CONFERENCE GUIDE
UNIVERSAL CITY, CALIFORNIA, USA 34TH INTERNATIONAL AFCI CONFERENCE
A F C I
C I N E P O S I U M
O 9
Welcome to Universal City, California and to the 34th AFCI Cineposium. Schedule-At-A-Glance
6
Opening Reception
8
AFCI University
9
Detailed Program Schedule
11
Biographies
18
Conference and Hotel Resources
33
Acknowledgements
38
HEALTH CLUB X
X
X
256
X
A B
POOL
TERRACE ROOMS
C 134 234
X X X
D
CALIFORNIAS RESTAURANT
ESCALATOR
III STUDIO SUITES II
GRAND BALLROOM EAST BALLROOM
WEST BALLROOM
X X X
FRONT ENTRANCE
LOBBY LOUNGE
AUDITIONS
ESCALATOR FRONT DESK
W
M GREAT HALL
BALLROOM CIRCLE STARVIEW ROOM
SHERATON UNIVERSAL HOTEL
333 Universal Hollywood Drive
M
Universal City, CA 91603
W
Telephone 313 930-1212
LOBBY BAR
CONCIERGE
BALLROOM ENTRANCE I
GIFT SHOP
BELL DESK
WRITER ROOM
DIRECTOR ROOM
EXECUTIVE OFFICE
PHONES
PERFORMERS ROOM
EXECUTIVE BOARDROOM
IV
MEETING ROOM
334
TERRACE PATIO
PRODUCER ROOM
2
ENTRYWAY X X X
SALES OFFICE
A F C I
C I N E P O S I U M
O 9
Dear Cineposium International Conference Attendees: Welcome to Los Angeles for the 34th annual Cineposium Conference. Cineposium is created by a committee of AFCI volunteers who spend the entire year working to make each conference better than the ones that came before it. Because of the exceptional leadership of Joan Miller (Vancouver Island North Film Commission) and her committee of AFCI member volunteers, the conference reaches a higher level of excellence and relevance each year. The AFCI owes a real debt of gratitude to Joan and her team. The volunteer committee works diligently on the event, but it is the AFCI administrative staff that really make it happen. Professional Development Manager Laurie Lehmann, Communications Manager Kevin Clark, and Operations Manager Cheryl Cole are to be congratulated for their tireless and dedicated work. I would like to take this opportunity to introduce you to our two newest staff members. Nicki Weber works with Locations Magazine publisher Boutique Editions on securing sponsorships and advertising. Our newest staff member Elizabeth Kelly, assists with marketing, public relations and promotional work. Please make it a point to welcome them. Cineposium is a place where we can come together to learn, explore and enjoy each other’s company. I’m truly glad that you have come to share this wonderful experience with your fellow commissioners. Best wishes,
MARY NELSON
AFCI President Virginia Film Office
3
Why more films commission us. 4
A F C I
C I N E P O S I U M
O 9
From entertainment payroll to production services and our Tax Incentive Program, Cast & Crew has built a reputation that’s unmatched in providing you with resources for your production needs. This is what makes us the best in the business.
For Tax Incentive Program information or to receive Cast & Crew’s TIP book, contact: Joe Bessacini, Vice President, Film and TV Production Incentives (818) 480-4427 productionincentives@castandcrew.com
www.castandcrew.com Burbank • New York • Albuquerque • Atlanta Baton Rouge • Detroit • Toronto • Vancouver
A F C I
C I N E P O S I U M
O 9
It is my pleasure to welcome you to the 34th Annual Cineposium Conference. Once again our committee has done a masterful job identifying the key issues and trends to keep you in step with the pace of our industry. We have experienced many changes and challenges in this business since last we met one year ago in Wellington, New Zealand. Our conference planning team is confident that this year’s comprehensive program will prepare you to succeed with self-assured optimism in a new global climate. Thank you to our talented speakers and moderators as well as our generous sponsors for your participation and support. And to this year’s planning team led by Lisa Strout from the New Mexico Film Office, Sue Hayes from Film London, and of course, our hardworking staff, and this world-class venue—our sincere gratitude! At the heart of Cineposium is networking and camaraderie. So, on behalf of our team, we hope you find the next few days to be not only valuable but fun, too! Cheers,
JOAN MILLER
AFCI Vice-President, Professional Development Vancouver Island North Film Commission
5
6
A F C I
C I N E P O S I U M
O 9
Schedule-at-a-Glance FRIDAY, OCTOBER 30
SUNDAY, NOVEMBER 1
9:00am-10:00am Registration Open: Universal Theme Park Tickets Only (Sheraton Lobby; next to Business Center)
8:30am-5:00pm AFCI Registration Open (Grand Hall)
5:00pm-6:30pm Registration Open (Sheraton Lobby; next to Business Center) SATURDAY, OCTOBER 31 8:30am-5:00pm Registration Open (Sheraton Lobby; next to Business Center) 9:00am-5:00pm Film Commission Professional (Studio 4) AFCI Master Class: Advanced Studies in Film Production (Studio 3) 12:15pm-1:30pm AFCI University Courses Lunch (Studio 1-2) 6:00pm-7:00pm Film Commission Professional Reception
9:00am-5:00pm AFCI Master Class: Leadership for Film Commissioners (Studio 3) AFCI Advanced Workshop: Social Media Optimization (Studio 4) Digital Scouting Workshop (Producer’s Room) 12:15pm-1:30pm AFCI University Courses Lunch (Studio 1-2)
A F C I
C I N E P O S I U M
O 9
MONDAY, NOVEMBER 2
TUESDAY, NOVEMBER 3
7:00am-5:00pm AFCI Registration Open (Grand Hall)
7:00am-5:00pm AFCI Registration Open (Grand Hall)
8:00am-9:00am Continental Breakfast (Starview Room)
8:00am-9:00am Continental Breakfast with Kathy Garmezy, DGA: “Important Issues in Piracy” (Ballroom)
8:00am-5:00pm Computer Lab Open for Digital Scouting Workshop and Social Media Workshop Attendees (Producer’s Room) 9:00am-5:00pm Table Top Displays Open during Breaks and Lunches (Grand Hall) 9:00am-10:00am Opening Keynote Presentation: One-on-One with Roger Corman (Starview Room) 10:00am-10:30am Refreshment Break (Great Hall) 10:30am-11:45am General Session: ROI: What’s Your Worth (Ballroom) 11:45am-1:30pm Lunch and General Session: Global Climate Change in the Entertainment Industry: Trends and Tactics for Film Commissions (Ballroom) 1:45pm-3:15pm Breakout Session 1: A Look at Trends, Technologies and Opportunities for the Future (Studio 2-3)
9:00am-5:00pm Table Top Displays Open during Breaks and Lunches (Grand Hall) 9:00am-10:15am General Session: Film Financing (Ballroom) 10:15am-10:30am Refreshment Break (Great Hall) 10:30am-12noon General Session: The Care and Feeding of a Reliable Workforce (Ballroom) 12noon-1:15pm Keynote Lunch (Ballroom) 1:30pm-3:00pm Breakout Session 1: The Business of Persuasion: How to Influence, Inspire and Encourage People to See it Your Way (Studio 2-3) Breakout Session 2: What’s New in Digital Technology? (Ballroom) 3:00pm-3:15pm Refreshment Break (Great Hall)
Breakout Session 2: Non-Fiction Production: The Bread & Butter of the Industry (Ballroom)
3:15pm-5:00pm General Session: How Would You Handle It? AFCI MEMBERS ONLY (Ballroom)
3:15pm-3:30pm Refreshment Break (Great Hall)
5:00pm Free Time
3:30pm-5:00pm AFCI CFC Presentations General Session: Candid Conversations with Studio Executives, Part 3: Creating Partnerships for Tomorrow (Ballroom) 6:00pm-8:00pm Cineposium Opening Reception (Terrace Patio)
7
8
A F C I
C I N E P O S I U M
OPENING
O 9
RECEPTION
T E R R A C E PAT I O 6:00pm – 8:00pm
From film commissioners to producers, everyone in the industry senses the far-reaching changes brought on by the technology revolution and the economy downturn. Enjoy this opportunity to network with friends old and new who share your commitment to the entertainment industry today and tomorrow. A casual evening including island–themed foods, complimentary cocktails and steel drum entertainment proudly hosted by the AFCI with support from P3 Magazine and Cast and Crew Entertainment Services, LLC.
Sponsored by:
A F C I
C I N E P O S I U M
O 9
AFCI University * Information as of October 13, 2009 FILM COMMISSION PROFESSIONAL (FCP)
Saturday, October 31, 2009, 9:00am – 5:00pm Registration Opens at 8:30am Studio 4 This one-day foundation course is the face-to-face companion to Film Commission Fundamentals Online (FCF), our introduction to film commission work.* Film Commission Professional (FCP) builds on the information presented in Film Commission Fundamentals by providing more in depth information on several of the most important elements involved in film commission work. Together, these two courses are particularly useful for film commission staff members, community liaisons, government officials, and anyone interested in starting a commission. The course will be taught using lecture and small group sessions with information about marketing, economic impact, and alliances and partnerships. Faculty SUE HAYES , Film Commissioner, Film London LISA STROUT, Director, New Mexico Film Office MASTER CLASS - ADVANCED STUDIES IN FILM PRODUCTION
Saturday, October 31, 2009, 9:00am – 5:00pm Registration Opens at 8:30am Studio 3 Understanding how films are created, made and distributed is an important aspect of being a film commissioner. This course will look at the most important aspects of filmmaking including finding and using material, working with writers, raising financing, getting a green light, shooting a movie, post production, distribution, marketing, technology changes that have an effect on all aspects of movie production, and the future of the industry as it relates to technology. Faculty MARIE CANTIN , Associate Director, Second Year, Production
Services, American Film Institute DAVID KANTER , Senior Motion Picture and TV Producer,
Anonymous Content, LLC SAM KITT, Independent Feature Producer, Future Films NANCY RICHARDSON , Professor, UCLA School of Theatre, Film
and Television
9
10
A F C I
C I N E P O S I U M
O 9
MASTER CLASS - LEADERSHIP FOR FILM COMMISSIONERS
Sunday, November 1, 2009, 9:00am – 5:00pm Registration Opens at 8:30am Studio 3 As film commissions, you set the gold standard for leadership in the film industry. Every day, your work touches many different types of individuals in the entertainment world, and you must be able to develop and implement various skills and strategies that encourage positive behavior. This course will provide an examination of various leadership skills with an emphasis on promoting effective and efficient ways to improve film commission operations and performance. Topics include: Effective leadership styles, negotiations for Film Commissioners; problem solving and conflict resolution, interpersonal skills, and industry ethics. Faculty DAVID SOLEI l, Leadership Education Consultant F U L L- DAY WO R K S H O P S
SOCIAL MEDIA: OPTIMIZING YOUR ON-LINE PRESENCE
Sunday, November 1, 2009, 9:00am – 5:00pm Registration Opens at 8:30am * Computer Lab will also be open all day Monday, November 2, 2009 Studio 4 Social media optimization is an integral part of a modern online reputation management system. Join film industry veterans Peter D. Marshall and Trilby Jeeves for an essential workshop that gives you the tools to be effective with these powerful resources and techniques. Learn from your colleagues how they justify the use of social media in government-based organizations. You’ll discover the value of having a focused presence on social media networks like Facebook, Twitter, and others, and come away with a blueprint for leveraging technology to strengthen your competitive positioning. On the second day, attendees have access to an open lab where Peter and Trilby will be available to respond to specific questions one-on-one. Speakers/Panelists: Peter D. Marshall, Writer, Director and Producer Trilby Jeeves, Instructor, Actor and Writer DIGITAL SCOUTING WORKSHOP
Sunday, November 1, 2009, 9:00am – 5:00pm Registration Opens at 8:30am * Computer Lab will also be open all day Monday, November 2, 2009 Producers Room
A F C I
C I N E P O S I U M
O 9
Great location photos sell locations. In this highly interactive workshop, professional location scouts show you how to shoot, manipulate, and share superior digital location photos. You’ll use local L.A. scenes as your subjects, and then bring your photos into our computer lab to learn the processes of stitching, optimizing and managing your digital image files using professional software tools. Faculty: Don Gray, Locations Manager, New Mexico Film Office
Cineposium 09 Monday, November 2, 2009 OPENING KEYNOTE BREAKFAST: ONE-ON-ONE WITH ROGER
9:00am – 10:00am Continental breakfast opens at 8:00am, Keynote Presentation will begin at 9:00am Starview Room (Top Floor) Independent filmmaker Roger Corman, perhaps best known as the “King of B-Movies” and the industry’s “original survivor,” will headline Cineposium 09 as keynote speaker. In “One-on-One with Roger” on Monday, November 2 at 9 a.m. retired film commissioner Robin Holabird will interview Corman about how new media and a new economy is revolutionizing moviemaking and distribution. Having produced and directed more than 600 curious films including “The Little Shop of Horrors” and “Screwballs,” Corman’s influence on American cinema is largely due to his indisputable reputation for creative, profitable, and trend-setting movies. Infamous not only for measly budgets and gimmicky flicks, the godfather of independent moviemaking also has fostered some of the biggest names in show biz including Jack Nicholson, Peter Fonda, Charles Bronson, Martin Scorsese and Francis Ford Coppola. With a string of box office hits and international acclaim to his name, Corman chronicled his filmmaking success with the autobiography “How I Made a Hundred Movies in Hollywood and Never Lost a Dime.” Speakers/Panelists: ROBIN HOLABIRD (Moderator) ROGER CORMAN REFRESHMENT BREAK
10:00am – 10:30am Great Hall Animals and trainers supplied by Birds and Animals Ltd.
11
12
A F C I
C I N E P O S I U M
O 9
GENERAL SESSION
ROI: WHAT’S YOUR WORTH?
10:30am – 11:45am Ballroom It’s the hot question facing film offices worldwide: What is your Return on Investment? In other words, what’s the value — economically and culturally—that your staff, your programs and/or your incentives bring to your jurisdiction? In the larger picture, what’s the value of the creative industry to the global economy? Most importantly, how do you demonstrate all this to your governing and funding bodies? In an era of economic uncertainty, you need to be armed with the language, the statistics, and the real-life tales to answer these timely questions. Speakers/Panelists: LISA STROUT, Director, New Mexico Film Office (Moderator) NEAL CLARANCE , Partner, Canadian Media & Entertainment
Leader, Ernst & Young TOM TVEIDT, Research Economist, Garner Economics
LUNCH AND GENERAL SESSION
GLOBAL CLIMATE CHANGE IN THE ENTERTAINMENT INDUSTRY: TRENDS AND TACTICS FOR FILM COMMISSIONS
11:45am – 1:30pm Ballroom In past year it has become increasingly clear: the old ways of doing business are gone forever. Learn to stay competitive in this new economic reality by examining its effects on the entertainment industry and understanding how it will determine the types of projects that will be funded. Our panel includes experts who have successfully adapted to the new model, and who can help you understand how to evolve along with these changes. The most successful film offices won’t just survive, they’ll revive their efforts in the coming years for even greater success. Speakers/Panelists: DAVID WOOLSON, President, 45th Parallel Pictures (Moderator) BILL DRAPER , Executive VP of Physical Production, Warner Brothers JACK KYSER, Founding Economist, Kyser Center for Economic
Research of the Los Angeles Economic Development Corporation DANA PLAUTZ , Founder and Co-President, MrsP.com JACQUES THEMELAQUE , President,
Filmmakers Alliance
> W W W. S H O O T O N L I N E . C O M
A F C I
C I N E P O S I U M
O 9
BREAKOUT SESSIONS
SOCIAL MEDIA: A LOOK AT TRENDS, TECHNOLOGIES, & OPPORTUNITIES FOR THE FUTURE
1:45pm – 3:15pm Studio 2 & 3 The technological advances of social media have transformed the process of communication in ways we are only beginning to understand. With the proliferation of social networks like YouTube, Facebook, MySpace and Twitter, the world has become smaller even as the outlet for creativity and expression has increased exponentially. Join industry trendsetters to talk about where social media is headed and what you need to know to keep yourself in tune with upcoming trends. Speakers/Panelists: BEVERLY MACY, Managing Partner, Y&M Partners (Moderator) ANN GLENN , Senior Web Producer, Sony Pictures Imageworks
Interactive RODNEY RUMFORD, Founder & CEO, Gravitational Media, and
Founder, Gravity Summit NON-FICTION PRODUCTION: THE BREAD & BUTTER OF THE INDUSTRY?
1:45pm – 3:15pm Ballroom Around the globe, television schedules are being filled with nonfiction programming, often eclipsing dramatic programming. As the economic crisis continues, the smaller crop of fictional dramas will likely shrink even more. In its wake, more non-fiction production— focusing on local stories and exploiting the actuality format—will take its place, bringing tight budgets, quick schedules and smaller crews. Learn about non-fiction’s special needs and how you can bring a piece of this growing business to your area. Speakers/Panelists: JEANNE CORCORAN , Director, Sarasota County Film &
Entertainment office (Moderator) RACHEL BRIL l, Vice President Development, Zoo Productions MICHAEL HAMMOND, Line Producer, Red Bull Air Race World
Championship AMBER MAZZOLA , Executive Producer, Owner Five Five
Productions REFRESHMENT BREAK
3:15pm – 3:30pm Great Hall
13
14
A F C I
C I N E P O S I U M
O 9
GENERAL SESSION
CANDID CONVERSATIONS WITH STUDIO EXECUTIVES PART 3: CREATING PARTNERSHIPS FOR TOMORROW
Presentation of AFCI Certified Film Commissioner Designation 3:30pm – 5:00pm Ballroom As film commissions battle to maintain and enhance financial incentives and government support, studios struggle with profit and marketplace. Now more than ever, the path toward a prosperous future is navigable only in the company of solid partnerships. Learn how, through robust information sharing and communication, film commissions and studios can shape the success of the industry’s future. Speakers/Panelists: WARD EMLING , Mississippi Film Office (Moderator) ALAN BAILEY, Chief Operating Officer and Co-Founder of
Dynamic Media International Inc. MARY ANN HUGHES , Vice President, Film and Television
Production Planning, The Walt Disney Company LISA PITNEY, Vice President, Government Relations, The Walt
Disney Company LISA RAWLINS , Senior Vice President, Public Affairs, Warner Bros.
Entertainment KEITH WEAVER , Senior Vice President of
Government Affairs, Sony Pictures Entertainment (SPE)
OPENING RECEPTION
6:00pm – 8:00pm Terrace Patio From film commissioners to producers, everyone in the industry senses the far-reaching changes brought on by the technology revolution and the economy downturn. Enjoy this opportunity to network with friends old and new who share your commitment to the entertainment industry today and tomorrow. A casual evening including island–themed foods, complimentary cocktails and steel drum entertainment proudly hosted by the AFCI with support from P3 Magazine and Cast and Crew Entertainment Services, LLC.
A F C I
C I N E P O S I U M
O 9
Cineposium 09 Tuesday, November 3, 2009 CONTINENTAL BREAKFAST
8:00am – 9:00am Ballroom Special presentation from Kathy Garmezy with the DGA on “Important Issues in Piracy”
GENERAL SESSION
FILM FINANCING
9:00am – 10:15am Ballroom Film financing in today’s market economy has gotten to be a creative act in itself. We’ll look at where funding is coming from these days, what financial strategies are being employed and with what success. We’ll discover how film incentive jurisdictions fit into the financing picture and learn about alternative funding sources, co-production deals, hedge funds, product placement, and new distribution models. Speakers/Panelists: JOSEPH CHIANESE , VP Business Development, Entertainment
Partners (Moderator) SUZANNE LYONS , Producer, Snowfall Films, Inc. ALICE P. NEUHAUSER , Principal, Complete Rights Management, LLC DANAE RINGELMANN , Fouder, IndieGoGo JONATHAN VANGAR , Producer, Transfilm REFRESHMENT BREAK
10:15am – 10:30am Great Hall GENERAL SESSION
THE CARE AND FEEDING OF A RELIABLE WORKFORCE
10:30am – 12:00PM Ballroom The core mission of most film commissions is job creation and economic growth. And with increased competition for global production it is not enough to have a tax incentive or favorable exchange rate. Productions need a sustainable crew base with a reputation for quality production. This session addresses how to build and sustain your local crew base by creating training programs, persuading government and educators of the importance of training, and finding avenues to funding.
15
16
A F C I
C I N E P O S I U M
O 9
Speakers/Panelists: KATHLEEN MILNES , President and CEO, The Entertainment
Economy Institute (Moderator) CASEY BERNAY, Director of Education and Training, Art Directors
Guild, Industry Liaison for IDEAS KEVIN CONSIDINE , Founder, President and CEO, Hollywood
Cinema Production Resources RICHARD HOLDREDGE , Director of IDEAS (Institute for Developing
Entertainment Arts & Study), Los Angeles Valley College LAURA PETERSON , Vice President, Chief Development
Officer, Hollywood Cinema Production Resources IAIN SMITH , Producer and Chair, UK Film Skills Council
KEYNOTE LUNCH
KEYNOTE LUNCH AND GENERAL SESSION
12:00pm – 1:15pm Ballroom Join your colleagues for lunch at noon in the Ballroom on Tuesday, November 3! This year’s Keynote Luncheon is promised to be as engaging and entertaining as the rest of Cineposium 09. Sponsored by NBC Universal, this informal lunchtime session will conclude at 1:15 p.m. ahead of an afternoon chock full of compelling topics and conversation.
BREAKOUT SESSIONS
THE BUSINESS OF PERSUASION: HOW TO INFLUENCE, INSPIRE, AND ENCOURAGE PEOPLE TO SEE IT YOUR WAY
1:30pm – 3:00pm Studio 2 & 3 The very existence of a film commission can hinge on the commissioner’s skills to lobby for the resources they need. During tough economic times, the power of persuasion has never been more critical. Who is your audience? Your allies? Your enemies? What are the critical issues that can block your success? In answering these and other crucial questions, you’ll learn how to form campaign strategies that get through to your stakeholders, and how to recognize the politics that may help or hinder your efforts. Speakers/Panelists: KEVIN SHAND, Director, Colorado office of Film, Television and
Media (Moderator) DANNY TOMLINSON , Lobbyist and Public Affairs Professional,
Tomlinson & Associates
A F C I
C I N E P O S I U M
O 9
ERIC WITT, Deputy Chief of Staff/Legislative Affairs & Film/Media
Advisor to Governor Bill Richardson DAVID WOOLSON , President, 45th Parallel Picture WHAT’S NEW IN DIGITAL TECHNOLOGY?
1:30pm – 3:00pm Ballroom In the evolving world of film and media, technology—and the endless possibilities that come with it—seems to change almost daily. Staying on top of it all enables you to better understand the needs of producers, so you can help fulfill those needs. In this up-to-date session, you’ll learn how digital technology is changing every aspect of the entertainment business, even down to the financial models of media production. Find out what’s new in gaming, animation, visual effects, distribution methods and more. Speakers/Panelists: JOAN MILLER , Vancouver Island North Film Commission
(Moderator) JERICCA CLELAND, CEO/CCO, Twenty One Inc. LYLE HALL , President and CEO, Heavy Iron Studios MORRIS MAY, CG Supervisor, Buck
REFRESHMENT BREAK
3:00pm – 3:15pm Great Hall
GENERAL SESSION
HOW WOULD YOU HANDLE IT?
3:15pm – 5:00pm Ballroom A perennial favorite, this session offers a chance to share experiences and insight as you take apart real-life situations and evaluate the difficult choices film commissioners must make. For an additional point of view, this year’s session will include the AFCI Advisory Board who bring a wealth of experience to the table. There will be plenty of time for Q&A and good discussion. Don’t miss this unique opportunity to network with your peers. Speakers/Panelists: BILL BOWLING , Location Manager ROBIN CITRIN , Location Manager HUDSON HICKMAN , Producer MICHAEL LAKE , Producer
17
18
A F C I
C I N E P O S I U M
O 9
Biographies Information as of October 13, 2009. ALAN BAILEY is chief operating officer and co-founder
of new media entertainment company Dynamic Media International Inc. based in Hollywood, California. Until his retirement in March 2009, Bailey was the senior vice president and treasurer of Paramount Pictures Corporation. He previously served as senior vice president, treasurer, and financial controller at Paramount. His responsibilities included managing Paramount’s individual and film slate financing, asset securitization, key deal analysis and financial planning, worldwide cash operations and bank management, corporate tax planning/corporate structuring, disaster recovery/ business resumption planning, and internal audit operations. Prior to joining Paramount, Bailey was vice president, finance for Gulf & Western Industries in Bermuda; senior audit director of the Bermuda affiliate of Ernst & Young; and senior manager for Grant Thornton in England. He co-produces the Pasadena International Action on Film Festival and is an operating partner of TransWorld Capital Group, a global financial and strategic advisory firm. BILL BOWLING is an expert in international film produc-
tion. For 30 years, he worked with Hollywood studios organizing filming around the world. From 2006 to 2008, Bowling was the worldwide locations executive for Warner Bros. Pictures. Previously, he worked with all Hollywood studios as a supervising location manager, doing over 40 feature films and many television programs. He has an extensive knowledge of international location shooting having traveled or worked in more than 85 countries, and consults with governments around the world regarding developing their film industries. RACHEL BRILL is a devoted member of the ZOO
Productions family since 2001, having grown from intern to vice president of development where her creativity and energy continue to nurture the growth of the company. In her current capacity she manages show development and production relevant to pitches, presentations, and pilots. Prior to joining ZOO, Rachel attended the University of Miami garnering accolades as a student producer, director and editor of a scholastic game show titled “UMIQ�; and held an advance staff position on the 2000 Gore/Lieberman Presidential Campaign.
A F C I
C I N E P O S I U M
O 9
MARIE CANTIN is a producer with a range of experi-
ence on studio and independent productions. Serving in various producer capacities, Cantin’s portfolio of projects includes “Save The Last Dance,” “Things To Do In Denver When You’re Dead,” “Big Fat Liar,” and “A Night At the Roxbury” among others. She also has worked as a production manager. As a member of the Directors Guild of America, Cantin is an elected representative of the DGA Western UPM/AD Council, serving as second vice chair. She is a member of the Producers Guild of America, the National Academy of Recording Arts and Sciences, Women In Film, Film Independent, and serves on the advisory board of Project: Involve. She has taught film production courses in Finland and the U.S. JOSEPH CHIANESE is the vice president of business
development and production planning at Entertainment Partners, the largest provider of production management services in the entertainment industry. At Entertainment Partners, Chianese provides consulting, financial and administrative services for domestic and international production and tax incentives for film, television, and commercial production. His 25 years of accounting, tax and production experience include positions at Sony Pictures Entertainment, The Walt Disney Company, The American Broadcasting Company, Paramount Pictures and Ernst & Young. Chianese is a CPA and earned his master’s in tax and MBA from Fordham University. ROBIN CITRIN has been a feature motion picture
location manager for more than 25 years. During this time, she has worked with such distinguished directors as Martin Scorsese, Tim Burton and Sydney Pollack, and collaborated with award winning production designers. Her body of work includes such films as “The Aviator”, “Shutter Island”, “Walk the Line”, “Big Fish” and “Rain Man.” Citrin has traveled globally scouting locations for period and contemporary films. She has worked closely with a multitude of film commissions and has steadily built a network of location professionals. She is a member of the AFCI Advisory Board, a board member of the Location Managers Guild of America, and a member of Hollywood Teamsters #399. NEAL CLARANCE has extensive experience in the film,
new media, recording and theatre segments of the entertainment industry. He has assisted companies in the preparation of business plans, film library and record library valuations, loan applications, financing proposals, and in raising debt and equity financing both privately
19
20
A F C I
C I N E P O S I U M
O 9
and publicly. Clarance also has authored articles and studies on topics ranging from preparing business plans to financing strategies for the entertainment industry and the creation and review of incentive programs for the film, new media, and animation industries. JERICCA CLELAND is the director and CEO of Twenty
One Inc, a cross-media film development and preproduction studio dedicated to bringing stronger visual stories to the screen more efficiently through CG previsualization. Raised as a filmmaker in Pixar Animation Studios, she pursues the creation of high-caliber films with narrative depth. An experienced CG cinematographer, Cleland designed the filming and staging of features such as “Toy Story 2” and “Finding Nemo.” She is also a writer and live-action producer-director, bringing her combined cross-media expertise to bear on the vision and planning of all Twenty One Inc projects. KEVIN CONSIDINE is founder and CEO of Hollywood Cinema Production
Resources, a nonprofit education and training program. He created and developed the entertainment industry-based craft and technician curriculum and vocational education programs with West Los Angeles College to meet the needs of employers and labor locals. Considine began his career in motion picture and television in 1980 working on films and television shows. He is the grandson of producer John W. Considine, Jr. and Carmen Pantages of the popular theater chain. ROGER CORMAN , one of Hollywood’s most gifted and
masterful film makers, has produced more than 550 films and directed 50 others. He is noted for his keen ability to spot young talents and the legion of producers, directors, writers, and actors he has fostered including Jack Nicholson, Francis Ford Coppola, Robert DeNiro, Martin Scorsese, Ron Howard and Charles Bronson. In 1953, Corman sold his first screenplay to Allied Artists. With the proceeds of the sale he made “The Monster from the Ocean Floor” the following year, his first film as an independent producer, on a budget of $18,000. As a result, Corman began producing a wide array of lowbudget features for American International Pictures, tackling a variety of genres, from Westerns and gangster films to sci-fi, teenage hot rod and rock n’ roll. When the French Film Institute honored Corman with a retrospective in 1964, he became the youngest producer/ director ever to receive such an accolade. As American International Pictures’ primary director, he built the company into a major force in Hollywood. In the 1970s, Corman founded his own production and distribution company, New World Pictures. In New World’s first year in operation, all eleven pictures distributed showed substantial profits, rapidly growing into the largest independent motion picture distribu-
A F C I
C I N E P O S I U M
O 9
tion company in the U.S. In January 1983, Corman sold New World and announced the formation of his new company, Concorde-New Horizons. Corman wrote his autobiography “How I Made a Hundred Movies in Hollywood and Never Lost a Dime” in 1990. BILL DRAPER is an executive at Warner Bros. Pictures where he
supervises all physical aspects of film production—from budgeting and hiring to scheduling and on-site management and cost control. Previously, Draper served as a freelance unit production manager and production supervisor. WARD EMLING was born in New Orleans and raised in Jackson,
Mississippi. As an actor, he appeared in “Huckleberry Finn” and “The Premonition” and in the TV miniseries “Beulah Land” before becoming Mississippi Film Office director (for the first time) in 1980. When CBS renewed the series “The Mississippi,” Emling left the film commission and became the series’ location manager. After moving to Los Angeles in 1984, he served as a location manager and continued to act. Since returning to the Mississippi Film Office in 1990, Emling has guided the in-state productions of numerous movies, in addition to several short films, documentaries, and commercials. He is a past president and treasurer of the AFCI. ANN GLENN is senior web producer of Imageworks
Interactive, the full-service interactive agency and digital marketing arm of Sony Pictures Imageworks. She has more than 15 years of experience developing interactive projects in the entertainment industry. As senior web producer, Glenn creates and implements a wide variety of social network programs for Sony Pictures Entertainment as well as Imageworks Interactive’s other clients. In addition to being Sony Pictures’s resident social network expert, Glenn plans, develops and maintains online communities for Sony Pictures Entertainment’s major film and television brands. DON GRAY is a 1984 graduate of Alfred University
in New York with a Fine Arts degree in Video and Computers. Throughout his career he has worked toward integrating digital tools in creative projects. In the early 90s, Gray established Image House in Santa Fe, N. Mex., and pioneered many of the techniques used in digital large format fine art printing and digital photography. Since 2003, he has worked as a location scout and manager in the New Mexico film industry. In that time, he also has taught digital imaging and photography at the College of Santa Fe in addition to location scouting and photography seminars for AFCI, the New Mexico State Film Office and IATSE Local 480. Gray also is a filmmaker; his latest project is the festival award-winning “Things We Do For Love.”
21
22
A F C I
C I N E P O S I U M
O 9
LYLE HALL , a 20-year industry veteran, oversees Heavy
Iron Studios, managing its day-to-day product development and operations. During his time at Heavy Iron, Hall also served as executive producer on “The Incredibles,” its video game sequel “Rise of the Underminer,” “Ratatouille,” “WALL-E,” “UP” and most recently SpongeBob’s “Truth or Square,” directing production and development of these Disney/Pixar franchises across multiple studios. Before joining Heavy Iron early in 2002, Hall created and produced original as well as licensed properties while working at studios DreamWorks SKG, Crystal Dynamics and Virgin Games. MICHAEL HAMMOND was intrigued with Hollywood long before he
ever set foot inside its doors. At a young age, Hammond worked an entry-level position at the Universal Studios Theme Park eventually supervising live shows and managing a small team of employees. Following graduation from the University of Southern California’s film and television program, Hammond worked on music videos and television commercial shoots in the greater L.A. area, and later as a production manager with such organizations as Spike Lees’ Forty Acres. He has served as a field producer and producer on seven seasons of “The Amazing Race” and as a line producer for four seasons of “Hell’s Kitchen.” Hammond continues his career today with multiple reality and unscripted format projects in development and as a line producer. HUDSON HICKMAN is a Los Angeles-based producer
with more than 25 years experience in the film and television industry. He is currently completing postproduction on his sixth DVD feature while preparing six productions for filming in 2009 and 2010. Prior to his current producing duties, Hickman was senior vice president of production for MGM Worldwide Television. During his tenure at MGM, Hickman was involved in the production of more than 25 movies and more than 600 hours of episodic television. Before joining MGM, he was a freelance producer on numerous movies, pilots, and television series. Hickman serves on the advisory board of the Association of Film Commissioners International, and is a former member of the board of directors of FilmLA.
A F C I
C I N E P O S I U M
O 9
ROBIN HOLABIRD has been involved in the media for
decades, including work as a Nevada film commissioner and as a film reviewer. Following 30 years in government service, she retired in 2008, having spent the previous 21 years as a liaison between the state and film industry. Holabird dealt with hundreds of projects, from series to major feature films and several television movies. She has broadcast a weekly movie review program on Reno’s public radio station KUNR since 1982 and remains active in professional and arts organizations such as the Association of Film Commissioners International and Sierra Arts Foundation. RICHARD HOLDREDGE is a professor of education at
Los Angeles Valley College. Holdredge obtained his Master’s degree at USC Cinema and spent nine years in media production at the USC School of Medicine. During his 33-year career in the community colleges, he freelanced in media production in medical education, and taught in the media arts and cinema programs at Valley College, also serving a stint as department chair. He heads the Institute for Developing Entertainment Arts & Studies, an economic and workforce development grant providing training in digital media tools for industry professionals. Holdredge is currently beginning an additional training grant this year with matching training funds from the Contract Services Administration Trust Fund. MARYANN HUGHES joined The Walt Disney Company
in 1988. She previously spent seven years at Avery International in tax and accounting management positions. During 18 years in the Disney Corporate Tax Department, Hughes held a number of positions ranging from a senior tax analyst to vice president, film production planning. She transferred to the Studio Finance Group in 2006 as vice president, film and television production planning, where she devotes 100% of her time to scouting opportunities to reduce production costs through film and television production incentives and structured film financing deals. TRILBY JEEVES is an actor, instructor, and writer from
Vancouver, Canada. As well as performing in more than 40 plays, she worked for 20 years in the theatre and film industry as a TV series set costumer. Jeeves has taught improvisation classes throughout the school system in British Columbia, and is currently teaching her own popular “Buffoonery Acting Workshop” in Canada and around the world. She also works for the Vancouver Film School as an actor for the writing and directing departments. As a writer, Jeeves is cur-
23
24
A F C I
C I N E P O S I U M
O 9
rently developing her own one-woman show called “Dusty Shoes”. She became involved with internet marketing and social media two years ago when she created her own website to promote her Buffoonery Workshops. As an artist she initially resisted the online format but quickly discovered how to use the internet, and social media in particular, as an effective tool to help promote and grow her business. Jeeves specializes as a Twitter coach and has perfected many Twitter tips and techniques. SAM KITT is among the founders of the modern
American Independent Film movement and has worked for many years in the independent and studio filmmaking worlds. He began his career in New York in the late 70s where he organized “American Mavericks,” one the earliest film festivals to celebrate the rise of independent American films. In 1985, Kitt was retained by the Independent Feature Project to reorganize their annual Independent Feature Film Market, which showcases the output of American Independents to international buyers and programmers. During his two-year tenure, the market reached new levels of attendance and profitability. Kitt later moved to Universal Pictures in Los Angeles to seek out film packages and completed films for theatrical and video distribution, covering film festivals and markets around the world. He soon made the transition to production executive and worked with Spike Lee on a series of films at Universal including “Clockers.” Kitt also worked on such projects as “Dazed and Confused,” “Far and Away,” and “King of the Hill.” In May 1997, he joined Spike Lee’s 40 Acres and a Mule Filmworks as president of production where he supervised development and production of the 40 Acres feature film and television slate. Kitt departed 40 Acres in 2004 to found his own production company Future Films where he is developing a number of film and television projects. JACK KYSER is the founding economist of the Kyser
Center for Economic Research of the Los Angeles Economic Development Corporation where he is responsible for interpreting and forecasting economic trends and analyzing major industries in the Los Angeles region. Utilizing this information, Kyser helps develop job retention and creation strategies for L.A. County. Previously, he was chief economist for the Los Angeles Area Chamber of Commerce and also taught economics at the University of Nebraska-Omaha. MICHAEL LAKE has more than 40 years experience
in production and management in the Australian and international film industries. For 17 years he ran the Queensland based Warner Roadshow Studios and was instrumental in attracting productions valued at $1.6 billion to Queensland, resulting in approximately $800
THE LEADER IN GLOBAL BUSINESS ENTERTAINMENT NEWS A F C I
C I N E P O S I U M
O 9
25
SPECIAL OFFER FOR NEW SUBSCRIBERS ONLY SAVE UP TO 40% OFF THE BASIC RATE!
VISIT: WWW.VARIETY.COM/2009AFCI TO SUBSCRIBE! FILM: Variety’s list of the year’s top 100 overseas grossers. Page 10
BART: Amid changing times, showbiz CEOs find comfort. Page 3
TV: Telepics are making a comeback on cable. Page 15
LEGIT: Despite a N.Y. winter chill, London theater is red-hot. Page 40
®
V A R I E T Y. C O M
■
T H E I N T E R N AT I O N A L E N T E R TA I N M E N T W E E K LY
■
JANUARY 19-25, 2009
BREAKING THE GOLDEN RULES 72911885
1/11/2009
10:24 PM
Page
New hurdles block studios trying to cash in on Oscar noms
T
By PAMELA McCLINTOCK he studios and their specialty arms are again gambling on Oscar nominations this year, but they’re running into new obstacles. The period between the nominations and the Oscarcast is all-important for the life of the films. This year, that period (Jan. 22-Feb. 22) will see a glut of films in release — which will make screens tough to get, or keep. The specialty films also will run into the release of some important commercial titles. Plus, the timing of the presidential inauguration will force distribs to commit to dates they may regret. How did it get so dicey? ■ Distributors held off releasing many of their awards-hopeful films until December. The late rollout was in reaction to a downturn at the fall 2007 specialty box office when kudos contenders opened to disappointing B.O. ■ Not only are there more titles presently on the marquee, there are a record number of award titles slated to expand nationwide after nominations are announced Jan. 22, including “Frost/Nixon,” “Milk,” “Revolutionary Road” and Newspaper USPS 659-960 02731
Features’ “Milk” expands the following weekend. That’s on top of award contenders that have already gone wide, such as “Doubt,” “Last Chance Harvey” and “Gran Torino,” or began as a wide release in the first place, i.e., “The Curious Case of Benjamin Button.” N D A Y , M Oone ■ usually E S are A N G E L There L O S or two titles that go wide just after Oscar noms in order to ride the wave, but never this many. A wide release is costly business, Deadline between prints and naOscar tional media campaigns. nomination Following Oscar noms, ballots must it’s also commonplace for be turned in a studio or specialty disby 5 p.m. trib to expand films that today to are well into their runs Priceand have already played waterhousewide, such as “Michael Coopers. Clayton” and “No CounGRASER MARCOld tryBy for Men” last year. The associated lumdog Millionaire” took costs itsof rags-to-rich going wide es storyline aren’t as sincelevel ad- at the the next to much, AMPAS © ditional prints have al- SunGolden Globe Awards on “Slumdog Millionaire” n” ready been paid “Frost/Nixo an emotional “Milk” day, riding for. $7.9 million Last year,l to best pic-the nods “Revolutionary Road” pocket E $19.5 million groundswel INSID million $3.8 ture nominee director, screenpicture,“There for best grossed $20score. milnominations are fine, but nab- Will Be Blood” original hero and play action or comedy lion — half itsThe entire domestic picture is paramount.) usurped the awards process bing bestFast top musical Barack Obama is gross — between nominations On Jan. 23, Universal’s Distribs always pencil in several years ago, specialty disto “Vicky Cristina award went nothing short of a and the Oscar kudocast. “Atonescreen dates for the weekend to tribs have been busy writing, “Frost/Nixon,” DreamWorks/ Barcelona.” superhero in the ment” earned The a quarter of its of the capitalize on the Oscar noms, and rewriting, their collective Paramount’s “Revolutionary 66th installment eyes of the world, cume, or roughly $10presented million. from the but adjust them on rulebook. Major stu- Road” and Fox Searchlight’s Globes, Peter Bart writes. was a glitzy “Juno,” another picture transTuesday afternoon if O’seas distribs dios such as Universal “Slumdog Millionaire” Hilton, Beverly best 4 Page emotional grossed $102.8 return they’ve received more will capitalize and Paramount, which form from limited releases into candidate, had and often last46 year’s Turnafter to page awards attention than on Oscar noms. have “Frost/Nixon” nationwide theaters. Focus to form and expected (or less). But and “The Curious event was disrupted Page 6 Case of Benjamin Butthe Thursday anturned into a glorified nouncement leaves no cushion ton,” respectively, also follow press conference due to V PLUS for specialty divisions to pull the same conventional wisdom. the Writers Guild strike. Heavyweight Lineup: From Almodovar to faClearly a sentimental The golden rule: Do everyback their post-nom plans, Russian sci-fi, European cinema offers up big all of vorite, “Slumdog” won since theater runs will be thing you can in the four-week it which in names and budgets for 2009. the four categories locked down (which happens on stretch between Academy Danny was nominated, with Tuesday of every week). They Award nominations and Oscar New Look: Rotterdam renovates strucSolid first Boyle taking home his also won’t have time to adjust ceremony. The five films landture butshowing still maintains artistic vision. Mumbaithe helming Globe for expensive media buys if they do ing in the best picture category Begins after page 18 “Defiance” based pic about a poor teenager win the nominations they were can enjoy a significant box of23 page Turn to has punch at the specialty MORE GOLDEN GLOBES: B.O. Red carpet revelry, Page page 21 5 Winners list, show review , and backstage comments page 22 “Slumdog Millionaire.” Others have gone wide already. ■ Oscar nominations will be revealed on a Thursday this year. The announcement is usually made on a Tuesday, but because of the presidential inauguration, it was moved.
counting on. “You don’t have the leverage that you usually have. In our world, Thursday is too late,” one distribution exec says. “It could be a bloodbath, because it’s a very crowded marketplace.” Ever since smaller titles
fice bump as moviegoers try to catch up on their viewing before the kudofest Feb. 22. Specialty units and studios are basing their entire release strategies on the assumption they will get a best picture nod. (Performance and directing
1 2 ,
2 0 0 9
■
O M V A R I E T Y . C
‘SLUMDOG’ CURRIES FAVOR
Kudos return with emotion
Golden Globes
S
OFFER FOR NEW SUBSCRIBERS ONLY. SAVINGS $6.95 BASED ON 40% OFF U.S. COVER PRICE. CUSTOMER SERVICE: (866) MY-VARIETY /C$11.00/£5.00/€8.50/A$15.00
®
J A N U A R Y
V PLUS
Assessing ‘Damages’ Walk of Fame
Mickey Rourke scored his first Globe for his role in “The Wrestler.” “Slumdog Millionaire” helmer Danny Boyle, above left, and double winner Kate Winslet, above right Tina Fey capped a great year.
Sally Hawkins
Above, “Mad Men” creator star Matthew Weiner, with Elisabeth Moss; right, Laura Linney added to HBO’s haul.
television sid HBO dominates comedy Globes go ‘Mad’;cepting front). top television honors at Rock” swe By BRIAN LOWRY
otherDuring an evening that to HBO, wise belonged entirely con“Mad Men” and “30 Rock” has that tinued a storybook year amass practically seen each series by acmore awards than viewers
NBC’s “30 Sunday’s Golden Globes. at an key comedy prizes. AMC’s period drama set Any talk of HBO los the advertising agency became that patina of quality amid in in rival first back-to-back winner “The X- competitio n from since category Globes hadn’t e House- networks clearly Turn to Files” in 1998 (“Desperat on the wives” did so more recently
high gear with $29 mil
26
A F C I
C I N E P O S I U M
O 9
million being spent within the region. From 1998 to 2005 he split his time between the Gold Coast and Los Angeles where he was executive vice president of World Wide Feature Film Production for Village Roadshow Pictures. Lake returned to the Gold Coast in 2006 to executive produce the WWE Films/Lionsgate production “The Condemned.” At the conclusion of that production he was appointed as president of WWE Studios, the filmed entertainment division of World Wrestling Entertainment. Lake is currently working as a freelance producer. In addition to being a long time member of the AFCI Advisory Board, he is an adviser to the Asian Film Commissioners Network. SUZANNE LYONS began her career as vice president
of marketing for a television network in Canada before moving to Philadelphia where she worked in domestic and international distribution for film and television. In the mid-90s, she co-founded the Flash Forward Institute, leading hundreds of entertainment industry seminars for more than 15,000 participants in the U.S. and Canada. Suzanne later co-founded Snowfall Films, Inc. and WindChill Films, Inc. To date she has produced or executive produced eight movies with budgets ranging from $200,000 to $10 million. Suzanne’s films have been distributed by Miramax, Screengems and Lionsgate. BEVERLY MACY is the CEO of Gravity Summit and
Managing Partner of Y&M PARTNERS, a strategic advisory firm that helps companies gain insight into complex business challenges, strategize breakthrough solutions, and execute on opportunities that benefit customers and the bottom line. She also lectures at USC and teaches executive marketing courses for the UCLA Business and Management Extension Program. Her newest course, Social Media Marketing, was launched in the Fall 2008 semester. PETER D. MARSHALL is a filmmaker from Vancouver,
Canada. He has worked in the film and television industry for more than 35 years as a film director, television producer, first assistant director, and TV series creative consultant. Marshall has directed more than 30 episodes of television drama. As a first assistant director, he has worked on more than 12 features, 15 television movies, eight television series, and more than 20 commercials. Marshall has written, directed or produced more than 50 hours of documentary and educational programs; his documentaries and dramas have won, or been nominated for, 14 international film awards. He has served as a directing instructor at the Vancouver Film School, the Directors Guild of Canada, Victoria Motion Picture School and Capilano College.
A F C I
C I N E P O S I U M
O 9
Marshall publishes a free monthly e-zine—read by more than 3,500 filmmakers in 100 countries—and a filmmaking blog. He is active in internet marketing and social networking, and has taught related workshops and seminars. AMBER MAZZOLA is a seasoned producer, writer
and showrunner focused on docu-soap reality. She co-founded FiveFive Productions, which is launching its first project, a 12-episode series titled “King of the Crown,” airing on TLC. Mazzola also is developing a pilot for E! Entertainment. She has written for sitcoms on NBC and FOX. Moving into reality, Mazzola made a name for herself carving out Bravo’s “The Millionaire Matchmaker,” “Kathy Griffin: Life on the D List” and E!’s “Sunset Tan.” KATHLEEN MILNES is at the cutting edge of innovation
in the area of workforce and economic development for the entertainment industry. Milnes founded The Entertainment Economy Institute and co-authored three landmark occupational studies on careers in the entertainment industry. Her acknowledged expertise in these areas has led to gubernatorial and other high-profile appointments. Prior to founding EEI, Milnes served as a workforce and economic development executive. She previously was vice president of the Alliance of Motion Picture and Television Producers where she handled production, employment and labor, and education and job training issues at the federal, state and local levels. MORRIS MAY has worked on Academy Award-winning
films including best visual FX for “Spider-Man 2” and best animated feature for “Happy Feet.” He recently functioned as CG supervisor on several of summer 2009’s biggest blockbusters including “Wolverine,” “Fast and Furious,” and “2010.” May is currently a CG supervisor. ALICE P. NEUHAUSER has a broad range of entertain-
ment experience in financial management; establishment and oversight of corporate, legal and accounting procedures; and business development and strategic planning. Over the course of her career, Alice has arranged and managed project financing for motion pictures each ranging in budget from $2 million to $100 million. She also managed two $100 million revolving film production credit facilities with two separate syndicates of banks, and developed a $100 million motion picture and television production facility from concept through utilization. Alice has demonstrated depth and breadth of management and governance in a variety of ways, includ-
27
28
A F C I
C I N E P O S I U M
O 9
ing responsibility for financial and operational reporting obligations to the SEC and the U.S. Trustee. She is an honors graduate of Harvard College and earned her MBA from the Anderson School of Management at UCLA. LAURA PETERSON is vice president and chief operating officer for
Hollywood Cinema Production Resources which she helped develop from its inception with founder Kevin Considine. With a background in education and fundraising, she was responsible for securing more than $5 million of funding and helping to establish collaborations with West Los Angeles College, community based organizations and work source centers. Hollywood CPR has brought together for the first time the Alliance of Motion Picture and Television Producers, the International Alliance of Theatrical Stage Employees and West Los Angeles College to create curriculum and hands-on craft training that leads to a college certificate and degree. LISA PITNEY began her career in politics in 1984
working on the Reagan/Bush presidential campaign and later worked in the Office of Presidential Personnel at The White House in 1986. In 1987, Pitney managed a state assembly campaign and in 1988, worked on the Bush/Quayle presidential campaign. She spent five years as manager and director of government affairs for a health maintenance organization. Pitney joined The Walt Disney Company in 1996 as the manager of government relations for the Disneyland Resort, and was later promoted to director of civic relations. In 2000, she became the director of California government relations for Disney. In this role, Pitney represents The Walt Disney Company to city, county and state government. DANA PLAUTZ spent 10 years in the Hollywood
entertainment industry holding senior posts at Embassy Communications and Hanna-Barbera Studios followed by 13 years in high tech at Intel, Corp. specializing in the area of new media and emerging applications. She held a government appointment for six years chairing the Oregon State Film and Video office. Plautz also is an accomplished video and web producer. LISA RAWLINS serves as senior vice president, public
affairs, for Warner Bros. Entertainment where she is charged with the day-to-day oversight of the public affairs department. Rawlins joined Warner Bros. in 1990 as vice president, studio and production affairs, overseeing feature film and television production-related issues. In addition to her production affairs responsibilities, Rawlins created the environmental initiatives and corporate responsibility
A F C I
C I N E P O S I U M
O 9
departments. She was the driving force behind and first director of the California Film Commission launched in 1985. Previously, Rawlins worked in the Office of the Governor of California, where she handled press and film production affairs. She began her career in story development for Ransohoff Productions and NBC. JIM REIKOWSKY has been with the Vallejo/Solano County
Film Office since its inception in 1996 has been the Film Liaison since April of 1998. He has served for several years on the AFCI’s Membership Committee and is on the board of directors for FLICS (Film Liaisons in California, Statewide), a network of regional film offices and commissions that work cooperatively with the California Film Commission to retain, attract and facilitate feature film, television, commercial and print media production in California. He holds a Journalism degree from the University of Oklahoma (Radio/Television/Film). NANCY RICHARDSON has been an editor for 20 years.
Her most recent credit is “Twilight.” Her other noteworthy credits include “Stand and Deliver”, “Roadside Prophets,” and “White Man’s Burden” among many others. Richardson edited the directorial debut of Maya Angelou’s “Down in the Delta” and “Hendrix” for which she received an Emmy nomination. She is a member of American Cinema Editors and the Academy of Motion Picture Arts and Sciences. She has served on the Editors Guild Board of Directors for the last four years and was recently re-elected for another term. Marshall is also a professor at the UCLA School of Film, Television and Digital Media. She is currently editing “The Last Song,” starring Miley Cyrus and Greg Kinnear. DANAE RINGELMANN is a founder of IndieGoGo, a
company which provides tools for fundraising, promotion, and discovery to the film and media industry. She founded IndieGoGo to democratize the film funding process—the platform enables people to showcase their work, mobilize their fans, and DIWO (Do-It-WithOthers!). Previously, Ringelmann was a securities analyst at Cowen & Co. She is a CFA charter holder and holds an MBA from the Haas School of Business at UC Berkeley. RODNEY RUMFORD has more than 21 years experience
in the technology industry and has authored books on social media, Twitter, business blogging and podcasting. He has been featured in The Wall Street Journal, Forbes, Fortune, Business Week, Business 2.0 and numerous Associated Press and Reuter’s articles. Rumford has held senior level management positions in Fortune 100 companies
29
30
A F C I
C I N E P O S I U M
O 9
and start-ups, and also sits on the boards of several technology companies. He has been involved with the Facebook f8 platform since its launch. As founder and CEO of Gravitational Media, Rumford has guided Fortune 100 clients and hundreds of small businesses in the areas of businesses strategy, marketing, ideation and technology consulting to help brands engage in social networks. IAIN SMITH is one of the UK’s most experienced produc-
ers. He has served on the boards of numerous film councils and schools. He is a patron of the London Film School; chair of the Film Industry Training Board, the Film Skills Council, the new UK Film Industry Training Board and the Edinburgh International Film Festival; and a director of the Children’s Film and Television Foundation. In 2005, he was awarded a BAFTA Scotland for Outstanding Achievement in Film and was made an OBE in the 2008 New Year’s Honours List. DAVID SOLEIL is an independent leadership education
consultant and the former chair of the leadership education group for the International Leadership Association. He is also the former associate director of the Center for Global Leadership and Team Development at The Paul Merage School of Business at the University of California, Irvine. Soleil has designed, delivered and managed leadership education programming for four MBA programs and worked as a leadership education consultant with numerous corporate clients. In addition, he has experience in the film industry and extensive experience with nonprofits, including working as a consultant to the Gesundheit Institute during the filming of the Robin Williams feature “Patch Adams.” Most recently, he was a consultant to the Freedom Writers Foundation prior to and during the filming of the Hilary Swank feature “Freedom Writers.” LISA STROUT spent 20 years in the film and television
industry, primarily as a location manager. In addition, she managed the New York offices for Merchant Ivory Productions for two years. In 2001, Strout adopted New Mexico as her home and, in 2004, was appointed the director of the New Mexico Film Office. As director, she has worked closely with Governor Bill Richardson’s Office, economic development, and the film unions and guilds to create a viable and sustainable industry in New Mexico. Strout has focused her efforts on workforce development, nurturing culturally under-represented voices, and supporting the filmmaking community at large, financially and creatively. She is a board member of the Association of Film Commissioners International and The Coalition of Quality Children’s Media.
A F C I
C I N E P O S I U M
O 9
MARK STRICKLIN , in his fourth year at the helm of the
Birmingham-Jefferson Film Office, brings over 22 years of film commission/management experience to the Central Alabama region. His accumulative efforts have resulted in over $990 million in revenue for Birmingham (AL); Buffalo (NY), the State of Oregon, Wilmington (NC), and the Sate of Alabama from 1987-2009 through the recruitment of over 380 productions. Stricklin served as Director of the Wilmington (NC) Regional Film Commission for six years and was instrumental in the start-up of the organization. Through public and private investment, Wilmington became a major player in film production during the 1990s. Stricklin also held positions as a consultant for the Association of Film Commissioners International and as Executive Director of the Buffalo Niagara Film Commission, the Oregon Film & Video Office, and the Alabama Film Office. Currently, Stricklin serves on the Association of Film Commissioners International (AFCI) Board of Directors. JACQUES THEMELAQUE co-founded Filmmakers Alliance
and FA Productions, of which he is co-president. He also was the former chief community officer at Withoutabox. com. Themalque’s award-winning films have appeared at the Sundance, Los Angeles, Cinequest and AFI film festivals. He has also produced five feature films. DANNY L. TOMLINSON is a highly respected lobbyist
and public affairs professional, with more than 30 years of lobbying experience. In 1987, he organized Tomlinson & Associates, an independent governmental affairs firm primarily focused on dealings with the Colorado Legislature. TOM TVEIDT is a research economist with expertise
in regional economic assessment and evaluation. He is an active practitioner in industrial site selection, industry target evaluation, workforce analysis, economic impact analysis, and regional economy appraisals. He is chair-elect of the Council for Community and Economic Research and is an active member of the National Association of Business Economics and the Association of Public Data Users. In 2006 and 2007, Tveidt participated as a senior policy advisor and curriculum developer for a U.S. Department of Economic Development Administration-funded program to develop and deliver regional economic development training based on regionalism and industry clusters. In March 2009, Tveidt was recognized by the U.S. Census Bureau for “Outstanding Practices” in application of labor employment dynamics for his work in regional economic analysis.
31
32
A F C I
C I N E P O S I U M
O 9
JONATHAN VANGER was introduced into the film
business by his late father Lawrence Vanger who was active in film financing and owned completion bond company Performance Guarantees. Initially working as a production assistant and later completion bond representative for Vanger senior, the younger Vanger eventually took the reins of Performance Guarantees UK LTD where he issued completion guarantees on over 25 features shot in Europe, Australia and South Africa. KEITH E. WEAVER holds the post of senior vice
president of government affairs for Sony Pictures Entertainment (SPE) where he manages domestic government relations and public policy activities, and mitigates on location film issues worldwide. Prior to joining SPE, Weaver served as staff director of the California State Senate Redistricting Office, a regional manager of community and government relations for Kaiser Permanente, and a senior deputy for former State Senator Herschel Rosenthal. He is an appointee to the board of the California State Film Commission and also serves on the board of directors of Genesis LA, Exceptional Children’s Foundation, and on the regional governing board for Providence Health Systems. ERIC WITT heads legislative and political affairs for New
Mexico Governor Bill Richardson following a career in entertainment finance. He also directs the governor’s expansion of media industries in New Mexico including film and television production, and oversees operations for various state agencies. DAVID WOOLSON brings over 25 years of entertainment
and media industry experience to his role as president of 45th Parallel Pictures, a broad-based entertainment company. Prior to launching 45th Parallel, Woolson was president of Big Catch, providing talent and business affairs services to the advertising industry; executive director of the Oregon Film Commission; and an executive with Dick Clark Productions where he was responsible for negotiating development and production deals for television and feature projects. He also worked as a business affairs and production lawyer in Los Angeles.
A F C I
C I N E P O S I U M
O 9
Conference & Hotel Resources GROUND TRANSPORTATION INFORMATION
The Sheraton Universal is located about 15 minutes from Burbank and approximately 1 to 1-1/2 hours from Los Angeles International Airport, depending on traffic and time of day. Below are costs associated with the various ground transport options: From Burbank Airport: Taxi – approximately US$20. Super Shuttle - US$12 per person each way (makes stops at area hotels). www.supershuttle.com From Los Angeles International (LAX) Taxi – approximately US$90. Super Shuttle – US$20 per person each way (makes stops at area hotels and could take 45 minutes to 1.5 hours).www.supershuttle.com Note: If you are traveling in groups, it might make sense to share a cab and split the cost. ADDITIONAL GROUND TRANSPORTATION OPTIONS
The Sheraton Hotel Concierge can make reservations for your individual SuperShuttle trip, direct-to-hotel SuperShuttle vans for groups of 7 or more, and private town cars. Contact them at 818-980-1212 for more information. LOS ANGELES METRO
The Metro is recommended for local trips only from the Sheraton to surrounding areas. Visit their website for route maps and additional information. www.metro.net/index.asp. It is NOT recommended you use the Metro to and from LAX. BANKING, CURRENCY, AND CREDIT CARDS
The United States currency is based on dollars ($) and cents (c). Standard denominations include: $1, $5, $10, $20, $50 and $100. Bank hours are typically 9am-4pm Monday - Friday, but check with your bank for specific details. Currency exchange is available at Los Angeles International Airport (LAX) and the Sheraton Universal will exchange the following currencies: Canadian, Australian, British pound, Swiss Franc, Japanese Yen, Euro and New Zealand Dollar. Registered guests may cash checks at the front desk up to $100.00 per day and $250.00 per stay with a valid driver’s license. An Automated Teller Machine (ATM) is available in the lobby, near the gift shop. Credit cards like Visa, Mastercard, Diners Club and American Express are widely accepted throughout the US. It is recommended that you contact your credit card provider to inform
33
34
A F C I
C I N E P O S I U M
O 9
A F C I
C I N E P O S I U M
O 9
them of your stay in the Los Angeles area in order to access your credit card accounts. SMOKING POLICY
California State Law prohibits cigarette smoking in any indoor public areas. This includes the Hotel lobby, restaurants, bars and event rooms as well as all local restaurants and bars. All guest rooms are 100% smoke-free. A one-time cleaning fee of $200.00 will be charged to any guest if evidence of smoking is found in the sleeping room. AFCI will provide a smoking area outside the meeting space during event hours. INTERNET CONNECTIVITY/BUSINESS SERVICES
The Link, a special lobby space, offers a welcome place to connect via the Internet and interact with other hotel guests. Registered guests have two 45-minute complimentary sessions each day they are registered at the hotel. Other standard business services are also available. Complimentary wireless internet is available for AFCI guests in the sleeping rooms and this should be communicated to you at check-in. Los Angeles has a pervasive WIFI network, providing wireless coverage in many hotspots such as restaurants. MOBILE PHONE RENTAL
TripTel offers daily and weekly cell phone rentals and is located at Los Angeles International Airport. In addition, there are a number of companies that provide mobile phone rental in the Los Angeles area. Visit the Internet to find one that matches your needs. TripTel Mobile Phone Rental Los Angeles International Airport, 380 World Way, Los Angeles, CA (877) 874-7835 – Toll Free; (310) 645-3500 TIME/TIME CHANGE DURING CINEPOSIUM
Los Angeles, California is currently on Pacific Daylight Time (PDT), which is 20 hours behind Greenwich Mean Time (GMT). On Sunday, November 1st, the US has a time conversion from daylight savings time to standard daylight time, meaning at 2am on Sunday morning, clocks are set back 1 hour. You will gain one hour of time. UNIVERSAL STUDIOS HOLLYWOOD DISCOUNT TICKETS FOR FUN
The AFCI is offering discounted Universal Studios Theme Park tickets thanks to a generous sponsorship by NBC Universal. Tickets are available for US$44 per person (regularly $69) with an optional upgrade at an additional cost of $45. Tickets are valid Friday, October 30 through Sunday, November 8 and may be purchased at the AFCI Cineposium 09 registration desk at the Sheraton Universal Hotel, but are not available in advance. The hotel provides complimentary shuttle service to the park, which is located a 10-minute walk from the hotel. For visitor details, go to www.universalstudioshollywood.com.
35
36
A F C I
C I N E P O S I U M
O 9
CITYWALK/TRAM SERVICES
Universal Studios Hollywood offers complimentary tram service to and from the Sheraton Hotel approximately every 20 minutes to the Citywalk Street that includes shops, restaurants, movie theatres, clubs and the Theme Park. Hours of operation are one hour before Universal Studios opens and hoe hour after it closes. Otherwise, It’s about a 10-minute walk. ELECTRICITY
Electricity is supplied at 110 volts. Hotels provide 110-volt wall sockets for electric razors, curling irons and other devices. Please be sure to bring your power converters if you are traveling from outside the U.S. TIPPING
Tipping is customary in the U.S. at restaurants and for other services such as Valet Parking. 15% percent of the bill is normal, but employees do appreciate additional recognition for service above and beyond normal expectations. WATER
The U.S. has excellent public water supplies. Tap (faucet) water is fresh and safe to drink. WEATHER/CINEPOSIUM DRESS CODE
Southern California is known for its warm weather year round. You can expect average highs in the mid 70sF (23•C) and overnight lows in the mid-50sF (12•C). AFCI suggests you plan for cool evenings and meeting rooms by bringing a jacket or sweater. Attire is business casual with the Opening Reception being casual. Los Angeles does see some rain in late October and early November, and a travel umbrella might also be a handy necessity. MEDICAL AND EMERGENCY SERVICES
All emergency services can be contacted throughout the U.S. by dialing 911. Medical services are not free to visitors. It is recommended that you purchase health insurance for your trip if you are not a U.S. citizen. The security staff at the Sheraton is trained in CPR and basic First Aid. In an emergency, please call the Hotel Operator and they will expedite calls to first responders. The Sheraton is located within minutes of some of the best hospitals on the West Coast. PARKING
The Sheraton offers both self and valet parking. Self-parking is US$20.00 per day and Valet is U.S. 23.00.
A F C I
C I N E P O S I U M
O 9
37
38
A F C I
C I N E P O S I U M
Cineposium is truly a team effort. Thanks to these organizations and individuals who make it successful.
O 9
AFCI BOARD OF DIRECTORS JANICE ARRINGTON WALEA CONSTANTINAU BELLE DOYLE SUE HAYES
AFCI CINEPOSIUM 09 COMMITTEE: JOAN MILLER , AFCI VP of
Professional Development SUE HAYES , Conference
Co-Chair LISA STROUT, Conference
STEN IVERSEN MARY NELSON JOAN MILLER MARK STRICKLIN LISA STROUT PAT SWINNEY KAUFMAN
Co-Chair
ORGANIZATIONS
JANICE ARRINGTON
BIRDS & ANIMALS LTD.
JEANNE CORCORAN
UNIVERSAL STUDIOS
JESSICA FREUDE
HOLLYWOOD THEME PARK
PAM HAYNES DREW MAYER-OAKES
AMBASSADOR SERVICE
ARIEL PENN
BENITA BRAZIER , Ambassador
KEVIN SHAND
Service Chair
DELIA SHANLY
JANICE ARRINGTON
MARK STRICKLIN
KEVIN SHAND
KAYLA THAMES
MARK STRICKLIN
BILL THOMPSON
JIM REIKOWSKY
Thank you to all of this year’s Cineposium sponsors. > W W W. S H O O T O N L I N E . C O M
Platinum Sponsor: Entertainment Partners Gold Sponsors: Shoot Magazine, Variety Silver Sponsor: Cast & Crew Entertainment Services LLC. Partner Sponsors: American Humane Film & Television Unit, NBC Universal, West Virginia Film Office, P3 Update Magazine, reelscout, LA411
Is Your Location A F C I
C I N E P O S I U M
O 9
39
Connected? WWW.SHOOTONLINE.COM
rs
rch of Magic M ake In Sea
Š 2009 DCA Business Media LLC. All rights reserved. SHOOT is a registered trademark of DCA Business Media LLC.
Connecting Commercial, Film, TV, Entertainment, and Online Production Decision Makers To Film Commissions, Locations & Incentives for Over 49 Years. www. SHOOT online.com