film

On this episode of The MinorityPlus1 Podcast 🎙🎙🎙️The Crew discuss the viral Clip of Rapper Phresher & His fiancé Jenn, in which the two had a disagreement over a 250k wedding 
🤑💸or Straight to City Hall🤷🏽‍♂️‼️
The topic of weddings/marriages gets heated between the Crew‼️🔥🔥You don’t wanna miss this one‼️

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The squad reassembles to review Patreon supporter, Holly P's pick, SCREAM (2022). Just how successful is this requel/legacyquel? Why on Earth wasn't Jenna Ortega the lead? Can Colton divorce himself from 5-year-old STAR WARS discourse long enough to give this movie a fair shake? Probably not! But, tune in and find out if we award this film a NAY, OKAY, YAY, or SLAY!

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*Intro & Outro Music by Dylan Bailey (IG: @thedylanbailey)*

CHAPTERS:

• Theme/Intro (00:00:00)
• What We Been Consuming (00:02:44)
• Trailer (00:25:28)
• Bio/First Experiences (00:25:57)
• Review (00:29:47)
• Rating/What Do You Think? (01:17:50)
• Horrific Hotline (01:29:21)
• Promotions (Horrific Hotline/Social Media/It Slays Podcast's Horrific Playlist) (01:34:59)
• Upcoming Episode/Outro (01:37:43)

In this episode,  Adam Torres and Jackie Hoegger, CEO of Hoegger Communication and Matt Hamilton Director & Editor of The Foundation, explore the film "The Foundation," released by Texas FFA. Watch the full film by visiting https://mytexasffa.org/ and clicking on "Watch The Film."

Follow Adam on Instagram at https://www.instagram.com/askadamtorres/ for up to date information on book releases and tour schedule.

Apply to be interviewed by Adam on our podcast:
https://missionmatters.lpages.co/podcastguest/

Visit our website:
https://missionmatters.com/

More FREE content from Mission Matters here: https://linktr.ee/missionmattersmedia

This week Chloe Adlerstein shares her acting journey from growing up in a small town, moving to LA, surviving a life threatening injury, being on THE BACHELOR UK and  working on the feature film GHOSTED.  Chloe share some inspiring advice on the realities of being an actor and much more...

Suad Bushnaq has long struggled to answer the question “where’s home?” in simple terms.  The Jordanian-Canadian composer and polymath with Bosnian, Syrian, and Palestinian roots grew up in Amman, studied in Damascus and Montreal, spent time teaching in North Carolina, and now makes her home in Toronto.  Her work reflects her experiences and travels, as she explores Western and Middle Eastern musical traditions, and some of the places she’s lived both in times of war and peace.  She now splits her time between concert music commissions and her work as a film composer.  We discuss that dichotomy, how she balances being an artist and a craftsperson, her perspectives on studying in Syria and Canada, traditions of Middle Eastern music, and what changed for her during the Pandemic.  The Hollywood Music in Media award winner who Hans Zimmer himself has referred to as “an incredible artist” also talks about some of her biggest challenges, including the score for a demanding film that she worked on for almost 4 years.  The project concluded with a set of international recording sessions that saw strings captured in Damascus between bombings, while others tracked at Air Edel in London, North Carolina, and Toronto.  A mentor once told her never to second guess her gut instinct, and now Suad is making a home in music that is truly her own.

www.suadbushnaq.com

A Special Halloween edition and as Promised I’m bringing you the legendary Faces Of Death.
What a wild wide this movie is from beginning to end, but there’s a twist!

Instagram: https://www.instagram.com/slash_vision_tv/

Faces Of Death Special Features :
https://youtu.be/tJfZfberH-E

https://youtu.be/BcDuBPzkqog

** I DO NOT OWN ANY MUSIC FEATURED IN THIS EPISODE NOR AM I MONETIZING**

Instagram: https://www.instagram.com/slash_vision_/?hl=en
Email: Slashvisionpodcast@yahoo.com

Brian and Caleb Chan bring a high level of emotional intelligence to everything they do, and believe that a focus on that growth is critical to success in both life and creative business.  When you understand that their attention to the inner world carries over into the work they do as musicians and storytellers, you realize it’s no accident that they’ve been so successful.  They also seem to avoid being pigeonholed, and their work spans from the horror of Sam Raimi’s 50 States of Fright, to the preschool fare of Hatchimals, to TV romances like A Homecoming for the Holidays.  The brothers have diverged and come together a few times over the years, collaborating all the while as they each followed unique but parallel musical paths.  While Caleb studied composition at the University of Toronto, Brian earned a Masters in Sound Recording at McGill.  Now, their complementary strengths blend beautifully, and by all accounts, they’re just getting started.  We chat about their early days in Hong Kong and Canada, how they work as a team, the joys and challenges of their diverse slate, and how a recent flurry of work has made them much more intentional about their approach, with an eye toward balance and sustainability.

https://www.chansounds.com

Janal Bechthold’s musical journey started not on the piano playing Mozart, but rather on the organ playing 50’s swing and Tangos.  Again sidestepping more well-worn paths, she studied music therapy at Laurier and spent years alternately in that profession, and as a church organist.  These activities were, however, both informed by and are now critical to her work as a musical storyteller - work which has now been recognized with an incredible 3 CSA nominations in 2021.  In our conversation, Janal describes her interesting musical upbringing, her work helping people heal using music, how she utilizes her diverse experiences in what she does as a screen composer, the issues and stories that link many of her projects together, the important work she spearheaded to push forward the conversation about women screen composers, and the holistic approach she’s taking to evaluate where she wants her journey will take her next.  Now, it looks like her relationship with the organ has come full circle, as she contemplates stripping the instrument down to re-contextualize it’s sound and her approach to making music.

Donald Quan sees his whole life, including his career and businesses, as an improvisation.  As a composer, he is known for his work on shows such as Relic Hunter, Mutant X, and APTN’s Moccasin Flats.  As a musician and recording artist, he has toured with Loreena McKennitt and Lighthouse, and recorded his own music at Peter Gabriel’s iconic Real World Studios.  His incredible studio, Q Music, once housed over 400 indigenous instruments from 6 continents, and he has collaborated with groups such as The Toronto Tabla Ensemble, Samba Squad, M-DO Kathak Toronto Dance, and First Nations choreographer Santee Smith.

In 2007, I was lucky enough to spend time as Donald’s apprentice, and throughout this conversation I recount memories of that challenging and formative time, and get to thank him for being a big part of my development as a composer and creative person.

We talk about his growing up in Toronto as the only Chinese-Canadian kid in his school, his early start in music and how he ended up at the nascent film scoring program at Berklee.  There, he learned the traditional techniques of pen and paper scoring, as well as old school analog methods of syncing music to picture.  It was, however, his interest in the emerging use of computers in music that would help him stand out and get him his first breaks in the industry.  During a performance in 2009, Donald suffered a near-fatal stroke and was without vital signs for nearly 20 minutes.  He miraculously survived, but would spend weeks in a coma, after which a long journey toward recovery began.  Now, over 10 years later, I help Donald restore some of his memory as I share stories of our time together.

Every time I chat with Peter Chapman (AKA Coins), I hear another amazing story, well told.  The pivotal moments in his life also connect in a narrative full of serendipitous events that have opened windows to let his talent shine through.  This multiple-Canadian Screen Award nominee started his diverse career producing hip-hop and electronic music, and got his breakout gig via the instructor of one of his electives, 8 years after attending the Ontario College of Art and Design.  That show was Durham County, and many more would follow: the sci-fi cult favorite Wynonna Earp (co-scored with Rob Carli), Bomb Girls, HGTV’s Leave It To Bryan, CBC’s hit, Workin’ Moms, and many more.  He’s also been a first call for developers, scoring games such as Guacamele 1 & 2, Little Big Planet Karting, and Soundshapes, among others.  We talk about how he left cassettes of his music in public bathrooms, the crash-course learning of first gigs, his airport-layover-created Beastie Boys remix that went hyper-viral and ended up being lauded by Maxim, Esquire, People, and Billboard magazine, how he bridged the gap between being an electronic producer to writing for orchestra, and why he thinks one of the keys to success is being able to take a good punch.

Steph Copeland cut her teeth in the Windsor/Detroit underground electronic and hip-hop scene, but her scoring career quickly developed alongside her successes as a songwriter and performer.  
With her dark, electronic sensibilities and production chops, she soon became known for her gritty work on indie genre films like Antisocial 1 and 2, Bite, I’ll Take Your Dead, and more recently the 80’s inspired, synth drenched Vicious Fun.  She has since had a chance to show a more light, playful side, scoring romantic comedies like Snowbound for Christmas and dramatic series like The Wedding Planners. 
We look at how she balances her love of scoring with writing and producing songs, the joy of genre films, how she deals with difficult situations, having a cinematographer as a partner, and her take on success and how she looks at her future.

https://www.stephcopeland.com/ 

[Episode contains some colorful language]

Classically trained as a vocalist, Red got her start in cabaret and musical theater before she was bitten by the film scoring bug - a craft she says “combines all of the things”.  She and her musical partner Maya Saxell won a Leo award for their work on Charlotte’s Song, a first in the category for female composers.  She also received a Leo nod for her music for White Raven, which she scored using only the human voice.  We talk about the challenges of the music business and her time as a singer-songwriter.  She discusses the film she could score for the rest of her life, innovating her process, and what the pressures of the pandemic have revealed for her, musicians, and the community.

Twitter: @redheartbreaker
Insta: @theycallmered
www.redheartbreaker.com

On This episode the guys talk about their thoughts on Godzilla VS Kong, we also drive a little deeper with a somewhat trendy shoe, and how we like our steaks cooked. In a nutshell this episode might be a hot mess, some might say glorious trash.

The boys IG handles

Rob's- @robbiuribe
Chris's- @chris951nunez
Zack's- @filmjunkie2378

Our socials
YouTube: TheRant Podcast
IG: @therant_pod

Today, we talk with the person in charge of making television and movie scenes look so real! Suzuki Ingerslev is an art director and production designer who creates TV and movie sets that are praised for being super realistic. She graduated with an architecture degree and practiced for 6 years until she realized that the job was not as glamorous as she imagined. She was presented with the opportunity to start as a draftsperson in the soap opera - Days of Our Lives, where she began using her architectural skills in the entertainment industry. Suzuki's experience and attention to detail positioned her as one of the best in the business. Her best-known design credits include Six Feet Under, Here and Now, and True Blood. Her list of accomplishments includes 3 ADG nominations and 13 Emmy nominations. 

Highlights 

• Suzuki talks about the importance of her architectural skills when she started in the film industry.
• States differences between working on television and movies; budgets, times, etc.
• She emphasizes that she does not prefer any genre. She cares about being in tune with her team and having great communication.
• Suzuki explains how she thinks and creates the sets.
• She says dealing with personalities and egos is the hardest part of her job.
• Talks about True Blood's set design and how she achieved such incredible scenarios.

To learn more about Suzuki, you can visit her website.

Interested in knowing more about the show? Follow me on Instagram.

"I’m an optimist by nature, and I really believe in the Guild and our community.  We’re facing a lot of challenges, but we’ve got a lot of creative, motivated people working really hard to move us in the right direction."

John Welsman comes from a family that is not only musical, but is practically a Toronto institution.  His roots go back to the first iteration of the Toronto Symphony Orchestra, founded by his grandfather, Frank.  Though John went on to study composition in university, he found the environment stifling, and instead followed his love of roots and folk music down a different path.  He played keys and guitar in various groups, also providing string arrangements for recordings; a skill he lent to other acts including Sarah McLaughlan and Loreena McKennitt.  But it is undoubtedly his work on Road to Avonlea that John is best known for - a show so popular and successful that it is used as a case study in US film schools, and still sees fan conventions held all around the world.  In this candid interview, John and I chat about how he came to land his first TV scoring gig, his experiences on Avonlea, and his recent work on a beautiful series of documentaries about the Group of Seven.  John is also the current president of The Screen Composers Guild of Canada, and we discuss what it means to hold that position, the challenges facing screen composers today, and the hard work that the Guild is doing to protect our rights and value in the digital age.

www.welsmanmusic.com

"Hearing Morricone’s score for The Mission was a spiritual moment.  That’s why I got into this: if I could ever make something that moved someone else in the same way, that would be a gift."

After studying Business Administration and Recording Engineering, Gary Koftinoff spent 10 years in post-production at the Toronto facilities of Film House, which would later become Deluxe.  There, he got a crash course in the art and craft of filmmaking, storytelling, and client relations, and got to peek behind the curtain while working with some of the biggest names in the business.  It was also the perfect place to meet editors, producers, and other people who would later become instrumental in helping get him his start as a film & television composer.  We chat about the powerful moment that turned him onto his path, unusual ways to find themes and get gigs, and how he approaches his work on hit shows like Saving Hope, Life With Derek, and Hudson & Rex, which he co-scores with Phil Bennett.

www.koftinoff.com

Erica Procunier is a rising star in the screen composing scene.  After deciding early on that composing for picture was her passion, she completed a Masters in Music Composition from the University of Western.  While building her credits, she was accepted into prestigious programs like the Canadian Film Center’s Slaight Family Music Lab and the highly competitive Berlinale Talents which is held in Berlin each year.  She now splits her time composing for independent films including And Now A Word From Our Sponsor (starring Bruce Greenwood), television shows such as Apple TV+’s Emmy winning Ghostwriter, CBC’s Detention Adventure, and teaching film scoring at Humber College.  We chat about the intense sink-or-swim adventure that was her first apprenticeship, how she pushes her ideas to their full potential without worrying about getting turned down, and her thoughts on one of the big threats to screen composing and human culture in general: artificial intelligence.

www.ericaprocunier.com