Tamako Akiyama (Rikkyo University) and Markus Nornes (University of Michigan) speak about the history and state of current independent film in China. 

 

We Talk About:
Navigating government censorship oversees
Foreign distribution practices and circulation
A new film festival in Inner Mongolia
The Bejiing International Film Festival shutdown
Comparing independent filmmaking in China to the U.S.

 

Quotes from the Show:

"This one festival got shutdown. They just cut off the electricity, so they couldn't show films. The next festival, the designer of the poster was actually Wong Wo, the guy who directed the film (A Filmless Festival) on the 2014 festival, and his poster was the picture of an electric generator. They bought a bunch of these things just in case... the thing is, that year, they also got shut down."

"Writing about, discussing and programming the work of those filmmakers who are dealing with sensitive subjects, I think it's important."

Tamako Akiyama (Rikkyo University) and Markus Nornes (University of Michigan) speak about the history and state of current independent film in China.&nbsp;
&nbsp;
We Talk About:
<ul>
<li>Navigating government censorship oversees</li>
<li>Foreign distribution practices and circulation</li>
<li>A new film festival in Inner Mongolia</li>
<li>The Bejiing International Film Festival shutdown</li>
<li>Comparing&nbsp;independent filmmaking in China to the U.S.</li>
</ul>
&nbsp;
Quotes from the Show:
"This one festival got shutdown. They just cut off the electricity, so they couldn't show films. The next festival, the designer of the poster was actually Wong Wo, the guy who directed the film (A Filmless Festival) on the 2014 festival, and his poster was the picture of an electric generator. They bought a bunch of these things just in case... the thing is, that year, they also got shut down."
"Writing about, discussing and programming the work of those filmmakers who are dealing with sensitive subjects, I think it's important."

Outstanding screenwriters, TV writers-showrunners, directors, producers, actors, executives agents managers and other cultivators of truth and beauty discuss their creative process with Tom Benedek.

Film and TV creatives on their work methods, sources of inspiration.

TheProcess.Ink

Tamako Akiyama (professor of Chinese cinema, Rikkyo University) and Markus Nornes (professor of Asian cinema, University of Michigan) speak about the history and state of current independent film in China.

#18 - Tamako Akiyama & Markus Nornes (professors of Chinese cinema)

Peter Horton (Thirtysomething, Grey's Anatomy) talks about his journey from musician to actor to a director and writer/producer of film and television.

We Talk About
Finally agreeing to act in "Thirtysomething"
Writing and producing "American Odyssey" for Netflix
Directing the pilot for "Grey's Anatomy" and producing the first three seasons
The best kind of actors out there
A new project for Cinemax set in the future

Quotes from the Show

“(As a director,) you can never ask for an effect because you’re just sabotaging your actor. You have to be able to say, “It feels like the stakes aren’t as high as they need to be here. Can you find a way to make the stakes higher?” So, then you’re giving it back to them, and they can give you what you need.”

“I find the best actors have a real ego about what they’re doing. The they have a real take on it, too. They come in having really done their homework, having really embodied this character, so that they know them better than I do... they go deep with their work.”

“There are so many great shows out there that don’t necessarily immediately suggest story. I think with the advent of serialized shows, it’s a little harder to identify that as something that obviously has legs. You can always make anything have legs if you’re a good enough writer these days.”

Peter Horton (Thirtysomething, Grey's Anatomy) talks about his journey from musician to actor to a director and writer/producer of film and television.
We Talk About
<ul>
<li>Finally agreeing to act in "Thirtysomething"</li>
<li>Writing and producing "American Odyssey" for Netflix</li>
<li>Directing the pilot for "Grey's Anatomy" and producing the first three seasons</li>
<li>The best kind of actors out there</li>
<li>A&nbsp;new project for Cinemax set in the future</li>
</ul>
Quotes from the Show
&ldquo;(As a director,) you can never ask for an effect because you&rsquo;re just sabotaging your actor. You have to be able to say, &ldquo;It feels like the stakes aren&rsquo;t as high as they need to be here. Can you find a way to make the stakes higher?&rdquo; So, then you&rsquo;re giving it back to them, and they can give you what you need.&rdquo;
&ldquo;I find the best actors have a real ego about what they&rsquo;re doing. The they have a real take on it, too. They come in having really done their homework, having really embodied this character, so that they know them better than I do... they go deep with their work.&rdquo;
&ldquo;There are so many great shows out there that don&rsquo;t necessarily immediately suggest story. I think with the advent of serialized shows, it&rsquo;s a little harder to identify that as something that obviously has legs. You can always make anything have legs if you&rsquo;re a good enough writer these days.&rdquo;

Peter Horton (Thirtysomething, Grey's Anatomy) talks about his journey from musician to actor to a director and writer/producer of film and television

#17 - Peter Horton (actor/director/producer) in Santa Monica

Jim Burnstein (Love and Honor, D3: The Mighty Ducks, Renaissance Man ) discusses his screenwriting career and shaping the next generation of young writers at UofM

 

We Talk About:
Working in Hollywood while living in Michigan
The journey to the first feature film production
Teaching Shakespeare to soldiers and Renaissance Man
The importance of re-writing your screenplay
The value of talent versus the value of discipline
Taking notes on your writing and giving notes to others
Collaborating with a writing partner

 

Quotes from the Show:

"The best thing about being a writer is you can write on the moon. You don't have to wait for somebody to give you a job. It only takes one great script to get you in the game."

"I do not believe that you can teach talent any more than you can teach speed. A good track coach can make you faster, but he can't make you fast."

"I look at the first draft like a dream. You don't know what it means. You don't know why you wrote it. That's what the process of discovery is. Why did you tell this story? What is it about it that you emotionally connected to?"

"If you're playing defense as a writer, you're going to lose."

"Teaching is the job that keeps me sane. Writing is a little bit of a lonely job. It's you and your imagination, and that's great, but you want to be with people. You are more fundamentally sound when you're teaching others because it makes you more aware of what you need to do."

"Human beings, if nothing else, are natural storytellers and consumers."

Jim Burnstein&nbsp;(Love and Honor, D3: The Mighty Ducks, Renaissance Man&nbsp;)&nbsp;discusses his screenwriting career&nbsp;and shaping&nbsp;the next generation of young writers at UofM
&nbsp;
We Talk About:
<ul class="ul1">
<li class="li1">Working in Hollywood while living in Michigan</li>
<li class="li1">The&nbsp;journey to the first feature film production</li>
<li class="li1">Teaching Shakespeare to soldiers and&nbsp;Renaissance Man</li>
<li class="li1">The importance of re-writing your screenplay</li>
<li class="li1">The value of talent versus the value of discipline</li>
<li class="li1">Taking notes on your writing and giving notes to others</li>
<li class="li1">Collaborating&nbsp;with a writing partner</li>
</ul>
&nbsp;
Quotes from the Show:
"The best thing about being a writer is you can write on the moon. You don't have to wait for somebody to give you a job. It only takes one great script to get you in the game."
"I do not believe that you can teach talent any more than you can teach speed. A good track coach can make you faster, but he can't make you fast."
"I look at the first draft like a dream. You don't know what it means. You don't know why you wrote it. That's what the process of discovery is. Why did you tell this story? What is it about it that you emotionally connected to?"
"If you're playing defense as a writer, you're going to lose."
"Teaching is the job that keeps me sane. Writing is a little bit of a lonely job. It's you and your imagination, and that's great, but you want to be with people. You are more fundamentally sound when you're teaching others because it makes you more aware of what you need to do."
"Human beings,&nbsp;if nothing else, are natural storytellers and consumers."

Jim Burnstein (Love and Honor, D3: The Mighty Ducks, Renaissance Man ) discusses his screenwriting career and shaping the next generation of young writers at UofM

#15 - Jim Burnstein (screenwriter) at University of Michigan

Ben Jacobson (United Talent Agency) discusses representing drama and comedy television writers, directors and producers and the nature of today's industry  

 

We Talk About:
Staffing season and the selling cycle
Developing and branding for a network vs. cable
Different kinds of working writers today
Breaking in with a new voice
What a pitch meeting is really like
Current trends in comedy and drama
Navigating and structuring deals
Curating digital content and its future

 

Quotes from the Show:

"It really comes from an idea, a book or a format or an original idea, and it's about where can it live in the purest form for that idea instead of trying to jam everything into one box or the other."

"Young people grow up and they want to create something... those creative juices are now naturally gravitating towards television."

"Word of mouth has become so much more important and the ability for people to watch all the episodes of a show in one day, and say, 'I watched this thing. It was great,' and if enough people say that in your Facebook newsfeed, you think to yourself, 'Okay maybe there's something to it.'"

 

Ben Jacobson&nbsp;(United Talent Agency) discusses&nbsp;representing drama and comedy television writers, directors and producers and the&nbsp;nature of today's industry &nbsp;
&nbsp;
We Talk About:
<ul class="ul1">
<li class="li1">Staffing season and the selling cycle</li>
<li class="li1">Developing and branding for a network vs. cable</li>
<li class="li1">Different kinds of working writers today</li>
<li class="li1">Breaking in with a new&nbsp;voice</li>
<li class="li1">What a pitch meeting is really like</li>
<li class="li1">Current trends in comedy and drama</li>
<li class="li1">Navigating and structuring deals</li>
<li class="li1">Curating digital content and its future</li>
</ul>
&nbsp;
Quotes from the Show:
"It&nbsp;really comes from an idea, a book or a format or an original idea, and it's about where can it live in the purest form for that&nbsp;idea instead of trying to jam everything into one box or the other."
"Young people grow up and they want to create something... those creative juices are&nbsp;now naturally gravitating towards television."
"Word of mouth has&nbsp;become so much more important and the ability for people to watch all the episodes of a show in one day, and say, 'I watched this thing. It was great,' and if enough people say that in your Facebook newsfeed, you think to yourself, 'Okay maybe there's something to it.'"
&nbsp;

Ben Jacobson (United Talent Agency) discusses representing drama and comedy television writers, directors and producers and the nature of today's industry

#18 - Tamako Akiyama & Markus Nornes (professors of Chinese cinema)

In 1 playlist(s)

TheProcess.Ink

Social links

Follow podcast

Recent clips