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MF GALAXY

MF GALAXY is a weekly podcast powered by four mighty engines: * Writers on writing: the craft and the business * Pop culture including TV, movies, graphic novels, and more * Progressive politics, activism, and social enterprise * Africentric change-makers, histories, cultures, art, and more! Mixing brand-new interviews with classic conversations (from my archive of 23 years in broadcasting) with famous and dynamic figures in the arts, Hollywood, and politics, MF GALAXY will take you to places you've never been before, and deliver fresh insights on the places you've been.
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Now displaying: November, 2018
Nov 20, 2018

I first met Tate Young back around 2004 when we were both giving readings at a local indie book store. We both had pseudonyms, we both had shaved heads, and we both produced often shocking writing, so we hit it off immediately.

Three years after that he was helming a literary game show called The 3-Day Novel Contest for which he invited me to be one the “celebrity” judges. The show was amazing. We even did a second season before he went to become a movie director and editor best known for the indie science fiction and fantasy features Haphead, Ghosts with Shit Jobs, and the recent short film Timebox, which he also wrote. And he did all this without going to film school.

I wanted to ask Young to explain how to make great indie films while treating cast and crew with respect, so he spoke with me by web video from his home in Toronto on October 31, 2018. We discussed:

  • Being self-taught and going DIY while working your way up the film-creation ranks
  • How he entered television directing for a national network with only minimal formal training
  • Why, despite thousands of hours of free online video tutorials on filmmaking, he still buys and pores over books on screencraft
  • How to keep working in movies while you’re waiting to direct
  • Why a good union culture and attitude should make a film set a good place to work
  • The most important artistic aspect of creating a beautiful shot that plenty of indie filmmakers don’t understand
  • Why no filmmaker should ever say, “We’ll fix it in post,” and
  • What, more than sexual harassment, is the biggest ongoing complaint about working in movies in Canada
  • The conversation will appear to begin abruptly; Young and I had just been talking about the importance of books.

 

TateYoung.com

The 3-Day Novel Contest TV Series

Fight Choreography The Art of Non-Verbal Dialogue

Gareth Edwards: Film Keynote at SXSW 2017

Bruno Delbonnel’s Cinematography on Harry Potter and the Half-Blood Prince

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Nov 12, 2018

Lyda Morehouse is pretty terrific. We first met at NorWesCon in Seattle when we were both finalists for the Philip K. Dick Award. She was totally down-to-earth, fun, funny, and welcoming. She was also an extremely accomplished author who by now has written at least twelve books, including the cyberpunk Archangel Protocol series, and under her pen-name Tate Hallaway, the Vampire Princess of St. Paul series.

Like most authors, Morehouse has had career lows and not just highs. But unlike most authors, she’s always been open about those difficult journeys through the valley of print. That’s the kind of generosity with vulnerability that makes it possible for other people to learn, and it makes me respect her all the more.

Lyda Morehouse spoke with me by web video on October 23, 2018. We discussed: 

  • Why a career crisis-point forced her to take a new name
  • Whether a Philip K. Dick Award nomination or win is a career-killer
  • Why she once filled a coffin with her own books
  • How to rise to the challenge of writing whatever genre you’d always claimed would be easy
  • Why to be a “hybrid writer”—that is, publishing through corporations and independently at the same time, and
  • What you need to understand about your plot and your readers to get the most out of your endings

 

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