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Transcript: Digital Production Buzz – Mar. 13, 2014

Digital Production Buzz

March 13, 2014

[Transcripts provided by Take 1 Transcription]

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HOSTS

Larry Jordan

Michael Horton

GUESTS

John Swanbeck, Writer/Director/Producer, BlueSwan Films

LaToya Morgan, Writer/Producer

Johnny Brower, Writer/Producer, The POP 69 Movie

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Voiceover: This Digital Production Buzz is brought to you by Blackmagic Design, creators of the world’s highest quality solutions for the feature film, post production and television broadcast industries.

Voiceover: Live from Ralph’s Maytag Museum and Podcast Studio in beautiful downtown Burbank, it’s the Digital Production Buzz.

Voiceover: Production, post production, distribution.

Voiceover: What’s really happening now and in your digital future?

Voiceover: The Buzz is live now.

Larry Jordan: And welcome to The Digital Production Buzz, the world’s longest running podcast covering creative content producers and tech news from media production, post production, marketing and distribution around the world. My name is Larry Jordan and joining us as ever and once again the ever handsome Mr. Mike Horton.

Mike Horton: Hello Larry, it is great to be back. It has been forever…

Larry Jordan: It is wonderful.

Mike Horton: …because you have been traveling forever. I know you got back last week and I couldn’t make it, but you’ve been to the far corners of the Earth.

Larry Jordan: I tell you, we went to Alaska and then we went to London and then we were outside London…

Mike Horton: I know, you went to Bahrain and taught the monks over in some temple over there and they couldn’t talk that week but it was…

Larry Jordan: I had a great time. We had so much fun meeting people at the Alaska Society for Technical Education and…

Mike Horton: And you actually saw icebergs.

Larry Jordan: I saw icebergs. I’ve never seen icebergs.

Mike Horton: I’ve never seen icebergs.

Larry Jordan: And I saw frozen ocean, which I’ve never seen before.

Mike Horton: I’ve never seen a frozen ocean.

Larry Jordan: It’s a drink, by the way. You go in the bar, it’s got little blue things hanging, it’s really very…

Mike Horton: But that was on your bucket list, right? I want to see a frozen ocean.

Larry Jordan: I’m going to put it on my bucket list. By the way, thinking of people that you need to talk to before it’s too late. We’re going to start tonight with John Swanbeck, a writer/producer/director who’s considered an actor’s director and we have an actor with us tonight who can verify whether that’s actually the case. He’s going to talk about the craft of acting and directing comedy, which I’m really looking forward to.

Mike Horton: Ooh, so am I.

Larry Jordan: LaToya Morgan is an award winning screenwriter and 2013 Producers’ Guild of America Diversity Workshop Fellow. She joins us to talk about becoming a successful Hollywood writer. Then Johnny Brower is a world famous concert producer who was also the writer and producer of the ‘Pop 69 movie’. This was a documentary on the birth of the Plastic Ono Band in the late 1960s and he’s got stories of the rock industry from basically when rock began. He joins us for a discussion of musical trends, and concert production, and concert movies and just listening to him talk is amazing.

Larry Jordan: By the way, we’re still offering and continue to offer text transcripts for every show, courtesy of Take 1 Transcription. Now you can quickly scan or print the contents of each show as well as listen to it. Transcripts are located on each show page. You can learn more at take1.tv and thanks, Take 1, for making it possible.

Larry Jordan: By the way, The Buzz is heading to the NAB show in April. Michael, did you know that NAB is coming?

Mike Horton: Yes.

Larry Jordan: Just thought I’d wake you up with that.

Mike Horton: That’s all I’ve been doing, Larry, for the last couple of weeks, or couple of months, it seems like, is working on the Supermeet.

Larry Jordan: I thought you were taking a nap.

Mike Horton: Not me.

Larry Jordan: Oh, we’re going to talk about Supermeet later in the show, but have you announced your agenda yet?

Mike Horton: We have not announced it because it’s all super secret stuff. Honestly. We don’t know what’s going to be shown on each day. We know who’s going to be showing…

Larry Jordan: You know what’s going on.

Mike Horton: No, honest to good…

Larry Jordan: You know. You know.

Mike Horton: I asked you. You know probably more about talking to the people when you went to Britain.

Larry Jordan: So are there tickets available?

Mike Horton: Yes, there are still tickets available on supermeet.com.

Larry Jordan: Where?

Mike Horton: At supermeet.com.

Larry Jordan: Ok, good, and by the way The Buzz is heading to NAB. We’re going to have full coverage of the latest in trends, and technology, and interviews and this year we’ve partnered with Moviola to provide video coverage as well. For all the details, visit nabshowbuzz.com. We’re constantly adding to this page as it becomes the hub for all of our live audio and video coverage at NAB.

Larry Jordan: We’ve got a killer show coming up. We’re going to be started by talking about acting and comedy right after this.

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Larry Jordan: John Swanbeck directed the existential comedy ‘The Big Kahuna’ with Kevin Spacey and Danny DeVito. He’s currently scripting a new comedy with the original writer of Tim Burton’s ‘Frankenweenie’. His comic stage productions have appeared in New York, Chicago and Los Angeles. He’s producing the live comedy show, ‘The Blue Swan Films Traveling Comedy Show’ and the original animated series ‘The Daily Life of Pants’. That’s what it says right here, ‘The Daily Life of Pants’. His ebook for actors and directors is available now on Amazon and we have to learn more because I don’t really worry about the daily life of pants. John, welcome.

Mike Horton: You should.

John Swanbeck: Thank you. Thank you. How are you?

Larry Jordan: Well, we’re recovering from your intro, actually, and other than that we’re doing great. How about yourself?

John Swanbeck: I’m doing very well, thank you.

Larry Jordan: We’ve got a whole lot of stuff we want to talk with you about, but let’s start with tell us about the films you’ve directed.

John Swanbeck: Well, I directed ‘The Big Kahuna’ with Kevin Spacey and Danny DeVito.

Mike Horton: It was a great movie. Great movie.

John Swanbeck: Thank you. Thank you so much; and I was asked to direct that movie because I have a reputation for working with actors and that’s what led me to really write the ebook that we’re going to talk about. But also I had a reputation for directing comedy.

Larry Jordan: Well, I want to talk about both of those – directing actors and directing comedy – but I want to start with comedy. What makes directing comedy so challenging?

John Swanbeck: Well, what makes directing comedy challenging is, I think, very much the actors’ process. A lot of actors are either very seriously trained actors who move into comedy, or they are comedians who need someone to guide them into the more poignant and substantial aspects of the portrayal of a character. I think it’s very difficult to find actors who can straddle both of those, so you have to be very adept at taking actors who are trained dramatically and showing them how to take their process and use it comedically, and also to take very comedic actors and show them how to transition into the more substantial aspects of the character’s journey.

Larry Jordan: Well, the thing that makes comedy work, at least as far as I understand, is that comedy is the unexpected and as soon as you rehearse it, the unexpected becomes expected. How do you keep comedy funny after you’ve gone through a rehearsal?

John Swanbeck: Well, you absolutely need rehearsal to get the jokes and the timing and the rhythm, absolutely you need that. But you can’t lock in, intention so much. The intention needs to be flexible always when you’re working in any kind of a genre, otherwise that’s what leads to stale performances. It’s when actors rehearse line readings and they rehearse intention, then that’s what leads to something being stale. So you need to rehearse timing and you need to rehearse rhythm and you need to rehearse the physical comedy, absolutely, over and over again, but the intention behind the line, that should actually always be fluid and I think a lot of actors make that mistake.

John Swanbeck: A lot of actors create with a very classic actor’s process that teaches them to find the right intention behind every line and that there’s only one way to say every line and they sort of latch onto that one line intention and they get locked into it, and they’re very difficult to direct, actually. The smart actor is the one that will rehearse business, timing, rhythms, physicality but allow themselves to be flexible in terms of what’s behind the line and the intention.

Mike Horton: Now, speaking of flexibility, the best directors I’ve ever worked with in my life create that atmosphere before, during and after production that allows you to feel safe in just pretty much doing what you kind of feel like doing. I wonder if you could talk a little bit about that and the atmosphere that you create to allow them to feel safe.

John Swanbeck: Yes, so I actually think what makes actors feel safe is not the ability to do what they want. I think structure makes them feel safe, but then you allow them to play emotionally within that structure, and very much that’s what the camera looks for when actors are acting on film and television, which is very different from stage. The camera doesn’t like naturalism. It’s an aesthetic medium, it’s an art form and there are very specific principles and techniques to being cinematic.

John Swanbeck: But actors need to feel like they have a very clear structure and clear guidance. They need to know that the director knows where they’re taking them; but within that, they want to be able to play. They just need to feel like they’re playing in a very safe place and that’s the structure that the director brings to it.

Larry Jordan: You know, John, you’re using a word that I’m not really sure I understand the meaning of. Can you define what you mean by intention? Because I’m not exactly sure of the context in which to interpret the word.

John Swanbeck: Yes. For instance, if you take the line, “I hate you.” It’s a classic line in theatre in a number of different stories. Well, an actor will look at that and go, “Oh well, the person’s obviously angry with the other person and so my intention is I’m going to be very angry when I read the line, “I hate you.”” The very smart actor will leave themselves emotionally flexible, enough so that they could read the line, “I hate you,” as if they’re trying to say, “I love you so much. Look how much pain you’ve got me in. You’ve led me to the point where I feel like I hate you, but I love you so much,” and that’s a much more powerful intention behind a line than, say, just simply playing the anger of, “I hate you.”

John Swanbeck: Two completely different intentions for the same line that can make all the difference in the world.

Larry Jordan: So you’re using intention to mean the meaning behind the words.

John Swanbeck: Yes, exactly.

Larry Jordan: Well, I spent some time on your website, which is why I was trying to pin you down on this, because I had sneaking feeling you could explain it, because you spend a lot of your time coaching. Are you spending more time writing or directing or coaching these days?

John Swanbeck: I’m spending most of my time writing and coaching.

Larry Jordan: What got you into coaching?

John Swanbeck: Well, I’ve just always seemed to have a natural affinity for working with actors and for getting the best out of actors and I love working with actors and once I got behind the camera for ‘The Big Kahuna’ and looked through a lens, I thought to myself, “Oh my gosh, I completely get this,” and so no matter what I’m doing or where I’m doing it, I will always be coaching actors, just because I love it so much.

John Swanbeck: The other thing that happened after ‘The Big Kahuna’ was, as I said, the other part of my job there was to bring the humor to it because it’s an actor piece, it’s three actors and so the performances need to be very good, but also you need the entertainment of the comedy to keep the audience engaged until you have a big dramatic payoff at the end. I was always a comedic stage director, very good at working with actors in any genre, but my stage productions were always comedic in nature, whether they were political satires or dark comedies, romantic comedies, what have you.

John Swanbeck: So then after ‘The Big Kahuna’, everyone kept coming to me because they were so moved by the dramatic turns that the actors took in the movie, they kept coming to me with dramatic pieces that they wanted to do, many of which were three people in a room talking, two people in a room talking, because that was the nature of ‘The Big Kahuna’, but they wanted me to do very dramatic pieces and, as an artist and as an entertainer, comedy always has been what my work has been about because I think the ability to make an audience laugh is the most powerful weapon you could possibly possess. I think if anything’s going to save humanity, it’s the ability to laugh and I think being able to make people laugh is a very powerful artistic tool.

John Swanbeck: So I would be called in for these meetings and people kept wanting me to direct dramas, and I kept pitching the comedic take or the humorous take and it’s just the nature of Hollywood and the way it works, that’s just the way it goes, I have no problem with that. But I wasn’t writing at the time and so I was joking about it at the time with an artistic advisor of mine and he said, “Well, if no-one’s going to let you do a comedy and you direct comedy and that’s what you want to do, then you need to learn how to write comedy,” and I said, “Well, I really don’t know how to write,” and at the time I didn’t know how to write, I had never written at all, and he said, “Well, you’re going to have to go out and learn.”

John Swanbeck: So I continued to direct stage, both in Chicago and in Los Angeles and I was coaching actors constantly and I had been offered a number of different movie projects. None of them were comedies and that’s what I wanted to do; and in the meantime I was teaching myself how to write. I taught myself first how to write and then I taught myself how to write comedy and find a way to put my comedic voice together with my newly found writing talent, and a couple of years ago a very interesting thing happened. After that process for a few years, I said, “Ok, I think I’ve got this and I’m going to do two things, and only two things, and those are I’m going to write every day and I’m going to only write to make myself laugh.”

Larry Jordan: Which is what you’ve done, because one of the things that you’ve written is a book called ‘How To Steal The Scene And End Up Playing The Lead’. What’s this about?

John Swanbeck: Well, it’s a book for actors and it’s 25, one page chapters. Each chapter does start with an original joke that I wrote about actors, and then there’s a one paragraph highlighting of the situation, the problem, the issue and then a very simple one, two, three step solution for solving the issue at hand, and it’s for actors acting on camera.

Larry Jordan: Wait a minute – you don’t want actors to steal the scene. I mean, don’t you want to have the focus controlled by the leads, whoever is the lead for that scene?

John Swanbeck: Yes, well, the title absolutely is…

Mike Horton: Ironic?

John Swanbeck: It is ironic, exactly, and intended to get people’s attention and, as much as actors like to collaborate and share, they are human beings as well and I’m sure they wouldn’t mind stealing a scene or two along the way.

Mike Horton: Yes, I want to get this question in, because we don’t have very much time left, but you direct a lot of theater and you direct a lot of film, with film being a little bit different than theater. However, I still think that theater directors are the best film directors. I don’t know why, but they are. I think you guys know how to block. I know you know where to put the camera. But do you allow your actors more freedom in going away from the script in film than you do from the stage?

John Swanbeck: Oh yes, absolutely. Stage is well known to be a writer’s medium and the writer is king or queen. In film, the script in a way is there to serve the movie, and a script is certainly adapted all the way along through the process to fit the storytelling needs and the needs of the characters’ performance, the actors’ performance.

Larry Jordan: We have a live chat going and Syria is asking, ‘How do you actually write comedy? Do you think of a joke and do a bunch of set pieces? Or how does that process work?’ And I need a fairly short answer.

John Swanbeck: Yes, you absolutely have to start with what you laugh at. I tell this to actors, directors and writers all the time. You cannot sit down to write something that you think is going to make other people laugh or to try to write something that you think is going to make other people laugh. You absolutely have to start with what you think is funny and it’s the same with acting, it’s the same with directing. You start with what you think is funny and under very specific comedic rules that you need to follow along the way.

John Swanbeck: Some people are better at physical comedy, some people are better at telling jokes. Ideally, you’re going to be able to handle both.

Mike Horton: Well, obviously you have good taste.

Larry Jordan: John, where can people go to get the book ‘How To Steal The Scene And End Up Playing The Lead?’

John Swanbeck: It’s on Amazon now and it should be on iTunes next month.

Larry Jordan: And it’s an ebook, or is it a physical book?

John Swanbeck: It’s an ebook. It’s 25, one page chapters, so I didn’t really think it was going to make for a good hard cover book. But it makes a good ebook, and I also designed it because I wanted actors to be able to be on their Smartphones or tablets and be on set and say, “Oh, what did John say about how to pop in a close-up?” and they can pull it right up there on their Smartphone or tablet, quickly find the one, two, three step creative solution and apply it right there on the spot.

Larry Jordan: Very cool.

Mike Horton: I have 150 more questions. We’ve got to have John back.

Larry Jordan: We’ve got to have John back.

Mike Horton: John, if you’ve got the time, we want you back.

Larry Jordan: He’s running out of time and I’ve got to get this in. What’s your website for people who need to follow you?

John Swanbeck: Blueswanfilms.com.

Larry Jordan: That’s blueswanfilms.com. John Swanbeck is the swan of Blue Swan Films. John, thanks for joining us today.

Mike Horton: Thank you John.

Larry Jordan: Bye bye.

John Swanbeck: Thank you Larry and Michael.

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Larry Jordan: Born and raised in Los Angeles, LaToya Morgan is an alumna of the American Film Institute Conservatory, where she received an MFA in screenwriting. She’s a 2011 alumna of the prestigious Warner Bros. Writers Workshop, as well as a host of other awards and honors that are almost too numerous and depressing for Mike and I to mention, including the Producers’ Guild of America’s Power of Diversity Workshop. Hello, LaToya.

LaToya Morgan: Hello. Thank you for having me.

Larry Jordan: We are delighted to have you on, even though you’ve won more awards than Mike and I put together.

Mike Horton: Yes.

Larry Jordan: And we’re not talking about you at all. We were just listening to John Swanbeck talk about writing comedy, and you are a screenwriter as well. What got you into writing?

LaToya Morgan: Well, I was one of those nerdy little kids who was always reading a lot of books, and writing short stories, and plays, and luckily I had a mother who was very encouraging, so she always wanted to make sure that I was following my dream, so I wrote a lot, wrote a lot of plays, wrote a lot of short stories and I ended up actually deciding to veer away from a career in law, in order to pursue my dream of writing.

Mike Horton: Good choice.

Larry Jordan: Well, you wanted the security that writing provides.

Mike Horton: Good choice. Your mom must be proud.

LaToya Morgan: She is very proud, definitely.

Larry Jordan: I was just thinking, how does a writer polish their craft? How do you get to be a better writer?

LaToya Morgan: Well, a lot of practice first of all. You go through a lot of drafts of stories. You kind of start with an idea of something or a character, and then from there you sort of hone the story around it, and if you’re lucky you have some friends who can read your stuff and give you notes on how to improve it, tell you what things aren’t quite landing, or aren’t clear and you just go from there. But a lot of practice.

Larry Jordan: Now, do you tend to write dramas? Do you tend to write comedy? What genres do you specialize in?

LaToya Morgan: I write both. I’ve written comedies, but I definitely lean towards drama.

Larry Jordan: How come?

LaToya Morgan: Drama’s really fun because you can sometimes include comedy in your dramas and do a little dramedy, so that’s always fun.

Larry Jordan: There are so many questions and Mike thinks he wants to ask acting questions. I want to ask writing questions.

Mike Horton: No, I want to ask writing questions.

Larry Jordan: How do you start? Do you have the ending in mind? Do you discover the ending as you write? Do you outline before you write? How does the process work?

LaToya Morgan: Well, for me, I like to start with the characters, so usually I’ll think of a character and then I’ll try to build the world around the character. From there, I start to build a story. I like to outline. I know some people think that’s sort of cumbersome, but for me it’s like if you say you’re going to Disneyland, you know you’ve got to take the 5 freeway, it’s a road map and it’ll help you get to the ending if you know what road you’re actually going to take. So outlining is very helpful for me.

Mike Horton: Where do you find your characters? Life experiences? Or do you just make them up on the spur of the moment? All of a sudden, this inspiration comes to you and boom?

LaToya Morgan: Well, a lot of them come from people I know. I happen to know a lot of colorful people and I try to use them as much as possible; and that’s very helpful too, especially when you’re coming up with dialog. You can sort of tap into your memory of what they sound like and that helps the dialog come off the page. A lot of times I read articles, and newspapers, and just read interesting stories, and factoids that sort of spear into your brain and you don’t forget, and come up with stories that way.

Mike Horton: Are you one of those writers who has just tons of ideas stored in that drawer, and then you bring it out and start working on it, and then it doesn’t work, you put it back in the drawer, start working on something else and…

LaToya Morgan: I do.

Mike Horton: Yes.

LaToya Morgan: Yes, yes. I try to keep a file and I recommend to people starting out that they keep a file as well. I’ll do just like a junk file, where I’ll think of an idea or a character and I’ll try to quickly write it down and sort of store it on the computer; or I’ll find an article that I am really compelled by, I’ll cut that out and put it in a drawer somewhere. And then, when you’re searching for ideas and you’re working on something, you’re trying to jar something out of you, you go back to that file and you sort of scroll up and then you say, “Hey, that wasn’t such a bad idea after all,” and you use that stuff.

Larry Jordan: Well, you mentioned something I wanted to follow up on, which is the idea of writing dialog. How do you write dialog? Are you speaking it as you’re typing it, or is it all in your head? And how do you make it sound conversational as opposed to staged?

LaToya Morgan: A lot of eavesdropping. I spend a lot of time in coffee shops just listening to how people talk to each other. Sometimes, with my mom’s permission, I’ll record a conversation that we have, just to hear how natural it is when we talk to each other, you know, the interruptions, the interjections. People don’t wait for someone to complete a thought sometimes, so that’s the way to make it sound as natural as possible.

Larry Jordan: You’re a young person, which is why you’re winning all these getting started type awards. Has any of your work been published, released, printed or whatever one does with a writer’s work?

LaToya Morgan: Well, I’ve had online publishings of short stories that I’ve done, which is great, and I work in television on TV shows, so some of my work…

Larry Jordan: Which ones are you working on?

LaToya Morgan: I’ve worked on a show called ‘Shameless’, which is a Showtime…

Mike Horton: Oh, I love it.

LaToya Morgan: That was actually my first TV writing job, which was fantastic. Right now, I’m working on a new AMC show called ‘Time’, which is about spies in a revolutionary war, so I wrote an episode of that and that’ll be coming up pretty soon.

Mike Horton: Sweet. Historical dramas, love them.

LaToya Morgan: Yes, they’re very, very fun.

Larry Jordan: Michael looks so good in historical costume. That would qualify as your weird and unusual people.

Mike Horton: I can play a good Brit.

Larry Jordan: LaToya, I just realized we’re running out of time and we still haven’t even gotten to the really cool stuff, which is the PGA Diversity Workshop. Can I bring you back a little later in a show today and we’ll talk about that? Because there’s so much that you’ve been doing at the diversity level that I’d like to have folks learn about it.

Mike Horton: Oh yes, cool.

Larry Jordan: Can we bring you back?

LaToya Morgan: Absolutely, I’d love to.

Larry Jordan: You are amazing. We’re going to come back to you in about 20 minutes, so you take care and we’ll talk to you soon.

LaToya Morgan: Thanks. Sounds good.

Larry Jordan: Take care. You know, I love talking to writers and hearing what they have to say because it’s their creativity that makes the rest of us have something to watch.

Mike Horton: I’m an admirer of their discipline, that you can actually sit down every day and write. But that’s what you do, Larry.

Larry Jordan: And have it make sense. Writing is easy.

Mike Horton: You write about codecs.

Larry Jordan: Somebody’s got to and that’s my job. We’re going to be right back with some interesting stories about rock music right after this.

Larry Jordan: Did a rock festival break up The Beatles? Well, Johnny Brower is an iconic rock promoter. He’s an art collector, a writer and a movie producer and he shares his personal account of the rock and roll Revival Festival of 1969 in Toronto. Now, you may think that that’s too long ago for us to pay attention to, but this was really a seminal event.

Larry Jordan: His movie, the ‘Pop 69 movie’ story, is based upon the historical events that prompted John Lennon and Yoko Ono to travel across the world to perform for the first time as The Plastic Ono Band. There’s some really cool stories here and, listen, I’ve been listening, Johnny tells them great. Hello, Johnny. Welcome back.

Johnny Brower: Thank you Larry, and great to be with you and a shout out to all people following us and you as well.

Larry Jordan: Well, I’ve been listening to your raconteurship on your website and I have been looking forward to our conversation today for a long time, so let me start at the very beginning. What got you started in music? This is not what one would consider a normal career.

LaToya Morgan: Well, I started out as a musician, as a piano player as a young child. I became a choirboy and a Sunday school teacher, and then everything went to hell in a hand basket when I got my first rock and roll record and started playing bass in a band. That was the end.

Mike Horton: You know, that’s exactly how my childhood was.

Larry Jordan: Playing bass in a band?

Mike Horton: I was a choirboy, I was the whole bit and then got into rock and roll about the age of 12, 13. Everything went to hell in a hand basket, as he says.

Johnny Brower: Yes.

Mike Horton: But I’m a better person for it.

Johnny Brower: As am I, thank you so much.

Larry Jordan: But it took you a long time to get there, Michael. Johnny, when did you start promoting concerts?

Johnny Brower: Well, I started promoting my own band, The High School, in the mid-‘60s.

Larry Jordan: Now, where are we now? Are we in Canada or in the US?

Johnny Brower: You know, I would go to the churches and get them to give us their basement etcetera. I kind of had a natural flair for promoting, I don’t know where that came from, but I was the actual guy that got our band gigs; and then other bands started saying, “Well, hey, could you get us some gigs?” and so I became kind of a little local band hustler here in Toronto in the early ‘60s, ’63, ’64, ’65.

Larry Jordan: I had a chance to watch the time capsule on your website, which was the late ‘60s, when you were talking about the Toronto Pop ’69 Festival. Tell me about, first the festival and then I want to talk about the time capsule itself.

Johnny Brower: Ok, well the festival itself was actually a rock and roll revival on September 13th of 1969 and that came about as a result of the pop festival we had in June. We had Chuck Berry on the show and he literally stole the show. I mean, we had The Band, we had Steppenwolf, we had Sly and the Family Stone, but in the final analysis, Chuck Berry absolutely stole the show, and he was the only act that had 25,000 kids up on their feet dancing, following his routines, trying to duck walk. I mean, he owned the place.

Johnny Brower: So the concept was to bring him and as many of the old legendary rock and rollers – old in those days, they were 40 – back on one show and that’s how that show actually came about, was as a result of Chuck Berry’s influence.

Larry Jordan: Well, I saw you in the time capsule. You looked like you were about 12 in that movie.

Johnny Brower: Yes, well, I still look like I’m about 55, so believe me, it’s still working for me, Larry.

Larry Jordan: Was this the first big event that you produced?

Johnny Brower: No. The biggest event prior to that was the pop festival in June, which was two days, and so it had twice as many people because it was a two day show. This was a one day show in September that we ended up getting John and Yoko to come to.

Larry Jordan: Ok, so here’s the question – how did John Lennon and Yoko Ono get involved with you?

Johnny Brower: Well, because I was convinced by Kim Fowley that the only way to save the show, which was an unmitigated disaster and the investors were about to pull out, was to get John Lennon to come over and be the MC, and I guess in those days you could actually call people and if they were there they answered the phone. I mean, there are so many layers between everybody now, it’s hard to believe. But I actually got up very early the next morning and called Apple and simply said, “This is very important, please write these names down – Chuck Berry, Little Richard, Jerry Lee Lewis, Gene Vincent and Bo Diddley. This is John Brower in Toronto. Please tell John Lennon all these bands are playing Saturday. I’m calling to invite him to be the MC.”

Johnny Brower: 30 seconds later, who comes on the phone but John saying, “When is this happening? What is this all about?” and I tell him and he goes, “Well, we wouldn’t want to come unless we could play,” and I said, “Well, what, do you mean, The Beatles?” He goes, “No, me and Yoko and we’ll put a little band together,” and I go, “Ok.” That was it.

Larry Jordan: Well, obviously he then showed up with no problem, right?

Johnny Brower: No, there were some definite problems in the meantime. First of all, he had trouble getting anybody to agree to play with him. George Harrison turned him down flat. It wasn’t easy to just muster a band in three or four days, but he did get Clapton on board and Klaus Voormann and they located Alan White, who was a jazz drummer in town, and they heard of him by reputation and just basically invited him to come to the airport, show up and come and play with us in Toronto.

Mike Horton: Did they call it The Plastic Ono Band there?

Johnny Brower: They did call it The Plastic Ono Band and it was a name that Yoko basically inspired as a result of making little plastic figures in their office one day – she tells the story much better than I do – and John basically said, “Well, then, you know, we should be The Plastic Ono Band,” and that’s where that name came from.

Mike Horton: Wow. I love this. This is a wonderful piece of history.

Larry Jordan: But wait, wait, wait, wait. Now, I understand that the actual reality was a little bit different, because we’re at the airport and where’s John?

Johnny Brower: Well, yes. I did get a call at four o’clock in the morning, which was nine o’clock in the morning in London, from Anthony Fawcett, Yoko’s assistant, telling me that he was there with Eric Clapton, Klaus Voormann and Alan White, Mal Evans, The Beatles’ tour manager, and himself and he had just spoken to John at Tittenhurst Park who told him, “Yoko and I can’t make it. Send flowers. Love John and Yoko.”

Mike Horton: Oh jeez.

Larry Jordan: Ok, so you gave up?

Johnny Brower: Well, no, because my life was on the line. I had basically guaranteed the Vagabonds Motorcycle Club that John Lennon was coming. They had gotten 80 bikes together from all over the province to come in for this ride-in from the airport, and had advised me earlier that evening that if John Lennon does not show up, you had better be gone because it’s not going to be good.

Larry Jordan: So what did you do?

Johnny Brower: So I came out of bed like I was hit with a cattle prod, and the only leverage I had was to get Eric Clapton on the phone and remind him that it was a great show but I did lose $20,000 on Blind Faith in July, and I needed him to help me and that if John didn’t come, I had to leave my city, my country and, in fact, in a desperate thought that maybe the only place I could hide from the bikers would be John Lennon’s house, I told him, “You need to tell John Lennon I’m coming over there to move in with him, with my wife and kid.”

Larry Jordan: What happened?

Johnny Brower: At which point, Eric Clapton exploded that he didn’t come out to the airport for anybody at nine o’clock in the morning and he was furious with John and I said, “Well then, you’ve gotta get him on the phone and tell him,” and they got him on another phone, because there was a bank of payphones, and he starts chewing John out and we found out later that John was mortified that Eric Clapton was mad at him because Eric was, of course, one of the major stars on the planet, and so he and Yoko managed to muster up the courage – or he did, Yoko was enthusiastic about it the whole time – but John was afraid that nobody would like him, that he’d forget the lyrics, that it would be terrible, they wouldn’t play right and, of course, the rest is history. They were great, everybody loved them, they rehearsed on the plane and they recorded an album that was John’s first gold album, so the fears were overcome and the show went on.

Larry Jordan: Well, then you and John teamed up and created the Toronto Peace Festival.

Johnny Brower: We attempted to do a Peace Festival in the middle of the Vietnam War. What were we thinking? Hindsight is always wonderful. Back then, we were a couple of naïve, in my opinion, political neophytes and we were buried by the Nixon political machine, by the Canadian version of the Nixon political machine and it was a disastrous experience, unfortunately.

Larry Jordan: Well, how would you describe the difference in producing concerts back then in the ‘70s versus producing concerts now? And are you still involved in the music industry?

Johnny Brower: I’m not involved in producing concerts, I haven’t been since 1980 when I did the seminal punk festival Heatwave. But back in the day, it was an uphill battle. I mean, it was going against the establishment, going against the music industry, which was still clinging to Frank Sinatra and Perry Como, desperately hoping that maybe all of this other stuff would either go away or not realize how exploited they were being for too long, and this was not a normal course of affairs.

Johnny Brower: Today, of course, it’s been taken to a whole deeper level and it just happens to be this big gigantic corporate machine that rolls along and has permeated every level of the entertainment industry from clubs down the street to the Electric Daisy Festival.

Johnny Brower: But back in the day, we were kids struggling against pretty much everything and raising money for these shows was another problem, because people were not used to investing in that area and it was very uncomfortable thinking about that you weren’t going to know if anybody was coming until the day of the show, because back then advance sales were very minimal. It wasn’t like now, where a show sells out in 20 minutes online. Back then, you were standing at the gates in the morning praying for people.

Mike Horton: Yes, well we have to remind the people who are listening right now, especially the kids, that Woodstock lost money. That just made a fricking fortune but it didn’t make money until after the movie was released several years…

Johnny Brower: Exactly, and a lot of these bigger events, including the Strawberry Fields Festival I did in 1970, did not make money because kids not only did not buy tickets in advance, because they thought these shows were always going to be cancelled, but when they did show up, they would be facing snow fencing and farmers’ fields, and the concept of security was nothing like it is now.

Larry Jordan: Well, thinking of Woodstock making money on its movie, you’ve turned to movie making yourself, with the ‘Pop 69 movie’. What’s this about?

Johnny Brower: Well, I can only compare it to some of those military guys or government people that get near the end of their life and they think it’s really important, they need to tell the truth about the aliens. So I think what I’ve decided is that I really want to tell some of these stories in a humorous but honest way, because there were some great moments back then and there was a lot of funny stuff that went on. While kids were out there running around trying to do things that hadn’t been done before, there was a lot of silliness that went on. It was a lot of fun.

Johnny Brower: There was a lot of sex, drugs and rock and roll in that order, quite frankly, and it was the ‘60s after all, so I just thought that this would be an exciting thing to do and I was asked by a production company here several years ago to do some interview for a Bravo series called ‘Young Street Toronto Rock and Roll Stories’ and in the third hour, which featured me predominantly, they got the most response from viewers. They got calls and letters saying, “You know that guy John Brower? We want to hear more stories like that. That was the best story I heard ever,” etcetera and that’s some of the footage you probably saw in some of the stuff we had online.

Johnny Brower: I guess that gave me the confidence to say, “Well, ok, let’s sit down and put pen to paper and tell this tale.”

Mike Horton: I’m so glad you did because you, sir, are a big piece of rock and roll history and I can’t wait to see this.

Johnny Brower: Oh thank you, I appreciate it and I really appreciate you taking the time to let me share some of this.

Larry Jordan: Is the movie in production? Or where are you right now?

Johnny Brower: Temporary production. We have a script that, of course, like every script, is being worked on constantly. We have two really, really powerful executive producers. We’re right now basically analyzing whether this would be shot in Canada or the US. There are a lot of advantages tax-wise here, but depending on the time of year this thing was ready to go, it may have to be shot in a sound stage with some exteriors done in the US, in Tucson or Phoenix or something. That’s up in the air. Our main interest right now is getting a director that believes in the film and has a vision for it the same way we do, and so that’s the stage we’re at.

Mike Horton: I have the perfect director for you – Morgan Neville. He just did ‘20 Feet From Stardom’. He’s the perfect director for you.

Johnny Brower: Give him my number. Give him my number. I’d love that. He won an award for it, come on.

Mike Horton: I know.

Johnny Brower: That was the Academy Award winning doc.

Mike Horton: You’re right.

Johnny Brower: That was it exactly.

Larry Jordan: Where can people go on the web to learn more about the movie?

Johnny Brower: Absolutely, you can go onto the web, of course, where you’ve been already but I’ll give you a couple of our links. Facebook.com/pop69movie is a great place to start. Twitter, @pop69movie. Pintrest.com/pop69johnny.

Larry Jordan: And the website itself is pop69movie.com.

Johnny Brower: Pop69movie.com.

Mike Horton: Well, if you’re ever in LA, I want to do vodka shooters with you for one night and I’m going to hear all the stories.

Johnny Brower: Well, I’ll be back in two weeks. I have a home in Van Nuys [p], I just came up here three days ago in order to get in on a winter storm so I could be one of the boys.

Larry Jordan: We’ll bring you back.

Johnny Brower: I’ll be back in a couple of weeks. We’ll keep in touch.

Mike Horton: Please.

Johnny Brower: Thank you so much. Best to you, Mike, as well and everybody out there, just keep popping, Pop 69.

Larry Jordan: Thank you, and the website is pop69movie.com. Johnny Brower, thanks, Johnny, we’ll talk to you soon.

Johnny Brower: Thank you so much. Goodnight.

Larry Jordan: Bye bye.

Larry Jordan: LaToya Morgan is back. Hello, LaToya, how are you?

LaToya Morgan: I’m great. How are you?

Larry Jordan: We have been having a great show. We’ve been talking about writers, about comedy, we’ve been talking about writers, about creating music videos and we’ve talked to you about writing drama. It’s a writers’ show today.

Mike Horton: No, this is a great show. No codecs, no…

Larry Jordan: I can work codecs in if you want.

Mike Horton: You can do that at the end of the show.

Larry Jordan: But before we talk codecs, which is my favorite subject, something you’ve been involved with, LaToya, for a while is the PGA Power of Diversity Workshop. What is it?

LaToya Morgan: Yes. It’s a workshop that tries to get together filmmakers, television writers who are interested in getting their projects off the ground, getting them together and giving them mentor opportunities with people who’ve done it.

Larry Jordan: Well, you participated in the workshop last year. What’s it like?

LaToya Morgan: Oh, it was an amazing experience. People who apply for the program can apply with television projects or feature film projects. I applied with a television project and it was fantastic. You have all these wonderful mentors who have been producers in their own rights from documentaries, to web series, to films, and they actually give you notes on your project. They also help you learn how to pitch your project to a network so that you can sell your project if possible, and they bring in these wonderful guest speakers who come and talk to you about their experiences as well, so it’s a really nurturing environment.

Mike Horton: LaToya, it’s kind of an iffy question, but all the writers I know have big egos.

LaToya Morgan: No!

Mike Horton: I know. All the writers I know have big egos and when they’re given notes, they don’t necessarily listen. Do you listen?

LaToya Morgan: Oh yes. You know what? I love getting notes, and I know that sounds weird, but I like to get other people’s perspective on projects and it’s always good to have a fresh set of eyes, so with notes, especially if you think something is taking your project in a different direction, I try to think about what the note is behind the note, what they’re actually trying to say. Usually, it’s about something not quite landing, or you not being clear in the way you’ve written something, so there’s always a way to smooth that over.

Mike Horton: So the trick is not to take it personally.

LaToya Morgan: Exactly, do not take it personally and try to think of it in a broader perspective.

Mike Horton: How about discipline? Writers’ discipline, that always amazes me. Do you get up every single morning and give yourself a block of time to write? Even if you’re not on assignment, if you haven’t got a gig, you write for four hours, eight hours, one hour or do you skip days?

LaToya Morgan: I do. I try to write every day only because it just helps you to be able to tap into what you need faster if you’re very disciplined about it. But, wow, eight hours – no.

Mike Horton: No, well, I don’t…

LaToya Morgan: Yes, that’s a long block. I usually try to do like a four hour block and most of that time I turn off the email, I literally sit down at a table, I have a nice cup of coffee and I have a pad and a pen and I like to handwrite my writing first.

Mike Horton: Are you a night time person or early morning person?

LaToya Morgan: I’m a morning person.

Mike Horton: Oh, ok.

LaToya Morgan: I love to get up early, I love to hear the birds, I love all that stuff and, of course, I love coffee.

Larry Jordan: If I had to handwrite everything that I wrote, no-one would read anything.

Mike Horton: Yes, but Larry writes it at, like, 140 words a minute kind of thing on the…

LaToya Morgan: Oh wow!

Mike Horton: No, he’s amazing. His fingers are flying, without any misspellings.

Larry Jordan: But my dialog is pretty weak, actually.

LaToya Morgan: Yes, eavesdrop on more conversations.

Larry Jordan: I’ve got to do more eavesdropping. I just don’t have your skill at it, that’s the problem.

Mike Horton: I know some guys at the NSA. They can get you going.

Larry Jordan: As you look on this mentoring concept at the workshop, what makes for a good mentor or, differently phrased, what makes a mentor that’s not a good mentor?

LaToya Morgan: I think for me the recipe for a great mentor starts with a presence and sometimes there are people who say they want to be a mentor, but if they’re doing a million different things and your emails aren’t getting returned, if you’re the mentee and you’re wondering what you’re doing wrong. I think someone who’s a mentor has to want to be a mentor, and they have to make the time to do it, and luckily at the PGA everyone was so available, they were amazing about taking time out of their schedules, because they are busy people, but they were really present and I felt that.

Mike Horton: Well, now that you’re a famous TV writer, are you a mentor?

LaToya Morgan: I am, I do. I mentor a lot of people. I mean, of course, there’s my family that I mentor but there are also writers that I work with. The Warner Bros. workshop was very influential in helping me get my first writing job, so I have a mentee who has just gone through the Warner Bros. writers’ workshop and so I try to keep in communication with him as much as possible.

Mike Horton: Any desire to direct?

LaToya Morgan: Down the line, I think I would like to. At first, I thought I didn’t because it’s a pain being on set, but I do want to…

Mike Horton: I know, it’s boring to be on set, unless you’re directing. At least you’re doing something.

LaToya Morgan: That’s true. When you’re directing, everyone’s always asking you questions so it’s not as boring, so I think I might try that.

Larry Jordan: When you participated in the Warner Bros. writers’ workshop or the PGA workshop, how does someone who wants to be a writer? How do they qualify to be able to attend? What do they have to do?

LaToya Morgan: Well, they have to write a really great script, and that sometimes takes a little bit of time, and sometimes people will apply for different fellowships like these programs and they get a rejection letter, and they don’t get in and then they give up and I just want to encourage people to apply, and if you don’t get in, to apply again because I try to use rejection as motivation. You have to believe in your talent, you have to believe…

Mike Horton: Good for you.

LaToya Morgan: …that you can do it and luckily I had my mom and friends who are very supportive, but you also have to believe it yourself and so definitely use rejection as motivation and not as a deterrent.

Mike Horton: Yes, but that’s really hard.

LaToya Morgan: It is. It is. I have shed my share of tears but you wipe them off, you dust yourself off and get back to your computer and start writing.

Larry Jordan: But I think that’s a really important point. You don’t go to these workshops to learn how to write. You go to these workshops to take what you’ve written and make it better, so you’ve got to make the initial investment in time and energy to put a script together before they’ll even look at you.

LaToya Morgan: Absolutely. You have to have it in a place where it’s ready to be read and I think that’s one of the things that people do, is they just do a first draft and they think, “Oh, it’s done and I can send it.” No, you have to have eyes on it and you have to revise, you have to do other drafts and then when it’s ready send it in.

Mike Horton: Yes, as the adage goes, that scripts aren’t written, they’re re-written.

LaToya Morgan: Oh yes.

Larry Jordan: Do you ever workshop a script? You’ve got an idea for something and you’re not sure if you want to do it or not, do you have friends over to read what you’ve written?

LaToya Morgan: I do. I have a core group of friends who are my go to people.

Mike Horton: Yes, that’s so important.

LaToya Morgan: These are people who I can call any time, I can say, “I have a day to write this. Can you please just look at the first half and tell me if I’m crazy?” so you really need that core group of people that you trust their opinion, you like their taste, you know they like your style of writing and to be able to call on them when you need them.

Mike Horton: No, just get them drunk, bring them over to the house.

LaToya Morgan: Wine helps.

Mike Horton: Read the script and hear it. You don’t read scripts, you hear scripts. You listen to them.

LaToya Morgan: Yes.

Larry Jordan: It’s being able to hear the dialog that’s so important. LaToya, where can people go to learn more about the Producers’ Guild workshop and the Producers’ Guild in general?

LaToya Morgan: They can go to the Producers’ Guild website. It’s pga.org, and there is a tab for the Power of Diversity workshop.

Larry Jordan: I would ask where your website is, but you’re so busy writing you haven’t put one together yet.

Mike Horton: She hasn’t put one together.

LaToya Morgan: I know I don’t have a website, but I do have a Twitter account.

Mike Horton: Oh cool, I’ll follow you.

Larry Jordan: Oh, ok, so where’s the Twitter account?

LaToya Morgan: My Twitter is @morganicink and that’s me.

Mike Horton: I am real proud of you. Keep helping people.

LaToya Morgan: Thank you so much. I will.

Larry Jordan: And that ‘me’ is LaToya Morgan. LaToya, it’s been wonderful chatting with you and thanks for joining us today.

LaToya Morgan: It’s been such a pleasure. Thanks for having me.

Larry Jordan: Bye bye.

LaToya Morgan: Bye.

Larry Jordan: Well, this is the moment. I want to see if Michael’s been paying attention.

Mike Horton: No, I haven’t.

Larry Jordan: He’s just standing in front of the…

Mike Horton: This has been the best show ever. I loved the guests. Cirina, awesome job. Ok, go ahead, Larry.

Larry Jordan: I will let her know.

Mike Horton: All right.

Larry Jordan: Oh, and Grant on our live chat is expecting to see training videos made from tonight’s show.

Mike Horton: I know, he wants to do that cable rolling.

Larry Jordan: I know, cable rolling.

Mike Horton: You know, that could be the most brilliant comedy ever.

Larry Jordan: Just hush.

Mike Horton: Three cameras on Larry teaching cable rolling.

Larry Jordan: I saw a YouTube video on cable rolling and…

Mike Horton: The possibilities are just extraordinary.

Larry Jordan: …it was fascinating.

Mike Horton: I mean, you’re a pretty funny guy. You don’t think you’re funny but you are really a funny guy.

Larry Jordan: There are those who have accused me of being funny for a long time.

Mike Horton: I mean, you’ve got that kind of Wisconsin funny.

Larry Jordan: Are you done?

Mike Horton: Yes.

Larry Jordan: Ok. The lights are going up and Michael’s facing the wrong way, so we’re just going to get him to turn around and look at the microphone and say it’s time for…

Mike Horton: Pick Our Brains.

Larry Jordan: You know, once…

Mike Horton: You know, we can start the cable rolling thing with kind of an echoey deal like that. I mean, I can start writing the script tonight, I’ll send it to you in the morning, you can sort of revise it and we can get production started on Saturday.

Larry Jordan: And have it posted on YouTube with 25 million views by Sunday afternoon.

Mike Horton: Yes, that’s the wonderful thing about all this affordable equipment and the internet and all this.

Larry Jordan: I talked to Randy Altman, she interviewed me yesterday…

Mike Horton: Really? Time to do this course.

Larry Jordan: …good stuff. Anyway, we’ll talk about that more later. Have you got something for us?

Mike Horton: I do.

Larry Jordan: Well, hurry up, I’m waiting on you.

Mike Horton: Multi-cam sync issue.

Larry Jordan: Oh, ok.

Mike Horton: This is in Final Cut Pro 10 and this fellow says: ‘Dear Larry, I’m having a lot of trouble doing something very simple – creating a synched multi-cam clip based on markers. I’ve been able to do it in the past and it seemed very simple, yet I seem to have hit a wall, probably due to all the drugs I have been using since I live in Colorado…

Larry Jordan: Michael, pick it up. Pick it up.

Mike Horton: Ok. ‘I have three clips. They all have matching timecodes, but I want to sync with markers just to be safe. I add markers in the event browser, I select all three, choose the multi-clip and end up with a timeline where apparently there’s only data in camera three, even though in the event browser there’s non-stop video in all three. The only place I have one frame of video is where the markers are. What am I doing wrong here?’

Larry Jordan: Actually, as I was reflecting on this, because we chatted about this before the show, I came up with two more things that could be causing the problem. First, you could have markers in wrong position. Final Cut 10 syncs based upon the position of the first marker. If you have a marker that’s ahead of your sync point, it’s going to sync to the wrong marker.

Larry Jordan: The second is it’s really, really easy to set an in and out, what’s called the range, in a clip.

Mike Horton: Yes, that’s the big thing, because that’s changed. Apple made it really simple in the first versions. Now they’ve changed it to make it a little bit more complicated.

Larry Jordan: And the reason is, is that now, unlike the first version, now you can have multiple ranges selected in the same clip and you can edit all the selected ranges down at the same time. The third thing is, if you don’t change the default settings of multi-cam inside Final Cut 10, it will automatically sync based upon audio wave forms, which may or may not be right depending upon how far the cameras are from the stage, because sound travels slower than light and for every 35 feet that you’re back from the stage, the camera is one frame out of sync.

Mike Horton: Are you kidding?

Larry Jordan: No, true. That’s why if you put a camera at the back of a stadium, you’ve got to hardwire the audio to it or you’ve got to adjust the offset because it’s…

Mike Horton: Is that in the preferences? That’s not in the preferences.

Larry Jordan: It’s in my training. Anyway…

Mike Horton: No, seriously, if…

Larry Jordan: If your camera’s too far away from the stage, the video and audio are out of sync because of the speed sound travels.

Mike Horton: Ok.

Larry Jordan: You just think I make this stuff up, but it’s true.

Mike Horton: Well, no, I know you’re not making it up. So what you want to do when you open up Final Cut Pro 10 for the first time is to go into your preferences and start really looking at it seriously before you start doing anything?

Larry Jordan: No, no. There’s no preference set in that controls multi-cam.

Mike Horton: Oh, ok.

Larry Jordan: That’s just when you build the multi-cam. What had happened, I suspect, is that he had ins and outs set on his clips, he selected them but he only selected the ins and the out, he didn’t select the entire clip, so when it built multi-cam clip, it was out of sync because it edited the ranges together, not the entire clip. But you can also screw up by having markers in the wrong spot and you can also screw up by having it sync on something that you’re not expecting to sync because you weren’t paying attention to the preferences inside Final Cut.

Mike Horton: Ok. If you didn’t understand anything that Larry said…

Larry Jordan: But wait, wait, we’ve got a question coming in.

Mike Horton: We do?

Larry Jordan: Yes. Syria in the live chat – this is the first time we’ve had a live chat question in forever. Yay, Syria. Another Final Cut 10 question. ‘I have an image sequence spatial setting to fill but when I try to move it to resolve the XML, images are default to fit, not fill any settings.’ Michael, you know the answer to that?

Mike Horton: No.

Larry Jordan: One of the really neat features inside Final Cut 10 is that you can change the framing of still images by using special conform. Fit; has them automatically fit inside the frame and Fill; zooms them to fill. And so what’s happening is the XML export from Final Cut to Resolve via XML, they’re set to the wrong setting.

Mike Horton: Ok, just let me make life a little bit more interesting. What is the keyboard shortcut for that, Larry? Do you know?

Larry Jordan: Keyboard shortcut for XML export?

Mike Horton: Yes.

Larry Jordan: There’s no keyboard shortcut for XML export, you fool. Anyway, now you’ve got me so flustered, I…

Mike Horton: Yes, that’s what I meant.

Larry Jordan: Syria, I’ve got to think about the answer to that one because I have to look up…

Mike Horton: I’m really not right for this job, Larry.

Larry Jordan: No, you are perfect for this job. Nobody talks codecs like you do. Anyway, Syria, I’ve got to look up the answer. Just send an email to any of our Pick Our Brains questions at larry@digitalproductionbuzz.com. We’ll take a look at the answer and answer it on the show and, if not, we’ll look it up for you.

Larry Jordan: Grant, you’re absolutely right, cable rolling is my life.

Mike Horton: It would be brilliant, we’ve got to get John to direct it. It would be awesome.

Larry Jordan: I think it’s a classic, actually.

Mike Horton: It is. I mean, John might be going to NAB.

Larry Jordan: I want to thank our guests today, while Mike is off on a tangent: John Swanbeck, producer, director, writer; LaToya Morgan, award winning screenwriter; and concert promoter, writer, producer Johnny Brower.

Larry Jordan: There’s a lot happening at The Buzz between shows. Visit digitalproductionbuzz.com. Take a look at all the stuff we’re doing. Especially check out our special page, nabshowbuzz.com.

Larry Jordan: Music on The Buzz provided by SmartSound. We’re streamed and hosted by wehostmacs.com. Our producer is Cirina Catania, engineer, Adrian Price. The warm avuncular voice on the other side of the table is Mike Horton. My name’s Larry Jordan and thanks for listening to The Buzz.

Mike Horton: Goodbye everybody.

Voiceover: This Digital Production Buzz was brought to you by Blackmagic Design, creators of the world’s highest quality solutions for the feature film, post production and television broadcast industries.

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