On Air Off Set podcast
When it comes to big budget movies that combine pyrotechnics, car chases, scattering crowds or any combination there of, both the Special Effects Department and Stunt Department need to combine forces to make it all work on camera, while keeping everyone involved safe. In my final episode, I chat with Keith Campbell (stunts) and Craig “Tex” Barnett (Special Efx), about how they are able to create some of the most chaotic and eye-popping sequences from their work on Adam Sandler’s most recent movie “Spaceman of Bohemia” to “Pirates of the Caribbean” and “Transformers.
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A word from your host Rob Albrecht giving you an update on the On Air Off Set podcast.
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Rounding out this three-part episode on film school is my guest Fernanda Rossi - screenwriter and filmmaker. She explains her unique approach to mentoring and coaching everyone from film students to established filmmakers in her international seminars and workshops.
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In part 2 of this three-part episode I chat with cinematographer and part-time teacher/instructor Jeffrey Hagerman.
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There’s a lot of mixed feelings about “film school” these days. In this three-part episode I chat with three separate guests about the state of film education and training as well as the industry as a whole.
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We all can use therapy these days and if you're a creative/artist, perhaps you can use a professional who understands and even has some experience your field. I chat with two NYC-based therapists to mine the depths of this type of specialization.
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We continue our conversation with my guests Brian De la Cruz and Derek Stalley in part two of our sprawling conversation about people of color in Hollywood, on and off set.
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If 2020 didn’t deliver us enough drama with the pandemic and lockdown, along came nationwide protests against police brutality and racism.
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There has always existed the independent factions of any artistic mediums whether it be cinema, music, or fine arts. But does theater has have it’s own established independent scene?
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Continuing from episode 27, I chat with composer Patrick Kirst. To showcase the collaboration with director on any given film project, we engage in a little creative musical workshop.
info_outlineFilm scores are there to enhance a scene at times, and at other times to go above and “beyond the two dimensions of the screen” as composer Patrick Kirst explains, perhaps to convey something the scene cannot.
From the classical symphonic heights of John Williams to the jazzier vibes of Bernard Hermann to the modern electronic/orchestral hybrid work of Hans Zimmer, each composer brings their own style to a project.
Ultimately though it is the collaboration of directors and composers that bring a film score to life. In this two-part episode, my guest Patrick Kirst shines a light on this process, and shares his philosophy on what makes a great score.