund, independent filmmaking is for people that have a trust fund basically.Michael Jamin:Or can fund, right? Or you,Christina Beck:Yeah, I'm teasing, right? Yeah.Michael Jamin:, how many, when you shoot, how many people on set, How many crew members do you wanna have? What's your skeleton crew?Christina Beck:My skeleton is probably 12 peopleMichael Jamin:That I'm surprised it's that big. So who,Christina Beck:WellMichael Jamin:Let's walk. You mean you've gotta skip supervisor DPChristina Beck:Happens fist. Yeah. Okay. Scripty, dp, ac sound mixer, boom. Makeup, hair. That could be one person blah. Who am I forgetting? Producer. Of courseMichael Jamin:You're gonna want someone with the lights.Christina Beck:Well, right. Lights, gaffer, grip. Then we have,Michael Jamin:How many cameras are you rolling at once?Christina Beck:Oh, one . Yeah, one. Okay. Yeah. Okay. Yeah. This isn't like tv, but I did actually, I made a short film with three cameras. Once I did that one I did for search site. Yeah, that's true. But that was a, people were like, Why did you do that?Michael Jamin:But that's still not even year 12. That might be, I don't know. I lost count.Christina Beck:Well, I'm missing people. I'm on the spot here. I'm trying to think. I'm totally missing people. I mean, there's craft service,Michael Jamin:Right?Christina Beck:Oh my God. Probably like the most You got people person, Yeah. Anyways, yeah. 10 to 12. It just adds a pa. You need a pa you need, yeah. Yes. But yes, you can do it with five people. I've done it with three. I mean,Michael Jamin:Are you pulling any permits or are you sort of shootingChristina Beck:That? I do permits when I am renting equipment. And I have, I've also completely gorilla so many things.Michael Jamin:Wait, if you have, why do you have to have a permit if you rent co equipment they requireChristina Beck:Because yeah, you have to have insurance and there's film LA and yeah, there's a whole thing that needsMichael Jamin:To happen. Yeah. People get paid off. Yeah.Christina Beck:. Well, it's kinda a, Yeah,Michael Jamin:It's hard and happens. Yeah, it's hard. It's a hustle. But you do it cuz you love doing it, right?Christina Beck:Yes. Yes. That is true. Right? That is true.Michael Jamin:And how many scripts do you have that are just sitting around that? Are you, I guess I won't even try with that one or,Christina Beck:Yeah, I know that breaks my heart cuz I was at a ratio of, at one point having everything produced. I was like, I don't remember everything's been produced. But now I've written more scripts. I like, Yeah, I have probably, but not a ton. I have a couple features and I've written a few series, so yeah, Not yet. Not yet. ButMichael Jamin:What about just something you could do and now we'll wrap it up cause I don't wanna keep for chill up. But what about doing something where you could just shoot it in your apartment? Write it specifically for your apartment?Christina Beck:Yeah, well I would still need to get permission from my landlord. I'd still need to get equipment. Cause you can't shoot without permission if you wanna have insurance and you have to have insurance. Now look, my , my feature perfection in my old apartment, I actually did have permission from my landlord, but we shot so much of it just really running gun. And that can be done. That can have, But you still, And also I wanna pay people. I'm at a place where I can't ask people to work for free. Now if it's your first project and stuff, I encourage everybody to ask people to work for free if you treat them well. And if they're newbies too and it's a shared experience of discovery and stuff and they feel connected to the work and you feed 'em well, you gotta feed well. You gotta giveMichael Jamin:'em some very, But it seems like you have the perfect person for that because you have a bunch of students who wanna just get their names on stuff.Christina Beck:That's true. That's true. Yeah. Well, and I would probably and probably will end up shooting this feature with, And look, my students are amazing. They are so talented and professional when I get on their set. So this year I've had two students cast me in their short films. So I got to show up really as an actor on these. That's fun. Well, it's great because I was talking to the other film professors, because we work with them on the scripts and we sign off the scripts and then they go off and shoot. So these, they're kind, they're on their own, they're chaperoned and then they come back and bring, and we work on the edit and stuff, but we don't know what really goes on in those sets. So I was saying to this other professor the other day, I'm like, Yeah, I was there. I gotta be there and see what, And the truth is these students are wildly professional and I wouldn't really honestly wanna work with anyone else. But then they are so good. SoMichael Jamin:Someone called me up a student, I don't wanna say where they needed a 50 year old man. Now I don't play 50. We all know that. I play mid thirties ofChristina Beck:Course.Michael Jamin:But I was like, right, I didn't really wanna do it. I was like, all right. And then he goes couple weeks later he's like he's like, Yeah, well we're gonna need you to read . I wasChristina Beck:Like,Michael Jamin:I'm off only . Oh my God. I didn't want it that bad. But I think that was part of the experience that they wanted to have was they wanted actors. I'm not reading dude Christina Beck:Great. Well they're trying out their stuff I guess. Who knows? In terms of, Yeah, but wrong guy. They got the wrong guy with you.Michael Jamin: offer only.Christina Beck:That's right. That's right. Mr. Jam .Michael Jamin:How funny. Yeah. So, alright. This is so fascinating cuz this is a world I know nothing about this whole people cause people ask me all the time I got India. I don't know, Ask Christina. So where do people follow Christina back on? How do they learn more about what you're doing?Christina Beck:Well, like I said, my website and then myMichael Jamin:Give it to you again so that,Christina Beck:Okay. It's christina beck.com. There you go. And yeah, and then I'm on Instagram X Beck. AndMichael Jamin:What do you mean wait, X dyna? How do you spell that?Christina Beck:X I don't remember that. T I n a.Michael Jamin:Oh it. So it's X.Christina Beck:Yeah.Michael Jamin:I dunno why you said Ina. We'll work on this later. Christina Beck:Put a little thing up there. We don't have to talk about it. Yeah, yeah. And I just wanna say lastly, I am so not an expert on this. Please. I've been just finding my way as I go. But you know, I've watched other writers, The path is just, it's just not a straight line. And I think to stay connected to purpose and okay, I feel like I gotta tell certain stories. And when I talk to my students about this, okay, why do you have to tell this story? And we ask ourselves those questions and why now and all those things. Which in as far as indie film goes, I feel like we're in a little bit of a dip right now where the character driven independent films, at least in America, are not being celebrated as they once were. . And I believe that that'll shift.And I talk, I've talked to many people about this and we've gone through so many different, you know, can look back in the 1970s where Paramount was like studios were making beautiful character driven films. And I don't know if we'll ever go back to that, but I do think like you said, you can have a tiny crew and you could make something. I could make something in my living room. Absolutely. And one of my favorite filmmakers is a woman named Barbara Loden. She sadly passed away a long time ago. She was an actress. She actually was married to Ilie Kaza and she made a film called Wanda. And it's an amazing film and you can find it online. It's on the Criterion Channel and different places like that. But she had a tiny crew. She had maybe six people. And , sometimes people besides the attacks right off, they wanna contribute. They wanna be a part of it. They wanna be a part of this passion storytelling.Michael Jamin:Sometimes they also wanna give you their notes. Right?Christina Beck:WellMichael Jamin:Sometimes that money goes and comes with strengthsChristina Beck:Or here's the other thing. Yeah. Find an actor who really wants a great part that has some dough that wants to coce or something. And you guys can collaborate on that and you can write something that's really great for them that they would never get cast in. There's a lotMichael Jamin:Of you recommended. That's a great idea. That's a great idea. You recommended to me to watch Thunder Road. Remember that? Oh yeah,Christina Beck:I watch that. The short.Michael Jamin:And I loved it That and I loved, and I didn't realize I didn't, it was actually, I watched the scene from it, but it was actually, I guess a feature or whatever, but the scene stood on its own. I go, this is a beautiful it short. But it was a beautiful scene.Christina Beck:Oh, so you watched from the feature or did you watch the short film?Michael Jamin:Yeah. Yeah. Cuz I think you gave me the link to Vimeo or something. OhChristina Beck:Okay.Michael Jamin:I just watched that one church scene where he wasChristina Beck:Like, Yeah, yeah.Michael Jamin:So over,Christina Beck:Yes. That guy is amazing. He's the real deal. He's a guy to follow. Cause he's Joe Independent film. He, Jim is his name actually . And he makes stuff and he works as an actor. He'll do commercials, whatever. And then he'll take that money and that's what caves did. Caves made whatever he was working in television stuff he wasn't crazy about. And then he would take that money and then he would just make the films he wanted to make. So maybe it hasn't changed at all. It just goes back to that thing again where if you have this story you gotta tell and it does start with theMichael Jamin:Story. What kinda stories do you feel you have to tell?Christina Beck:Well I feel like I almost keep telling the same story, but I, I'm reallyMichael Jamin:Love different versions ofChristina Beck:It. That's right. That's, as I get older, I get this different perspectives of it. But I do, I love the story of people, characters that have perceived limitations or real ones and they slowly find their way out of that predicament. And yeah, I like happy and things. I like to see the journey of someone of starting off in a place where they don't feel and they get a little better.Michael Jamin:And you said before I cut you off, you was, it all starts, the focus has to be on the script.Christina Beck:It's all about the script. That's the blueprint. That is the blueprint. Especially if you're shooting with no money and no time. And because you don't have the luxury and we never have the luxury. You see it all the time and any budget level. But the truth is, the script really is everything starts there. That's how you get anybody on board. That's how you can refer if a DP who's maybe a great DP and wants to do something small because he loves the story or he loves the subject matter and that script should be tight and ready to shootMichael Jamin:. Right. And because you could shoot something and you get the biggest crew and the biggest budget and it looks like a movie. But if the script sucks, so what? No, it's not anyone's gonna wanna watch it, but it may look like a movie. Yeah,Christina Beck:Yeah, that's right. And then it won't get programmed really in festivals cuz there's so much competition. I just think that thing that we kind of all know, make it a personal story, doesn't have to be autobiographical, but make it something that you really connect to or a topic that really you do have some experience in that you can bring something that maybe we haven't seen yet or we haven't seen from that angle, like you said. Yeah. That's the stuff that's really gold. I love that Thunder Road short. It's such a great example of a guy who just took a very, very simple premise. And the other kind of novelty of that short is he shot it in one take, which is pretty cool. That's not easy to do.Michael Jamin:That's not easy. What I'm saying. He did it and that's a novelty. But as you pointed that out, I forgot. I like the story of it.Christina Beck:Well that's the thing, you should just be looking at it like, oh, where's the cut? No, we wanna be engaged. And that was very engaging and that was a very personal story. I mean, I don't know about his personal story, but I know that I felt that in his work. Yeah,Michael Jamin:Yeah. It's all about that. It's all about being vulnerable and about sharing something that's that only you can do, right?Christina Beck:Yeah. Yeah. I mean hopefully, I mean, I don't know, I think it's two, there's too many topics now that people are dealing with in terms that need to, voices that need to be heard in the world, I believe. And yeah, this is a powerful way to get our voices out,Michael Jamin:But that means writing. So that's what I think cuz everyone's looking for diverse voices and voices that have been underrepresented. So that means writing about, I think your experience, that's what we want from youChristina Beck:Because Well, I think so too.Michael Jamin:Yeah. Now's your shot.Christina Beck:Yeah, I think so too. No one can steal your idea. That's a whole thing too. Sometimes people are like, Oh no, someone's gonna steal this idea. Well there's real, there's not that many ideas really when you think about it, the same story over and over. I'm still telling the story of someone overcoming. I love characters that overcome their limitation or their perceived limitations or their background. I come from alcoholism and all sorts of other things. And that doesn't mean that I'm gonna keep getting it on the nose with those topics, but it informs the way I look at the world growing up in that environment. And today I'm really grateful for that. But when I started writing, I was still very tortured by that. So , but keeping it, that process of keeping it personal and having that point of view with those circumstances makes it only something that I can sayMichael Jamin:I Christina, I think everyone should start taking your class one of either your classes, but the LMU one is a little difficult cause they have to enroll, but the other one Yeah.Christina Beck:Well, yes, is different. Yeah. I mean, I'm also, I do workshops too sometimes, so,Michael Jamin:Oh, you do private workshops?Christina Beck:I do screenwriting workshops.Michael Jamin:And Is that on your website as well?Christina Beck:Yeah, not right now, , but it was, Oh,Michael Jamin:How would that basically work? Yeah.Christina Beck:Well, I've worked, so I've done six weeks workshops where we really start off with, Okay, what's the story you wanna tell that's most personal to you? And so it's literally creating a character or that story from the point of view of the storyteller and the steps to take, whether it would turn into a series or a short film, or a feature or a play.Michael Jamin:And it's six weeks and it meets once a week or something.Christina Beck:Correct.Michael Jamin:That sounds really good. How many people are in that course, or outta time?Christina Beck:Well, it's different times I, It's been usually pretty intimate. Not a ton of people , but now we can do stuff on Zoom, which is great. Right.Michael Jamin:Wow, that sounds pretty cool. Yeah, people should check you. Yeah, you better put that up once this, IChristina Beck:Guess. I guess I'm Do that. Yeah, I guess so. ButMichael Jamin:Tell people where to find that again, so in case that you make that happen, that sounds like a beautiful thing.Christina Beck:Oh, thanks. Yes. Christinabeck.com.Michael Jamin:Christinabeck.com. Christina, thank you so much for joining me. This is a good talk. I thought this wasChristina Beck:Really helpful. Thanks, Mr. JaminMichael Jamin:Now I wanna be an independent filmmaker.Christina Beck:No, you don'tMichael Jamin:. No, you don't.Christina Beck:If you wanna make money. No. There are some that make money. There are some that make money, right? Yes, yes, yes, yes. But yeah, thank you. Thank you so much. It's so fun to talk with you, Mr.Michael Jamin:Yeah. Thank you. Thank you. I'm gonna sign up, right? Everyone, Thank you for listening. And yeah, for make sure you get on my free weekly newsletter michaeljamin.com/watchlist. What else we gotta talk about? We have a course. Yeah, we can check out my course at michaeljamin.com/course. And if we post this in time, I don't know, but I'll be doing two shows in Boston, November 12th and 13th from a paper orchestra. It's my stage reading, and then two shows in December 10th and 11th. And for tickets, go to michaeljamin.com/live. All right. Thank you again, Christina. Wonderful.Christina Beck:My pleasure. Thank you. Thank you. Thanks for asking. Yeah.Michael Jamin:Hey, it's Michael. One more thing. Come see me perform. I'm going to be in Boston area, actually, Amesbury, Massachusetts on November 12th and 13th at the Actor studio, performing my show, a paper orchestra. And then I'm gonna be back in Los Angeles on December 10th and 11th again at the Moving Arts Theater Company. So tickets are on sale. Go get 'em at michaeljamin.com/live. It's a small, intimate venue. I'm gonna be performing for my collection of personal essays, and each one's gonna be followed by like a 20 minute q and a. We get to talk about the work. It's a fun event. So I hope to see you there. Go get them tickets again are at michaeljamin.com/live, and of course, sign up to my weekly newsletter that's called the watchlist at michaeljamin.com/watchlist.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review ,and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhillaHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

We've got film critic Robert Daniels to help us answer the hard-hitting questions about a film about the kind of gutwrenching true story you wish were pure fiction. Questions like: Did you want to see this movie? Then, we take a hotline call that brings in a healthy dose of Black Joy. What's GoodDrea - wedding ridiculousness Robert - awesome Chicago weatherIfy - skincareITIDICAngelina Jolie Will Play Opera Singer Maria Callas in Pablo Larraín's Next FilmWarner Bros.' Cooks Up an NFT ‘experience': The Fellowship in 4KTim Burton Says He's Done with Disney after Dumbo DebacleStaff Picks:Drea - Clemency, Girls TripRobert - Aftersun, The Banshees of InisherinIfy - Watchmen (the show)Robert's TIME article: Witnessing Black Trauma Onscreen in 2022Buy Alonso's book - I'll Be Home for Christmas Movies            With:Ify NwadiweDrea ClarkRobert DanielsProduced by Marissa FlaxbartSr. Producer Laura Swisher

What do a vampire, a pregnant lady, a pious nurse, a film censor, and an urban legend have in common? They're the main characters that appear in the final part of our trilogy of episodes focusing on women horror directors. Get ready for some fresh new blood, as we discuss five movies from the past ten years!I don't know about you, but if I lived in a place called Bad City, I may not be too excited to be out walking alone at night. Of course, if I were a vampire, I would probably be a lot more confident about it. Which just happens to be the case in Ana Lily Amirpour's A Girl Walks Home Alone at Night (2014).Not having the personal experience, I cannot be certain, but it seems like pregnancy might make me want to kill people, just in general. But her unborn child is actually very demanding about Ruth knocking off certain people. I guess that it probably just doesn't feel right telling her no. Which leads to a little Prevenge (2016), from writer, director, star Alice Lowe.Maud seems like a responsible, polite caregiver. As long as you don't mind that she gets a little hung up on saving your soul. And she might have a history of doing things that are somewhat unhinged. Filmmaker Rose Glass introduces us to Saint Maud (2019)Ah, the video nasty era. The perfect setting for a horror movie about a film censor. But Enid cannot seem to let go of a tragic event from her past. It's an obsession that leads her down a path of self-destruction in Prano Bailey-Bond's Censor (2021).Didn't we talk about this guy before? We sure did! But this is a totally different guy. Director Nia DaCosta lets us in on a little secret. That a number of unfortunate souls have been cursed to fill this role. Try your best to stay away from mirrors! And definitely don't say Candyman (2021) five times!

More women! More horror! Directors. And movies. We're right in the middle of a three-part series on horror movies directed by women! This episode features very strong evidence that sometimes dead is better, a young girl who dreams of creepy storybook characters while rabbits run wild in Australia, western expansion and cannibalism in the 19th-century, and a promising medical student driven to pursue an unconventional surgical career. Stephen King should be ashamed of himself. He gave a perfectly respectful graveyard honoring animals such a bad rap. It's a place where the dead speak. But you certainly do not want to go beyond, to the place where the dead walk! Director Mary Lambert takes us there and back again, in the first feature film adaptation of Pet Sematary (1989).Political tension, and rabbit panic are running wild in Australia in 1957. A young girl struggles with forbidden friendships, the death of her grandmother, the threat of her pet rabbit being taken away, and even her own imagination. Childhood proves to be a very challenging experience for Celia (1989), directed by Ann Turner.It's manifest destiny time in the United States. But some of these characters are definitely not who you would hope to encounter if you were heading west in the mid-1800s. Director Antonia Bird serves up a darkly comedic adventure of gruesome cannibalism, with some truly unsettling music setting the tone, in Ravenous (1999)!Ah, Katharine Isabelle is featured in the role of Mary Mason. A promising young medical student, who uses her skill to perform underground body modification surgeries.  But why would she leave medical school for such a pursuit? Well, money. And revenge. The Soska Sisters invite you to spend a little time under the knife, with American Mary (2012).

We take a little journey through horror history, with a three-part series focusing on films directed by women. Let's get things started with a psychopathic hitchhiker, a horny desert vampire, a toxic monster, and a denim-clad driller killer!A pioneer in women's filmmaking, Ida Lupino directs a claustrophobic movie set in the wide open desert, that is in truth more classic film noir than horror. What would you do if the guy you just picked up on the side of the road told you that he was going to kill you? It's just a matter of when. Maybe you should at least consider killing him first, in The Hitch-Hiker (1953).Roger Corman disciple, Stephanie Rothman decides to keep us in the desert a little longer, as she directs a film that really wants to be arty and erotic. A couple is invited to the desert home of a mysterious woman who has designs on getting both of them in the sack. But wow, it's a little challenging to get interested in the sexuality when the acting is somewhat lacking, to say the least. But hey, if you're into that sort of thing, The Velvet Vampire (1971) may just become a cult favorite for you.Less than a year after we discussed Blood Diner (1987), we thought that we had better check out Jackie Kong's first feature film. Pottsville, Idaho. They love potatoes, but they will sweep away smut. So don't even think about opening that massage parlor in their town! Radioactive toxic waste is fine, though. Until some kid goes missing and becomes a mutated toxic monster that rips off heads and delivers one hell of a heart punch, in The Being (1981)And how many people would guess that The Slumber Party Massacre (1982), written by Rita Mae Brown, was also directed by a woman, Amy Holden Jones? With an escaped serial killer on the loose, stalking teenage girls (but he likes the boys, too), it's not difficult to figure out what that enormous power drill he carries around is supposed to represent. This 80s slasher VHS rental favorite might be a lot more fun than you expect.

Cheryl Dunye (1966-present) was the first Black lesbian to direct a feature film. The movie, called The Watermelon Woman, established her as a leading voice in the New Queer Cinema movement of the 1990's.Special thanks to our exclusive Pride Month sponsor, Mercedes-Benz! Mercedes-Benz continues to support and stand with the LGBTQIA+ community. Listen all month long as we celebrate women whose authentic expression in their lives and bodies of work have expanded the norms of gender and sexuality in the performing arts.History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Ale Tejeda, Sara Schleede, and Alex Jhamb Burns. Special thanks to Shira Atkins. Original theme music composed by Miles Moran.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitter