\\ NOVEMBER 2018
Editor-In-Chief | Publisher Monica Morrison Managing Editor Nicole Goesseringer Muj Web Content | Digital Marketing Manager Gotham Chandna Director of Photography & Productions Annette Baca Director of Business Development Chris Willardsen Art Director Sitanshu Datta Contributors: Lena Basse Claude Brickell Nicole Goesseringer Muj Brigitte Leloire Kerackian Eric Mihn Swenson Kate Rees Davies Pete Sands Dr. Laura Wilhellm Additional Photos Courtesy
© 2018 | Indie Entertainment Magazine
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PRODUCTION WITHOUT BORDERS PANELISTS MICHAEL BENAROYA
KATYA MTSITOURIDZE
International Film Trust
Roskino
LARRY NAMER
SHARI O'DONNELL
Metan Global Entertainment Group
Nantosuelta Entertainment
ANDREI ZINCA Double 4 Studios
MODERATOR KATE REES DAVIES Filmmaker/Activist
MEDIA PARTNERS
EVENT PARTNERS
Michael Benaroya is a producer and founder of International Film Trust (IFT) (www.iftsales.com), an international sales company, and Eclipse Films. As a producer, Benaroya has been responsible for critically acclaimed films such as “Lawless,” “Kill Your Darlings,” “The Words,” and the Academy Award-nominated “Margin Call.” Benaroya has produced 20 theatrical feature films and won an Indie Spirit Award for “Best First Feature” (first feature by director JC Chandor), as well as a National Board of Review Award for “Top 10 Independent Film,” and an AACTA award for Best Picture. Benaroya has had films in competition at Sundance, Toronto, Berlin, and Cannes, among other major festivals. In 2012, he had the #2 and #3 films in the box office, simultaneously with “Lawless” and “The Words,” films he both produced and for which he provided all the production “equity” financing. IFT represents theatrical feature film productions from third-party productions, as well as Benaroya’s films, and has helped contribute funds to production for over a dozen films since its inception.
Michael Benaroya
Founder, International Film Trust
Most recently, Benaroya launched Eclipse Films in order to create original content for film and television, with TV series having been optioned by major networks. He has also created four comic series, including one in development, co-created by Stan Lee.
Leading ROSKINO (www.roskino.org), the state funded body responsible for promoting Russian films and filmmakers internationally, since 2011, Ms. Mtsitouridze is one of the most accomplished executives in the global film industry today. She is the creator and TV-host of the TV-show «This Is Cinema» and film expert for Russia’s Channel One, and previously served as Variety Russia’s editor-inchief. In 2008, she founded the Russian Pavilion at the Cannes Film Festival, which she heads to this day, and in 2014 she created and produced the first edition of the Saint Petersburg International Media Forum. In 2016, she received the First National Business Communication Award in the «Breakthrough of the Year» category for ROSKINO’s partnership with Le Marché du Film in Cannes. Ms. Mtsitouridze is frequently asked to serve on the juries of major world film festivals, including Moscow International Film Festival and Cannes International Film Festival. She is a member of FIPRESCI, Russian Filmmakers’ Union and National Academy of Motion Picture Arts and Sciences of Russia. In 2017, in conjunction with the City of Moscow, Ms. Mtsitouridze initiated the Moscow Film Commission, an institution created to promote the city as a unique shooting location and to provide assistance to international film and TV production companies wishing to shoot there. In May 2018, Ms. Mtsitouridze was named associate producer of Sergei Dvortsevoy’s feature film “Ayka,” the Palme d’Or nominated film for which Samal Yeslyamova was awarded the best female actress award at the 2018 Cannes Film Festival.
Katya Mtsitouridze CEO, ROSKINO Moscow Film Commission
An entertainment industry veteran with over 45 years professional experience in cable television, live events and new media, Larry Namer is a founding partner of Metan Global Entertainment Group (www.metanglobal.com), a venture created to develop and distribute entertainment content and media specifically for Chinese speaking audiences in China and abroad. MGEG recently launched the inspirational competition series The Bruce Lee Project in China, in conjunction with Company Films (co-owned by Keanu Reeves and Stephen Hamel), Bruce Lee Entertainment, LLC (Shannon Lee’s production company) and Benaroya Pictures. Mr. Namer was involved in creating the series’ original format and currently oversees sales and development for the project. The company recently launched the MGEG Film Fund I and serves as managing partner.
Larry Namer
E! Founder and President/CEO, Metan Global
Recipient of many industry awards, Mr. Namer is the co-founder of E! Entertainment Television, a company now valued at over $3.5 billion USD, and the creator of several successful companies in the United States and overseas. Among those companies are Comspan Communications that pioneered Western forms of entertainment in the former Soviet Union and Steeplechase Media that served as the primary consultant to Microsoft’s MiTV for developing interactive TV applications.
Shari O’Donnell is a producer, private equity broker and the founder of Nantosuelta Entertainment (www.nantosueltaentertainment.com). Her company offers the world’s leading film incentive package for filming in Ireland. With over a decade of experience as head of production at leading production companies such as Zanzibar Films and Olympia Films, she has produced and sold several film slates. She holds a BA in law from Dublin Business School and an MA in film finance. Since 2009, she has been brokering film deals on behalf of high net worth individuals. Ms. O’Donnell set up Nantosuelta Entertainment in 2017 to offer Ireland’s film incentive (32% of up to EUR 70 million per film), in advance to any filmmaker who shoots in Ireland, making her company one of the only companies in the world offering this service. Her company also offers additional private equity with its current production slate primarily focused on Irish historical and folklore storytelling.
Shari O’Donnell
CEO/Founder, Nantosuelta Entertainment
Ms. O’Donnell recently produced “Penance,” an Irish language feature film starring Peter Coonan and in 2009, she was part of the team of producers who found former president Barack Obama’s ancestral roots in Ireland, leading to the documentary and presidential visit on their findings. The same year, she won the Golden Palm Award for “The Lost World of the Crystal Skull,” a feature documentary film based on the lost city of Atlantis. She is based in LA and frequents Ireland regularly with her productions. She is currently in production with “Lara’s Home” alongside Thierry Potok (The Bourne Supremacy, Casino Royal, Mission Impossible) and Hemnen, a Norwegian co-production directed by Nils Gaup (Pathfinder).
Andrei Zinca has worked, and successfully worn many hats, within the film industry over the last 40 years, from director to CEO of several field-related companies, including the Miami and Los Angeles based Double 4 Studios (www.double4studios.com). He has thoroughly sown his creative industrial oats, making him highly knowledgeable and well connected with many pioneers and tastemakers in the global film and television industries. Mr. Zinca is a native of Romania, where he graduated from the Institute for Film and Theater Studies. Once in the United States, he completed his graduate studies at USC in Los Angeles. As a director and producer, he was one of the pioneers of scripted production in the US Hispanic television market and was nominated for several regional Emmy Awards. In 2005, he reconnected with the Romanian film and TV industry and since then, he directed and/or co-produced in Romania one TV series, two features, and served as line producer for a major US production. For a few years now, he’s been working in partnership with The Romanian Film Fund (C.N.C.), and the Romanian Filmmakers Association ( U.C.I.N.) to promote cooperation between creative and financial forces in the entertainment industries in the US and Romania. His work as a director and producer was awarded in international film festivals in the US and in Romania by The Filmmakers Association, The TV Professionals Association and The Producers Guild.
Andrei Zinca
President/Founder, Double 4 Studios
Award-winning British filmmaker Kate Rees Davies is the moderator of “Production Without Borders.” Six of her shorts have screened at Cannes and her feature film “Altered Perception” recently was released theatrically in the USA and is now available on DVD, Amazon and iTunes. She was the first independent filmmaker to shoot on 4K with the Sony F65 and as a result, has had her work distributed on the Sony 4K TV. She has several projects in various stages of development and pre-production and is currently exploring the world of VR. Her next project in development is a documentary about women in rock and roll. She also serves on the board of Women In Media, The Alliance of Women Directors and NAMIC, and is a strong advocate for creating more opportunities for women and underrepresented communities within the entertainment industry. She organized and moderated the 2017 AFM panel “The Future is Female,” featuring Geena Davis.
Kate Rees Davies Moderator
HER MAJESTY CLAIRE FOY Winning the Emmy for ‘Best Lead Actress in a Drama Series’ this year bookends her two season run on ‘The Crown’ before passing the role onto Olivia Coleman Last April, I had the pleasure to talk to Claire Foy on the set of The Crown at The Institution of Civil Engineers, near Parliament Square in London. On that lovely spring day, director Ben Caron and his crew were filming the lavish ballroom scene from Queen Elizabeth and Prince Phillip’s 10th year wedding anniversary at Buckingham Palace for episode two. The delicate smell of yellow roses, orchids and lilies in huge vases were carried throughout the hall while the young royal couple waltzed, take after take. After each cut, her regal façade faded into a jolly, laughing, genuine Claire Foy, who was obviously amused by jokes of her scene partner Matt Smith. Even with all of her success, including a “Golden Globe for Best Leading Actress in a Drama Series,” Foy does not let fame get to her head and remains down to earth. She currently stars opposite Ryan Gosling in “First Man.” Before filming, we met with the actress at the In & Out Naval and Military Club, a private members’ club in an historic elegant building in St. James Square. The 34year old, who had her short hair braided into a crown and wore an open shoulder black ensemble, had almost no makeup and looked quite younger than her character on screen. Through her award-winning performance, Foy who played Queen Elizabeth II from ages 21 to 38, has transformed her image into something more accessible and vulnerable. Together, we discussed her relationship with fame, the Monarchy and working on the show itself. ABOUT THE MONARCHY IN ENGLAND Generally in England we have a very odd relationship with the Monarchy. I think what “The Crown” depicts of it is very, very true. It evolves and changes as we evolve and change as a country. I think from the outside, kind of, that’s probably why the show’s done so well in different countries is that it’s a fascinating thing. Monarchy and the idea of how it works and what a weird institution it is because it’s a family, but it’s also a business and an institution, a firm. I think we dictate how they behave as much as we think they dictate how we behave, so there’s a transaction. ABOUT THE CONFLICT OF COUNTRY OVER FAMILY I think it’s a very interesting look back to a time, when especially coming out of the war that what you were supposed to do and should do, and what was the right thing to do and the Christian thing to do, especially in this
Church of England country, was more important than the individual. I definitely think that nowadays we are the individual as opposed to the community, and the whole and the collective. Well, that’s the way we’re going. I think, hopefully, it will come back around to the fact that in order to look after the individual you end up looking after the whole, which I think is the idea a bit, and I think that’s exactly right. DISCOVERING THE MOST INTERESTING ABOUT THE MONARCHY’S LIFE I was thinking last night, it’s very interesting the idea that what the program sort of explores is the idea that they’re on a pedestal and that you sort of don’t want to know what goes on behind closed doors, because if you do it’s just too depressing, because then you realize that’s also happening in your life and it’s happening in everyone’s life. I do think that’s interesting, especially with what’s happened in the show and all that jazz. Last night, there were people asking for my autograph and I was a bit like ‘this is really weird.’
Claire Foy with Ryan Gosling
Claire Foy with Matt Smith
ABOUT EXPERIENCE OF BECOMING PART OF A SHOW THAT INSTANTLY BECOMES A HUGE SUCCESS Immediately after the show came out, we were still shooting it. So I think we were in a bubble when it came out and it was like people like it, people are watching it and because it’s not how TV works in England. It’s not like you walked out of a house and you were on telly the night before and so everyone was like ‘OMG.’ Anyway, so for me I didn’t really understand it at all until I went to the Globes, and I realized that everyone has watched it, like everyone, all these people have watched it and that was the first time I’d ever been to anything like that. First time. Only been the second time to L.A. and people who I’ve never met in my life knew who I was which is a very odd thing (laughs). Not only that, also people who I recognize and admire. So that was weird and that sort of happened at the SAGs as well. Really you only get a reference of it when you go to America. I think because here – we just all get on with our lives and whereas, I think you have much more of a presence. ABOUT THE COSTUMES AND OUTFITS AND THEIR EFFECT I love the country queen because I feel most like her when I’m in my Wellington boots, a kilt and headscarf. It really makes you feel very, very connected to the earth, so I love those ones and I genuinely feel incredibly uncomfortable in all the gowns and I think probably she does too. She didn’t pull any punches and she still doesn’t with her color choice and the size of the things that she wears, so definitely, it’s not a case of less is more. There’s the crown, the earrings, the necklaces and the bracelets. So it is a lot to put on, so I definitely prefer the more relaxed queen. By Lena Basse, Hollywood Foreign Press
Charles Aznavour 2018: Poets Never Die By Brigitte Leloire Kerackian
“In France, poets never die!” These are the words expressed by President Emmanuel Macron at the national funeral of singer and lyricist Charles Aznavour, at the Hotel des Invalides in Paris on October 5, 2018. He was acknowledged as one of the world’s most popular and famous French singers and ambassador of the French language.
writing and accompanying Edith Piaf, whom he met in 1946. (In fact, Piaf advised him to have surgery to fix his nose.)
He first wrote songs for famous French singers like Piaf and Charles Trenet. At a time when French popular singers had crooner voices, Aznavour had to carve out his path the hard way. The creative atmosphere of Monsieur Aznavour was born in 1924 in Paris to an Paris of the 50’s gave him the opportunity to play the Armenian family who survived the Armenian Genocide. main character in Shoot the Pianist by François Truffaut His family was also active during the World War II, hiding (1960). His film career also included a Taxi for Tobruk in Jews threatened by the Gestapo in Paris. They were also 1961 and Ararat by Atom Egoyan in 2002. All in all, he strongly linked to the Missak Manouchian Resistance appeared in 60 movies. Group executed by the Nazis. In Israel, his family was recognised as ‘righteous people. ‘ Charles Aznavour songs were written in French, but he also wished to be understood by foreigners, so his words By age nine, he already was performing on stage in a play. were translated into English, Spanish, German, Russian When Aznavour started his career by singing his own and Italian. In his songs, which can be read as poems, he texts, critics aggressively discouraged him to go further. describes the life and feelings of common, often wounded They described him as too short, with an ugly face and a people who lost their love and were nostalgic about the bad voice. He had to overcome so many adversities that past. His strong words touched directly the hearts and he decided to leave and go to the United States where the feelings of the audience, combined with his strong he sang at American universities, which made him feel creativity, he was able to cross all borders. that he could please and appeal to music lovers. He began
‘La Boheme,’ ‘Emmenez-moi ‘( Take Me Away), ‘Que c’est Triste Venise’ ( How Sad Venice Can Be ?) and ‘She’ so many title songs made him famous all over the world and very dear to French-speaking audiences. His words resonated strongly since the 60’s for three generations and that is why a national tribute was so obvious.
horrible devastation. He came back to France and wrote the song : ‘Pour toi Arménie’ (For You Armenia ). He rose awareness about the helplessness of the Soviet Republic, inspiring many doctors and donors to assist the devastated country. Since then, he also supported many charitable initiatives. His Aznavour Foundation, based in Yerevan in Armenia, continues his wish to support young people Aznavour was also able to break some rules and become by creating sustainable programs. The entire country of subversive with ‘Comme ils disent’ (As They Say!) about Armenia was devastated to learn about his passing and a homosexuality, or about physical love in ‘After Love.’ national day of mourning was immediately announced. Despite a conservative society, these songs became very popular and avant-garde. His perfect combination On August 2017, I was lucky enough to witness the between emotional words and strong melodies made presentation of his star on the Hollywood Walk of Fame, him a powerful singer, admired all over the world. Young funded by the Armenian community of Los Angeles. rap writers and lyricists are inspired by Aznavour’s You could see the smile on his face and that he seemed famous titles, making his works an inspiration for new so happy with all his family around him, including his generations to come. daughter, who resides near LA. The event was broadcast all over the world. Both French and Armenians from the His career was at its peak in the 60’s and 70’s but the world over felt proud that their famous ambassador was following generations also knew his hits by heart . When honored. It was a strong feeling to hear on Hollywood in the 80’s disco was the main music trend in Europe, he Boulevard, all of the famous songs in French by our bought his rights back from the production houses and Charles Aznavour. Many French but also Armenians, or thus, when his career rebounced in the 90’s, he became French song lovers came out just to get a glimpse of the a very wealthy singer. He sang duets with such greats legendary man. He thanked the Mayor and Senator in as Liza Minelli, Luciano Pavarotti , Johnny Haliday and English and you could see that he was still very alert and Celine Dion. full of energy at age 93. Only recently did we learn that he was preparing a special show for his 100th birthday, Aznavour revealed quite late in his professional career underscoring his energetic spirit. that he was Armenian, but one of his most famous song describes the Genocide in a rather modest way, when Aznavour left his family and fans at the age of 94, but his he sang, ‘Ils Sont Tombés’ (They fell !) on the 60th work, his art, his beautiful songs will remain for ever in Anniversary of the Armenian Holocaust in 1975. the heart of music lovers everywhere. Poets truly never die! In December 1988, when Armenia was struck by a terrible earthquake, he flew to the country and saw the
An Incandescent Look At the City of Lights:
“An American In Paris” ON FILM
“An American In Paris” the 1951 Oscar-winning MGM film starring Leslie Caron and Gene Kelly, tells the story of discovering one’s soul mate during the aftermath of World War II. Jerry Mulligan is an American GI turned painter in a city suddenly bursting with hope and possibility who meets a beautiful young dancer named Lise Dassin. The streets of Paris become the backdrop for their developing romance amidst many dramatic obstacles. For people all over the world still grieving the ghastly losses of World War II, “An American In Paris” represented a triumph of the human spirit that hardly seemed trivial. The artfully upbeat film held out hope for the reestablishment of peace and even love as the United Nations of World War II solidified into the United Nations organization based in New York City that we all know today. The all-new stage show of “An American In Paris” first premiered in Paris in 2014 and was taped in London in 2015. Featuring George and Ira Gershwin’s stirring music and lyrics (including classic hits such as “‘S Wonderful” and “I Got Rhythm”), stunning designs, and show-stopping choreography, “An American In Paris” recently took American and Canadian cinemas by storm and is currently available at BroadwayHD, and soon on DVD.
The film features original Broadway stars Robert Fairchild and Leanne Cope as Jerry and Lise. They meet through friends named Adam Hochberg (David Seadon-Young) and Henri Baurel (Haydn Oakley). While singer Henri has oh so very proper Parisian parents and is quite buttoned down, pianist Adam is anything but. “My themes are decay and the inevitability of death!” he laments.
Older members of modern American audiences may very well remember couples like these or even have them in their family ancestry. They did their best to be happy together, raise bicultural children, and adjust to constant internal and external pressures along with the United States during the second half of the 20th century. Their experiences are well worth reviving and celebrating in our era of globalization.
Duly noted, but such dark themes are no match for American optimism in the form of Milo Davenport (Zoe Rainey), who sees Jerry’s paintings and invites him to a “party” at her apartment that turns out to be a private date. Jerry, however, remains smitten with Lise although she is spoken for by Henri.
Fans of Damien Chazelle’s 2016 Oscar-winning musical film “La La Land” will recognize many references to “An American In Paris.” Look for yellow dresses, blue backdrops, street lamps, bright lights, and themes of thwarted love. You may recall that it is the female American who visits Paris in “La La Land,” however! Changing times, changing characters. . .
Henri and Jerry both continue to pursue Lise. Adam is shocked to discover this some time later. “An American In Paris” is directed by Christopher Wheeldon, produced by Stuart Oken, and written by While Lise feels a sense of duty to Henri, to whom she Craig Lucas. Don’t miss it! feels indebted for keeping her safe during World War II, she and Jerry fall in love and proclaim their feelings for Dr. Laura Kristan Wilhelm (Ph.D. 1994) is an each other. But Jerry feels slighted about playing second entertainment reporter in Los Angeles, who interviews fiddle and begins a retaliatory relationship with Milo. top celebrities and industry professionals, including Patricia Arquette, George Clooney, Robert De Niro, Julia This being a Broadway musical, the tables soon turn and Louis-Dreyfus, Katy Perry, Burt Reynolds, John Savage true love wins the day. As legend has it, George Gershwin’s and others. Dr. Wilhelm writes for The Hollywood “An American in Paris” suite was the whole impetus for Times, Indie Entertainment Magazine and Magic Image doing the 1951 movie. It is still the highlight of the 2014- Hollywood Magazine. She has lectured at Woodbury 2018 stage and film versions as Lise finds her passion by University and been named a judge and media partner dancing with Jerry amidst an exquisite tableau of French for the upcoming French Riviera Film Festival. Her cultural artifacts--completely in her imagination! hometown is Del Mar, California. In the new film, Robert Fairchild (Jerry) displays an impressive mastery of many different dance styles in a very demanding role. Leanne Cope (Lise) ably keeps pace with him from beginning to end when she becomes the star of her own show. It is implied that Jerry and Lise will have to keep coming to terms with loss, looking fantasy in the face, and breaking cultural barriers to keep their love alive. And Lise is still haunted by a terrible secret from her recent past. But isn’t a love that bears all things, believes all things, hopes all things, and endures all things the only kind likely to last? Such upheavals were to become all too common as American GIs just like Jerry brought home brides just like Lise from France and other war-torn countries. The window on the world that this overseas catastrophe opened up for the US was to have lasting consequences that are still felt in our country today. By Dr. Laura Wilhelm, LauraWil Intercultural
Projects for the Past
Andrei Zinca - Building Bridges Between The USA, Latin America and Romania Romanian native Andrei Zinca has successfully worked within the global film industry for over 40 years, as director, producer, writer and today, as president of Miami and Los Angeles-based Double 4 Studios (www. double4studios.com). He is a partner with The Romanian Film Fund and the Romanian Filmmakers Association, collaborating to promote cooperation between creative and financial forces in the entertainment industries in the US and Romania. Indie Entertainment Magazine recently had a chance to catch up with this pioneering film industry executive.
You were the first ever to co-produce between Florida and Eastern Europe back in 2006. What were some of the initial challenges you faced? It all started with a play I knew I had to make it into a film. It was written by a good friend of mine, an Argentinean playwright living in Miami. I took the play to Romania and showed it to Vlad Paunescu, the owner of Castel Film, a major Eastern European production hub. He liked it so much that he proposed to me! That’s how our marriage started. Europe has an intricate labyrinth of financing possibilities. We decided to make the movie in English as a US (my company is a Florida corporation)/ European co-production with financial support from the Romanian Film Fund and two other European countries. We started developing the script – what a trip that was! – and as with many Hollywood stories, we touched the skies and fell to the ground pretty badly. After many drafts, many locations where the action could take place, and a few big names attached, we ended up with enough of a budget to make the movie in Romania, in Romanian, with post taking place in the US. Financing came from various sources in Romania, including the Film Fund and Castel Films, and from Double 4 Studios in Florida. The biggest challenges were related to preserving the control of the movie when important names are attached and the budget is high. In terms of co-production, the difficulty was POV: US vs. European, two different markets with different mentalities and artistic expectations.
What are some of today’s challenges?
They will always be the same, as previously mentioned, as long as the targeted market doesn’t clearly push the balance towards one direction only. The European market can digest very nicely a film shot for the US market, but if the movie has any artistic inclination and wants to also be festival fare, things can get complicated.
Can you tell us some of the successful co-production projects you have shepherded to completion in the past 12 years?
Besides “Puzzle for a Blind Man” that was shot in 2011 and opened in 2013, we also are co-producing another feature, with the provisional title “Projects for the Past,” ( Proiecte de Trecut) which is currently in the last phases of post and will be ready to take off before the end of the year. It was also shot in Romania, with post done in the US. Financing came from Romanian sources, including the Film Fund and Double 4 Studios.
Andrei Zinca on the set of Projects for the Past
Andrei Zinca filming Puzzle for a Blind Man
What are the cultural differences and work style differences between Eastern European and Latin American crews?
I would rather focus on the similarities. They both like to talk a lot and are both very passionate, and ready to bring ideas of their own to the table, thus greatly contributing to the richness of the production. They are very knowledgeable and ready to wear many hats in the production. Both are eager to save the day, and one can always count on them, at almost any time. There are few rules and regulations not meant to be broken.
How did a Romanian-born filmmaker come to be so successful in the Hispanic market?
Almost always, behind a successful man, there is a great woman. Mine was from Peru – and that’s how I learned Spanish. After that, the universe took charge and put all the other pieces together for me.
Your feature film PUZZLE received numerous awards. Congratulations! What projects are you currently working on for TV or film?
As I mentioned before, “Projects for the Past” will be completed by the end of the year. It is inspired by true events that took place in Romania in the early ‘50s, when the Communist government deported more than 40,000 people to a Romanian Siberia. Five years later, after Stalin’s death, the survivors of the ordeal were free to return to their homes, but many wanted to stay. “Projects for the Past” is a love story, a drama, an adventure and a political movie trying to define the meaning of freedom. Besides, together with Vernon Films, the UK- based company that brought us the extremely successful documentary “Chuck Norris vs., Communism,” we produced the feature length documentary “A Life in Secret.” The stunning debut of director Tunde Skovran deals with the uncovering of an international scandal, challenging the viewers to look past their definitions of what it means to be a woman.
We also have two series in development: a crime drama, with the background of the transition from Communism to Capitalism in Eastern Europe, and a period piece that focuses on the struggle for power between Vlad the Impaler, the Romanian prince who inspired the vampire legend, and his brother Radu the Beautiful, who defected to the Ottoman Empire and become the lover of the great Sultan. Â
Can you tell us about the newly implemented Cash Rebate offered to foreign filmmakers wishing to film in Romania?
Yes, it is one of the most aggressive incentive packages in Europe, offering 35% cash back on all Romanian production expenses, with the possibility to go up to 45% if the project promotes Romania in a positive way, or has the potential to transform shooting locations in tourist attractions, after the production ends. Packages are on a first come, first served basis and is capped at 50 million Euro each year. A minimum of 20% of the production budget needs to be spent in Romania.
Besides the Cash Rebate incentive, what makes Romania such a desirable place to shoot?
Location, location, location! A variety of landscapes hard to find anywhere else. Pristine locations with no sign of modern world. Urban landscapes that can play for cities like Paris, or New York. Transylvania. In addition to these points, costs are generally low, but especially when it comes to big set constructions, period costumes and props, war, large crowds, etc.. Romania boasts the second largest sound stage in Europe, and most of all, a positive attitude prevails, that “anything is possible.� www.double4studios.com
SPOTLIGHT
Eric Minh SWENSON
Photo: Ken Pagliaro
Celebrating 1,000 Films in The Arts Eric Minh Swenson (EMS) has been celebrating the art and culture of Southern California since he moved to the area in 2001. The talented filmmaker and photographer has made a continuing commitment to chronicle the arts and culture of Southern California and beyond. After producing and directing three feature films, he began to work as a full-time photojournalist and film documentarian. Since 2011, Swenson has produced nearly 1,100 short films on artists and exhibitions as part of his ‘Legacy Series.’ The films serve as a current cultural documentation of artists’ process and studio practice, while the exhibition films, recorded within the space of the gallery or museum institution exhibiting works, further the historical context. Swenson has also relentlessly photographed art openings across the Southland, ardently bringing the milieu to the public eye while capturing artists, collectors and enthusiasts in situ. He continues to work with many galleries, museums and art fairs, bringing public awareness to the vibrancy of the ever-burgeoning LA art scene. Through photography and film, he has chronicled the arts at a professional and popular level never seen before. His passion for art and his facility with both traditional and social media has increased awareness of Southern California, and especially Los Angeles, as an international arts center. He comments, “I capture the men and women who make up the rich tradition of contemporary art, by getting to know the legends, the mid-career artists and those whose careers are about to embark.” EMS has expanded his role to cover not only the creative side of the art world, but the business side and academia. This includes documenting art writers, publicists, teachers, critics, curators, fabricators and dealers, bringing together all the elements and characters of the art world.
Al Pacino and Julian Schnabel
Beyoncé
Chloë Sevigny
David Lynch
Jack Nicholson
Kanye West
Keanu Reeves
Lady Gaga
EMS ARTS
Mick Jagger
CELEBRATING 1000 FILMS IN THE ARTS EXCLUSIVE GALLERY How did you first get into photography?
Pamela Anderson
My father Lou Swenson is a master fine art photographer who follows in the tradition of the heralded f.64 Group, a group of West Coast photographers like Ansel Adams and Edward Weston. He bought me my first camera - a fully manual-operated Pentax K1000, during the summer of my sophomore year in high school. My parents were divorced and I lived with my mom in San Antonio, Texas. I spent my high school summers with my father on the Colorado side of the Four Corners region. During that time, he would take me on various day and weekend trips throughout the area, photographing the immense geographical diversity that Colorado, Utah, New Mexico and Arizona have to offer. In my sophomore year, instead of sitting in the minivan while he was photographing the landscape with a medium format Arca-Swiss, he bought me my first camera to give me something to do. After shooting my first roll of film and processing the photos in his darkroom, it was clear to us that I had a strong sense of composition. After that moment, I knew I was to be a photographer and I went to work.
Steven Tyler
Eric Minh SWENSON
How has your work evolved since you first got started?
The days of film processing and printing in a darkroom are no longer for me. Since I was 16 all the way through my college years in the mid-late 90’s, I was shooting 35mm film and always had access to a darkroom. The feel of sloshing prints around with tongs in chemistry under a red light and the smell of developer and fixer are considered vintage methods now. My shooting methods are now instantaneous and rapid. I can shoot an art opening and have the images downloaded and uploaded onto social media or files sent to a client within a matter of hours.
Who are the photographers who have influenced you?
My father’s work is the major influence in my life and by extension, the photographers that influenced him, namely the f.64 Group with Ansel Adams. Through Adams, I learned the Zone System and darkroom techniques. I also studied Edward Weston, the American movement spearheaded by Alfred Stieglitz and contemporary photographer John Sexton, where I learned to photograph in available light at dusk and dawn, or what Sexton called “quiet light.” Through these photographers’ influence, I rely on the use of natural light. That is a hallmark of my work. I then began to break away from my father’s work and started studying fashion photographers. Herb Ritts,
Patrick Demarchelier, Richard Avedon and celebrity photographer Annie Liebovitz. Then, the next push was through film cinematographers - Robert Richardson, John Toll and Sven Nykvist, among others. Lately, I’ve been influenced by surf photographers, as I venture into more projects documenting beach culture and surfing, even as far as using flash fill photography on the beach. How do you choose your subjects to photograph?
I cover the Los Angeles art scene, so I mostly photograph artists in their studios in situ and portraits of the artists in their environment during studio visits. This also includes gallery and museum opening exhibitions of the patrons and those who are considered VIPs. Furthermore, as a photojournalist I photograph interesting people in general – people with certain character, eccentric lifestyles and sex appeal.
What makes the most successful shoot for you?
When the subject is happy and honored to have me photographing them and look forward to having me back.
What makes for the most interesting shoots?
When I walk into an artist’s studio and I’m blown away by the art and the process by which it’s made. I love the “WOW” factor and how it keeps me inspired. Most common people and collectors have no awareness how art is made. I get the honor and the privilege to document this process.
When you photograph individual subjects how much time do you use to get to know them?
On a typical studio visit, I schedule an hour with the artist. During that time, I get to learn as much as I can about that artist, try to gauge their interest if they want to do a film or other projects, and shoot as much as I can during the visit. The only planning is the scheduling. My shoots are very organic and free flowing and I encourage artists to have work to show me when I arrive.
You are also a film maker- how does each of these art forms relate to the others for you?
The films and photography complement each other. Sometimes the photography will include me as part of the documentation to build my own history through my survey, such as having my picture taken with the artist. Furthermore, the films certainly distinguish me from other photographers who primarily focus on stills through Smartphones and point and shoot cameras. The equipment I use is what the pros use, because I take myself seriously as a professional, opposed to being a hobbyist. What this ultimately means is that to film at the pro-level I am working with large media files that require a robust computer platform, up to date software and plenty of storage space.
What would be next for Eric Minh Swenson if sky was the limit?
The sky is already the limit because I get to green light my own projects that ultimately excite people. I am known in the industry for the reputation of my work ethic, my easiness to work with, how open I am to collaborate and the fact that I produce worthy product and publicity that enhance the artist’s lifestyle and preserve exhibitions for art institutions. By Nicole Goesseringer Muj
MUSICIAN PETE SANDS:
“The Indigenous Renaissance is Here and It’s Thriving.” This is how I picture it: Young Navajo boy, about nine years old, riding home on the school bus. He sits uneasily in the brown bench seats, fidgeting about. There was something on his mind. Two weeks prior, the instructor had given out an assignment to the class to draw anything the kids wanted. The boy had drawn a tall muscular Navajo male similar to the likes of Rambo. The character wore tight Wrangler jeans, long hair draped down the sides of the his face, and snakeskin cowboy boots. In one hand he held a knife and in the other he held an AK-47.
Drawing time was over and unbeknownst to the boy was the instructor had planned for the kids to present their drawings and tell what each drawing was about. As one kid finished and the next went up, he knew his time was drawing close. He quickly came up with a back story to his character and even gave him a name, “Warsaw.” The little girl he had a serious crush on was almost done and after her he was up next. “And then the horse came back to life and turned into a beautiful unicorn. That’s why I drew a unicorn”, she finished with. She smiled at the crowd and the class applauded. Now it was his turn. The time had come to reveal to the class, to his instructor, and to the world, the badass grizzled Navajo veteran named Warsaw. Warsaw is a Navajo from Kinlichee, Arizona. He served in the army, fought many wars, and knows how to drive any tank in the world,” he said. He went on and on about Warsaw and all his adventures. He had created the most badass and coolest character of all time, a Navajo action hero. He finished, waited for the applause, the grand spectacle, but all he got was silence. Dead silence. Instead, what he got was, “Navajos can’t act! It’s not even real. You’re just being all cheap.” The world wasn’t ready for what he had unleashed, but they applauded the horse coming back to life and turning into a unicorn. He was ahead of his time.
If it wasn’t transparent enough before the young boy in the story is me. I had created the character after watching “Rambo,” and some old Ninja movies I had. At that time in my life, I searched for the ever elusive “native” character in the films I watched. Then I thought my search had ended when I found the 80’s action movie treasure known as “Predator.” Of course, the film was headed by the world famous Schwarzenegger, but also in the film was the badass deep-voiced stoic “Indian” character known as “Billy.” He was the ultimate Indian. While everyone ran from the alien in the movie, Billy stood his ground. He was not running anymore. He ripped off his armor and brought out his huge knife. Standing there on that log, staring deep into the forest, he raised his knife and cut himself across his chest. Pain was nothing to him. Nothing could scare him. Then it was over. As time went on, I learned that there were plenty of Native American actors and actresses in the game, but roles for them were scarce. American entertainment had no need for “Indians” outside the stereotypical characters created by Hollywood. When the cowboys would fight the Indians in the old Western films, I noticed that we “Indians” rooted for the cowboys, but when the “Indians” were the main characters in the films, they didn’t look like me. They looked … different. Chuck Connors didn’t look like me. Charles Bronson didn’t look like my uncle. Burt Reynolds didn’t look like Navajo Joe.
There was a deep unsettling thought that lingered in my mind -- “Why don’t American audiences accept indigenous actors and actresses?” American Indians have been through so much tragedy, much of which is not even mentioned in current history books. Some have even gone as far as labeling expanded US history which includes more Native American history and references as “alternative history.” What does that even mean? That we aren’t real? We are myths created by pioneers and settlers that just so happened to come to life? American cinema had always limited indigenous stories and “Indian” roles, but something happened in the 80’s and 90’s. Film began to turn its attitude towards Native Cinema. Movies like “Dance Me Outside,” “Dark Wind,” “PowWow Highway,” “Smoke Signals,” burst onto the scene. These movies turned the tide towards the dynamics of Native actors and actresses and their ability to convey more than they ever have through the roles they portrayed. The roles were about real people, real situations, real reservation life, and more about portraying “Indians” as real people with a range of emotions. Hollywood also soon came to realize this. “Dances with Wolves” and “The Outlaw Josey Wales,” broke the old Hollywood stigma that had stuck for so long, that Indians couldn’t act anything other than being Indian. The humor was there for the mass audiences to see. Native Americans are widely known for our deep sense of humor, a trait which had never really been portrayed before. Chief Dan George, may his soul rest in peace, was so damn funny in “The Outlaw Josey Wales.”
one another up. Issues such as blood-quantum and the question of “who’s really Indian?” are stagnant. We are in the unique position as to figuring out ways we can exhibit our cultures, but not reveal too much as per culture taboos and respect ancient laws. Indigenous entrepreneurship is flourishing right now. Brands like “NTVS,” “Yellowtail,” “1491,” “OXDX,” “Beyond Buckskin,” and many more others, have shown that there is a place for innovative and traditional indigenous fashion. Indigenous silversmiths and jewelry makers/designers are now more renowned than ever. Native musicians are also beginning to cross over into mainstream and are building a strong independent following.
Navajo actress Geraldine Keams was also another example of that Native humor in the same movie…and she was humorous while speaking in the Navajo language. The humanity had been stamped. It was only until years later that I came to learn how huge of an impact it really had for all those who were involved in the making of these films. It was a gamble, a huge one, for those who invested in this story. Much like “Wind River” was years later. First time Hollywood director Taylor Sheridan took a huge risk by making his debut as a filmmaker by bringing to life a screenplay he wrote, titled “Wind River.” This film tackled the hard and often overlooked subject about missing and murdered indigenous women. It brought to the forefront of Americana an epidemic that continues to plague Native American communities to this very day. He created a platform to help showcase Native talent and put a spotlight on Native issues.
Indigenous filmmakers like “Sydney Freeland,” who directed an episode of “Grey’s Anatomy” are making their mark on Hollywood. Another indigenous filmmaker/ actor putting their stamp on Hollywood is Taika Waititi, who is known for his films “Boy,” “What We Do in the Shadows,” “Hunt for the Wilderpeople,” and “Thor: Ragnarok.” This December, we will get see our indigenous brother Jason Momoa headline a major comic book adaptation with his portrayal of “Aquaman.” Next year, we will see Martin Sensmeier bring Jim Thorpe to life in a film produced by Angelina Jolie and written by Sterlin Harjo, who’s also another incredible indigenous artist.
Robert Redford, the founder of the Sundance Film Institute, recognized there was a problem in Hollywood. The very same problem that other major Hollywood players like Clint Eastwood, Kevin Costner and Taylor Sheridan, also recognized. The problem was indigenous people are underrepresented in the entertainment industry. Thus, he created the Native Initiative to be included within the Sundance Film Institute. The Hollywood sees the potential that Native American Native Initiative is a program that selects a number of entertainment has now. Shows like “Yellowstone,” indigenous people who want to become filmmakers, “Longmire,” “Fargo,” “Frontier,” ‘The Red Road,” writers, producers and cinematographers, and places “Blackstone,” and many more all feature main and them in a training program to teach the selected the recurring roles for Native Americans. Not just “Indian” parameters of the job and how to successfully execute the roles, but roles for Natives to play people. tasks included within each craft. Some alumnus of this program are such renowned indigenous filmmakers as Nevertheless, there is a Renaissance happening as we Heather Rae, Chris Eyre, and the aforementioned Taika speak. Natives are making moves. Natives are coming up Waititi and Sydney Freeland. in the world. Indigenous men and women are making things happen for themselves. We are telling our stories I remember, seeing the first broadcasts of the Standing now. It seems as though we are finally figuring out where Rock standoff. Those images and videos were hard to we belong in the entertainment world. We are finding believe. That in this day-in-age such obvious displays of ways to integrate each of our indigenous cultures into racism and discrimination could be allowed to happen. our art and creating new ways of preserving our wavering It truly felt like we had no place in this world, no place in traditions. this country we had called home years, before it was even called the United States of America. One of the biggest obstacles that indigenous people have to overcome is ourselves. We tend to tear one another But we didn’t go silently into the night. The indigenous down so quickly and easily, when we should be holding Renaissance is here and it’s thriving.
CLAUDE BRICKELL
“A Great Film Begins With A Great Script!” writer/director and former development executive Claude Brickell worked for many years in the Hollywood film industry as a story executive for producers Phil Feldman (A Star is Born), Jay Weston (Lady Sings the Blues), Arnold Kopelson (Oliver Stone’s Platoon), John Daly (Bernardo Bertolucci’s ‘The Last Emperor’) and United Artist CEO Stephen Bach (Heaven’s Gate), as well as for actors Dustin Hoffman, Barbra Streisand and Paul Newman, among others. He was later the Hollywood representative for France’s third largest film studio on the Riviera helping bring 20th Century Fox’s ‘The Jewel of the Nile’ with Michael Douglas, Warner Bros.’ ‘Under the Cherry Moon’ with Prince and John Frankenheimer’s miniseries Riviera to the South of France lot. His mini-feature ‘That Summer’ was an official selection at the World Film Festival in Montreal and his feature ‘Havana, Habana’ in the process of worldwide distribution and an official selection at the Rome Independent Film Festival. He resides in New York.
Every filmmaker hopes that his or her film will be hailed as this year’s festival favorite. But with the rush to make that film, filmmakers too often neglect to start with the very foundation needed for that film’s success. “A film is only as good as its script.” Why is this so fundamental? The art of storytelling is as old as humans predating civilization itself. For thousands of years, homosapiens gathered around fires where stories were told. These stories were refined and structured over centuries and eventually culminated in the ancient myths. Later civilizations like the Greeks codified them in what has become known as classic dramatic structure, and the art of modern storytelling was born. Film story has evolved from the classic structure, but it is unique in that it is strictly visual. In other words, the story is told in visual terms. “What about dialogue?” you ask. “Isn’t that film story?” No. A film story is visual. Dialogue is only there to clarify the visuals. This is why it’s so difficult to make a film based on a stage play which relies heavily on dialogue. Film is visual and this is why it is termed one of the visual arts. The structure of a film story is bound by a timeframe, roughly a twohour period. Its written form did not come about because some early filmmaker wanted to write it down that way. The form serves a purpose. It’s a detailed description of the action the filmmaker will follow to create the visual story. Screenplays are one of the only literary forms not meant to be publicly read. They are blueprints for actions which will later become a film. So what is film structure then?
A film story is about a single individual who we call the hero or heroin. This is because the viewer will be most invested when a story is about a single person with whom the viewer can identify. There have been films with two or more individuals as heroes, but this weakens the story for the viewer. Perhaps the worst mistake made was with the film “War Horse.” The story begins with a boy who acquires a horse. But soon after, the boy is separated from the animal and the story continues with the horse alone. Only near the end is the boy reunited with the animal. Humans identify with humans, not animals, and although it was a marvelous horse and we were shown stunning visuals, audiences failed to become invested on a human level and the film was a failure at the box office. Critics panned it. So a film story is about a single individual who has a specific goal. The goal is revealed either in the beginning of the story or very early on. The hero is passionate about achieving the goal and therein lies the viewer’s express interest in the hero’s desire. Will the hero achieve the goal or not? The early storytellers also taught us that a goal easily achieved is of little interest. The goal must be won through great effort, even at a risk of death. Therefore, to make the story truly captivating, there needs to be an obstacle standing in the way of the hero achieving the goal. This might be a natural
introduced to or becomes aware of the opponent, as well as the opponent’s strength. In the second act, the hero’s flaw begins to affect others and it becomes evident that it’s going to hinder the hero’s success. In the third act, the hero is forced to confront the flaw by his or herself. Why is this so important? The viewers must be on the edge of their seats wondering if the hero is going to deal with the weakness and overcome it. This is the moment that grips the viewer the most. The viewer has been introduced to the hero, has empathized with him or her through the flaw, has seen the hero’s intense passion or drive, and now is desperately hoping that he or she will overcome the flaw and gain strength to overpower the opponent. But, sadly, the hero fails in the first confrontation with the opponent−the first battle−and although he or she prepares diligently after that, the hero fails in Claude Brickell Story That Summer the second battle, as well. At that moment, the hero is exhausted, overwhelmed, and gives in to the weakness. He or she is ready to throw in the element such as a perfect storm, an animal such as a towel. We refer to this as the decent into the underworld prehistoric dinosaur or even a group of individuals, such or the gantlet. Having resisted dealing with his or her flaw, as spear-throwing natives or even zombies. Just as a story all seems lost in the eyes of the viewers. A clear example of is strongest when it is about a single individual, so too is a single opponent most effective. The opposing individual this is in the film Gladiator. will be the one most capable of standing in the way of the hero achieving the goal. The opponent must also be strong This is where our hero needs help. We must give the hero and more powerful than the hero. Already, the drama is new information. That information will instill in the hero a renewed strength, a will to get back in the game and fight building. to the end. In the original film “Rocky,” Rocky’s goal is to last in the ring for a full fifteen rounds with the opponent. A film story must be universal, that But fourteen rounds have been fought and Rocky is by beaten to a pulp facing defeat. In that last round, is, have a broad appeal. It has been then though, he lands a punch in the opponent’s left side and is said that “to be truly universal, you surprised to discover the opponent experiencing intense pain there, something Rocky never saw before. He seizes must be intensively personal.” on that vulnerability and focuses his punches to that side The hero must be relatable to the viewer on a deeply repeatedly. He then is able to stave off getting knocked personal level. Perfect individuals are not only boring, out himself, remaining standing until the last bell. He has they are inhuman. We all have faults and it is in faults that achieved the goal. we identify with one another. Therefore, we must give the hero a personal flaw. This flaw or weakness is immediately recognized by the viewer in the beginning of the story, but does not yet appear to present a problem. The fault will soon affect others, however, such as the hero’s friends− who we call allies−and who will confront the hero on the flaw and warn that it may jeopardize his or her efforts in achieving the goal. However, the hero ignores this until it eventually becomes evident that it’s indeed standing in the way of overpowering the opponent. This is the personal flaw in the hero’s character to which we can all relate. You have heard that a story has a beginning, a middle and an end. This is critical in a film story. Each of the three components−which we refer to as acts−has a specific purpose. We define these acts as ‘hero vs. opponent,’ ‘hero vs. allies’ and ‘hero vs. self.’ In the first act, the hero is
But what about that goal? Was it really so important in the first place? Again in Rocky, throughout the story we have seen Rocky’s inability to trust in another person, his flaw. His early boxing failure demoralized him and caused him to lose faith in himself, and because of this, he feels worthless and unable to get close to anyone, to love or be loved. This creates for the hero a crippling weakness. After finally winning the goal and staying in the ring the full fifteen rounds, Rocky has regained belief in himself once again. This frees him of his impediment which makes the goal possible. When his girlfriend Adrian, who has stuck by him throughout the entire ordeal−his principle ally− pushes her way through the screaming crowd to reach the ring, Rocky cannot see her as his eyes are bloodied and swollen shut. He hears her calling out to him nonetheless proclaiming her love for him.
moral growth. Child to adult. This is tremendously satisfying for the viewer.
So a film story is not simply the story about a single individual passionate about achieving a goal, it’s the story of a person emotionally compromised who eventually confronts the weakness, overcomes it and in the process is reborn. It is the story of an individual who goes from emotional slavery to freedom. This is simply a brief overview of what a film story should be. In my primer Screenwriting: How to Write a Professional Screenplay and Sell it to Hollywood! (Amazon.com), I go into great detail about dramatic structure of modern screenplays utilized in the Hollywood film industry today and throughout the entire film world. So when you are ready to make your next film, be sure you give it a solid foundation in film story structure which has proven to be At this moment, Rocky is reborn and shouts back, “I love the most effective way to tell a film story. It is what makes you, too!” Although he has achieved the goal, he has great films great. In adhering to these principles, your film gained far more on a moral level. He has overcome the is guaranteed to have the best chance possible for success. flaw and that is worth more than any goal could be. We Festivals are waiting. refer to this as the hero’s revelation. This is the character’s
WanderLuxxe Filmmaker Lounge Premieres at the 2018 Napa Valley Film Festival
(L to R) Marti Hines, Diane Warren & Lola Wood
WanderLuxxe (www.wanderluxxe.com), the leading luxury membership and concierge service amongst the film and entertainment industry, is gearing up for 2018 Napa Valley Film Festival. WanderLuxxe is heading to the festival for a pop up lounge at the annual Northern California cinematic celebration for outstanding and uplifting storytelling, combined with region’s world class food, wine and hospitality. exclusive retreat, located inside the Studio by Feast It Forward (1031 McKinstry Street). The lounge will take place from November 8th through November 11th from 10 am to 5 pm. WanderLuxxe founders Marti Hines and Lola Wood focus on providing access for entertainment industry colleagues, cinephiles and talent to some of the largest film festivals in the world and exclusive events through their full service experience membership service. The membership program offers the ultimate VIP festival experience with perks and insider access for groups and individuals, along with concierge and travel services 24/7. The program grants WanderLuxxers unparalleled access along with festival accreditation, invite only event attendance, entry Feast It Forward, Napa to award show parties and film premieres, participation This year marks the launch of the WanderLuxxe Filmmaker in curated panels, networking opportunities with top Lounge, offering refuge in a luxurious environment, and industry VIPs, and more. featuring hourly wine tastings, meet and greets, panels, surprise performances, activations by Sunlighten Infrared Recently, WanderLuxxe held its inaugural Emmy nominees Saunas and Cyro Facials, as well as a SAGIndie hosted luncheon at Craig’s in West Hollywood. The luncheon celebrated diversity in Hollywood honoring 2018 Emmy happy hour on November 8th. winners and nominees John Legend, Mike Jackson, Sarah The WanderLuxxe Filmmaker Lounge has previously Silverman, Diane Warren, Karamo Brown, Melvin Jackson activated during the Tribeca, Cannes and Sundance film Jr. and Kelly Jenrette, and actors Ellen Wong, Ajiona festivals, with attendance by members, industry VIPS, Alexus, Sharon Leal, Jackie Tohn, among others. filmmakers and actors, media and film enthusiasts. @wanderluxxemembers Napa Patron Circle Members will also have access to the
“Hollywood We Have a Problem!” #METOO ONE YEAR LATER
I’m a female director and I’m mad! Why am I mad? I’m mad because I have chosen a career in the entertainment industry, where if you are not a white male, you aren’t getting hired! Since the 1920’s Hollywood men have By Kate Rees Davies shut women out of the film industry, an industry started by a French woman named Alice Guy-Blaché. Alice’s story is a well kept secret and the industry have tried to obliterate her from film history, lauding D.W. Griffith as the founding father of Hollywood! In the 1980’s, six female members of the Directors Guild of America, known as the “Original Six,” founded the DGA Women’s Steering Committee to investigate the unfair hiring practices of the studios. They spent three years gathering statistics and advocating for women, taking meetings with Hollywood executives to discuss the issue. In 1983, the DGA had enough information to sue the studios, which resulted in a slight rise of women getting hired to direct. The rise in the female numbers were short lived and it wasn’t long after, the amount of females dipped even further. The latest studies, including the annual report from Dr. Stacy L. Smith and the Annenberg Inclusion Initiative “Inclusion in the Director’s Chair” was released on January 4, 2018.The study examines the gender, race and age of directors across 1,100 popular films from 2007 to 2017, revealing that there has been no change over time. Only 4% of theatrically released films are directed by women. The report also explores gender in the executive and leadership positions at major media companies and the numbers don’t fare well there either. On October 5, 2017, a groundbreaking report by New York Times reporters Jodi Kantor and Megan Twohey revealed multiple allegations of sexual harassment against movie mogul Harvey Weinstein. Actresses and other high profile women offered similar stories of sexual misconduct by Weinstein, which often occurred at his hotel room or in a deserted corridor of a hotel or restaurant, as he pleasured himself in front of them. The article led to the resignation of four members of the Weinstein Company’s all-male board, and to Weinstein’s termination. However one year later, he is still a free man, having paid to stay out of jail and some of the 45 or so charges have been dismissed by the court. The story imploded and empowered other women to find their voices to speak up against their harassers, reviving #MeToo, originated by Tania Burke. To date, over 200 men in Hollywood have been accused by multiple women of sexual misconduct or rape and only one, Bill Cosby has gone to prison. Countless
women are still fearful to come forward and the recent allegations have caused many to experience PTSD, years later. The sad thing is, despite the #MeToo movement, for most powerful white men in Hollywood, it’s business as usual. Only the other day, I was at an entertainment conference where a panel of middle aged white males, who’s work I admire and grew up watching, addressed the audience with such disrespectful remarks as “Producing did this to us. We started out as black women!!!.” called members of LGBTQ community “Trannys,” then went on to refer to “Pamela Anderson’s Rack”! Although more female directors are slowing being hired, only a handful of women have been given $100 million dollar movies to direct. The only solution I can see to fixing the Hollywood problem is to get more females in executive level positions who are more likely to hire someone who looks like them. Steven Speilberg hand-picked director Colin Trevorrow to revive the “Jurassic Park” franchise, after seeing his one indie movie at Sundance. Speilberg hired him to direct a movie with over $100 million dollar budget after only one feature film produced for less than a million dollars. Oprah Winfrey partnered with Ava DuVernay and helped her with her career. The difference here is, DuVernay has since developed a show as a vehicle to shepherd new and established female directors through each episode, thus, kickstarting their careers. What has Colin Trevorrow done for gender balance in the industry? It’s no secret that female driven and helmed content makes more money at the box office and so it surprises me that white men don’t want us at the table. We are not there to take their jobs, but help them create more interesting content. I came to Hollywood nearly 10 years ago to direct big budget action movies with an all star cast and although my journey is not what I thought it was going to be, I feel in a good place. The spotlight is finally on Hollywood with an investigation by the EEOC is currently in effect, ignited by Alice Guy-Blaché by By Apeda Studio New York director Maria Geise who approached the ACLU on gender bias in the entertainment business. This has got the studios twitching. Geise also appears in the new documentary “This Changes Everything,” which is about the discrimination of women in the business. I feel a paradigm shift and I live in naive optimism that we can see equality in the business that I love. It would be nice to be writing articles to celebrate females’ work as opposed to fighting to do it. This can and will be fixed, but we have to keep talking, protesting, and reporting, while taking down the walls of Hollywood one brick at a time!