Produced By February | March 2021

PRODUCEDBY THE OFFICIAL MAGAZINE OF THE PRODUCERS GUILD OF AMERICA // FEBRUARY | MARCH 2021

ARE YOU AN INDIE PRODUCER NEEDING INSURANCE?

P. 34 AND THE p.g.a. MARK GOES TO...

A STREAMED TV MOVIE

P. 62 THE POWER OF DIVERSITY: EQUITY + INCLUSION = SUCCESS

P. 78

COURTNEY

KEMP “The responsibility of the executive producer in TV is the same as in film—we protect our crews, in all ways. So can you imagine trying to protect your crew from something that is invisible, that you can’t smell, that you can’t touch or taste?”

LIMITED SERIES TELEVISION

“A PIERCING, EDIFYING, AND MOMENTOUS ANTHOLOGY” INDIEWIRE

“THESE FILMS ARE BOTH RALLYING CRIES AND CELEBRATIONS, REMINDERS OF WHAT HAS BEEN OVERCOME AND A SPOTLIGHT ON WHAT STILL NEEDS TO BE VANQUISHED” THE WRAP

WINNER

NEW YORK FILM CRITICS CIRCLE

Best Cinematographer

THE GOTHAM AWARDS Director Tribute Steve McQueen

WINNER

WINNER

BOSTON ONLINE FILM CRITICS ASSN.

FLORIDA FILM CRITICS CIRCLE

Top 10 Films of 2020

Best Ensemble

LOVERS ROCK

BLACK FILM CRITICS CIRCLE Special Mention Steve McQueen

NAACP IMAGE AWARDS NOMINEE

OUTSTANDING DIRECTING IN A DRAMA SERIES

Steve M c Queen

MANGROVE

CHICAGO INDIE CRITICS Trailblazer Award Steve McQueen

MANGROVE

HOLLYWOOD

CRITICS ASSOCIATION Filmmaker Achievement Award Steve McQueen

ONLINE FILM CRITICS SOCIETY Special Achievement Award Steve McQueen

FILM INDEPENDENT SPIRIT AWARDS NOMINEE

BEST NEW SCRIPTED SERIES

ONE OF THE BEST FILMS OF THE YEAR WINNER TOP 10

WINNER 2020 TOP FILM

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N O M I N AT I O N S

BEST SUPPORTING ACTOR | DANIEL KALUUYA BEST ORIGINAL SONG | “FIGHT FOR YOU”

®

SAG AWARD NOMINEE DANIEL KALUUYA

TOP 10 FILM BLACK FILM CRITICS CIRCLE

MOTION PICTURES OF THE YEAR

GOLDEN GLOBE

WINNER

®

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE

3CRITICS’ CHOICE N O M I N AT I O N S

BEST ACTING ENSEMBLE

BEST SUPPORTING ACTOR | DANIEL KALUUYA BEST SONG | “FIGHT FOR YOU”

DAVID ROONEY,

BEST PICTURE

RYAN COOGLER, p.g.a. CHARLES D. KING, p.g.a. SHAKA KING, p.g.a.

F O R

Y O U R

C O N S I D E R A T I O N W W W. W B AWA R D S . C OM

“A MAJO PICTURE AC Director John Lee Hancock has crafted an

EXTRAORDINARY THRILLER that is as unexpected as it is accomplished.”

Pete Hammond

F O R YO U R C O N S I D E R AT I O N I N A L L C AT E G O R I E S I N C L U D I N G

BEST PICTURE MARK JOHNSON, p.g.a.

JOHN LEE HANCOCK

R MOTION HIEVEMENT.

W W W. W B AWA R DS . COM

F O R

Y O U R

C O

OUTSTANDING PRODUCER OF

LEE DANIELS, p.g.a., JORDAN FUDGE, JOE ROTH, JEFF KIRSCHE

“This movie is more of a call to arms...

I’M NOT A POLITICIAN. I’M NOT AN ACTIVIST. I’M A FILMMAKER. I’M A STORYTELLER.

I can only do my duty by telling stories.”

GOLDEN GLOBE(S)®, HOLLYWOOD FOREIGN PRESS ASSOCIATION® and GOLDEN GLOBE® statuette design mark are the registered trademarks and service marks and the GOLDEN GLOBE® statuette the copyrighted property of the Hollywood Foreign Press Association. Copyright © Hollywood Foreign Press Association. All rights reserved.

LEE DANIELS

GOLDEN GLOBE AWARD ®

NOMINEE

BEST ACTRESS IN A MOTION PICTURE - DRA MA

ANDRA DAY

BEST ORIGINAL SONG - “TIGRESS & TWEED” written by RAPHAEL SAADIQ & ANDRA DAY performed by ANDRA DAY

A

ORIGINAL FILM

FEBRUARY 26

N S I D E R A T I O N

THEATRICAL MOTION PICTURES

N B A U M , P A M E L A O A S W I L L I A M S , p . g . a . , T U C K E R T O O L E Y, p . g . a .

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“ONE OF THE BEST FILMS OF THE YEAR.” PETER SBLENDORIO

“A GIFT OF GRACE AND COMPASSION –

THE FILM SOARS BEAUTIFULLY.” ANGIE HAN

BEST PICTURE CHARLES ROVEN, p.g.a.

DEBORAH SNYDER ZACK SNYDER PATTY JENKINS, p.g.a.

GAL GADOT STEPHEN JONES, p.g.a.

W W W. W B AWA R DS . COM

48

COURTNEY KEMP PHOTOGRAPHED BY MATT SAYLES

FEATURES 48 THE COVER: COURTNEY KEMP

78 THE POWER OF DIVERSITY

The Power producer on how she learned the business—and how she’s rewriting the franchise model for television.

One of the Guild’s signature workshops promotes diversity throughout the industry.

62 PAULA HART MAKES HER MARK

86 YEAR OF THE DOCUMENTARY

She braves pandemic filming and earns the first-ever p.g.a. mark for a streamed movie.

2020 was huge for documentaries. Meet the PGA Awards finalists.

70 EL CANDIDATO/THE CANDIDATE

95 POUNDING THE PAVEMENT: THE REOPENING

Producers take on the challenge of working in two languages and two countries to create a bilingual thriller set in Mexico.

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Part 2 of our series on producers creating, and hiring, in the time of COVID.

6 BEST PICTURE

G O L D E N G L O B E® N O M I N A T I O N S (DRAMA)

INCLUDING

FOR YOUR CONSIDERATION

OUTSTANDING PRODUCER OF THEATRICAL MOTION PICTURES

Céan Chaffin, p.g.a. Eric Roth, p.g.a. Douglas Urbanski, p.g.a.

“MANK IS THE BEST PICTURE OF THE YEAR. A feast of sumptuous beauty. Impossibly detailed and wildly smart.

Every second of it, every frame is itself a masterwork.

David Fincher takes the exacting, funny, and ultimately melancholy screenplay (the best of the year) written by his late father Jack Fincher, and expands on it with trademark visual mastery.

BIG, BEAUTIFUL, VIBRANT, RISK-TAKING CINEMA.” AWARDS DAILY

W I N N E R

ONE OF THE BEST PICTURES OF THE YEAR

DIRECTED BY DAVID FINCHER

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THE RADIUM GIRLS RISE UP

DEPARTMENTS 20 FROM THE PRESIDENTS Come join us!

22 VOICES

30 GOING GREEN Radium Girls’ resonant message

The not-so-scary life of a PGA intern

34 HEALTH INSURANCE FOR INDIES

26 ODD NUMBERS

36 HOT BUTTON

Pandemic takeaways

Is theatrical distribution dead?

28 RISK TAKERS Tyler Thompson

39 MENTORING MATTERS SPOTLIGHT Four mentees share their stories

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108 FAQ: PRODUCERS MARK

122 BOARD OF DIRECTORS

The p.g.a. mark now extends to TV and streaming movies.

126 BEST ON-SET PHOTO OF ALL TIME

112 MARKING TIME

Hail Mary!

118 MEMBER BENEFITS 120 NEW MEMBERS

ANYTIME. ANYWHERE.

PRESIDENTS Gail Berman

Lucy Fisher

VICE PRESIDENTS, MOTION PICTURES Lauren Shuler Donner Jon Kilik

PRODU CEDBY Februa ry

Y PRODUCEDB

VICE PRESIDENTS, TELEVISION Mike Farah Gene Stein

Y | MARCH RICA // FEBRUAR S GUILD OF AME PRODUCER AGAZINE OF THE THE OFFICIAL M

TREASURER Megan Mascena Gaspar

| March 2020

SECRETARIES OF RECORD Mark Gordon Hawk Koch

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P OUR TIKTOK ADDICTION

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WOM EN PR BRINGING ODUCERS VOICES T POWERFUL O ANIM ATION

Ken Bur ns

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POUNDIN G THE IN THE P PAVEMENT ANDEMIC ERA

NATIONAL BOARD OF DIRECTORS Stephanie Allain Bray Paulette Lifton Michael Ambers Dan Lin James P. Axiotis James Lopez Nina Yang Bongiovi Ravi Nandan Yolanda T. Cochran Becky Ockerlund Nolte Donald De Line Bruna Papandrea Gary Goetzman Charles Roven Charles P. Howard Peter Saraf Iris Ichishita Jillian Stein

Cristina Lee Storm Mimi Valdes Angela Victor Ian Wagner Lorin Williams Magdalena Wolf

VICE PRESIDENT, AP COUNCIL Melissa Friedman VICE PRESIDENT, NEW MEDIA COUNCIL Jenni Ogden VICE PRESIDENT, PGA EAST Donna Gigliotti

P

vol ume XVI num ber

KEN

3

BURNS

INCLUSIO INNOVAT N ION AND N OCCUPA EW TIONS IN THE A GE OF COVID

“I can co of one unt on the fingers hand the fil made) th ms race. It’ at don’t de (we’ve al thing s the most im with that we po deal wi rtant th.”

REPRESENTATIVES, PGA NORTHWEST Richard Quan John Walker REPRESENTATIVE, PGA CAPITAL Katy Jones Garrity PRESIDENTS EMERITI Gary Lucchesi Lori McCreary NATIONAL EXECUTIVE DIRECTOR/COO Susan Sprung NATIONAL EXECUTIVE DIRECTOR/COO Vance Van Petten

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ADVERTISING Ken Rose 818-312-6880 | ken@moontidemedia.com MANAGING PARTNERS Charles C. Koones Todd Klawin Vol. XVII No. 1 Produced By is published by the Producers Guild of America 11150 W. Olympic Blvd.

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FROM THE PRESIDENTS

WHY DON’T YOU JOIN US? Producing can be a solitary vocation. So can being the boss and taking responsibility for the well-being and quality of a production and its final result. The PGA is a valuable community, a resource of over 8,000 members worldwide, who deliver entertainment across the globe in scripted, nonfiction, documentary, animation, and new media—in television, movies, streaming, podcasts and whatever other platforms emerge. Many members have already made the jump to new areas, or are in the process of doing so now. As the definitions of content keep evolving, so do our abilities and our creative endeavors.

As we enter this new age, it is useful and heartening to see how many members help other members. We come from diverse backgrounds, ages, cultures, races, orientations and abilities, which is why PGA members sharing their extensive knowledge and talents is such a boon. Our industry has proven that despite an ongoing obstacle course of new difficulties that we have faced this past year, we have prevailed, and we don’t quit.

Opportunities for members are far-reaching. Joining the Guild will give you free access to numerous webinars—arranged

by PGA-member-led committees—on development, finance, production techniques, new technology, resumes, agency and buyer pitches, and countless other subjects. More-established members feel gratified when they can share their expertise with colleagues whose careers are at earlier stages—which is why we have so many experts volunteering their knowledge, and newer members have access to some of the best brains in the business.

A win-win.

The PGA welcomes all members—old and new—to support the advancement of diversity, equity and inclusion. To that end we have expanded our One Guild committee, and it is now one of our most productive and active groups.

One Guild focuses on underrepresented and underserved groups by strategically focusing the Guild’s efforts to increase and foster membership, Guild leadership, employment, and to encourage authentic depictions.

PGA leadership and members have formed new working groups and expanded existing groups to include the Women’s Impact Network, Producers of Color, Emerging Producer Pipeline, BIPOC in Animation and VFX, and AAPI (Asian American and Pacific Islanders).

To enhance professional relationships and share support , you can join other vibrant committees as well, such as Employment, Mentoring, International, Education, PGA Green and others.

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Our top priority: getting our members back to work swiftly and safely. The PGA’s Production Safety Task Force published the COVID Safety Protocols for Producing Independent Productions, a practical safety guide for producing during COVID-19. We also created the Independent Production Safety Initiative (IPSI), a free program that trains producers on how to foster a safe and harassment-free workplace.

Our new Hire PGA initiative is a free concierge service that connects employers directly to PGA members through job bulletins and customizable one-on-one speed interviews.

Our PGA staff efficiently helps employers reach their target audience for their hiring needs and timeline. We welcome you to our dynamic group. We give back to the producing community and benefit from it. And in our new Zoom world, you can be an active member of our community and join events like this year’s PGA Awards no matter where you live or work.

The PGA’s goal is to help our members thrive and grow professionally and to produce stories that entertain and inspire the world.

We invite you to join us!

Gail Berman

Lucy Fisher

7 C R I T I C S C H O I C E AWA R D S N O M I N AT I O N S I N C L U D I N G

B E S T

P I C T U R E

“A TOW E R I N G P I E C E O F M OV I E M A K I N G .”

– D E A D L I N E

GOLDEN GLOBE® AWARD

NOMINEES B E S T S U P P O R T I N G AC T R E S S

HELENA ZENGEL

B E ST O R I G I N A L S CO R E

JAMES NEWTON HOWARD

WINNER

ONE OF THE YEAR’S BEST FILMS B E S T A DA P T E D S C R E E N P L AY

PAUL GREENGRASS and LUKE DAVIES

SCREEN ACTORS GUILD AWARD®

NOMINEES OUTSTANDING PERFORMANCE

BY A FEMALE ACTOR IN A SUPPORTING ROLE

HELENA ZENGEL

O U TSTA N D I N G AC T I O N P E R FO R M A N C E

BY A STUNT ENSEMBLE IN A MOTION PICTURE

BEST

PICTURE P R O D U C E D BY

G A R Y G O E T Z M A N p.g.a.

G A I L M U T R U X p.g.a.

G R E G O R Y G O O D M A N p.g.a.

AND

ALL

OTHER

C AT E G O R I E S

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© 2020 UNIVERSAL STUDIOS

VOI CES

THE NOT-SO-SCARY LIFE OF A PGA INTERN A film student earns respect as she learns the business as a PGA intern Written by Camryn Garrett

I

mmediately after finishing The 40-Year-Old Version, a new movie on Netflix, I knew I needed to tell everyone I knew about it. Most people responded saying they already knew the movie, seeming puzzled that I recommended it. I had to correct them: 40-Year-Old Version, not Virgin.

Shot in black and white and breathtakingly funny, the film follows a Black woman playwright who has to choose between breaking out and maintaining her vision. I saw myself in the film in a way I hadn’t expected.

I sent a message to the PGA Intern Slack, asking one of my supervisors, Conor Hammonds, if I was allowed to share an idea for an event. This past semester, the other interns and I have been invited to tune into various events like Q&As with the creative teams behind I’m Thinking of Ending Things, The Boys in the Band, and The Trial of the Chicago 7, among others. What if, I suggested, the PGA did an event with the creative team behind The 40-Year-Old Version?

I was a little nervous to bring up the idea, but my other supervisor, Jo-Ann West, seemed thrilled when I explained it to her. It seemed like my suggestion was really valued. A few weeks later, I was sending invitations to film students for a Q&A with the creative team behind the film.

During a time where I’m barely leaving my house, let alone physically going to class, I felt an overwhelming sense of accomplishment at being able to have a hand in something like this. As a film student who can’t make films, being an intern at the PGA has given me the chance to still be involved with film while I don’t have much access to film at school.

Since this is my first internship, I don’t have much to compare this to. On the other hand, my fellow intern, Kayla Traversone, had a remote internship at a small production studio in LA this summer. She says that internship was more “specific and repetitive” than the one here at the PGA. “At my previous internship, I’d probably go through two or three scripts and coverages a week,” she said. “It was a lot of writing constantly, which wasn’t a ton of fun.

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I would say I definitely learned how to better interact with others in the industry through our phone calls and advice I received from my supervisor. I also now have a better idea of what to look for in terms of a good script and story and what separates a decent script from a fantastic one.”

The day-to-day job at the PGA is never really the same.

Sometimes I get the chance to talk about ideas I have, like

Camryn Garrett, PGA intern

“ ‘MA RAINEY’S BLACK BOTTOM’

IS AT ONCE A SOARING TRIBUTE TO OWNING YOUR VOICE AND A SEARING STEP BACK IN TIME TO EXPOSE THE CHALLENGES OF DRIVING CHANGE IN AMERICA. This symphony of genius begins with the musical words of August Wilson and is expanded from stage to screen by the incomparable George C. Wolfe, whose eye for detail and the many shades of humanity create an opus as explosive as it is entertaining. As the ‘Mother of the Blues,’ Viola Davis etches her name in granite as a true national treasure, and this film stands apart as a must-feel experience to know the power and poetry of Chadwick Boseman.

”

FOR YOUR CONSIDERATION OUTSTANDING PRODUCER OF THEATRICAL MOTION PICTURES

SCREENPLAY BY

RUBEN SANTIAGO-HUDSON DIRECTEDBY GEORGE C. WOLFE

FILM.NETFLIXAWARDS.COM

VOI CES

The creative team from The 40-Year-Old Version appears for a live Q&A hosted by the PGA—an initiative of Camryn’s.

with The 40-Year-Old Version, and sometimes I spend the day researching film festivals for the legal department and geeking out about films I didn’t know about before.

My favorite part, though, is when speakers come to talk to us interns.

The visitors range from producers and writers on shows like Mom to producers working in virtual reality. They usually give a short introduction about who they are and what work

Camryn’s fellow PGA intern, Kayla Traversone

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they’ve done, and the rest of the hour is left up to us to ask questions. I’ve gotten a ton of advice from these sessions. For example, networking is a weakness of mine. Charles Howard, a member of the PGA, suggested reaching out to people in the same field for informational interviews. I didn’t even know that I could do that. I reached out to an alum from my school I really admire, and to my surprise, she agreed to talk with me on Zoom, answering tons of questions about what it’s like to make a first feature. I never would have reached out to her without Charles’s advice.

Since this is my first internship, I was worried about what my bosses would be like. I wasn’t sure if producers would be super demanding and scary. But during my second or third week interning, I reached out to Michelle Byrd, the PGA’s Associate National Executive Director, and we spoke for more than an hour about our favorite TV shows, being a Black woman in the industry, and my future goals. I’m still shocked that she took so much time out of her schedule to talk to me.

No one is scary on the day-to-day side, either. Jo-Ann and Conor in the operations department do weekly check-ins with us interns, making sure we don’t have any problems and aren’t overwhelmed with work. I know I can reach out to either of them if I have a problem. It’s not the frenzied, harried environment I was expecting. If anything, it feels nurturing.

Interning at the PGA isn’t the traditional experience I’d imagined. I’m not running around bringing coffee to anyone, or even working in an office. But it’s much more than I expected.

I’ve made important connections and learned things I wouldn’t have known if I’d spent the semester sitting in my apartment.

I’m so grateful for the experience.

“THE BEST PICTURE OF THE YEAR” WINNER

Silver Bear Grand Jury Prize Berlin International Film Festival

WINNER

BEST ACTRESS SIDNEY FLANIGAN New York Film Critics Circle Boston Society of Film Critics

WINNER

BEST SCREENPLAY New York Film Critics Circle Indiana Film Journalists Association Chicago Film Critics Association National Society of Film Critics Greater Western NYFC

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST PICTURE OF THE YEAR Produced By ADELE ROMANSKI p.g.a.

SARA MURPHY p.g.a.

“AN URGENT, EXTRAORDINARY FILM FOR THIS VERY MOMENT. SIDNEY FLANIGAN’S PERFORMANCE IS ASTONISHING” MARY SOLLOSI

“A MOVING SNAPSHOT OF FEMALE FRIENDSHIP, SOLIDARITY AND BRAVERY” DAVID ROONEY

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© 2021 FOCUS FEATURES LLC

O D D NUMBERS

WHAT HAVE YOU LEARNED FROM THE PANDEMIC? If you are reading this, you obviously have learned the most important thing: how to survive it! But being producers, you also have learned some new things.

WHICH PGA RESOURCE HAS BEEN MOST INSTRUCTIVE FOR NAVIGATING THE PANDEMIC?

COVID Safety Protocols for Producing Independent Productions

3% 14% 23% 60%

Reuse of background talent during crowd scenes

3%

Greater reliance on practical or computer-generated effects

7%

Different forms of remote recording

23%

Scaling down or changing locations

27%

Minimizing crew size as much as possible

40%

Able to again chase passion projects

13% 20%

CSATTF safety courses PGA Production Safety Task Force roundtable discussions Tips From the Field forums

HOW HAVE YOU HANDLED PROJECTS IN PRODUCTION DURING THE PANDEMIC?

WHAT UNEXPECTED PERK CAME ABOUT FROM WORKING REMOTELY?

Able to read more Developing closer bonds with teams Renewed focus on oneself apart from work Family night playing board games

20% 20% 27%

SURVEY RESULTS ARE A COMPLETELY UNSCIENTIFIC SAMPLING OF RESPONSES FROM PGA MEMBERS, THEIR FRIENDS AND SOCIAL MEDIA.

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R I S K TA K E R S

THE SPACE TO CREATE From the Chicago 7 to new French animation, Tyler Thompson brings cutting-edge works into THE “miraculous universe” OF Cross Creek Pictures

The biggest risk has undoubtedly been The Trial of the Chicago 7. I had people calling to tell me I was lighting money on fire with this project. No one really thought I was wasting resources so much as that I was taking on a tough subject matter.

If it weren’t for Aaron Sorkin, we wouldn’t have gone through with making the film. But I gravitated to Aaron’s take on people standing up for what they believed in, fighting the system. That is what is so great about America. I think sometimes it is easy for us to forget that. My company really leans into and gives filmmakers the space for them to create. We wanted to give Aaron the space to connect the dots in a way no one could have imagined. He is a true professional and a master in the art of filmmaking on every level imaginable. The reason he was so great to work with was because he had the confidence that allowed him to succeed in making Chicago 7 at the budget we were able to complete.

WHAT’S THE MOST RECENT PROJECT YOU’VE BACKED? WHAT GOT YOU EXCITED ABOUT IT? The most recent project I’ve backed and have been excited about is Miraculous: Tales of Ladybug and Cat Noir, which hails from France. What drew me most to it was its broad spectrum of themes for strong women and its multicultural identities. It poses a wonderful and positive message for this generation of children. To evolve into the next frontier of Cross Creek, we really want to develop our animation platform into what the likes of DreamWorks and Universal have created. We have the right animation house and intellectual property to build upon and are very excited to compound on the many characters and heroes in our “Miraculous Universe.”

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TYLER THOMPSON CROSS CREEK PICTURES | CULVER CITY, CA

CURRENT FILM THE TRIAL OF THE CHICAGO 7 WHAT’S A PROJECT YOU’RE EXCITED ABOUT DEVELOPING RIGHT NOW? The one I’m excited about developing right now is a forthcoming project about Matt Drudge. What piqued my interest in his story is that the media holds power in making or breaking someone, simply by posting a news story. That is a very powerful weapon.

WHAT’S THE QUICKEST WAY TO MAKE SURE YOU WILL NEVER BACK THE PROJECT A PRODUCER IS PITCHING YOU? This is very hard to answer because I don’t place my bets on pages with words. I believe in the person pitching me their story and connecting with them and their vision for the project.

THERE ARE EASIER WAYS TO MAKE A LIVING THAN

BY FINANCING FILMS. WHAT DRAWS YOU TO FILM AS A BUSINESS OPPORTUNITY? Yes, I believe there are easier and more rewarding ways to make a living than the film business. That is a fact, especially in a time with so much change in the industry. However, I’ve developed a group of friends and filmmakers over the years that I continue to work with and consult with on Cross Creek projects. Their ideas and the community we create at our company is what makes it all worthwhile.

WHAT MATERIAL HAVE YOU SEEN OR READ OVER THE PAST YEAR OR SO THAT REALLY CONNECTED WITH YOU? I am very excited for Space, a Tom Cruise and Doug Liman picture.

Although I’m not involved in the project, I’ve been on the periphery, and what they are taking on is astonishing.

WHAT ARE THE ESSENTIAL QUALITIES YOU LOOK FOR IN A PRODUCING PARTNER? WHAT FLAWS ARE YOU WILLING TO OVERLOOK? I look at how humble and confident someone is in their idea. I tend to overlook people’s flaws because at the end of the day those flaws are what give them an edge that wouldn’t have existed without their involvement. There is something special about that.

ILLUSTRATED BY AJAY PECKHAM

WHAT’S THE BIGGEST RISK YOU’VE TAKEN ON A PROJECT? AND WHICH PROJECT(S) HAD THE MOST GRATIFYING PAYOFF?

“‘LAND’ IS A PERFECT FILM. A TESTAMENT TO THE POWER OF HUMAN KINDNESS” Pete Hammond, DEADLINE

“A DEEPLY MOVING CINEMATIC JOURNEY” Lucas Mirabella, LATF

FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING

BEST PICTURE OF THE YEAR Produced By Allyn

Stewart , p.g.a. Lora Kennedy , p.g.a. Leah Holzer , p.g.a. Peter Saraf , p.g.a.

Written by JESSE CHATHAM and ERIN DIGNAM Directed by ROBIN WRIGHT

© 2021 FOCUS FEATURES LLC.

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For more on this film, go to FocusFeaturesGuilds2020.com.

COURTESY CARYN WAECHTER

GOING GREEN

RADIUM GIRLS RISE UP A CENTURY-OLD TALE OF TOXICITY RESONATES TODAY Written by Katie Carpenter

“H

ave you ever felt poisoned by a job you thought you were lucky to have?”

That timeless concern, expressed by the main characters in the newly released film Radium Girls, is reminiscent of classic movies like Erin Brockovich, Silkwood, and more recently, Dark Waters. It is also a concern voiced among workers, essential and otherwise, in the time of COVID-19.

Yet the story of Radium Girls has something different. Based on true events, the victims became the activists. They were naive, vulnerable young girls and women, painting glow-inthe-dark watch dials in a radium factory 100 years ago in New Jersey, utterly unaware of how toxic that substance could be.

“Several years ago, I was looking for a screenplay that would combine my passion for the environment with my storytelling career,” says producer/director Lydia Dean Pilcher. “When I read

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Ginny Mohler and Brittany Shaw’s screenplay for Radium Girls, I was captivated by this radical coming-of-age story, told through the eyes of teenage sisters—played by Golden Globe nominees Joey King and Abby Quinn—whose big dreams get shattered by their discovery of a corporate cover-up with fatal consequences.”

The early women’s political movement plays a significant role as well in pushing this story to a higher level of national media attention. It was the 1920s, and women had just won the right to vote. They wanted to use their new power in that time of rapid scientific discovery and growth in industrial productivity.

Pilcher, with co-director/writer Ginny Mohler and producer Emily McEvoy, created an innovative feature film in both metaphorical content and timing related to our current moments of crisis. They found a story that touches on many of today’s social hot buttons: women’s issues, the integrity of scientific

GOLDEN GLOBE AWARD ®

NOMINEE

Best AnimAted Film Produced By Mark Swift p.g.a.

“A nonstop delight, full of bright, colorful visuals... the animation is top notch.”

universalpicturesawards.com

© 2020 DREAMWORKS ANIMATION LLC. ALL RIGHTS RESERVED.

GOING GREEN

Producer Emily McEvoy, writer Brittany Shaw, producer/director Lydia Dean Pilcher, and writer/director Ginny Mohler premiered Radium Girls at the Tribeca Film Festival. An active social impact campaign promotes the film’s powerful environmental message.

research, environmental justice, worker safety, and public health concerns around toxic chemical regulation.

Pilcher has produced more than 40 feature films, and they all pack a punch: The Namesake, Iron Jawed Angels and Queen of Katwe are all examples of powerful films of human resilience.

For Radium Girls, a group of female Broadway producers, including Lily Tomlin and Jane Wagner, joined as executive producers to support and amplify the work of the creative team.

In March 2020, the trailer for Radium Girls was playing in theaters across the U.S. when the current global pandemic shuttered movie theaters and completely upended all traditional routes of distribution. The producers had a 90-day theatrical commitment to fulfill before the movie could launch on Netflix.

Pilcher watched as a new virtual cinema model evolved.

Filmmakers and indie distributors began to partner with art houses and independent theaters to promote films to their communities and share in ticket revenue for digital screenings.

By the end of the summer, eager to push out the movie before the election, Pilcher decided to aim for an October release date.

While Juno Films re-booked the movie in drive-ins, socially distanced venues and virtual cinemas, Team Radium Girls reached out to national groups with common purpose and offered partnerships. They built a wide-reaching social impact campaign featuring more than 65 organizations and affinity groups that responded with enthusiasm. Every partner gets their own unique link on the Eventive platform, a filmmaker Q&A on Zoom, and a social media toolkit with graphics for any outlet— and then they run with it.

The affinity partners included large and small advocacy groups such as the Sierra Club, the National Coalition of Labor

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PRODUCED BY

Union Women, International Society of Women Engineers, National Science Teachers Association, AARP, National Women’s Studies Association, The Climate Reality Project, the Geena Davis Institute on Gender and Media, League of Women Voters, the Carnegie Science Center, the Sloan Science on Screen program and many more.

“Radium Girls reminds us that in order to move toward a brighter, more equitable and just future, we have to know the past that came before it,” wrote a Sierra Club reviewer. “That is the first step toward healing.”

Radium, not banned until the ’70s, is still present in old factories that are now EPA Superfund sites. Radium is a “forever” chemical that doesn’t break down in the environment, much like the toxic PFAS and PFOAS that impact our health today. Team Radium Girls is now partnering with the Sierra Club on their existing Gender and Toxics Initiative in a PSA campaign to create greater awareness of these harmful “unseen” chemicals.

Pilcher was trained in the Climate Reality Project’s program for climate communicators, and she knew that people have a harder time understanding things they can’t see—such as climate change, radium, even COVID-19. “Audiences’ keen interest in watching true stories is to see the real truth that is revealed. Radium Girls is a story that really happened. It’s history; you can’t deny it,” says Pilcher.

Radium Girls is in theatrical/virtual cinema release, and will be available on Netflix, Amazon, iTunes, Apple TV+ and Google Play.

For more details, follow Team Radium Girls on Instagram and Facebook @radiumgirlsmovie.

To find out more about PGA’s environmental initiatives and the Studio Production Alliance, visit greenproductionguide.com.

®

BEST PICTURE INCLUDING

DRAMA

4

GOLDEN GLOBE AWARD NOMINATIONS

“ONE OF THE BEST PICTURES OF THE YEAR. ASTOUNDING.” -Todd McCarthy, THE HOLLYWOOD REPORTER

HHHH HHHH HHHH HHHH -Kate Taylor, Globe and Mail

-Rex Reed, Observer

-Benjamin Lee, THE GUARDIAN

-Nicholas Bell, Ion Cinema

“WITHOUT A DOUBT, ONE OF THE BEST PICTURES OF THE YEAR. ABSOLUTE PERFECTION.” -Sasha Stone, AWARDS DAILY

ALL CATEGORIES INCLUDING

BEST PICTURE Produced by

David Parfitt

p.g.a.,

Jean-Louis Livi

ANTHONY HOPKINS

p.g.a.,

Philippe Carcassonne

OLIVIA COLMAN

THE FATHER A FILM BY FLORIAN ZELLER

p.g.a.

GOLDEN GLOBE(S)®, HOLLYWOOD FOREIGN PRESS ASSOCIATION® and GOLDEN GLOBE® statuette design mark are the registered trademarks and service marks and the GOLDEN GLOBE® statuette the copyrighted property of the Hollywood Foreign Press Association.

Copyright © Hollywood Foreign Press Association. All rights reserved.

ONE OF THE BEST FILMS OF THE YEAR. ®

GOLDEN GLOBE AWARD NOMINEE

BEST PICTURE Musical/Comedy Motion Picture – Musical/Comedy

BEST ACTOR

g r e b m a S y And

FOR YOUR PGA AWARDS CONSIDERATION

Andy Samberg, p.g.a.

Becky Sloviter, p.g.a. Dylan Sellers, p.g.a.

“An original and innovative

BEST PICTURE CONTENDER... a brilliant love story that is both

MOVING AND UNCONVENTIONAL.” “Andy Samberg saddles his best screen role to date and rides it to

COMIC HEAVEN.”

“Wasn’t just the defining movie of the summer but

ONE OF THE DEFINING MOVIES OF THE YEAR.”

DOWNRIGHT BRILLIANT

“It’s tough for a film to be

“

HEADY AND HILARIOUS

and one of the best films of 2020.”

Andy

SAMBERG

but ‘Palm Springs’ does it beautifully.”

Cristin

MILIOTI

J.K.

SIMMONS

FOR YOUR H E A LT H

HEALTH INSURANCE FOR INDIE PRODUCERS Independent producers have coverage options Written by Zaheer Goodman-Bhyat

O

ne of several ambitious initiatives being pursued by the Independent Film Producers Task Force (“Indies”) is to secure good health insurance for indie producers. The Indies cannot ignore the fundamental fact—and ludicrous irony— that while their indie production budgets are paying for health insurance for their cast and crew, producers themselves are not getting any coverage. Therefore the Indies proposed a resolution: ALL INDIE BUDGETS SHOULD INCLUDE A LINE ITEM FOR PRODUCERS HEALTH INSURANCE.

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PRODUCED BY

The PGA fully supports this initiative and recommends the immediate implementation of this industry practice. In doing so, and as a member of the Indies, I offer the following paths for producers to secure health coverage:

HOW TO ACCESS ONE OF THE BEST HEALTH PLANS AVAILABLE TO OUR INDUSTRY The Motion Picture Industry Pension & Health Plan (MPIPHP) offers one of the lowest-cost, highest-quality health policies available. The MPIPHP plan is only available to signatories of the West Coast IA, so strategies to access the plan require navigating

FOR YOUR H E A LT H

the path to being a West Coast IA signatory.

For a lone producer, the path to access the plan is through working for a signatory company.

Indie producers who have the wherewithal to become a signatory through their own company can access the plan, along with the executive producers, associate producers, and possibly even postproduction supervisors, whom your company employs for the production. For this group, there are some conditions to meet to become signatories.

PATH TO BECOMING A WEST COAST IA SIGNATORY COMPANY The producer will need to hire an IA member on the production, which means your LLC needs to become signatory to West Coast IA, which in turn qualifies you for signing up with MPIPHP to make contributions. For example, you could employ an editor who is the IA qualifying member. They can work out of Los Angeles, even if you plan to shoot in Georgia.

This allows you to make contributions for yourselves as producers through payroll in Los Angeles. Signatory companies to the MPIPHP are obligated to allow all producers, executive producers and associate producers on all eligible productions to participate. Coverage is not automatic. Producers need to request access to the MPIPHP, which has the official designation: nonaffiliate producer (NAP).

producers, may be directed to Virgilio (Gil) Salazar, Lead Employer Contracts Department Representative, MPI, 11365 Ventura Blvd., Studio City, CA 91604. Phone: 818-769-0007 x2653; vsalazar@mpiphp.org, or Assistant Manager Julio Cadet: 818-769-0007 x2278.

IF YOU ARE NOT ELIGIBLE FOR COVERAGE UNDER MPIPHP Negotiate a reasonable amount to cover your independent health insurance costs for six months—or the number of weeks you’ll be providing your producing services on the production—and make sure it is included in the Producers Health Insurance line item of the budget. Just like your fellow cast and crew members, producers’ health insurance cost should be separate and in addition to your producing compensation.

Zaheer GoodmanBhyat is a member of the Independent Film Producers Task Force

REQUIREMENTS FOR ACCESSING NAP STATUS • The NAP must not be employed in any unit covered by a collective bargaining agreement with any other union.

• The NAP must be employed in Los Angeles and must work in the office of an employer. The only caveat to this is that they may be permitted to perform services outside of LA on a temporary basis if they are sent from the LA office.

• The NAP must be employed for a minimum of 600 hours to qualify for MPIPHP coverage.

NEED FURTHER INFO ABOUT THE MPIPHP? The MPIPHP is very responsive to requests for further information and will provide assistance in completing the paperwork. Any matters/questions regarding non-affiliate

PRODUCED BY

35

H O T B U T TO N

BILL MECHANIC

DAVID DECRANE Movies in theaters will continue to be more narrowly focused on big-budget spectacles whose effects will be suited to the increasingly more sophisticated auditoriums (holograms, anyone?). In effect, going to these movies will be more like attending a sports event or Broadway show. Prices will rise, but seek to stay competitive so that young people can still use the venues to get out of the house or dorm, and so that families can afford to attend as a group.

GEOFF PUCKETT Theatrical moviegoing is merely hibernating, as audiences reflect upon the sensory experiences they miss. Only through big-screen motion pictures can we explore, ascend, fly and cry via cathartic, soul-shaking, immersive impressions. Largerthan-life sights, surrounding sounds, and concession scents of movie theaters are ingrained deep within our psyches, never to be erased.

KIM JACKSON Yes, for the foreseeable future.

We had a film in competition at Cannes 2020 and in the past this was a surefire ticket to distribution.

However, we are struggling to find the right home and other festivals to exhibit. Are buyers watching films at home? Is anyone paying attention the same way? Proper screenings with an audience matter.

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PRODUCED BY

The only thing dead in the industry is leadership. If allowed to evolve naturally, streaming would most likely replace or supplement home video formats, not theatrical. The only reason this might not prove to be the case is because of the ownership of the studios, who have larger stakes in streaming.

PETER SAMUELSON No, but it will be dominated by studio tentpole popcorn movies. Independent films of intelligence will stream.

IS THEATRICAL DISTRIBUTION DEAD? About 90% of our members don’t think so.

BRENT WILSON I would have paid $100 to watch The Trial of the Chicago Seven without the dog barking, the phone ringing, the dryer buzzer going off and knowing that if I went to the bathroom I would miss something important.

DUSTIN HODGE Theatrical distribution will never really die.

There’s magic in the communal experience of watching a film with a group. Cinema has a rich history of morphing to the needs of the time.

LAUREL LADEVICH With home systems becoming better and cheaper all the time, the age of the multiplex is over—at least in the U.S. And with COVID, no one will be in a hurry to get back into theaters anytime soon. In the future, there will be niched theatrical experiences—smaller, highquality theaters that you can rent for a select group or large, high-quality theaters that offer an experience you can’t get at home, like IMAX.

RACHEL OLSCHAN Not DEAD-dead, but it’s definitely on life support, especially here in the U.S. I think it’ll come back eventually (at least a couple of years from now), but it’s never going to be at the level it once was. Fewer theaters. Fewer theater chains.

More focus on special-event releases. It’s going to be even harder for the independents to get a theatrical release.

CAREY SMITH No, but this is an opportunity to rethink the theatrical experience.

SHELIA COLLINS I sure hope not. I am dying to watch a film in a theater again.

Hang in there, theaters!

“The Best Film of The Year – a new kind of cinematic classic.”

Leah Greenblatt,

“Nomadland is a radiant celebration of humanity and community.”

Kristy Puchko,

“A truly special movie.

This gorgeous snapshot of America’s soul moved me to tears.”

Glenn Whipp,

’

A FILM BY CHLOE ZHAO

For Your Consideration in All Categories Including

Best Picture Produced by

Frances McDormand Peter Spears Mollye Asher Dan Janvey Chloé Zhao

NomadlandFYC.com

FOR

YOUR

CON S I DE R AT I ON

OUTSTANDING PRODUCER OF THEATRICAL MOTION PICTURES

L L O Y D L E V I N, p.g.a. • J O N K I L I K, p.g.a. • S P I K E L E E , p.g.a.

3

WINNER INCLUDING

BEST PICTURE NATIONAL BOARD OF REVIEW AWARDS

“THE BEST PICTURE OF THE YEAR.” “★★★★★. SPIKE LEE HITS A NEW CAREER PEAK. He’s made one for the ages.”

“Never has a movie matched its moment more remarkably.

SPRAWLING, ENTHRALLING AND ESSENTIAL VIEWING.” O N OV E R 1 2 5 TO P T E N LI S T S

WRITTEN BY

DANNY BILSON & PAUL DEMEO AND KEVIN WILLMOTT & SPIKE LEE

DIRECTED BY

SPIKE LEE

FILM.NETFLIXAWARDS.COM

M E N TOR I NG M AT T E R S SPOTLIGHT

MENTORING—IT MATTERS The Guild’s mentoring programs connect up-and-comers with industry giants

I

saac Newton once said, “If I have seen further, it is by standing on the shoulders of giants.” Producing film, TV and digital content is a collaborative effort. Yet many producers think that they have to navigate the business alone. That’s where the PGA Mentoring Committee comes in. We connect up-and-coming producers with giants in the industry to help guide them in their careers and to see beyond their reach.

We do this through four different programs: one-on-one mentoring, Film and TV Basecamp, Mentor Shadowing and the Mentoring Roundtables. In the most recent one-on-one mentoring cycle, we were able to pair 70 mentees with accomplished mentors for six-month private mentorships. We have given hundreds of members access to the intimate Mentoring Roundtable sessions where they can directly ask mentors for advice on just about anything producer-related. Through our Film and TV Basecamp programs, we have had mentees find success in getting their projects to production companies, sales agents and distributors. We have been fortunate to have so many talented producers step up and become mentors, including Scott Stuber, Noah Hawley, Elaine Goldsmith-Thomas and Lauren Neustadter.

In addition to these programs, we hosted a panel and special mentoring sessions with artists-turnedproducers such as John Legend, Kenneth “Babyface” Edmonds, and Chris “Ludacris” Bridges in celebration of Black Music Month. During these troubling times of the pandemic, our programs have given mentees hope that they can achieve their goals. Our committee of volunteers works tirelessly to ensure that every PGA member has access to mentoring—because we believe great things happen when we all work together and throw the ladder to those down below.

Please enjoy the stories that follow—grateful mentees sharing the invaluable benefits of PGA mentorship.

— Joelle Luman, Co-Chair, PGA Mentoring West

Joelle Luman and Michael Hammeke, Co-Chairs, PGA Mentoring West

PRODUCED BY

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M E N TOR I NG M AT T E R S SPOTLIGHT

WHY NOT ME? PGA MENTORING IS EQUAL PARTS SAGE ADVICE, FEEDBACK AND INSPIRATION Written by TALIA Harari

I

first heard about the mentoring program from an article I read in Produced By. It intrigued me that I could get one-on-one time with a successful producer whom I might not meet otherwise.

I was a freelance producer (still am) who had mostly left the world of reality TV behind for game shows and talk shows.

I signed up through the PGA website, received an interview date and waited for the call. I was told to prepare a list of producers I’d want to be mentored by. I opted for a phone interview, and on the day of the call, I went balls to the wall and requested I be mentored by Steven Spielberg. Why the hell not?! Best case, I get him. Worse case, I get someone else who is supremely qualified.

I told the interviewer that I had a story in mind for my script based on my parents’ honeymoon, and needed help getting it off the ground. They told me I’d either be paired with a single mentor or join a group where we would get a new mentor each meeting.

Both sounded great and, in the end, I was placed in the group setting.

Each session, a group of about eight or so of us met at the PGA office with a complimentary dinner and a rep from the PGA, Joelle Luman. She was beyond helpful in structuring these meetings to make the most of our time with our mentors. Each meeting started with us pitching our script to the mentor and receiving instant feedback. This was by far the most helpful and valuable experience I could have received from this program.

I got immediate notes on not only my story, but my pitching style. What to leave in, leave out and add the next time. What networks and companies are looking for, how important it is to secure life rights, and how once you sell the script, distribution is key. We met with serious players and were sometimes given the green light to reach out to them when our scripts were ready.

One of my favorite mentors was the young writer of BlaKkKlansman, David Rabinowitz. His story of how he made it, sold his script and ultimately won a freaking Oscar was super inspiring. Sure, he met Jordan Peele before Get Out got out, but he was there at the right time with a great script.

I left these sessions motivated and confident that with my passion for this story, I’ll be able to finish it and pitch in the near future. I mean, why not me?

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PRODUCED BY

“Each meeting started with us pitching our script to the mentor and receiving instant feedback. This was by far the most helpful and valuable experience I could have received from this program.”

FOR YOUR PGA AWARDS CONSIDERATION PeacockFYC.com

Peacock © Peacock TV LLC. All other programs and/or marks are property of their respective owners.

M E N TOR I NG M AT T E R S SPOTLIGHT

WHAT DO PRODUCERS ACTUALLY DO? THEY DO IT ALL, AS ONE MENTEE GRATEFULLY LEARNS Written by Daymeon Sumlin

I

’ve been in the entertainment industry for 15 years, starting as an intern at MTV and working up to post supervisor on the Emmy Award-winning Netflix series Cheer.

The word “producer” is prominently featured everywhere, but I’ve always wondered, “What do producers actually do?” I entered the PGA Mentorship Program eager to find out.

Upon being accepted into the program, I was given the option of being paired with a mentor or being in the Basecamp. With the mentor option, there was no guarantee of a minimum amount of time I would be able to spend with a mentor. Understandably so. With Basecamp I was assured I would have at least five to 10 seminars for three hours each with a variety of producers in the PGA community. I chose Basecamp, and I’m glad I did.

Our instructor, Joelle Luman, did a fantastic job of teaching us how to pitch, write a logline, and emphasize the importance of story in our projects. My group consisted of six of my peers who were all eager to learn and develop our projects. Each week we got to spend time with established members of the film industry: producers, film executives, finance producers, entertainment lawyers and talent agents. Joelle provided an abundance of study material, homework and weekly prep material for our seminars.

Each week was a fulfilling educational experience. Our sessions began with introductions. Then the guest speakers would provide feedback on our pitches. For me, the most inspiring and insightful part of Basecamp was hearing about the speaker’s experience in the film industry—the stories, the successes, the failures, the risks, the rewards and the lessons. I also appreciated the Q&A sessions that concluded each seminar because we got the chance to ask whatever we wanted and we were able to more fully connect with the speaker.

I would like to thank all of our speakers: Jeannette Francis, Judd Payne, Dean Devlin, Basil Iwanyk, Brigham Taylor, Douglas Urbansk, Orly Ravid, Matthew Rhodes and Charlie Ferraro for their time and for sharing their experiences in the entertainment world—and also for listening to my pitches.

What I’ve learned is that producers do it all. They’re an essential part of every aspect of a production. I’m thankful to be a member of the PGA and thankful for this memorable experience.

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PRODUCED BY

“What I’ve learned is that producers do it all. They’re an essential part of every aspect of a production.”

In these unprecedented times, it is great to welcome any ray of light, and that is certainly the case with TROLLS WORLD TOUR. A fantasia of bright and vivid color.”

BEST ANIMATED FILM Produced by GINA SHAY p.g.a.

universalpicturesawards.com

© 2019 DREAMWORKS ANIMATION LLC. ALL RIGHTS RESERVED.

M E N TOR I NG M AT T E R S SPOTLIGHT

WE ALL WANT THE SAME THING PGA’S MENTORING BASECAMP REINFORCES THE COLLABORATIVE NATURE OF FILMMAKING Written by Grayson Brooke

2

020 was a horrible year. I think on that we can all agree. I was furloughed from a Netflix doc series that was supposed to be the turning point of my career. All financial prospects seemed to be dwindling. I had turned to something that had always given me comfort in times of chaos: movies. Throughout the year I began outlining new projects and approached my old projects with a renewed vigor, because I had finally been given the time to do so.

Almost simultaneously, the word went out for the PGA Basecamp program and I jumped on it immediately, having this new energy to get out and get something made. After getting accepted into the program, I was scared at first—because I now realized I would be put in a room, albeit a virtual one, with producers I had looked up to for years. The hardest part of independent producing has been getting that foot in the door.

Now I would finally have the opportunity to meet and learn from those who’ve produced projects that had impacted my life in so many ways.

Through Basecamp, I gained a unique education in every single aspect of the business. From financing to pitching, streaming versus theatrical, packaging, etc. Every single mentor came in and broke down what the business looks like from the inside and how I could better adjust my project to fit the needs of the ever-changing demands of the industry. At first I felt humbled by the reality the mentors presented in the difficulties of getting projects together, especially during a pandemic. But ultimately it only reinforced my desire to become a motion picture producer.

One piece of advice that really stuck with me was the importance of sales agents. In pursuing filmmaking independently, I had never taken into account how important their representation was to projects, especially internationally, and how they could help the financing. I’m sure that’s a basic fundamental of producing, but it’s one thing that as a novice I had not grasped until this mentoring program.

One of my biggest takeaways from the Basecamp was being reminded how collaborative our business is. Between the mentors offering up their resources post-class and the mentees sharing contacts and thoughts on projects, this experience showed how, in the end, we all want the same thing. We want to make movies.

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PRODUCED BY

“Every single mentor came in and broke down what the business looks like from the inside and how I could better adjust my project to fit the needs of the everchanging demands of the industry.”

FOR YOUR CONSIDERATION

OUTSTANDING PRODUCER OF THEATRICAL MOTION PICTURES GRANT HESLOV, p.g.a.

GEORGE CLOONEY, p.g.a.

“EXCEPTIONAL. A COMPELLING AND BEAUTIFULLY CRAFTED MOVIE THAT EXCITES IN WAYS ONLY THE FINEST MOVIES IN THIS GENRE DO.” DEADLINE

FILM.NETFLIXAWARDS.COM

M E N TOR I NG M AT T E R S SPOTLIGHT

NEVER STOP NETWORKING Lesson learned: It’s people who make projects succeed Written by Jon Perkins

P

eople are generally averse to the unknown. We like knowing what’s ahead and what to expect. There is comfort in people we know over people we don’t … instructions over uncertainty … wisdom over wandering.

When I found out that the PGA offered a mentoring program, I was eager to apply. The program’s team asked me questions about the direction of my career and what I’d like to learn, and then paired me up with industry veteran Marty Bowen of Temple Hill Entertainment. He’s been in the business for decades, produced numerous movies and shows, and has a great perspective on the industry in general.

Once paired, I was connected via email, and then it was up to me to set up the meeting. With someone like Marty who is constantly working, scheduling available times could be tricky. But he made it work. I was a bit nervous at first—the unknown of a new person, the uncertainty of the mentoring program, what to expect.

Marty and I met. We exchanged small talk. He asked where I was in my career and my aspirations for the future, and I asked him about what he was working on, how he got started, and if there was anything to look for in projects that made the difference in their success.

Marty then set out several scripts on the table between us. “Pick one,” he said. I randomly pointed to a script. He went on to tell me that it’s at a major studio, and the head of the studio is a close friend. I pointed to another. Marty named another major studio whose studio head he was to see at a party the upcoming weekend.

There’s no guarantee that those projects will succeed just because Marty and the heads of the studio are friends, but it doesn’t hurt. What’s the one thing to look for in projects to make them succeed? It’s the people.

“Don’t stop networking,” Marty told me.

As those in the entertainment industry know, there is no one-size-fits-all approach for success. But the more people we meet along the way, the more we end up knowing. I got to know a new person, received guidance on my projects, and was blessed to receive some wisdom from someone who has traveled the path ahead of me.

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PRODUCED BY

“What’s the one thing to look for in projects to make them succeed? It’s the people.”

Styled by Christina Pacelli for The Only.Agency Assisted by Marissa Perez, Dress: Alexander McQueen, Belt: Alaïa, Coat: Melissa Mercedes, Shoes: J. Renee, Earrings and cuff: Sterling King, Necklace: Nancy Newberg, Rings: Eriness, MISHO and Nancy

48

PRODUCED BY

COU R T N E Y

KEMP F

or the longest time, the “franchise”—an extended story arc that unfolds over the course of several self-contained productions—has been the territory of motion pictures. From the Star Wars trilogies to the Marvel Cinematic Universe, franchises have represented a kind of brass ring for movie producers, offering, at their best, the broadest possibilities for creative expression and commercial returns. The franchise as it existed in television was a different animal, a collection of series (most often procedurals such as Law & Order or CSI) that represented variations on a theme or format, existing on parallel tracks, but rarely coalescing around a single overarching story.

Enter Courtney Kemp. A veteran of writers rooms on series like The Good Wife and Eli Stone, Kemp was tapped to create and run her own series for CBS Television Studios in 2014. The result was Power, a multilayered family/crime saga set on the streets of New York and developed alongside creative partner Curtis “50 Cent” Jackson, who branched out from his hip-hop roots to take producing and acting roles on the series. Premiering on Starz, the series steadily built its viewership over each of its six seasons. By the time of its finale last year, Power had established itself as the unquestioned flagship of the Starz lineup, and achieved the distinction of becoming the most-watched premium cable series not named Game of Thrones.

This is the point where most showrunners ride their wave of acclaim and success to a new series, new network or new creative partners. Kemp had something different in mind: a kaleidoscopic elaboration of the Power story, extending both forward and backward in time, allowing for a broader and deeper exploration of its characters and themes, an undertaking more in line with the creative ambitions of the Marvel Universe than with the procedural TV franchises of years past. The upshot: Power fans are about to receive an incredible bounty of storytelling, including Power, Book II: Ghost; Power, Book III: Raising Kanan; Power, Book IV: Influence; and Power, Book V: Force. If successful, the “Power universe” (or Powerverse, for short) is poised to upend the TV franchise model in the same way that Marvel rewrote the rules for motion pictures.

Interview by chris green || photography by Matt Sayles

PRODUCED BY

49

THE COVER: COURTNEY KEMP

COURTESY OF STARZ ENTERTAINMENT

Courtney Kemp with actress Monique Gabriela Curnen and writer Gabriela Uribe

WHERE DO YOU COME FROM? TO WHAT DEGREE WAS ENTERTAINMENT A FACTOR IN YOUR LIFE GROWING UP? I’m from Westport, Connecticut, which was very homogeneous when I was growing up, all white. My dad was an advertising executive and my mother was a schoolteacher. My father’s dad had been a sharecropper,

50

PRODUCED BY

and after my dad was born, moved the family up north, to Buffalo. This was in the 1940s, the late end of the Great Migration period. My dad grew up working poor, but he got himself a basketball scholarship to Morgan State University, where he met my mom.

Then he went to Amos Tuck Business School at Dartmouth and was the first black man to graduate from there.

He died in 2011 and he was a huge, huge influence. Not always positive.

My dad was like a combo platter of The Great Santini and the dad from The Tap Dance Kid. Super tough. Exacting, really.

But he loved TV and he loved movies.

My dad didn’t care much about keeping kids away from violent stuff. So I saw everything. I grew up on The Godfather.

I saw Purple Rain when I was like, 9.

2B E S T P I C T U R E

GOLDEN GLOBE NOMINATIONS ®

F O R

Y O U R

MUSICAL /COMEDY

INCLUDING

C O N S I D E R A T I O N

OUTSTANDING PRODUCER OF THEATRICAL MOTION PICTURES Ryan Murphy, p.g.a. • Alexis Martin Woodall, p.g.a. • Dori Berinstein, p.g.a. • Bill Damaschke, p.g.a.

“ONE OF THE BEST PICTURES OF THE YEAR. Proves how a great musical unites like nothing else can.”

USA TODAY

“DAZZLING.

A return to musicals the way Hollywood used to turn them out in its Golden Era.” DEADLINE

“EVERY SCENE SPARKLES.” EMPIRE

“WONDROUSLY ENTERTAINING and big-hearted.”

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WHOA. SO HOW DID YOU FIND YOUR WAY OUT TO HOLLYWOOD? I got a master’s in English literature. I thought I was going to be a professor.

Then I worked in journalism. I was freelancing, I was hustling. My big break came from having written a piece on interracial dating. I was an assistant at GQ at the time, and these two comedy writers, Chris Alberghini and Mike Chessler, called out of nowhere saying they wanted to turn it into a TV show. So I flew out here and we pitched a show about interracial dating.

It didn’t get picked up, but I got the bug for writing TV. A couple years later I moved out, wrote a spec Bernie Mac and then Bernie Mac hired me.

HIRED OFF THE SPEC? THAT DOESN’T HAPPEN EVERY DAY. It pretty much doesn’t happen. I was very fortunate. But I was intimidated by producing at first. It was tough getting my hands around what it was.

Interacting with actors was new to me. Or just trying to figure out how a script translates into money, right?

It’s like, “Here, I wrote this. Oh, I can’t have a spaceship? It has to be a bus?

OK, then.” And then I got hired on The Good Wife, where that sort of relationship to the production didn’t exist—it was all remote. The staff was in LA, but they shot it in New York.

Then I got my own show, and everything changed. Suddenly I realized, “Oh, snap. I have to figure out how this works.”

AS FAR AS PRODUCING, WHO MENTORED YOU? HOW DID YOU ACQUIRE THE SKILL SET? The first producer I remember interacting with was Richard Heus, the line producer on In Justice, which is the first hour-long that I did. Richard knew all these words I didn’t know.

“Amortize? I’m sorry, what is that?”

But in terms of mentors, I learned from some incredible showrunners who

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I’m not perfect. I do the best that I can. I want there to be inclusive spaces, but I’m not claiming a perfect record on anything. I want to do more. I want to do better.

And creating more shows gives me the opportunity to do better.”

hired me on staff: Greg Berlanti, Robert and Michelle King, Yvette Lee Bowser.

I learned a lot from Mark Canton, who produced Power with me. Mark’s style is all about getting everybody on the same page, which is essential. Those first few years on Power I had David Knoller, who produced Big Love among other things; David taught me a lot. Carmi Zlotnik, the number two at Starz at that time, taught me a lot. I was starting from zero.

I didn’t know how to unpack a script or how to retell a story to save money.

The business doesn’t teach writers how to do those things. These days, when I’m breaking an episode with my writers, I’ll ask, “OK, is there a way we can use that location twice?

How many hours do you think we might be there?” Or pointing out how if we take this one person out of the scene, we save an hour in coverage.

You gotta tell them these things. I think of production like an algebraic equation with dozens of variables.

How do you balance it? How do you get it to add up? Writers don’t know the math unless someone tells them.

THE OTHER SIDE OF THAT COIN IS RUNNING A ROOM. A LOT OF PEOPLE WOULD SAY IT’S THE ESSENTIAL SKILL FOR SERIES TELEVISION STORYTELLING. Ultimately “producer” means “decisionmaker.” In terms of running a writers room, you make decisions all day long.

You evaluate ideas. I think of it as having the ability to understand where the dominoes will fall, if this piece or that piece gets put in or taken out.

There are certain rules that I like to go by. For example, when people have a fight in one of my shows, both people have to be right. Otherwise there’s really not a conflict; what you’re watching is a monologue with another person interrupting it. One of the things I love to do is get the audience arguing with itself. The best way to do that is to allow both sides to be right.

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Charlie Murphy discusses his role as prison guard, Marshal Williams, with Kemp during season four of Power.

THAT KIND OF NUANCED APPROACH—THE BIG ENSEMBLE CAST WHERE ANYONE, AT A GIVEN TIME, MIGHT BE A PROTAGONIST OR ANTAGONIST—FEELS LIKE IT COULD BE A TOUGH SELL FOR A NETWORK. WHAT WAS YOUR PITCH FOR POWER THAT SOLD STARZ ON THE SHOW? I have a very specific way that I pitch.

The first step is finding the universal question in the series, and then finding

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specific characters to tell that story with. For Power, the universal question is: Does my past dictate my future?

Now, in America specifically, that’s a very potent question because our past is our own. In other countries your ancestors, your history, your last name—these things mean a lot more than they do here. You can, in one generation, go from sharecropper’s son to the Ivy League, like my dad did.

When you start with that kind of question—“Does my past dictate my

future?”—you take your main character and then you ask the question with him or her. And then you make sure you can ask that same question of every one of your main characters.

WHAT’S EXCITING RIGHT NOW IS SEEING A SERIES BREAKING NEW GROUND AS A FRANCHISE. FOR A LONG TIME, THIS KIND OF FRANCHISE STORYTELLING HAS BEEN THE DOMAIN OF MOVIES. BUT

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He’s one of my heroes. If I could get in a room and just pick his brain for an hour, that would be an unbelievable opportunity. [We recommend Produced By Dec/Jan 2017 as a substitute. —ed.] The Marvel universe is so well constructed.

It’s absolutely a touchpoint for what we’re trying to do. It’s about a larger idea. And we can explore our larger idea from lots of different angles. One early conversation was about the possibility of doing it in different cities. But my feeling was no, it needs to be about something bigger. Otherwise it just becomes a show about drugs and you might as well call it Cocaine: Miami-Dade.

It really needed to be about power.

Every scene was about the transfer of power. Every scene, one person walked into the room with power and left without it, and vice versa.

The other piece that was essential is that we showed, multiple times, that we were a show that would kill anybody. The main character was never safe. That gave us a lot of freedom to decide who was the main character at any moment and whether the main character shifted.

OF COURSE, RIGHT IN THE MIDDLE OF THIS BIG STEP UP, YOU GET THE ONCE-IN-ACENTURY PANDEMIC. WHAT HAS IT BEEN LIKE, TRYING TO GET THE PRODUCTION ENGINE STARTED AGAIN? The responsibility of the executive producer in television is in loco parentis, the same as producers in film—we protect our crews, in all ways. Whether it’s the Sarah Jones situation or some other risk or hazard, your job is to protect your crew. So can you imagine trying to protect your crew from something that is invisible, that you can’t smell,

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Kemp and director Anthony Hemingway on set at the New York County Courthouse

“I HAVE A VERY SPECIFIC WAY THAT I PITCH. THE FIRST STEP IS FINDING THE UNIVERSAL QUESTION IN THE SERIES, AND THEN FINDING SPECIFIC CHARACTERS TO TELL THAT STORY WITH. FOR ‘POWER,’ THE UNIVERSAL QUESTION IS: DOES MY PAST DICTATE MY FUTURE?”

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NOW YOU’VE SET YOURSELF UP AS THE KEVIN FEIGE OF THE “POWERVERSE.”

“SOME OF THE MOST HEART-WRENCHING VISUALS AND POWERFUL PERFORMANCES OF THE SERIES TO DATE” SYFY WIRE

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WE CAN’T END THIS WITHOUT TALKING ABOUT HIRING. AS

Kemp between scenes with Jerry Ferrara, who portrayed criminal defense attorney, Joe Proctor

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A PERSON OF COLOR WHO’S BEEN ON BOTH SIDES OF THE TABLE, COULD YOU TALK ABOUT YOUR EXPERIENCE?

on the other end, the studio executive, said, “Well, are there any good ones?”

When I started, they had these “minority staff writer” gigs—and some of them still exist—where you would be free to a television show.

You would get hired and the show wouldn’t have to pay for you. If you think about how patronizing that is...

But this is what it was! This is what it was when I started. And that was the 2000s, so I shudder to think what it was like in the ’90s and ’80s. I was often the only person of color on a staff, or one of two or three. Virtually always, the only woman of color.

That was not true on The Good Wife, specifically. That was not the case.

To Robert and Michelle’s credit, that show had half men, half women in the writers room, and at one point I worked there with another woman of color.

For my own part, when I got to a place where I was able to do the hiring, I went out of my way to hire people who were different from me. I needed people who were from all different cultures,

YEAH, REALLY. I was on a call. I won’t say with what network. The person on the other end of the call, a studio executive, didn’t know I was in the room. The showrunner did not let them know I was in the room. Needless to say, I was the only person of color involved. And the showrunner said, “We’d like to hire another writer of color.” And the person

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that you can’t touch or taste? It’s been horrifying. I have to give it to my crews; they’re just brave. They shouldn’t have to be, but they are. And it’s expensive.

It is expensive to make sure that people can work safely. And studios don’t like things that are expensive. But the truth is, it’s been challenging for both ends, producers and studios. They made up their minds a year ago about how much they were going to spend.

But we shoot slower. Everything is off.

Everything takes longer. And it’s hard, when you’re worried for your life, to be creative. The degree of difficulty that COVID has added to what was already a nearly impossible job cannot be overstated. This work is so much harder than any of us could have imagined.

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languages—people who represented the whole human diaspora that I could get into my writers room. I certainly haven’t lived anyone else’s experience.

I can really only tell you what it’s like to be a Black woman from Connecticut who’s 43 years old. But I’ve written a show for years about drug dealers from Queens because I did research, because I worked with 50 [Cent], because I listened to people, and because I was able to recognize, “Oh, that’s not my experience, but here’s where my experience and that might cross over.” And that’s all people need to do, because we are all humans. We all suffer similarly.

But I still have people express to me their fear of hiring writers of color. I think people forget that when they say things like that to me: I was that person.

I was that person you didn’t want to hire. I’ve had showrunners call me and say, “Do you know anybody?” I mean, why should I know everybody? Why have you not taken an effort to learn about people before now? We have a great showrunner/producer, Glen Mazzara. Glen is white, Glen is straight, and Glen knows every person of color in the Writers Guild. He has made a huge effort to know people. The truth is, I just don’t have any time for people who don’t want to do that. As producers specifically, we have a responsibility because we’re filling all those positions.

It’s not just writing. We’re filling set PAs. We’re filling DGA trainees. All these levels where people are inclined to go with experience. But until about 10 years ago, that experience was limited to only a handful of people of color.

I didn’t have any experience when I started showrunning. If no one wanted to take a chance on me because I wasn’t David Kelley, we wouldn’t be having this conversation. We have to get out of this idea that people who are less experienced can’t do the job. They need the opportunity to do the job. They need the training. And it does take time to train people, but somebody trained me. Somebody trained all of us.

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Kemp and Anthony Hemingway with cast members on set

I WANT TO DIG INTO SOMETHING YOU SAID EARLIER ABOUT PEOPLE’S FEAR—WHITE PEOPLE’S FEAR, REALLY—OF HIRING PEOPLE OF COLOR. WHAT’S UNDERNEATH THAT FEAR? I REALIZE THAT I’M ASKING YOU TO SPECULATE A LITTLE, BUT I DON’T KNOW WHEN

WE’LL BE ABLE TO TALK TO SOMEONE WITH YOUR KIND OF INSIGHT INTO THAT DYNAMIC. I think some of it is about the writers room being a safe space. Some people now have to watch what they say because they don’t want someone to be offended. Some of it is that. But I think humans are tribal by nature and we like to gather with our tribe, whatever

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that is. We find it comforting. While I don’t want to take that away from anybody, we have to be willing to be uncomfortable. We who are of color, or are women, or are in underrepresented groups, we are always uncomfortable.

That discomfort is very real for people who haven’t experienced it before.

But the reason it’s such a big deal is that the writers room is an intimate

“I DIDN’T HAVE ANY EXPERIENCE WHEN I STARTED SHOWRUNNING. WE HAVE TO GET OUT OF THIS IDEA THAT PEOPLE WHO ARE LESS EXPERIENCED CAN’T DO THE JOB. THEY NEED THE OPPORTUNITY TO DO THE JOB.”

space. You’re creating a family. So you have to go out of your way to get beyond your own prejudices and impulses. I’m not perfect. I do the best that I can. I want there to be inclusive spaces, but I’m not claiming a perfect record on anything. I want to do more. I want to do better.

And creating more shows gives me the opportunity to do better.

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Paula Hart Makes Her Mark

Paula Hart braves pandemic filming and earns the first Producers Mark in streaming movies Written By Katie Grant

“ Mom, you’ve been a producer since 1996 and you’ve never gotten one of those.”

Paula Hart’s children would often say this to her after watching a movie together and seeing the Producers Mark, “p.g.a,” after a producer’s name in the credits. “I have always wanted one,” Hart says. “And I’m so honored to now have that after my name.

Anytime I can be honored by my peers is just a real boost to my self-worth.”

Paula Hart is best known for producing the hit TV series Sabrina the Teenage Witch starring her daughter, Melissa Joan Hart. In fact, Hart first got into producing because Melissa wanted to be on TV at age 4. And she was. They were living on Long Island and trekked into New York City for auditions. Hart started a management company for children about six months into Melissa’s start of a long career as an actor and now producer and director. Paula then moved into casting and, finally, producing.

Her producing career began when she found a comic book copy of Sabrina on a city playground and pitched it. Viacom bought it the next day. Melissa had starred in Clarissa Explains It All on Nickelodeon and wasn’t excited about the offers that were coming in, but Paula found the type of material Melissa preferred with Sabrina.

Since 1993, Paula and Melissa have been co-owners of Hartbreak Films, where they focus on family-friendly material and find projects for Melissa to star in and/or direct.

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PAULA HART MAKES HER MARK

This year’s Hartbreak production of Dear Christmas for Lifetime, a longtime home for Hartbreak holiday films, became the first movie to earn the Producers Mark for the new streaming category added in 2020. Hart certainly earned that mark, considering she was the first producer to begin filming with all the new pandemic protocols in place.

“It was really, really hard. There were so many variables out there and I would wonder, ‘Am I doing this right? Am I protecting everybody?’ It really made you change your mindset,” Hart says of the very first Hollywood COVID-era production back in June: Feliz NaviDAD, also for Lifetime.

To start filming Dear Christmas and Feliz NaviDAD, Paula had to write a protocol that needed approval from the unions, SAG-AFTRA and the DGA. Her

Paula Hart on the “snowy,” COVID-safe set of Dear Christmas

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first draft, culled from UK and Australian protocols, was turned down and needed revisions. The approved protocol included three-times-a-week COVID-19 testing for the cast and crew who were filming in the Lake Tahoe area of Nevada, temperature readings every hour, and sanitizing hands and equipment every half hour. Masks were required, of course, and they had to forgo craft services for individual snack bags that were handed out daily.

As with all of Hart’s productions, the Dear Christmas cast and crew were like family. They socialized only with each other during their time filming to stay safe. They would go river rafting on the Truckee River or barbecue on the beach in their downtime. “For me, it’s really important that we all get along. Life’s too short to be miserable. So let’s make it fun,” Hart says. “Let’s have a great time as long

as we get the work done. This crew that I’ve got and the crew that I had on Sabrina was the same way. Even though Melissa and I are real family, blood family, these people are my work family for sure.”

Hart is actually a trailblazer in more ways than one. She is not just the first producer to earn the Producers Mark for the streaming movies category, but she is also the first woman to claim it. And, of course, she was the first to get back to filming during the pandemic. She attributes this success to never giving up. Her mantra is “The worst they can do is say no.” Example: When she applied for the Producers Mark, she didn’t even know the category of Televised/Streamed Motion Pictures had opened up. She submitted Dear Christmas as a feature film and thought, “Why not ask and see what comes of it?”

What came of it was seeing her name

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in the opening credits twice for both Executive Producer Paula Hart, p.g.a., and Produced By Paula Hart, p.g.a. She asked for both credits because, she notes, “The executive producer credit on television is the utmost credit, so when I’m producing a television series, I want that executive producer credit. But when it comes to movies, I did all the work, honestly,” she laughs, “so I at least need to get the Produced By credit, too. And this one was a lot of work.”

Part of that work meant revising the already approved Dear Christmas script to make sense for the COVID era. “We altered from the original script so that we could do it post- or during COVID. I went back to the writers who wrote a number of movies for me—Christmas Reservations and A Very Nutty Christmas—and said, ‘Listen, can we do this with fewer cast, fewer locations, and no extras? They’re the ones who came up with being outside of the party and watching it, and I think that it was really successful in still enjoying the time without making it obvious that there was nobody there,” Hart says. “They also put in a subtle tribute to honor the people who are working so hard for us—the health care workers and first responders.”

Getting buy-in from the crew to be safe and keeping everyone healthy was not hard. She said to them, “‘Listen, I’m 64 years old. I don’t want to get sick. I don’t want any of you to get sick. Let’s do what we need to do. Let’s work when we can because a lot of people aren’t working, and we’ll keep us all safe.’ And they were all up for that because they were honestly afraid, too.”

So they hired a licensed COVID nurse to be on set and had a budget of $134,000 just for COVID-related costs. Those costs included housing each person in their own hotel room rather than bunking them in pairs as usual. But they saved money by having people drive up on their own, including star Ed Begley Jr., as they didn’t want to risk flying.

The crew also pitched in for the lack of background actors, which, Hart says, was one of the challenges but also made it fun.

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“IT WAS REALLY, REALLY HARD. THERE WERE SO MANY VARIABLES OUT THERE AND I WOULD WONDER, ‘AM I DOING THIS RIGHT? AM I PROTECTING EVERYBODY?’ IT REALLY MADE YOU CHANGE YOUR MINDSET.” A crew member would volunteer to do a walk-through, and costuming would give them a sweater to throw on as they were filming a wintry Christmas movie in the heat of the summer.

But to Hart, it’s all worthwhile. “I think everybody, especially this year, needs a little Christmas. Everybody needs a little lightness and brightness in their dark world right now. And I think that it gives people an opportunity to escape.

I’m really proud of the networks for getting as many movies done as they did, considering the challenges that we were up against.”

Hart even notes that during her days on Sabrina the Teenage Witch she always wanted to produce a Christmas movie. “I love the genre. I love Christmas. Anything to do with Christmas. So who knew I would have Christmas all year-round?”

When asked if she keeps her eye on the other popular Christmas movie channel, Hallmark, Paula says how much she enjoys their films. But, she says, “I’m trying to do

something that’s a little out of the box.

Lifetime has always been a little different.”

Those differences often include more diversity in casting and going beyond just having a strong female protagonist.

“I actually have one in for next year,” Hart says, “that I’m hoping they’re going to pick up where I flip that. And, with Feliz NaviDAD, we flipped it on its head by having a male protagonist, which is really rare. But generally they want to have that woman whom women can either aspire to be or can be inspired by, or they are partly a wish fulfillment.”

Hart’s advice for aspiring producers?

“Things are very tricky right now, and up-and-coming producers just need to understand what we’re up against now and take it really seriously. I’m afraid that it’ll get lax maybe as restrictions lessen, but this is a very serious disease.”

She implores everyone to stick to the protocols and what the government is telling you to do or not to do. “I do feel terrible for the LA people in production.

F O R

Y O U R

C O N S I D E R A T I O N

Outstanding Producer of Theatrical Motion Pictures Kevin Turen, p.g.a. Ashley Levinson, p.g.a. Sam Levinson, p.g.a.

Zendaya, p.g.a. John David Washington, p.g.a.

“★★★★.

Utterly gripping.”

LONDON EVENING STANDARD

“A smart, fiercely performed movie.”

THE GUARDIAN

“Astounding.”

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PAULA HART MAKES HER MARK

It’s horrible. I have a lot of friends who are below-the-line, people who are struggling to make ends meet right now. And my heart goes out to them because it’s a terrible time to be in this business.”

Being in this business and being a successful producer, though, means knowing all facets of it. From makeup to lighting to wardrobe, Hart says she paid close attention to each aspect of production to learn her craft, because a producer is responsible for it all going smoothly. “I think there is a huge bonus to learning on your feet. I did not study this in school. This was something I learned on set. You want to hire the best people doing their best job. And how do you find them? By working with them on set.”

Now that she is a veteran producer, Hart loves seeing those she gave a start to moving up the ladder of success. “I look at some of the people who worked for me, whom I gave their first jobs in Hollywood, and now they are super successful. I’m so proud of them. They’re like my kids.”

Hart believes it takes great followthrough to achieve longevity as a producer. “Follow-through is really, really important. You can submit a script and not follow through, and it could be somebody’s favorite script. You need to push a little bit, remind them, and then just keep going. Having tenacity, I think, is really important.”

She also thinks having good taste, knowing what you like and don’t like, is key to producing. “Do you think that the audience is going to like this? It’s all about making choices. It’s knowing what you want to see on screen and having the best crew possible to help you see your vision.”

Hart’s personal taste favors producing over directing, which she did on A Very Merry Toy Store. “Directing is not for me.

I’d much rather be a producer. There are technical things in directing that I’m not educated enough about.”

Hart also prefers TV over features, noting there are “fewer fingers in the pot.” She and her husband, Leslie Gilliams, finance their productions and have built a library of films that are now getting

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Mother, daughter, partners: Paula Hart, p.g.a., and Melissa Joan Hart

renewals and going through renegotiation.

One she’s most proud of getting the remake rights to was Disney’s Watcher in the Woods. It took her 17 years of asking every year for the rights and continually getting turned down. She finally asked a highly placed colleague to find out why.

The reason was due to its being made so long ago that it was before everything was computerized—it was just too hard to track down all the paperwork! Well, Paula had the persistence, and that meant Melissa got to direct Angelica Huston in one of her favorite childhood movies.

That spirit of never giving up and not being afraid of hearing no are what make Paula Hart the successful and prolific

producer she is today. “I just want to tell other producers not to give up. I didn’t know what I wanted to be until I was 36 years old. I love what I do. And I’m always looking for the next project. After the three movies we made this summer, I couldn’t wait to stop for a while. And now that Christmas is here, my mind is spinning. I have people pitching me ideas, and I can’t wait for the next job.”

For now, you can find Paula Hart watching her all-time favorite Christmas movie, White Christmas, all by herself or enjoying Elf when her family is around.

She’s earned that downtime. Along with the recognition of the PGA for “lots of years of hard work.”

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T H E C A N D I D AT E Producers find navigating a bilingual production exposing power and corruption in Mexico City to be surprisingly smooth and ultimately rewarding Written by Rona Edwards

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panish-language content has long had a home on both sides of the U.S.–Mexico border. Univision and Telemundo have, after all, produced programs for Spanish-speaking territories for decades. The U.S. has rebooted some of them in English to great success, and the opposite is also true; plenty of American shows have found success south of the border. However, it was bound to happen that there would be a merging of both—that is, bilingual, even multilingual—shows. Netflix and Amazon have shown that audiences don’t mind reading subtitles and are bingeing programs from Asia, Europe, Africa and Latin America.

PGA members Natalie Osma and Juan Rendon are Latin American producers who live in Los Angeles, where they’ve started a production company that creates Spanish-language content made for and by Mexicans and/or Latin Americans.

Their latest effort, for Amazon, is called El Candidato; in English, The Candidate. It’s produced in Mexico City and stars James Purefoy (Pennyworth, Sex Education), one of the few non-Mexican actors in the cast. Aside from a handful of actors and above-the-line creators and producers, most of the cast and crew are Mexican. The show stars some of the best-known actors from our neighbors to the south, including Mexican American actress Eréndira Ibarra (Sense8, Ingobernable, Fuego Negro) and José María de Tavira (Rosaria, Tijerasi). It premiered on Amazon in July 2020 to much critical acclaim and snagged a 94% on Tomatazos, the Spanish-language Rotten Tomatoes.

El Candidato tells the story of a CIA agent (Purefoy) who returns to Mexico City to take on the country’s most notorious drug lord (Joaquin Cosio). He works alongside a Mexican American rookie CIA analyst (Ibarra) whose loyalties are questioned when her friend, the honest and forthright mayor of Mexico City (de Tavira), is suspected of secretly being groomed for the presidency by the notorious drug lord. This is not Narcos, though some may make that comparison—this is much more about American intervention and politics and less about drugs.

Rendon began his career in journalism and produced numerous documentaries, but when he wrote a film in his native Colombia, Paradiso Travel (2008), he began a foray into fiction. “I found a sweet spot between those kinds of stories that are based in reality or portray some kind of world that is somewhat real,” he explains. He discovered a niche writing and producing documentaries that would then be adapted into fictional movies or television series.

One such film, Operation Checkmate—about the Colombian military rescue of 15 kidnapped victims—was a documentary for National Geographic. It was followed by a dramatic series on the same subject matter. Later, when Rendon was head of the news documentary division at Univision, it became apparent that they should put their know-how into finding great intellectual properties from the newsroom and converting them into fictional stories. He headed up that division and brought on board Natalie Osma, his producer on Operation Checkmate, to help create and produce factually based fictional narratives and documentaries.

TURBULENT AND INTRIGUING Rendon says that Mexican politics in particular, known to be turbulent and corrupt, were intriguing to him. So was vibrant Mexico City—“a very interesting kind of metropolis that we thought could be further explored.” Osma and Rendon did a lot of research on it. Best of all, Televisa was going to fund the development of the series. They decided to interview showrunners, sending them their research and hearing writers’ takes on the kind of story they wanted to tell.

Enter Peter Blake. Well known for his writing on House (2004-2012), Billions (2016) and The Good Doctor (2020), he also served as a consultant on another Amazon TV series, ZeroZeroZero (2020), a trilingual co-production between Sky Atlantic, Canal+ and Prime Video. Rendon and Osma found Blake’s take exactly what they were looking for, and his ability to speak Spanish a major plus.

The project was put into development. Blake wrote a bible outlining the first season and a pilot script. With the show all laid out, Amazon came on board and had a number of

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notes including one big caveat: They didn’t want any American characters to be “saviors.” This was going to be a pure Mexican TV series that would be gritty and unflinchingly real as it portrayed American CIA operations in Mexico along with drug trafficking and political corruption. “That jibed with the story I wanted to tell,” Blake says. “I grew up in the 1980s thinking that the United States should not be intervening in Central America and propping up despotic regimes. So that was always going to be a theme of the show—that American intervention, or at least military intervention and a lot of covert action intervention—backfires.” He adds, “You’ll

see that there is no way to think of this show by the time you watch the end as an American ‘savior’ show.”

Blake had the luxury of creating a bi-national writers room made up of both American and Mexican writers working painstakingly together in Los Angeles for six months. With all the scripts written, they began casting and were in production in November 2018 through March of 2019.

Post took them through August 2019.

Almost a year later, the series premiered in the middle of a pandemic.

NAVIGATING CHALLENGES There are always challenges producing a project in another country, but not like

one would think. Osma reveals that one of the challenges in Mexico was that “the figure of the showrunner is new.

They have different positions that are a combination of the showrunner title. We had to navigate that a little bit so that everyone knew Peter was the ultimate decision maker.” Osma went on to extoll the creativity and work ethic of their crew. “It’s not about ‘I’m getting paid this and I only work this number of hours.’

It’s a little more flexible there. That’s what I love when we produce there or in Latin America. Here, we have more structure. Over there, I love the heart that everybody puts into their job.”

Which brings us to another challenge.

Bilingual production trio: producers Juan Rendon and Natalie Osma, showrunner Peter Blake

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“UNMISTAKABLY VISCERAL.

Vanessa Kirby gives a remarkable, quietly furious, heartfelt and touching performance.

Ellen Burstyn is outstanding.”

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Blake, Osma, and Rendon on set in Mexico

Blake was flying back and forth between Los Angeles and Mexico City during postproduction, as the editors were all in Mexico City. “So I was watching on my computer on a private YouTube link, and that worked fantastic. At the same time, we were chatting on Zoom. We would have Zoom and YouTube open at the same time.”

This was pre-pandemic, so Zoom was not as widely known then. And this is where Blake’s ability to speak Spanish came in handy, especially during editing and later subtitling. Being able to understand what is being said and how the cuts work was a collaborative effort between Blake and Mexican writer Daniel Krauze. Transcribing the Spanishto-English and the English-to-Spanish subtitles later on in the process proved a bit more difficult than originally imagined.

But Blake worked that out to come up with subtitling that conveyed the natural

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intent of the dialogue.

However, Osma interjects, “I think that people who are thinking of producing internationally need to have at least one executive producer speak both languages because that was the support we were able to give, as we knew the show from the beginning.” With a singular vision among the three producers, Rendon and Osma were able to handle areas of production, knowing that Blake couldn’t be in two places at once.

I was curious to know about the dangers of shooting in Mexico, especially considering the subject matter of the series. Rendon and Osma assured me that their main focus was keeping everyone safe. While it looked like they were shooting in Tepito, one of the city’s more crime-ridden areas, production designer Rafael Mandujano recreated it so well, you couldn’t tell the difference. “You try to find the middle point. The best idea

is to shoot in a real location, but if it’s not exact, try to make it like the closest possible,” says Natalie. “And don’t insist on going places where locals know you shouldn’t go.”

Juan adds, “The location manager being key, you know, and your local production company. You have to put yourself in the hands and take advice of people that understand the locality of things.”

COULD THIS BE CONTAGIOUS? As we were wrapping up, it became clear to me that the passion that Natalie Osma, Juan Rendon and Peter Blake have for El Candidato, and their experience shooting in Mexico, could become contagious for all of us. Rendon’s interest in telling stories like El Candidato derive from the fascinating, somewhat tense, relationships between U.S. agencies and Mexican authorities when it comes to the drug war. “And how we continue to

EL CANDIDITO / THE CANDIDATE

fight this ends up just perpetuating it,” Rendon contends. “A lot of what we’ve seen when we talk about the drug war and cartels and stuff are like dusty towns and people with machine guns. But we wanted to explore how it is lived in the circles of power.”

Rendon concludes that he was surprised by how easy it was to produce a series in Mexico despite some of the language barriers. “Many people actually spoke English. The point is that this production has really encouraged me to explore bilingualism more. I found that it was very possible to do. I’d love to keep exploring it.”

Even though it was a lot of hard work with more layers than a normal singlelanguage series, all agreed it was worth it. And the proof is on the screen. El Candidato is an intense slow burn that grows into an edge-of-your-seat suspense thriller. The production values are high in spite of a lower budget. Rendon credits Osma for being a diligent and experienced producer whose process and accountability allow for him to be

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“THE POINT IS THAT THIS PRODUCTION HAS REALLY ENCOURAGED ME TO EXPLORE BILINGUALISM MORE. I FOUND THAT IT WAS VERY POSSIBLE TO DO. I’D LOVE TO KEEP EXPLORING IT.” more of the creative type. In the end, their partnership works because they trust each other’s instincts and taste in

material—which is the key, of course, to any creative partnership, in any language, in any part of the world.

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The PGA’s prestigious diversity workshop continues to mentor and empower filmmakers who emphasize equity and inclusion.

Written By Shaun O’Banion

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n recent years our industry has seen seismic shifts in the way film and television projects are being made and consumed, but perhaps never more so than during 2020. Among these shifts has been an increased focus by studios and production companies on telling stories created by diverse filmmakers and featuring diverse casts.

While the studios are finally coming around to the idea of diversity, equity, and inclusion in the industry as imperative, it’s worth noting that the PGA has been promoting diversity for nearly two decades now through the Power of Diversity Master Workshop.

THE SPARK OF AN IDEA “The genesis of the workshop was a wonderful event that the Guild’s volunteer producers created in 2002 called the Celebration of Diversity,” says Vance Van Petten, the Guild’s National Executive Director.

Celebration of Diversity was an awards ceremony honoring producers who were making content that highlighted diversity and inclusion. And while the Guild membership was proud to bring attention to those producers and their projects, after the third gala, PGA member George Sunga and members of the Diversity Committee (including Deborah Calla and Charles Howard, who would later go on to co-chair the committee) wanted to do something more.

Over a period of years, the committee structured a program that was dedicated specifically to advancing diverse filmmakers and projects at an early stage. They envisioned it as something that would be open to both Guild members and nonmembers alike.

It quickly became a passion project for the committee. “It took a lot of energy and dedication,” recalls Deborah.

Once they had a basic plan for how each session could work, they created a presentation to convince the PGA National Board of Directors that they could successfully run the program. The first person they took it to was Vance.

“His backing was pivotal if we were going to get approval,” says Deborah. “Fortunately, he really responded to the idea.”

“I just loved that there were members of our Guild who would be willing to provide, free of charge, a hands-on opportunity for diverse producers that would help to nurture, train and give them the skills to get their projects made,” Vance says. “It is virtually the only Guild initiative that reaches outside our membership. Obviously, to create more diversity, we have to!”

The Board approved the venture in 2004 and the Power of Diversity Master Workshop was officially created. Deborah was named co-chair along with Yvonne Russo.

BREAKING NEW GROUND What the members of the Diversity Committee were building at the time was groundbreaking. While there had been producers workshops before in a general sense, the newly formed workshop was leading the charge by focusing specifically on diversity and on teaching participants how to take their projects from creation and development through postproduction, distribution and marketing.

“I think we were also the first to give access to producers like Marshall Herskovitz, Mark Gordon—all these people who were really changing the business,” says Deborah.

The co-chairs quickly began the process of putting into practice the plans they’d created. That meant continuing to refine the structure while creating a system for receiving and reviewing applications. In short: producing.

The workshop welcomed its first participants in 2005.

ONGOING DEVELOPMENT In those first few years, prospective participants would apply with a logline or one-page treatment. Eventually, the workshop began to notice that applicants were submitting with a much higher level of preparation, from completed scripts to pitch decks and even sizzle reels. At that point, the workshop started asking potential participants to present an artistic statement detailing the goals and vision for their project. The first couple of workshops welcomed as many as 25 or 30 participants. The co-chairs soon decided they’d need to shrink the group size. A smaller group would mean more attention could be paid to the individual participants or teams and would also require less of a time commitment from mentors. In the end, the decision was made to select 10 projects each year.

“We wanted to be sure we could really serve the group and make them feel like, at the end of this workshop, they would be ready to go into the marketplace and sell their projects,” says Deborah.

The workshop sessions run twice a week for eight weeks, but the co-chairs also wanted participants to have a sense of accountability between sessions, so they introduced mentor exchanges. Each individual participant or producing team receives two mentors who are available to work with them in

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THE POWER OF DIVERSITY

Participants in session at the 2019 Power of Diversity Workshop

between sessions so they can exchange ideas, ask questions and make continual progress on their work.

“Those exchanges are almost like in-person breakout sessions where the mentors are giving you assignments, working with you and providing feedback,” says Charles.

PASSING THE TORCH Running the workshop takes about 10 months a year, from prep and setup to reviewing applications and then running the sessions. “It’s a part-time job,” says Charles. “And it can wear on you, so Deborah and I began thinking years ago about how we could pass this along to future co-chairs. We needed to create an infrastructure so that the system could last beyond us and new co-chairs could hopefully just step in, pick up the ball and run with it.”

While Charles still teaches a session each year on loglines and best pitching practices, he and Deborah have handed over the reins.

Matt Johnson has been involved in the

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workshop since 2015, first as a mentor, then Selection Committee member, then co-chair for the last two years. For the 2021 session, he’ll bid farewell to co-chair Sasheen Artis, who has been with the workshop for four years.

Sasheen is leaving the workshop on a high note. During her tenure, opportunities for advancement beyond the workshop increased dramatically for participants, as did the quality of speakers and industry guests.

“Sasheen was instrumental in elevating the workshop to its current status,” Matt says of his departing partner.

When the COVID pandemic hit, Matt and Sasheen built the first-ever virtual edition of the workshop, something he will advance for the 2021 session with incoming co-chair Angela Northington. Angela has spent her entire career championing and supporting diverse content creators, particularly through her work with startup companies and platforms in the diverse content space. She has been a workshop mentor the past two years and has served on the Selection Committee.

Based on that experience, she knew she wanted to put her full energy and attention behind the workshop. “Foundationally, I started out as an independent producer before moving to the executive side,” says Angela. “Being a producer at my core informs everything I do professionally, and I hope I can bring that mindset to the table, along with my experience and industry relationships from the executive side, as co-chair of the workshop.”

While the workshop has continued to evolve over the years, heading into the 17th session, the mission remains the same. “Our goal is to move the needle on diversity, equity and inclusion in the industry,” says Matt. “It’s about trying to get those diverse producers in at the top of a project with a responsibility to trickle that diversity down throughout the entire process. If we can get people in key positions at the top, we can truly change the business.”

SUCCESSFUL ALUMNI The mission has seen a number of successes over the years. Hundreds

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THE POWER OF DIVERSITY

of participants have completed the workshop with the tools necessary to carry them through the experience of developing and getting a project made, and a number of them have gone on to produce a variety of successful projects.

Ken Tullo attended the 2009 workshop and has returned as a mentor the last three years. Prior to attending, Ken had spent the bulk of his career working as a segment producer in Los Angeles. “At the time, I hadn’t made any inroads as an independent producer, so the Diversity Workshop was an oasis in the desert for me. It is a total immersion into what it means to be a producer at every stage of a project, and supplied me with an incredible network of support for my journey going forward.”

Documentarian Melissa Haizlip attended in 2011 and says, “I recently tried to quantify just how much the PGA Diversity Workshop truly means to me. In my heart of hearts, I’ve reserved a special place for the workshop, assigning it—and the lovely Charles Howard, a mentor nonpareil—above-theline status among my building blocks of formative experiences as a producer.”

Though it took some time due to fundraising, Melissa showed the dedication and tenacity necessary for producers at any level, and went on to successfully produce Mr. SOUL!, the documentary project she brought into the workshop nine years earlier. The film, released in 2020, has been winning awards and critical acclaim and will air nationally on PBS this February during Black History Month.

LaToya Morgan, an alum of the 2014 workshop, wrote and produced episodes of two hit shows for AMC: Into The Badlands and Turn, the latter of which ran for four seasons, and she recently signed a deal with Warner Bros Television.

Of her time as a participant, Morgan says, “I was at a point in my career where I didn’t have a lot of experience producing and wanted to learn more about the nuts and bolts of getting

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projects off the ground. The insight I received from the mentors and guest speakers was exceptional, and the lessons I learned have stayed with me as I’ve moved forward into my writing/ producing and now directing career.”

Alum Camille Tucker, who attended the 2018 session, had been a WGA member for 13 years, but wanted to learn more about the craft of producing and to improve her pitching skills. “It was huge in terms of turning me into a real producer,” she says. “We got to pitch people like Gary Lucchesi and Lucy Fisher. I mean, when do you get to pitch Lucy Fisher?”

Several years ago, Lifetime purchased a script Camille had written and, after some development, decided to bring in a new writer for a polish. That new writer turned out to be a woman who had been in Camille’s group from the workshop. “We ended up meeting in preparation for her to take over the draft,” Camille says, “and I turned over my materials feeling pretty good about how things came out.” When the project aired, they shared writing credit.

THE PROCESS So who can apply for the Power of Diversity Master Workshop?

All diverse groups and midlevel or emerging producers with projects that can effectively move the conversation forward around diversity in the industry.

Projects should offer opportunities for inclusion at every level and, ideally, have the potential to be commercially viable in the current marketplace. As always, the workshop is open to both PGA members and nonmembers.

Applicants begin by going through a detailed application process, accessible through the PGA website. Applicants submit a current resume, a personal statement about the project and any supporting materials. If it’s a selfwritten script, great. If it’s an optioned project or other intellectual property, applicants are required to present documentation to that effect.

From top: Power of Diversity co-chair Matt Johnson; past cochair Sasheen Artis; incoming co-chair Angela Northington

THE POWER OF DIVERSITY

Past workshops have included such esteemed guests as Gary Lucchesi (middle top)

The hundreds of annual submissions are read and ranked by members of the Workshop Selection Committee, who pare them down to the top 30 submissions, and then the top 20. Those candidates are invited to attend an in-person interview with the Selection Committee to talk about their project and goals.

After the in-person interviews, the Final Selection Committee narrows the field to the 10 producers or producer teams who are accepted for the workshop. This selection process takes roughly 10 weeks.

“It takes that long because it’s not as simple as just reading the material and rating it. It’s more personal than that,” says Matt. “It’s about the participant as a whole. We start by reviewing the individual. Where are they in their career? Are they diverse candidates themselves or can they represent diversity and inclusion in our business?

Do they have credits or are they brand new? Then we look at their statement to assess where they want to be.”

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The scripts are also ranked, not just on whether the material is good and presents a good opportunity for diversity, but on how relevant the project is to our world right now. “We want the projects to be socially relevant,” says Matt. “We want them to speak to what’s going on today. I don’t think that’s what we were necessarily trying to do initially, but the things that we are going through today tend to resonate more.”

A few years ago, a large number of submitted projects were centered around the #MeToo movement. Last year, they saw an influx of material about issues connected to immigration, “Dreamers” and DACA. “It’s always changing with the times.

The workshop is reflective of what we’re seeing in our culture,” says Matt.

The workshop will review projects across any and all formats: film and television in any genre, including documentary, animation and unscripted.

You can even submit new media projects like VR or even podcasts.

Looking forward, Matt and Angela are excited about the possibilities for the 2021 session and beyond.

“By nature of our virtual program, a larger number of people around the world will now have an opportunity to join,” says Matt. “Before, people had to travel to LA for the summer, which was limiting.

Could they get off work for eight weeks?

Could they find housing? Now they can connect from anywhere in the world.”

“Our primary objective with the workshop is identifying and helping diverse producers to find a pathway into both the industry and the Guild,” says Angela. “We also want to encourage more PGA members to serve as mentors and/ or guest speakers during the sessions.

Having that internal support will be critical to the longevity of the workshop.”

The application process for the Power of Diversity Master Workshop opens in late February/early March on the PGA website, and the 2021 session is slated to run for eight weeks during the summer.

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DOCUMENTARY 2020 WAS a record-breaking year for documentaries. We’re thrilled about the finalists for the PGA awards—from slimy sea creatures to subterranean delicacies, grappling with the meaning of life, political activism, the demise of our planet, fighting for justice, and freedom of the press—the competition is fierce, and we’re going to have a tough time selecting just one winner.

— Bronwyn Berry, Chair, Documentary & Non-Fiction East Committee

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DAVID ATTENBOROUGH: A LIFE ON OUR PLANET Netflix

Produced by award-winning wildlife filmmakers Silverback Films and global environmental organization WWF, David Attenborough: A Life on Our Planet tells the story of life on our planet by the man who has seen more of the natural world than any other. In his 93 years, Attenborough has visited every continent on the globe, exploring the wild places of

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A THOUSAND CUTS

our planet and documenting the

PBS Studios

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Nowhere is the worldwide erosion of democracy, fueled by the social media

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THE TRUFFLE HUNTERS Sony Pictures Classics

Deep in the forests of Piedmont, Italy, a handful of men, 70 or 80 years young, hunt for the rare and expensive white Alba truffle. They’re guided by a secret culture and training

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opponents with idealism as his only weapon proves challenging.

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DICK JOHNSON IS DEAD Netflix

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Vision, creative problem-solving and tenacity characterize producers working successfully through the pandemic.

by Jacob Kamhis

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POUNDING THE PAVEMENT: THE REOPENING

This is the second installment of a series that began last issue highlighting producers delivering entertainment—and hiring crew—during COVID-19, as they race to provide shows to an industry, and a public, that craves content.

EUGENIO VILLAMAR & DAN CARRILLO LEVY

Dan Carrillo Levy and Eugenio Villamar on the set of Disney’s Ultra Violet & Blue Demon, with wrestling star Blue Demon Jr.

Eugenio Villamar on the Ultra Violet & Blue Demon set

WRESTLING WITH SUCCESS

Moxie 88 cofounders Eugenio Villamar and Dan Carrillo Levy refused to let their guard down last March when productions shut down due to the COVID-19 pandemic.

Instead, they battled the pandemic with luchadores, Latino cultural icons— wrestlers—adored by fans throughout Latin America and particularly in Mexico, where both creatives are from.

Luchadores possess superhuman powers and valiantly fight villains and monsters. But these superheroes must never reveal their identity. Their masks are removed only after they pass on their deathbed.

Prior to the pandemic, Villamar and Levy partnered with luchador Blue Demon Jr. (son of the original Blue Demon) to create a licensing and production company to oversee film and TV projects for the Blue Demon brand.

The dynamic duo is now creating and cowriting the feature The Demon for the

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PG-13-and-above market, after having sold the rights to The Walt Disney Company for a children’s TV series—an offshoot with Blue Demon’s 12-year-old niece, Ultra Violet, being mentored in the footsteps of her uncle. Disney has given a series order for Ultra Violet & Blue Demon.

Originally a screenwriter and line producer, Villamar is from Monterrey, Mexico. Levy, a director and marketing guru, is from Mexico City. They met when Villamar, then a VP of production, invited Levy to direct a movie. They formed Moxie 88 in Los Angeles a few years later, where their executive and creative roles evolved and expanded.

“Coming from the Mexican film industry and working for the studio system and independent filmmaking, we can be resourceful and creative regarding production schemes,” they explain. That is because they’re familiar with U.S.-style filmmaking and resource availability in

Latin America.

While Villamar and Levy prefer not to grow their company too fast, they still plan to hire writers, development executives and administrative staff for accounting and managerial functions.

New hires must be adaptable and trainable for online work. Most staff and crew speak Spanish, though Villamar and Levy believe diversity is vital, given their heritage.

Cultural diversity hit home when Villamar, Levy and Blue Demon were called to Disney offices for a meeting. Blue Demon was denied entry to the meeting because he would not take off his mask.

“It’s an insult to ask Blue Demon to remove his mask,” explains Villamar.

“In Mexican politics, it’s a big thing to get the support of Blue Demon. At the National Palace in Mexico City, doors are opened for him.”

A call to Bob Iger, Disney’s executive chairman, swiftly resolved the matter.

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POUNDING THE PAVEMENT: THE REOPENING

KEITH MCQUIRTER MAKING DOCUMENTARIES RESPONSIBLY

Executive Producer and Director Keith McQuirter started making documentaries to explore his curiosity about the world. He formed New York-based Decoder Media in 2008.

McQuirter’s latest documentary, By Whatever Means Necessary: The Times of Godfather of Harlem, was inspired by his parents’ music: rhythm and blues, soul and Motown from the 1960s. The music docuseries was released on EPIX in November.

“These were Black artists who spoke their power through the music my parents listened to,” he reflects. The series

reveals the drama and truths of Harlem’s music scene during the conflicted 1960s and connects that history to our present moment. “It’s a privilege to tell stories about that. Very humbling and sacred at the same time.” One celebrity he especially enjoyed interviewing was the legendary Herbie Hancock.

The series was filmed in seven months during COVID, which McQuirter notes made it very difficult to film candid, real-life interviews and situations.

He uses crews of 40 to 55 people.

Ninety percent of staff worked remotely from places like New York, Michigan and California.

“Working remotely requires a person to pull their weight even more than working in an office,” he says. “Worker responsibility during COVID must increase.”

While one of McQuirter’s projects has been released, another was paused due to COVID. A criminal justice documentary in co-production with ITVS was going to be filmed in Wisconsin.

But McQuirter still plans to expand since demand is surging for new content.

He will hire field producers, researchers (events and legal cases) and archival producers (finding old videos and news reports) for projects in development.

An employer needs to know which workers do well with others around and which people prefer to work alone. “I try to empower people to work at their best,” he notes.

“Vaccines are giving us some hope, and I believe COVID will lift,” McQuirter predicts. “That will let us make projects we want to make.”

Keith McQuirter, founder of Decoder Media, on the set of By Whatever Means Necessary: The Times of Godfather of Harlem in West Hollywood

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POUNDING THE PAVEMENT: THE REOPENING

LYNN HYLDEN

WORKING THROUGH BARRIERS

In Atlanta, Lynn Hylden does double duty for POPfilms, which makes independent films, TV shows and other movies. She splits her time as coproducer while managing the company’s 200,000-square-foot stage facility, a converted warehouse.

Despite the progress in the industry, she observes some staff and crew are still anxious about returning to work. They wonder—will they be able to connect with others, eat meals, drink water and

Mom as producer: Lynn Hyldon sometimes works from home and other times brings home to work.

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work 12 hours wearing a mask?

The answer has been yes. The team filming Three Months, a comedic, dark, teenage coming-of-age story shot for MTV Studios, took careful precautions during filming to ensure the safety and well-being of two senior actors over the age of 80.

“What once felt like insurmountable barriers were worked through in true producer form,” Hylden says, adding she and colleagues relied heavily on guidelines from the Producers Guild of America, unions and the network. The production shot in Atlanta and Miami, making the setting-up of hotel stays and safety zones critical.

Requests for POPfilm’s stage facility are higher now compared with pre-

COVID, and the Atlanta area expects to double and triple productions for 2021-22, Hylden says. She believes productions will require more COVID compliance personnel, production coordinators and production supervisors.

Inclusion is important to Hylden, who recalls that, as a mother, she was once told she was no longer a huge asset because she couldn’t be on set 12 to 14 hours per day. Yet with the adoption of technology for payroll and purchase orders, she can work from home and still be a mom. So can other women, she believes.

Hylden recalls walking on a set visibly pregnant at seven months. Some PAs stopped her, inquiring what she was doing there. “I think you’re lost,” one PA said. “No,” she replied, “I’m a producer.”

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OUTSTANDING PRODUCER OF TELEVISED OR STREAMED MOTION PICTURES THOMAS KAIL, LIN-MANUEL MIRANDA, JEFFREY SELLER © 2021 D I S N E Y E N T ER PR I S ES, I N C .

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POUNDING THE PAVEMENT: THE REOPENING

JAIMEE KOSANKE

GOING LIVE AGAIN

Mixed martial arts promotion company Bellator MMA is marketing its past to support its future, according to Jaimee Kosanke, coexecutive producer. Bellator is a subsidiary of ViacomCBS. Kosanke says until Bellator can have real “butts in the seats,” the New Yorkbased company has begun broadcasts of its library of about 250 events through partners CBS Sports Network and a 24/7 channel on Pluto TV. The repurposed

Co-EPs Jaimee Kosanke and Mike Sarnoski work with producer Jon Norton and director Rick Beczynski at Bellator 252 at the Mohegan Sun Arena in Connecticut.

Jaimee Kosanke guides the filming of a Bellator MMA event in Mohegan Sun Arena in Connecticut.

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shows are titled “Bellator Recharge.”

At the same time, Bellator—without a live audience—resumed filming live shows in July. “Getting back to production on the live-fight shows was scary, but the more routine it became, the more enjoyable it was,” Kosanke recalls. The production seemed to go smoothly per COVID requirements.

Bellator also partnered with Showtime to share the Mohegan Sun Arena venue in Connecticut and support the return of live events. During 2021 and 2022, the company expects to film 20 to 25 new fights per year nationally and internationally.

For “Bellator Recharge,” the company

plans to hire postproduction graphics producers and staff who can work on and edit existing footage. Kosanke is making professional connections on social media and some are being invited to job interviews.

In the next five years, Kosanke notes, Bellator could produce about 100 new events, explore augmented reality (AR) and perhaps add robotic cameras to its current camera complement.

New employees will have to be familiar with new technology. They’ll also be given access to Global Inclusion, an education, mentoring and networking program offered by parent company ViacomCBS.

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POUNDING THE PAVEMENT: THE REOPENING

CASSIDY ARKIN

TELLING HER OWN STORY

“The weather, the pandemic—they make me reexamine things about life,” says New York-based producer Cassidy Arkin.

For the last 20 years, Arkin worked on TV news and magazine programs and documentaries. She has also been a field and story producer on social-impact projects and music videos. She was formerly with Paramount Network and worked for MTV, NBC, BET and ABC. “I am a woman of color,” Arkin says.

“I started with producing music culture entertainment at the age of 14 for a teen magazine and TV show that received an

Cassidy Arkin is telling her own story in the docuseries Little Brown Girl.

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Emmy nomination, but my first priority was my community that I want to support.”

Starting on her producing journey, she recalls being told: “You don’t have the background” ... “You don’t have the money” ... and more directly, “You can’t do it.”

“But I knew that I could do it because I work hard and I know storytelling,” Arkin reveals.

After telling other people’s stories, Arkin is now making the jump in collaboration with her mom for telling her own story through a docuseries called Little Brown Girl. She is currently in partnership with Stick Figure Entertainment on the development and production of the series. It’s about her being born and raised in Synanon, a social experiment in Marin County, California, which has since disbanded.

Arkin finds software tools such as Frame.io a godsend. The platform facilitates video collaboration and allows her team to review clips, chat and exchange notes. She uses a five-person crew and wants to work with people who’ve had “an amazing life and who are established in their craft.” When hiring, she also looks for something deeper—passion, vision, loyalty.

“If someone is willing to learn, I am willing to teach,” she explains. “I always say yes to someone who says, ‘Please keep me in mind.’”

She feels blessed to be a creative.

“Some people like salary, while others live and die to tell stories. To me, payment is seeing your vision, your dream, come to life while collaborating with a team.”

“Francis Lee’s ‘Ammonite’ is a great many things:

ALL OF THEM REMARK ABLE.” “The film boasts

FANTASTIC PRODUCTION AND COSTUME DESIGN.”

POUNDING THE PAVEMENT: THE REOPENING

JAY PETERSON AND MARK DICRISTOFARO

ADJUSTING, ADAPTING, HIRING

Adjusting and adapting were key to Matador Content as they wrapped up the competition series Go-Big Show in Macon, Georgia. Filmed for TBS/WarnerMedia, the show had a team of 350 people.

Preproduction began before the pandemic.

A COVID safety bubble was created with the Macon Coliseum, Convention Center and two adjacent hotels. Live filming took place in the Coliseum last August to September, while about 500 drive-in audience members, socially distant and safe, watched a giant screen in the massive parking lot outside.

Production enacted strict COVID safety measures. On-site PCR COVID-19 rapid testing was provided by WithHealth.

Cast and crew were tested two to three times a week, and everyone wore contact-tracing bracelets provided by Safeteams. The bracelets warned if anyone was closer than 6 feet and allowed for immediate contact tracing information should anyone test positive.

The bubble remained free of COVID-19, says Jay Peterson, former Matador CEO. Peterson and cofounder Todd Lubin started Matador in 2013. Matador was acquired by Torontobased Boat Rocker Media in 2018, which Peterson now heads.

TBS’ GO-BIG SHOW crew on the last filming day in a COVID-safe bubble on set in Macon, Georgia.

It was one of the first big-stage shows to return to production.

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Also deeply involved in the Go-Big Show production was Mark DiCristofaro, vice president of production at Matador.

DiCristofaro is in Los Angeles; Peterson is in New York. Matador operates studios in both cities.

Other Matador projects during the pandemic include featuredocumentary Billie Eilish: The World’s A Little Blurry, about the now-19-year-old singer-songwriter who swept the 62nd Grammy Awards but had her start on SoundCloud. The film was released on Apple TV+.

Man vs. History analyzes myths and truths about historical events and is slated for The History Channel. The start of production was delayed due to COVID, but the show will be delivered during the pandemic, according to Peterson and DiCristofaro.

They expect 2021 and 2022 to be their busiest years yet, so they’ll hire producers, showrunners, executives-in-charge, directors, and production and lighting designers. Matador will utilize Staff Me Up’s diversity and inclusion candidate search tools to help them recruit for positions.

Candidates should be professional and avoid doing the following: After a college graduate was hired at Matador for postproduction, the young hire asked, “When are the dates for spring break vacation?”

“Spring break goes away during production,” Peterson explained. He and DiCristofaro provided the new person “extra” mentoring.

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P G A AT YO U R SERVICE

WE NEED YOU! You asked for the Producers Mark in Television and we got it! Now it’s up to YOU to get production companies, networks and distribution platforms to submit Televised and Streamed Motion Pictures to the PGA for certification!

IS THE PRODUCERS MARK AVAILABLE FOR ALL TYPES OF MOVIES? No. Historically, only theatrical motion pictures, documentary motion pictures and animated motion pictures were eligible to be submitted for Producers Mark consideration. But we are happy to report that the Producers Guild recently expanded its determination process to include televised/streamed motion pictures.

WHEN I SEE “P.G.A.” AFTER A PRODUCER’S NAME IN A MOTION PICTURE’S CREDITS, WHAT DOES IT MEAN? Regardless of the distribution platform, it means that according to the rules of the Producers Guild’s certification process, that producer performed a major portion of the producing functions on that specific motion picture.

WHY DO SOME MOTION PICTURES CARRY THE PRODUCERS MARK, BUT NOT OTHERS? The Producers Mark is voluntary, and the PGA cannot force any copyright owner to submit for certification. All of the major studios—Universal, Disney, Warner Bros., Sony, Paramount and Fox—and nearly all theatrical distributors of independent motion pictures, welcome the PM process.

ARE ALL PRODUCERS ON A MOTION PICTURE ELIGIBLE TO BE CONSIDERED FOR THE PRODUCERS MARK? No. On theatrical motion pictures, docu-

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mentary motion pictures and animated motion pictures only those individuals receiving “Producer” or “Produced By” credit may be considered for use of the Producers Mark. On televised/streamed motion pictures, only those individuals receiving “Executive Producer,” “Producer” or “Produced By” credit, whichever is the primary producing credit as supported by the submitted credits, may be considered for use of the Producers Mark.

IF A PRODUCER DOESN’T RECEIVE THE P.G.A. MARK FROM THE PRODUCERS GUILD, WHAT HAPPENS TO THEIR PRODUCING CREDIT? Nothing. The Producers Mark doesn’t control or affect the “Executive Producer,” “Produced By” or “Producer” credit in any way, nor does it invalidate that credit by its absence.

WHAT IMPACT DOES THE PRODUCERS MARK HAVE ON AWARDS? Determinations for the Producers Mark and for producer award eligibility are determined at the same time and via the same process. In addition to AMPAS, HFPA and BAFTA, all rely on the PGA process to guide their decision making.

However the final selection of nominees is always at the discretion of the organization giving the award. And, while the Producers Mark also is recognized by the WGA, DGA and SAG-AFTRA, the PGA has agreed not to license the Producers Mark for use with any combined credit (e.g., “Directed and Produced By …”).

SO WHAT’S THE PROCESS FOR LICENSING THE PRODUCERS MARK? 1. The process is initiated by the copyright owner of the motion picture.

2. After the post-production process has commenced, but four to six weeks before credits are locked, the owner submits a motion picture for consideration via ProducersGuildAwards.com.

3. Within two to three weeks, the PGA sends out eligibility forms to every producer credited as “Executive Producer,” “Produced By” or “Producer” on the motion picture, depending on the type of production and the submitted credits, and sends confidential verification forms to a wide variety of third parties associated with the production of the motion picture: the director(s), writer(s), department heads, company executives and key crew members.

4. Once forms have been returned, the PGA convenes a panel of arbiters, each of them active and experienced producers with numerous (and recent) credits, typically in the genre or category of the motion picture under consideration. (I.e., if the motion picture is a major studio tentpole, we try to utilize arbiters with considerable experience in making those big-budget studio pictures. If the motion picture

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P G A AT YO U R SERVICE Because the Producers Mark is brand new for televised and streamed motion pictures, it is incumbent on you to request that the production companies, networks and distribution platforms submit the movies you produce for them to the Guild for processing the Producers Mark. If you are currently producing a televised or streamed movie and are contractually due the primary producing credit, please contact tvpm@producersguild.org for info and assistance on licensing the Producers Mark.

is a smaller indie movie, we rely on producers familiar with that type of production. If the motion picture is produced for distribution via television or streaming platform, we use arbiters with that particular type of production experience, etc.) An initial arbitration panel typically has three arbiters.

The arbiters review all materials returned to the PGA by the producers and third parties, with all names of individuals credited on the motion picture redacted, so that arbiters can arrive at a judgment based on the testimony provided rather than the name recognition and perceived reputation of the producers.

5. Following the determination, the PGA staff informs the producers of the decision. Producers who object to the decision have five days to notify the Guild of an intent to appeal. After giving producers the opportunity to add to or clarify their testimony, the PGA will convene a new panel of arbiters. All appellate panels consist of three producers. If the initial decision was unanimous, the appellate panel will consist of one producer from the original panel and two new producers; if the initial decision was not unanimous, the appellate panel will consist of three new producers. The decision of the appellate panel is final.

SO WHEN ARBITERS ARE LOOKING AT THESE FORMS, WHAT ARE THEY SEEING? The eligibility form filled out by producers asks them to indicate their level of responsibility for a variety of producing functions spanning development, pre-production, physical production and post-production. The form also includes a free-response section for the producer

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to elaborate more fully on the specifics of the production and their role on the motion picture. The verification forms filled out by third parties typically ask the respondent questions related to the nature of their collaboration with the credited producers.

For instance, the verification form for editors asks the editor to designate which producer(s) consulted with the editor regarding dailies, gave notes on cuts or participated in screenings.

ABOUT THE PROCESS?

WHO SELECTS WHICH ARBITERS VET THE CREDITS OF WHICH MOTION PICTURES? That determination is made by the PGA’s Corporate Counsel in consultation with the National Executive Director/COO.

ONCE A PRODUCER’S CREDIT IS CERTIFIED WITH THE PRODUCERS MARK, IS THAT CERTIFICATION APPLIED PERMANENTLY TO ALL OF THE PRODUCER’S MOTION PICTURES?

WHAT IF THE PGA SELECTS AN ARBITER WHO (UNBEKNOWNST TO THEM) IS BIASED AGAINST A GIVEN PRODUCER OR MOTION PICTURE?

No. A Producer’s Mark appended to a producing credit applies to that motion picture only. It represents the nature of the work performed on that motion picture alone and does not carry over to future productions.

The Guild takes proactive measures to prevent that from happening. Prior to convening the panel, the PGA provides all producers with a list of potential arbiters.

Producers are free to strike any arbiter for any reason. Such arbiters will not be empaneled for that particular motion picture. Furthermore, all arbiters are asked to affirmatively state that they have no interests in the motion pictures to be arbitrated that might result in a biased judgment. Even if all of those hurdles are cleared, an arbiter will be removed from the process if they or the PGA administrator (PGA’s Corporate Counsel or the National Executive Director/COO) feels that bias is affecting their judgment.

WHY CAN’T THE PGA BE MORE TRANSPARENT

We maintain the strictest confidentiality around the identities of the producers, third parties and arbiters involved because such confidence is the only way we can hope to get accurate and truthful information. Many producers are powerful figures in this industry and this might put pressure on third parties and arbiters to achieve a desired decision. Keeping those identities confidential is the only way to maintain the integrity of the process.

DOES THE “P.G.A.” AFTER THE PRODUCER’S NAME MEAN THAT THE PRODUCER IS A MEMBER OF THE PRODUCERS GUILD? No. A producer does not need to be a member of the PGA to receive the “p.g.a.” designation after their name. In many cases, the sets of initials you see in motion picture credits (such as A.S.C. and A.C.E.) indicate membership in an organization.

The Producers Mark is different. It’s a certification mark; its purpose is to designate that the producer has met an officially recognized standard of performance on that motion picture.

For all the details about the Producers Mark, please go to producersguild.org.

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P G A AT YO U R SERVICE

MARKING TIME The Producers Guild proudly salutes the following whose credits have been certified with the Producers Mark. The list includes both theatrical and VOD/streaming releases due to current circumstances with COVID-19.

12 HOUR SHIFT

Certification via the Producers Mark indicates that a

ALL IN: THE FIGHT FOR DEMOCRACY

producer performed a major portion of the producing functions on the motion picture.

Jordan Wayne Long, p.g.a.

Matt Glass, p.g.a.

Tara Perry, p.g.a.

Christina McLarty Arquette, p.g.a.

Liz Garbus, p.g.a.

Lisa Cortés, p.g.a.

ALONE Jordan Foley, p.g.a.

Jonathan Rosenthal, p.g.a.

Mike Macari, p.g.a.

Henrik JP Akesson, p.g.a.

AN AMERICAN PICKLE Seth Rogen, p.g.a.

Evan Goldberg, p.g.a.

James Weaver, p.g.a.

AMERICAN SKIN Tarak Ben Ammar, p.g.a.

Mark Burg, p.g.a.

Lukas Behnken, p.g.a.

AMMONITE Iain Canning, p.g.a. & Emile Sherman, p.g.a.

Fodhla Cronin O’Reilly, p.g.a.

ANTEBELLUM Raymond Mansfield, p.g.a. & Sean McKittrick, p.g.a.

Zev Foreman, p.g.a.

Lezlie Wills, p.g.a.

BILL & TED FACE THE MUSIC Scott Kroopf, p.g.a.

Alex Michael Lebovici, p.g.a.

Ed Solomon, p.g.a.

BLACK BEAR Julie Christeas, p.g.a.

Jonny Blitstein, p.g.a.

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BLACKBIRD Sherryl Clark, p.g.a.

David Bernardi, p.g.a.

THE BOYS IN THE BAND Ryan Murphy, p.g.a.

Joe Mantello, p.g.a.

A CALL TO SPY Sarah Megan Thomas, p.g.a.

Lydia Dean Pilcher, p.g.a.

CHEMICAL HEARTS Alex Saks, p.g.a.

Richard Tanne, p.g.a.

THE CHRISTMAS CHRONICLES 2 Chris Columbus, p.g.a.

Mark Radcliffe, p.g.a.

Michael Barnathan, p.g.a.

CODED BIAS Shalini Kantayya, p.g.a.

COME PLAY Alex Heineman, p.g.a. & Andrew Rona, p.g.a.

THE CROODS: A NEW AGE Mark Swift, p.g.a.

THE DARK AND THE WICKED Adrienne Biddle, p.g.a.

Sonny Mallhi, p.g.a.

Kevin Matusow, p.g.a.

Bryan Bertino, p.g.a.

THE DEVIL ALL THE TIME Randall Poster, p.g.a.

Riva Marker, p.g.a.

THE DIG Gabrielle Tana, p.g.a.

P G A AT YO U R SERVICE

THE DISSIDENT Bryan Fogel, p.g.a.

Jake Swantko, p.g.a.

Mark Monroe, p.g.a.

Thor Halvorssen, p.g.a.

DON’T LOOK BACK Andrew van den Houten, p.g.a.

Andy Steinman, p.g.a.

THE EMPTY MAN Ross Richie, p.g.a.

Stephen Christie, p.g.a.

FINDING YOU Ken Carpenter, p.g.a.

Julie Ryan, p.g.a.

FOSTER BOY Jay Paul Deratany, p.g.a.

Andrew Sugerman, p.g.a.

Peter Samuelson, p.g.a.

Mary Parent, p.g.a.

Alex Garcia, p.g.a.

Ali Mendes, p.g.a.

Alex Saks, p.g.a.

Lynn Hendee, p.g.a.

Julie Taymor, p.g.a.

Basil Iwanyk, p.g.a.

Alan Siegel, p.g.a.

FAREWELL AMOR

FATALE Roxanne Avent, p.g.a.

Deon Taylor, p.g.a.

HARD KILL Randall Emmett, p.g.a. & George Furla, p.g.a.

Alex Eckert, p.g.a.

HILLBILLY ELEGY Ron Howard, p.g.a. & Brian Grazer, p.g.a.

Karen Lunder, p.g.a.

THE FATHER Philippe Carcassonne, p.g.a.

Jean-Louis Livi, p.g.a.

David Parfitt, p.g.a.

FELIZ NAVIDAD Mark Roberts, p.g.a.

Paula Hart, p.g.a.

FINDING OHANA Ian Bryce, p.g.a.

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JINGLE JANGLE: A CHRISTMAS JOURNEY David E. Talbert, p.g.a.

Lyn Sisson-Talbert, p.g.a.

Kristin Burr, p.g.a.

JIU JITSU Dimitri Logothetis, p.g.a.

JUNGLELAND Jules Daly, p.g.a.

Kevin J. Walsh, p.g.a.

Ryan Stowell, p.g.a.

Brad Feinstein, p.g.a.

HAPPIEST SEASON Isaac Klausner, p.g.a.

Huriyyah Muhammad, p.g.a.

Sam Bisbee, p.g.a.

Josh Penn, p.g.a.

Ekwa Msangi, p.g.a.

Jordan Horowitz, p.g.a.

Rachel Brosnahan, p.g.a.

THE MIDNIGHT SKY Grant Heslov, p.g.a. & George Clooney, p.g.a.

MOSUL Joe Russo, p.g.a.

Anthony Russo, p.g.a.

Mike Larocca, p.g.a.

Jeremy Steckler, p.g.a.

THE GLORIAS

GREENLAND ENOLA HOLMES

I’M YOUR WOMAN

I’M THINKING OF ENDING THINGS Anthony Bregman, p.g.a. & Stefanie Azpiazu, p.g.a.

Charlie Kaufman, p.g.a.

Robert Salerno, p.g.a.

I AM WOMAN Rosemary Blight, p.g.a.

Unjoo Moon, p.g.a.

MULAN Chris Bender, p.g.a. & Jake Weiner, p.g.a.

Jason T. Reed, p.g.a.

THE NEW MUTANTS Simon Kinberg, p.g.a.

NEWS OF THE WORLD KAJILLIONAIRE Dede Gardner, p.g.a.

Youree Henley, p.g.a.

THE LITTLE THINGS Mark Johnson, p.g.a.

Gary Goetzman, p.g.a.

Gail Mutrux, p.g.a.

Gregory Goodman, p.g.a.

THE NIGHT Alex Bretow, p.g.a.

Kourosh Ahari, p.g.a.

LOCKED DOWN PJ van Sandwijk, p.g.a.

Alison Winter, p.g.a.

MA RAINEY’S BLACK BOTTOM Denzel Washington, p.g.a.

Todd Black, p.g.a.

MANK Ceán Chaffin, p.g.a.

Eric Roth, p.g.a.

Douglas Urbanski, p.g.a.

ON THE ROCKS Youree Henley, p.g.a.

Sofia Coppola, p.g.a.

THE ONE AND ONLY IVAN Allison Shearmur, p.g.a.

Brigham Taylor, p.g.a.

ONE NIGHT IN MIAMI… Jess Wu Calder, p.g.a. & Keith Calder, p.g.a.

Jody Klein, p.g.a.

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Cameron Burns, p.g.a.

Ashleigh Snead, p.g.a.

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John Penotti, p.g.a.

Charlie Corwin, p.g.a.

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Dori Berinstein, p.g.a.

Bill Damaschke, p.g.a.

Alexis Martin Woodall, p.g.a.

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Nira Park, p.g.a.

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Sev Ohanian, p.g.a.

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Matthias Mellinghaus, p.g.a.

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THE TAX COLLECTOR David Ayer, p.g.a.

Chris Long, p.g.a.

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Emma Thomas, p.g.a.

TESLA Uri Singer, p.g.a.

Isen Robbins, p.g.a.

Michael Almereyda, p.g.a.

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Marc Platt, p.g.a.

UNCLE FRANK Peter Macdissi, p.g.a.

Alan Ball, p.g.a.

Michael Costigan, p.g.a.

Jay Van Hoy, p.g.a.

Dana Murray, p.g.a.

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Bruna Papandrea, p.g.a.

Steve Hutensky, p.g.a.

Jodi Matterson, p.g.a.

Naomi Watts, p.g.a.

PIECES OF A WOMAN Kevin Turen, p.g.a.

Ashley Levinson, p.g.a.

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Sacha Ben Harroche, p.g.a.

THE STAND IN Ember Truesdell, p.g.a.

Tom McNulty, p.g.a.

Caddy Vanasirikul, p.g.a.

SUPERINTELLIGENCE PROJECT POWER Eric Newman, p.g.a.

Bryan Unkeless, p.g.a.

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Tim Doiron, p.g.a.

Andre Relis, p.g.a.

April Mullen, p.g.a.

James Van Der Woerd, p.g.a.

Melissa McCarthy, p.g.a.

Ben Falcone, p.g.a.

Rob Cowan, p.g.a.

WANDER DARKLY Lynette Howell Taylor, p.g.a.

Samantha Housman, p.g.a.

Shivani Rawat, p.g.a. & Monica Levinson, p.g.a.

THE WAR WITH GRANDPA Marvin Peart, p.g.a.

Phillip Glasser, p.g.a.

Rosa Morris Peart, p.g.a.

WHAT LIES BELOW Stephen Stanley, p.g.a.

THE WHITE TIGER Mukul Deora, p.g.a.

Ramin Bahrani, p.g.a.

THE WITCHES Robert Zemeckis, p.g.a.

Jack Rapke, p.g.a.

WONDER WOMAN 1984 Charles Roven, p.g.a.

Patty Jenkins, p.g.a.

Stephen Jones, p.g.a.

WORK IT Leslie Morgenstein, p.g.a.

Elysa Koplovitz Dutton, p.g.a.

YOU CANNOT KILL DAVID ARQUETTE Christina McLarty Arquette, p.g.a.

Ross Levine, p.g.a.

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Lanett Tachel D. Stephen Tedeschi Mandy Teefey Joston Theney Datari Turner 11 Nicolas Veinberg James Walker Forest Whitaker Tanisha Whitfield Tirrell Whittley Joseph Wilka Wendy Willming Allison Wilmarth Lisa Wilson Edward Winters Sierra Wood Jessica Yingling Brittany Yost Inman Young Katrina Yumping

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