『The Cathy Durant Show』のカバーアート

The Cathy Durant Show

The Cathy Durant Show

著者： Cathy Irby Durant
無料で聴く

【Amazonプライム会員限定】今ならプレミアムプランが4か月 月額99円。

10月19日まで。※適用条件あり
After many years of producing and directing video and film productions, Producer Director, Cathy Irby Durant returns to her roots in Radio and TV. Join Cathy and be intrigued by Special Guests, Hot Topics and Music. We welcome you, friends and family to watch the Cathy Durant Show created to make a refreshing difference in streaming media. Broadcasting on BBS Radio TV on the iHeart Network on over 150 Stations in 37 Countries. See you soon.Copyright 2026 Cathy Durant 人間関係 子育て 心理学 心理学・心の健康 社会科学 衛生・健康的な生活
エピソード
  • Cathy Durant Show, October 6, 2026

    Cathy Durant Show, October 6, 2026
    2026/10/07
    Robert “Dr. Doom” Brazile is a Pro Football Hall of Fame linebacker and one of the most celebrated players in Houston Oilers history. A first-round draft pick out of Jackson State University, Brazile spent his entire 10-year NFL career (1975–1984) with the Houston Oilers, starting all 147 regular-season games. Known for helping revolutionize the outside linebacker position, he was named the 1975 NFL Defensive Rookie of the Year, selected to seven consecutive Pro Bowls, earned five consecutive First-Team All-Pro selections and was named to the NFL’s 1970s All-Decade Team. He was inducted into the Pro Football Hall of Fame in 2018. On The Cathy Durant Show, Brazile reflected on what it meant to reach football’s highest honor and be enshrined in the Pro Football Hall of Fame. He also discussed another deeply personal hometown honor: his inclusion in Mobile, Alabama’s Hall of Fame Walk. Brazile is immortalized with a nine-foot bronze statue alongside five fellow Mobile sports legends—Hank Aaron, Satchel Paige, Billy Williams, Ozzie Smith and Willie McCovey. Brazile attended the June 2025 unveiling of the permanent waterfront installation, bringing his remarkable journey from Mobile to the NFL and ultimately back home full circle.
    続きを読む 一部表示
    58 分
  • Cathy Durant Show, September 29, 2026

    Cathy Durant Show, September 29, 2026
    2026/09/30
    The Cathy Durant Show From Paramedic to Screenwriter: Doctor Who, EastEnders, and the Maverick Script Code with Glen McCoy Glen McCoy is a screenwriter who has written for well know television shows in the UK, been commissioned to write screenplays for features by production houses, has written hundreds of corporate scripts for some of the world’s largest brands and has had his most recent screenplay optioned with pre-production starting in 2027 with well known 'A Listers' as cast. He was on the orginal writing team for long running drama series EASTENDERS as well as two other similar shows and has even written for DOCTOR WHO. His corporate commissions have come from Innocent Drinks, Johnson & Johnson, the UK Home Office, Samsung and Land Rover. He also created and wrote an internal ‘soap’ series for training purposes within Vodafone UK and recently was commissioned by International coaching providers in the UK, OTD for a micro drama series. Glen is also an author with 16 books in print including a Doctor Who novel and business titles like Guerrilla Coaching, Extraordinary Customer Care, Power Presenter and his latest business title BUSINESS SCREENWRITING being published by am American Publisher affiliated to Harvard Publishing. Glen has just launched a brand new YouTube channel: Maverick Script Code with a complete system for screenwriters of any level of experience that’s based on what he’s learned over the past 3 decades - and is completely free for subscribers. UK screenwriter Glen McCoy joins Cathy Irby Durant to trace his path from London paramedic to Doctor Who and EastEnders writer, and to unveil his Maverick Script Code method for teaching screenwriting. Becoming a Screenwriter by Instinct Cathy Irby Durant opens the show by welcoming Glen McCoy, a UK screenwriter and author, as the first professional writer to appear on the program. She asks whether he was born to write or learned to write, and McCoy answers that he believes writers are born, comparing a child who absorbs storytelling from watching television to one who has to relearn it later. He recalls writing his school's play at age ten, a piece he calls "The King Who Took Sunshine," and says that moment felt like the universe telling him to take drama seriously. McCoy explains that before scriptwriting he worked as one of the first paramedics in London and visited a fire station in Ohio, experiences that later fed his stories. He also wrote a nonfiction book on paramedic work and found a publisher, a first step that leads, almost by accident, toward his television career. Durant calls his account heartwarming as the interview gets underway. Landing an Agent and a BBC Commission McCoy describes how he sought literary representation after publishing his paramedic book, cold-calling London's top agency and getting redirected, with a hint of pride, to a "less busy" one. That second agency takes him on, and two weeks later calls to say he has been commissioned to write two episodes of a primetime BBC television show, despite his having never written a script before. He borrows a library book called "How to Write Television Scripts" and works to the deadline, and both scripts are accepted and produced. McCoy says landing so easily made him assume he already knew everything, a decision he now calls "a big, big mistake," because he never went back to learn the craft's tools and techniques properly. That gap later leaves him lost in script meetings full of unfamiliar jargon. He tells Durant his real message to new writers is that confidence in one's storytelling ability matters more than workshops, gurus, or books, though a few essentials still need to be learned along the way. From Medical Dramas to EastEnders McCoy explains that his paramedic background directly shaped his first professional job, since that debut BBC show was a medical drama drawing on real incidents, including what he believes was British television's first depiction of a patient trapped under a train. He credits a script editor named Tony Holland, who deliberately recruited a set number of "baby writers" each year because, in Holland's view, publicly funded broadcasting owed newcomers a way into the craft. Holland later calls McCoy about a new show he is launching, which becomes "EastEnders," and McCoy writes one of its earliest episodes during what he calls an exciting launch period. Durant marvels at the range of well-known British dramas behind him and promises listeners they will next discuss "Doctor Who," teasing that McCoy's own path into that legendary series is just as unlikely as everything that came before it, before the show breaks for a commercial pause. Writing Two Episodes of Doctor Who Back from the break, McCoy tells the story of pitching himself into "Doctor Who" after watching an episode with his son and thinking he could write a better story. His agent initially refuses, warning the show is reserved for experienced writers, then relents by ...
    続きを読む 一部表示
    1 時間
  • Cathy Durant Show, September 15, 2026

    Cathy Durant Show, September 15, 2026
    2026/09/16
    Guest, John Hadity, EVP of Incentive Operations and oversees the film financing subsidiary of Entertainment Partners Financing the Screen: Tax Incentives, Completion Bonds and the Road Back to Production Turning Production Incentives Into Film Financing Cathy Durant speaks with Entertainment Partners guest John Hadity about the role production incentives play in financing film and television projects. Hadity describes moving from studio work and independent producing into tax-credit financing after noticing that state incentive programs remained active during an economic downturn. He explains that incentives may include refundable or transferable tax credits, rebates, and grants, and that productions can compare jurisdictions based on eligible labor and non-labor spending. He also describes Entertainment Partners as providing support in areas such as production planning, budgeting, scheduling, accounting, and incentive administration. The conversation emphasizes that the location of a production can materially affect its financing plan. Hadity points to projects filmed outside the locations depicted on screen as examples of how incentives and other financial considerations can shape production decisions. How Tax-Credit Loans and Completion Bonds Work A substantial portion of the discussion focuses on borrowing against anticipated production incentives. Hadity explains that the speed of repayment can vary significantly by jurisdiction and that Entertainment Partners maps expected timelines for producers and borrowers. He describes why a completion bond may be required when a lender advances money against a credit that depends on the project actually being finished. The bond company, he says, needs access to the full production budget before issuing its guarantee. Durant shares an experience in which foreign investors would not place their funds into a U.S. escrow account, which prevented the financing structure from satisfying the bond company. The exchange highlights the relationship among equity, incentive-backed loans, escrow requirements, and completion guarantees. Administration, Accounting and the Production Entity Hadity explains that production-incentive administration begins with the initial application and continues through expense tracking, accounting coordination, audit preparation, final submission, and responses to state questions. He says the production entity itself must pay qualified expenses and maintain records such as a check register, general ledger, and trial balance. Depending on the incentive, that entity may be an LLC or a C-corporation. He also explains that a filmmaker can retain underlying ownership while granting a one-picture license to the production entity so it can make and deliver the project. The discussion presents production structure as both a financing and compliance issue. Durant and Hadity repeatedly stress the importance of getting those structural details in place before production begins. Distribution, Sales Estimates and Streaming Deals The conversation then moves to distribution, including North American rights, international sales agents, foreign-sales estimates, and the role of recognizable talent in creating bankable pre-sales. Hadity explains that a sales agent may estimate a project’s value in different territories based on buyer demand and the creative package, and that lenders may sometimes finance against credible estimates. He cautions independent producers about streaming-platform acquisitions, particularly offers for worldwide rights in perpetuity that may be lower than the project’s production cost. In that situation, he says, producers need legal counsel that understands the financing plan and repayment obligations to investors. The speakers also discuss the continuing role of studios in acquisitions and festivals. Hadity’s central warning is that broad distribution exposure does not automatically mean a producer or investor will recover the project’s full cost. Strikes, Recovery and Preparing for Production Durant and Hadity discuss the effects of the writers’ and actors’ strikes following the disruption of the pandemic. Hadity says television was particularly affected by the writers’ strike and that the actors’ strike brought production to a much broader halt. Despite the slowdown, he expresses confidence that the industry will recover and says companies were preparing for a major surge in production once labor issues were resolved. His repeated advice to producers is to prepare: break down scripts, build schedules and budgets, choose jurisdictions, obtain incentive-loan quotes, raise the remaining financing, line up payroll, open accounts, discuss insurance, and begin conversations with bond companies. The discussion also covers AFM and the value of film markets for producers, financiers, distributors, buyers, and sellers. Hadity says he evaluates festival attendance based on whether the expected return justifies the cost. The...
    続きを読む 一部表示
    1 時間
adbl_web_anon_alc_button_suppression_t1
まだレビューはありません