By MCN Editor editor@moviecitynews.com

“Women In Film, Sundance Institute and 50 Hollywood Leaders Launch ReFrame to Create Sustainable Gender Equity in Film And Television”

Suggested Tweet: 50 Hollywood leaders join @sundanceorg & @womeninfilm to launch ReFrame to create gender equity in film, TV & media (insert link here)

Los Angeles, CA — Fifty Hollywood leaders and influencers, including studio heads, agency partners, senior network executives, talent and guild representatives brought together by Women In Film and Sundance Institute today announce the launch of ReFrame, a formal action plan to further gender parity in the media industry.

Building on last year’s two-day convening of this group, ReFrame’s unique strategy is its peer-to-peer approach, in which ReFrame Ambassador teams engage senior industry decision-makers. All members of the 50-person ReFrame launch team will act as ReFrame Ambassadors and personally lead catalyzing meetings with their peers, other Hollywood top executives at studios, networks, agencies and independent financing entities. ReFrame is a non-profit effort made possible by support from BMW, The Harnisch Foundation and the Women at Sundance Leadership Council.

To transform the face of media, ReFrame Ambassadors will introduce programs and collaborative practices designed by the group to address the key levers in the media ecosystem. Initial programs include (1) a customized Culture Change Toolkit to provide resources, best practices and training to create cultures that yield more balanced hiring, (2) a field-wide Sponsor/Protégé Program identifying and providing high-level endorsement for top women directors poised to advance their careers, and (3) accreditation for gender inclusiveness in the form of a ReFrame Stamp certification. In addition, ReFrame will distill existing data and conduct new original research to prove that diverse content is economically feasible and makes good business sense.

Keri Putnam, Executive Director of Sundance Institute, said, “ReFrame is part of a worldwide movement with considerable momentum to create equal opportunities for women. Disrupting the way the media system works requires an industry-wide solution and Sundance Institute is proud to be part of assembling the remarkable team of Ambassadors who will carry out this groundbreaking, peer-to-peer approach to making change.”

Cathy Schulman, President of Women In Film Los Angeles, said, “The industry’s long-entrenched business practices need to flex and bend to cultivate a marketplace for content that serves diverse audiences. I am so encouraged that leading members of competitive companies have come together as social activists to expand the media landscape which will increase the bottom line across the industry.”

Sundance Institute and Women In Film began working together four years ago by collecting, analyzing and releasing academic research conducted with the USC Annenberg School reflecting what holds women back from achieving the same success in Hollywood as their male peers. Many factors were identified, including: lack of awareness of the problem, lack of access to financial resources for women, misperceptions of the marketplace, unconscious bias towards women and a talent pipeline that is believed to be too shallow. With this research in hand the two organizations convened a meeting of entertainment industry decision-makers to drill into the systemic causes of gender bias and craft solutions. Next, they built out the initial three programs, hired ReFrame Director Alison Emilio, and partnered with Troika, a strategic branding and marketing agency, to bring clarity and vision to the program. Committed to driving change in the media and entertainment industry, Troika provided pro-bono services for the launch of ReFrame, which included positioning, name and logo development and creative expression.

ReFrame’s three initial offerings are:

1. Culture Change Toolkit
ReFrame will introduce a Culture Change Toolkit tailored to film, TV and media executives and creative teams. The Program aims to improve hiring and promotion practices for women of all backgrounds by addressing bias and other roadblocks at key decision points in the pipeline. Toolkit components will allow Partner companies to supplement what they are currently doing to facilitate inclusion: The toolkit will include proven examples of successful strategies to change culture in organizations, gender inclusion strategies from entertainment and other industries, and unconscious bias/conscious inclusion resources tailored by expert consultants for the media field.

2. Sponsor/Protégé Program
The ReFrame Sponsor/Protégé Program is a comprehensive and customized two-year sponsorship program to establish high-level sustainable careers for established, mid-career female directors. Research shows that sponsorship can serve as a highly effective enhancement to accelerate a woman’s career trajectory. A sponsor is an active advocate who can provide concrete opportunities for his or her Protégé.

3. ReFrame Stamp
The ReFrame Stamp will celebrate studios, networks, agencies, and creatives that have demonstrated measurable progress towards parity in front of and behind the camera when developing, producing, financing and marketing their product. The Stamp will serve as a mark of distinction for qualifying productions and will be publicly awarded to projects based on a rubric of criteria. Over time, the Stamp will emerge as the gold standard for quality programming and the advancement of gender parity in film, television and media.

Women In Film Los Angeles
Women In Film is a non-profit organization dedicated to promoting equal opportunities for women, encouraging creative projects by women, and expanding and enhancing portrayals of women in all forms of global media. Given that women comprise fifty percent of the population, WIF’s ultimate goal is to see the same gender parity reflected on and off screen. Founded in 1973, WIF focuses on advocacy and education, provides scholarships, grants and film finishing funds and works to preserve the legacies of all women working in the entertainment community.

Women In Film presenting sponsors are MaxMara and BMW.

Sundance Institute
Founded in 1981 by Robert Redford, Sundance Institute is a nonprofit organization that provides and preserves the space for artists in film, theatre, and new media to create and thrive. The Institute’s signature Labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. The Sundance Film Festival and other public programs connect audiences to artists in igniting new ideas, discovering original voices, and building a community dedicated to independent storytelling. Sundance Institute has supported such projects as Boyhood, Swiss Army Man, Manchester By the Sea, Brooklyn, Little Miss Sunshine, Life, Animated, Sonita, 20 Feet From Stardom, Beasts of the Southern Wild, Fruitvale Station, Sin Nombre, Spring Awakening, A Gentleman’s Guide to Love and Murder and Fun Home. Join Sundance Institute on Facebook, Instagram, Twitter and YouTube.

Women at Sundance is the Institute program dedicated to furthering the careers of women storytellers, and works in partnership with Women In Film on ReFrame. Women at Sundance is made possible by leadership support from The Harnisch Foundation and Refinery29. Additional support is provided by LUNA® Bar, BMW, Kering, Barbara Bridges, Cristina Ljungberg, The Jacquelyn & Gregory Zehner Foundation, Susan Bay Nimoy, Abigail Disney and Pierre Hauser, and Ann Lovell.

Troika
Troika, a strategic branding and marketing innovations agency, partners with global entertainment, sports media, technology, and consumer brands to build meaningful experiences for audiences and fans. Troika’s clientele includes top entertainment companies such as Warner Bros., Turner and Starz; cultural and educational brands like Sundance Institute and UCLA Extension; innovative consumer product and service brands such as GoPro, Pechanga Resort and Casino, and Canada Goose.

ReFrame Ambassadors
Adriana Alberghetti
Partner
WME
Stephanie Allain
Award-winning Producer
Founder
Homegrown PicturesVictoria Alonso
EVP, Physical Production
Marvel Studios

Len Amato
President
HBO Films

Darla Anderson
Award-winning Producer
Senior Producer
Pixar Animation Studios

Chris Andrews
Motion Picture Agent
CAA

Rowena Arguelles
Motion Picture Agent
CAA

Bonnie Arnold
Award-winning Producer
Co-President, Feature Animation
Dreamworks Animation

Lorrie Bartlett
Partner
ICM

Glen Basner
CEO
FilmNation Entertainment

Maria Bello
Award-winning Actor, Producer and Author

Andrea Berloff
Award-winning Film and TV Writer

Kristin Burr
EVP, Production
Walt Disney Studios

Gabrielle Carteris
President
SAG-AFTRA

Cindy Chupack
Award-winning Writer & TV Producer

Harley Copen
Partner
Co-head, Motion Picture Literary
ICM

Maha Dakhil
Agent, Motion Picture Literary Department
CAA

Mike De Luca
Award-winning Producer
President
Michael De Luca Productions

Zanne Devine
EVP, Film & Television
Miramax

Cassian Elwes
Award-winning Producer
Founder
Elevated Entertainment

Erik Feig
Co-President
Lionsgate Motion Picture Group

Paul Feig
Award-winning Director/Producer
Feigco Entertainment

Jane Fleming
Founding Partner/Producer
Court Five

Sid Ganis
Award-winning Producer
Founder
Out of the Blue Entertainment
Former President of AMPAS

Liz Gateley
EVP, Head of Programming
Lifetime

Micah Green
Co-Head Film Finance and Sales
CAA

Catherine Hardwicke
Award-winning Director

Nina Jacobson
Award-winning Producer
Color Force

Charles King
Founder and CEO
MACRO

Jenji Kohan
Award-winning
Writer/Producer
Tilted Productions

Sue Kroll
President of Worldwide Marketing & Distribution
Warner Bros. Pictures

Franklin Leonard
Founder
Black List

Linda Lichter
Founding Partner
LGNAF

Debbie Liebling
Award-winning Producer
President
Red Hour Films

Alix Madigan
Award-winning Producer

Zola Mashariki
EVP, Head of Original Programming
BET Networks

Glen Mazzara
Executive Producer
44 Strong Productions

Hannah Minghella
President of Production
TriStar Pictures

Bruna Papandrea
Award-winning Producer

Kimberly Peirce
Award-winning Director

Lydia Dean Pilcher
Award-winning Producer
Founder and CEO
Cine Mosaic/PGA

Gigi Pritzker
Founder
Madison Wells Media

Keri Putnam
Executive Director
Sundance Institute

Howard Rodman
President
WGA, West

Rena Ronson
Partner/Head, Independent Film Group
UTA

Michelle Satter
Director, Feature Film Program
Sundance Institute

Cathy Schulman
Award-winning Producer
President
Welle Entertainment
President
Women In Film, LA

Mimi Steinbauer
President and CEO
Radiant Films International

Robin Swicord
Award-winning Screenwriter

Betty Thomas
Award-winning Actress/Director

Paula Wagner
Founder/Owner
Chestnut Ridge Productions

###

Leave a Reply

Quote Unquotesee all »

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch