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From Here Forward shares stories and ideas about amazing things UBC and its alumni are doing around the world. It covers people and places, truths, science, art, and accomplishments with the view that sharing better inspires better. Join hosts Carol Eugene Park and Jeevan Sangha, both UBC grads, in exploring solutions for the negative stuff out there — focussing on the good for a change, from here forward.
[00:00:00] Carol Eugene Park: Hello, friendly alumni. Welcome back to From Here Forward, A UBC Podcast, network. Podcast. I'm Carol.
[00:00:15] Jeevan Sangha: And I'm Jeevan
[00:00:15] Carol Eugene Park: Okay. I have a joke to tell. Are you ready?
[00:00:18] Jeevan Sangha: I'm bracing for impact.
[00:00:19] Carol Eugene Park: What did the cow say to the leather chair?
[00:00:22] Jeevan Sangha: What did the cow say to the leather chair?
[00:00:25] Carol Eugene Park: Hi, mom.
[00:00:25] Jeevan Sangha: Oh. What I'll give you today is that it gave me a laugh, and usually your corny jokes don't.
[00:00:33] So I feel like that's a win.
[00:00:34] Carol Eugene Park: This took me like an hour to sift through with the internet, but I'm glad you laughed at it. I just thought that, you know, given today's topic, I was called to begin the episode with the dark joke.
[00:00:43] Jeevan Sangha: Yeah. And I guess the fact that it's only 9:00 AM in Vancouver, that was all the scaries I needed to start my weekend, so thank you.
[00:00:49] Carol Eugene Park: You're welcome. So, some people may or may not know this, but Jeevan is a culture critic, which to me means that she consumes every TV show and movie that's worth commenting on. Which is to say, anytime I watch a newly released movie in theaters, I either seek out her letterbox review or I ask her over text. So, what movies have you been watching slash obsessing over recently?
[00:01:11] Jeevan Sangha: Well, first of all, I'm honored. Last night I watched a movie called a Nice Indian Boy, Starring Karan Soni and Jonathan Groff, which for all the trope stuff I was expecting was actually really, really sweet and wholesome. What have you been watching, Carol?
[00:01:22] Carol Eugene Park: Nothing. I've just been rewatching Grey's Anatomy, as I do. Because this might be a hot take, but in this quarter of 2025, there aren't a lot of movies that I am inspired to watch. I think the last one that I actually cared for was sinners and everything else. I'm like, I. Eh, I dunno if that's a hot take, but nothing's been really interesting to me.
[00:01:42] Jeevan Sangha: While Carol and I can talk about and attempt to critique movies all day, our guest is considerably more qualified than us in the film world. Pop quiz, Carol, what is film editing?
[00:01:54] Carol Eugene Park: You cut, you slice, you delete, you add some transitions, and you call it a day, right?
[00:01:59] Jeevan Sangha: Yeah, pretty much. I mean, it's kind of the process of building all of the raw materials of a film and putting it together so that we have a more cohesive story, all the emotional points hit exactly where they need to be. It's actually a very important job for how the final product of a film comes out, and there's no one better to talk about it than our guest for today, a film and television editor who has worked on projects across mediums and genres. From Hollywood films like Longlegs and The Monkey, to Sports documentaries like the Grizzly Truth, ESPN 30 for 30, and CBC's Allegiance. Talk about a stacked portfolio,
[00:02:32] Carol Eugene Park: and Greg had so much wisdom on navigating the film industry, you know, leaning into your diverse creative interests, the role of editing and shaping a film's final product and so much more.
[00:02:43] Jeevan Sangha: It was such a fun conversation. So, without further ado, and I'm gonna take page out of Carol's book, lights, camera, action.
[00:02:51] Greg Ng: My name is Greg Ng. I am a film and television editor in Vancouver, BC. I mean this, the follow up question is what is editing?
[00:03:02] Most people know, my parents don't, and It's not just the assembly or putting together your videos and, and getting them out there, but it's the construction of story, establishing tone, dealing with emotions and comprehension, all that good stuff.
[00:03:18] Carol Eugene Park: Well, thank you for that beautiful definition of editing When were you first inspired to be part of a, making movies, but also kind of transitioning into the post-production of things. Like what are the early influences?
[00:03:30] Greg Ng: Yeah, so unlike many young people, I was heavily influenced by Star Wars, the movies, and so wanted to sort of work on those things. When I was younger, we got the trilogy of the original movies and the box set, which came with an extra tape that had the behind the scenes making of how they made Star Wars. And at that time, I thought, you know, movies were just, they just went into outer space and recorded them. But the behind-the-scenes documentary on Star Wars really kind of showed how they made all the monsters and like the aliens and built all the sets. And from there it was like, oh, that's so cool. I want to make Star Wars.
[00:04:05] And my family had a handy cam camcorder, which I initially would just hit record and stop and do in camera editing, which is a pain because everything has to happen perfectly. If you want to do another take, you have to like rewind the tape and go back. And so, then I discovered that you could do, uh, VHS to VHS editing. A very primitive kind of editing, using VHS machines. My dad had a Radio Shack mixer, so I was able to do very primitive kind of video edits with layering on top, like the Imperial March or other epic music to make my very poorly made home videos seem epic and uh, yeah.
[00:04:44] So when I was younger in school, they'd be like, oh, you want to write an essay, or I do a video presentation? And I'd be like, let's make videos. So that was the beginning of my, my filmmaking inspiration stuff. And then when I went to UBC, a long time ago, it was when Apple first came out with the original Final Cut. There was no number. It was called Final Cut, and that was sort of the introduction to editing on a computer and using digital video. And I was like, oh my God, I'm going to put star wipes and everything, everything will be split screen. How much crazy kind of processing can I play with in, in the computer? And I really sort of fell in love with the process, especially once I got to UBC.
[00:05:29] Jeevan Sangha: Since the early Star Wars days, your portfolio has come a long way. Really diverse film and tv. Also more recently like the Monkey and Longlegs. So, tell us a bit about kind of how you've come to dabble in different areas of editing, different genres, but also different like mediums. Is there anything that you know now that you wish you knew when you started?
[00:05:53] Greg Ng: Yeah, like when I, obviously coming into editing, I always wanted to work in science fiction, but you can't just like come outta university and edit Star Wars. That doesn't happen. And I didn't even really know that documentaries were really a thing, and I had a friend who was making a documentary, and he is like, you want to edit this wrestling documentary? And I was like, well, I don't, first of all, I don't know anything about wrestling. And second of all, I've never worked on a doc, but he was like, well, we can sort of figure it out.
[00:06:22] And docs are such an educational kind of thing, it's like you can really become a temporary expert on whatever independent wrestling of Vancouver or pinball, or, you know, punk rock from the early eighties. There's a lot of ebbs and flows with the industry with striking and, you know, recessions and so forth. And being able to work in, you know, documentary allowed me to kind of, one, one side of the industry was down, I could, well there's always people making some kind of interesting doc. They're not going on strike cause they're all non-union and there's always so many cool things happening. Especially now, I do feel like we're kind of entering into a golden age for documentary because everyone could be making something and everyone has the ability to be shooting something and there's so much archival footage of amazing stories that are always kind of happening.
[00:07:16] I mean, I love working with cool people, doing cool things, and that's a broad banner of things to kind of put out there, but I'm hoping that they all lead to Star Wars eventually.
[00:07:26] Jeevan Sangha: Um, I have a question about genre when it comes to editing. You mentioned having the, the ability and the flexibility to move between different forms can be really helpful, especially in the climate now. But I'm wondering for your process as an editor, how much does genre inform your approach to putting together the story, but also, how many of your skills are also universal when it comes to, moving between different forms, like finding those emotional beats and being able to present them in a way that is effective for a viewer?
[00:07:56] Greg Ng: Yeah, I just was thinking for a second about David Bowie. Not to say that I'm anywhere like that, but there's something that can be said if you're too sort of focused on one thing and doing the thing in a certain way, it does that impose limitations on how you see, Everything else? If everything starts to become making widgets, then how can you bring something fresh to the table?
[00:08:18] And so working in, you know, documentary informs creative kind of decisions or processes that when I come into a scripted world, it's like, well, if this was, how can we make all these pretend people pretending that this pretend thing is happening feel as real as possible? How can we make it feel in a way, like a documentary or observational.
[00:08:38] And then vice versa, you know, like in a documentary like, well, how can we elevate this perhaps realistic thing that happened into the most emotional, beautiful cinematic thing, like in a scripted movie? So, you know, there’s definitely a lot of interesting ways of thinking when you kind of jump between things and it's like a lot of mental gymnastics but like it brings a fresh perspective when you're doing one thing and then just changing directions and doing another thing.
[00:09:06] But at the end of the day, it is a movie. That you sit down and observe as an audience, hopefully with a group of people or not. It's an experience that is curated over amount of time, like editing a movie is creating an experience that happens over amount of time, regardless of what it is on screen. And how can you orchestrate that story or experience to the best version of itself.
[00:09:32] Carol Eugene Park: Yeah. So, you have had some great accomplishments such as the CSA nominations, and then you've got a series. Walk us through what that's been like. I mean, you're technically like a big dude with a big name, even though you first started, just wanting to do cool things. So how has that been?
[00:09:48] Greg Ng: You know, it's, it's nice to get acknowledged by awards ceremonies and it, it definitely gives me some warm fuzzies on the inside. It's something that I can show my parents, so it's very nice and it makes me feel good to know that, you know, things that I've worked on have achieved some kind of success along those lines. But I will also say that, you know, like many positions in film, it is a team effort. Like the editing of the movie obviously depends heavily on how it was written. If it was written, if you know a case with doc, you know who shot it, performance that happened in it, the access that the documentarians had with the subjects, the sound that was recorded. Like it's this team effort that really comes together to make a film great and to work. It's hard to sort of, you know, make a lot of bad or unsuccessful slow footage that's out of focus with someone who doesn't want to share anything look really good. The editing on it may be the best editing in the world, but no one will ever know.
[00:10:48] All that to say, you know, editing is a funny thing cause it's kind of the bottleneck at which everything flows through in a movie. It's like all these elements are gathered, all these ideas come together, and they funnel through the edit suite with, you know, the editor and the director, and it comes out on the other side. And then it is also changed on the other side. It goes through sound mix and color or whatever. People will latch onto it. An audience might find something that's interesting and it may really resonate with a certain crowd and then the movie, the perception of the movie kind of changes as, you know, culture shifts.
[00:11:25] All that to say, yeah, I feel very happy winning awards, I don't walk around with these trophies on my shoulder being like a wrestling belt being like in the international intercontinental heavyweight champion of editing. But it would be really fun to do that. Maybe I should do that. but I would rather get a belt, than a trophy. I think that would be kind of funny.
[00:11:46] Jeevan Sangha: A wearable award sounds like a great concept. I wanted to go back to the initial definition that you gave of editing. I'm curious about the creative freedom that an editor has when it comes to creating, I mean, any kind of work. You know, a director or a writer might have their own vision for what a piece of work might look like, and an editor might come in with their own ideas. So how much, in your experience, creative freedom, do you or do you not have when it comes to post? And who are the editors’ frequent collaborators behind the scenes?
[00:12:19] Greg Ng: Right. I, this is a multifaceted question. Another sort of example of, you know, analogy I guess with, with editing that I sometimes talk about is like, editing is like playing with Lego, except that the Lego is video, emotions, music, time. And I mean, we can all relate to that, everyone loves playing with Lego. And so much of that is like, oh, you build a thing, you ran out of a piece, maybe I have to undo that thing, put it back together, restructure it, take a look at it again. Oh, and then like, you know, oh, I dropped it, I broke in half. I could put it back together again. But as I put it back together again, I see inside and be like, oh, well if what if I do this? I can rearrange these pieces so that it has a different, you know, okay, it's, this car has, you know, six wheels instead of just four. You know?
[00:13:01] So in a way, editing is a lot like that. And as far as like creative freedom, you know, I like to work with people that want to collaborate. Like, you know, so much of editing, it's not just pressing buttons. Like I'm not just here to execute some technical goals. I am available as a collaborator to help elevate the project to the next level. And like many things, you can accomplish so much more as a team. So, in the ideal situation, you know, you can, an editor can come to the table and be like, oh look, I know it's written like this. I know that you shot it like that. But what if we do it? Like, what if we turn it upside down? What if we play it backwards?
[00:13:47] What do we start the movie at the end so that people have an idea of where it's going to go? And then there's this tension riding through the whole thing and. So, I like to be able to work with people that are, you know, that see editing as a collaboration to, you know, really elevate the project, explore different avenues to tell the story or the documentary or what have you.
[00:14:10] The editor and the director's relationship is very intimate and close. It's like being, it's like an arranged marriage sometimes where someone will partner you up like, okay, this editor is going to work well with this guy. Or maybe they don't, and that's like, this is the who we can afford, you guys are going to work together. So, you have to hash it out and go through the process. And you know, it's not about egos, it's about the movies.
[00:14:36] So there can be some egos in it. cause I'll be like, look at all these awards I won. You have to trust my opinion. But at the end of the day, it's like, it's not about the editing.
[00:14:46] like, sometimes the best editing is no editing. It's like, don't cut, don't just hang on the thing. Let the performers do their part. And it's not about fast cutting or making things flashy. There's a time and place for those things. It's the team effort.
[00:14:59] Carol Eugene Park: I'm wondering, I mean, you know, during your education, like if the extent of collaboration was very apparent, was that something that you just kind of started to pick up or was that very apparent in, in the education that you had?
[00:15:11] Greg Ng: You know, I think when I started out, I didn't know…Whatever…My elbow from a peanut butter and jelly sandwich, as they say, whoever they are, but certainly working in the industry. The first job I got, I think my first real job in film, I got a gig two weeks after graduating my T.A., Byron Lamarque, who was also running, I think, the Film Society at UBC, he, at a certain point in time, he knew somebody who was working in post-production and needed somebody to deliver to drive, basically. And I had my parents' car, and I was like, oh, so I can be the post-production assistant at some company that makes real movies, sign me up. And I went to go work at a company called Bright Light Pictures, which still around under the tutelage of, of Kirsten Newlands and Jonathan Shore, who are both the post-production magnates today. And, and they really opened my eyes into like, oh, this is how it works. I went from film school where it was like, you know, team of three with like, you get some actors and stuff, and everyone's wearing all these hats because you can do everything. Like if you want to make a YouTube video today,
[00:16:22] You can edit it on your phone. You can't do everything yourself. But when you're trying to do something massive or like that has a big impact. I mean, it really helps to have a team around you. And I remember working at Bright Lights, I think Jonathan Shore showed me the budget of a movie, and I was like, whoa, all those things cost this much money and there's this many people work. What are those people even do? I don't even know. But you come to realize that all of those elements are very important. You know, the guy that's doing color costs so much, the equipment that does it, this a certain rental. It's like to do something on a kind of Hollywood, Star Wars level, you know, it takes a lot of moving parts and all those parts cost money, take time are done by people that really know that one thing super well.
[00:17:06] So, you know, when I was at UBC, I was aware academically of these processes and the people, but I didn't really understand it until I stepped out into the real world
[00:17:16] Jeevan Sangha: Kind of moving to more recent works. I want to talk about The Monkey and Longlegs cause how awesome is that? What, how did those projects come about and what was it like working on them? And then, little follow up that I'll just throw in now is did you get around to watching them in theaters and what was that experience like for you?
[00:17:33] Greg Ng: Yes. Let me back up to tie it all back to UBC, I was walking to class one day when I was at the film program and I saw this guy with a stapler and a stack of papers I was like, what are you doing? What's going on here? And he was putting up these posters that said, 24-hour film festival. And I was like, what is it? What does that mean? Like, are we watching movies for 24 hours or whatever? And I, I hailed him down. and he was organizing or participating in this festival where you make a movie from conception to end in 24 hours, which was absolutely ridiculous. I did not do that one, but it planted a seed
[00:18:11] there's a bunch of them. There wasn't just the 24-hour film festival, there was the 48-hour film festival and there was this thing called Crazy Eights, which is still going today. And there was, I think, a thing called Bloodshot Film festivals. And so, I started doing these film festivals where we would drink a lot of Red Bulls, stay awake all weekend and shoot and edit a movie very quickly and usually badly. But during one of these films that I worked on for, they did a Halloween one called Bloodshot Film Festival. I met a group of people who I still work with today.
[00:18:46] One of them was Chris Ferguson, who's the producer on Longlegs, on the Monkey, and many other movies. And basically, we started making movies very quickly over weekends. And then Chris started producing longer movies, independent features that had no budget but were very cool. He called me up in the, I believe the summer or spring of 2009 or 10, I don’t know, a long time ago, and was like, do you want to make a movie and go backpacking across Europe? We have no money, but we'll pay for your accommodation and you're flying there. And I was like, sign me up.
[00:19:22] And so we backpacked across Europe and made a vampire movie. Called Afflicted, which then got picked up, made a bit of a splash, won some awards and things kind of snowballed from there. Lo and behold, you know, now we're working on Longlegs and The Monkey. So, make movies with your friends if you can. Eventually, they will start making bigger movies Longlegs came out as we were editing The Monkey, and no one realized that it was going to be the hit that it was. Many people liked it. It's not for everyone. My parents, I tell them, don't watch it. And my cousin was like: can I watch this movie? And I was like, no, you're more of like a, you know, a romantic comedy kind of person. This is not that. But the people that did like it, so for whatever reason, liked it a lot. And we surprised by that.
[00:20:10] Obviously we liked it, but we just didn't think it would have the success it did. And I do remember we did go see it in theaters. I think we went on cheap night on Tuesday to the busiest theater I could possibly find, and it was extremely gratifying to listen to the people screaming around or jumping outta their seats.
[00:20:30] Carol Eugene Park: So, what I'm hearing is that you didn't want to spend real money, the full price ticket on the movie you worked on.
[00:20:37] Greg Ng: yeah, basically.
[00:20:40] Carol Eugene Park: Thank you for your honesty. So, I'm curious though, if there are editing styles for different genres outside of horror that helped inform your work in The Monkey.
[00:20:54] Greg Ng: Well, growing up I was like, I was been saying the whole time, maybe I should slow down on the Star Wars thing, but like I was never really like a horror person. I was like, science fiction's cool. Star Wars is awesome. But I never grew up watching scary movies. The first scary movie I watched probably was The Exorcist, which we watched at a like a grade seven. Birthday party or something. and I was terrified.
[00:21:23] I had nightmares forever, and I was like, why would anyone want to put themselves through this psychological terror? For years and years, I'd never watched any scary movies. It's like, that's, that's not for me. But then we started making these short films, the horror movies, and I was like, this is fun. When you're making it, you kind of see through it.
[00:21:43] It's like you see the parts come together and it is like comedy where it, you know, elicits a physical reaction that you can actually see happening in people. You know when somebody's laughing at the joke, you know? Well, that was funny. People are jumping at the scare. You're like, that really worked.
[00:22:03] Jeevan Sangha: So, we are an alumni podcast and I'm sure there will be some recent grads or current film students who are listening and interested in potentially pursuing a career in film or TV or editing. Do you have any words of wisdom? Any advice for folks who are feeling maybe a bit anxious amidst AI and striking and everything that's happening. Any, anything that you would offer people who are emerging into this world?
[00:22:31] Greg Ng: Sure. Yes. I will preface this by saying that, you know, I suppose being an artistic or creative field, you know, editing, I still go through, and I've been doing this for a long time. I may seem young, my voice may have a lot of youth, but, but I have been doing this for, you know, 17- or 18-years and. They, I still go through bouts of, you know, it's like, not depression, but like artistic, what am I doing with my life? Is this really working? Does this matter? I should be saving lives or the environments, you know, what is this doing?
[00:23:10] And, you know, those sorts of swings of creative inspiration and dips, I guess are part of working in the field. There's certainly, I'm sure there's people out there that are more level-headed than me, but I do see and feel like, oh, this movie's ended. Will I ever work on another Longlegs type movie? Have I peaked? Is it all downhill from here? Who knows? I'll never. AI is going to take over everything. And you know, at the end of the day, I gotta tie up my shoes or whatever you say, and be optimistic. I am at heart a realistic optimist. But I feel like in order to succeed at the thing, and if there is no struggle, then there is no sort of growth and me.
[00:23:54] If you're taking a project, you're like, I don't know if this is right for me. Am I going to do a good job? The act of kind of going in and facing your fears sometimes is the best thing that you can do. You know, when you're in an uncomfortable position and like you're kind of riding the edge of your creative sphere.
[00:24:12] That maybe is the right place to be. cause if you're just doing what you know needs to be done and nothing is challenging, then what are you really doing? You know, every project I worked on, I've kind of felt like there's growth involved, and part of that growth was a lot of struggles to kind get there.
[00:24:28] And so, you know, when you see struggle. You should kind of go after it. And I saw a pin the other day walking down commercial drive, I think it was. It said, failure is the objective. I was like, that's a good pin. So, you know, fail more, fail often, and succeed eventually.
[00:24:44] Carol Eugene Park: So, your Instagram bio says that you edit movies, and you make waffles. Curious, you know, are your editing skills transferable to making waffles or vice versa?
[00:24:56] Greg Ng: You know, every time I make a waffle, I think of the editing, no, they're completely, I would say, unrelated. They're related in the way that making waffles should, in some way be the furthest thing from editing. I think that you know, when you are doing something creatively, you should have things that you also do that are totally different. Like if you're standing in front of a computer, then you should do something that's not in front of a computer, like totally analog. You know, if your job involves whatever, singing into a microphone all day as your performer or whatever, then you should do something where you are silent.
[00:25:31] The opposite, sort of balance out what you're doing. You know, we think a lot in editing with our minds. So, when we're relaxing, we should do it with our hands. And, you know, kind of turn off and that kind of the relationship between those things like editing is such a virtual thing. Making waffles and eating them is the most physical kind of real-world thing you could do. And who doesn't like waffles? So, you know, there's a whole spectrum of them Right now we're, my wife and I are making a lot of stuffed waffles. That's a big thing right now. It's like stuffed waffles. What can we stuff in a waffle? And that really changes a lot of things like it's not just a waffle; it's a surprise in the middle. How can you delight someone? The surprise in the middle, perhaps that's like, where does this movie go at the end? How does the twist happen? Once you cut into it, the revelation happens and you're either pleasantly surprised or you know something, hopefully not disgusted.
[00:26:26] Hopefully, you enjoy the whole thing. With waffles, the objective is delight and tastiness not the opposite. It's not a horror movie.
[00:26:35] Jeevan Sangha: I love how the answer started with, they're like complete opposites. And then you found your way into the perfect conclusion, which is they are related.
[00:26:45] Greg Ng: They were
[00:26:45] Jeevan Sangha: I you, you edited a waffle.
[00:26:47] Greg Ng: I didn't think about it that way.
[00:26:49] Carol Eugene Park: Awesome. Well thank you so much Greg. This was wonderful.
[00:26:52] Greg Ng: Yeah, I don't want to go on too long here. I had a really good time at UBC. I often think about it. My time spent in the student union building at the Film Society and watching movies at the Norm Theater was a very educational and precious time in my career development and just, it was a good time in my life being there. So yeah.
[00:27:12] Carol Eugene Park: Great. Awesome.
[00:27:14] Jeevan Sangha: So, it's not every day that the two of us get to interview an award-winning film editor.
[00:27:19] Carol Eugene Park: It's true. And Greg was so laid back. I mean, I wasn't expecting him to be so normal, you know, public figures. They're just like us.
[00:27:29] Jeevan Sangha: Truly.
[00:27:30] Carol Eugene Park: Yeah. I've always wondered about the post-production side of filmmaking, especially for editors who I feel like most people think is very technical, but as we've learned from Greg, very creative, it's part of the creative process. And when Greg talked about how sometimes the best editing is not editing. I was thinking, wow, like that's a professional who respects the craft and removes ego. So, what was your take?
[00:27:54] Jeevan Sangha: I thought your critical analysis was great, but I totally agree. I think what was really interesting from that conversation was how collaborative film editing is too. It’s like teams and teams of people who are working together to create a final product in a film. And so, I think as much as his individual vision kind of seeps through so much and for any editor it's what all the different team’s kind of want to build at the end.
[00:28:15] And it made me think differently about editing. Like for the next movies that I watched after our conversation, I was like, hmm, is the editing really what stood out for me? So, shout out to all editors out there.
[00:28:25] I mean, this conversation was so refreshing, and I loved how candid he was about, I. The uncertainty is that he still faces in the film industry despite being so established. I mean, even though I'm not directly working in film, it was still comforting to hear as someone who works in media.
[00:28:39] Carol Eugene Park: And with that, thanks for tuning in to another episode of From Here Forward. If you missed our most recent episode about Space Junk with Aaron Boley, make sure to subscribe to the show wherever you get your podcasts.
[00:28:49] If you've watched Longlegs or the Monkey or have general thoughts on the show, let us know by winding up a review. You can find me on Blue Sky at Carol Eugene Park,
[00:28:57] Jeevan Sangha: and me on Twitter at Jeevan K Sangha From here forward is an alumni UBC podcast produced by Podium Podcast Company.