How Online Trolls Game IMDB And Other Ratings With “Downvotes”; The Late Kirk Kerkorian’s $100 Million Romance Set Against Armenian Genocide Latest TargetMonday, April 17th, 2017
“Here’s the thing, endings are good. Great dramas wrap things up, otherwise Oedipus would still be shtupping his mom.”
Brent Lang Brings The Logics To Say He Wants Neither More Fast, Nor More Furious
“Miéville’s influence on Godard’s amorphous filmography, both while working together and on his own, and her own short but remarkable body of work, has been all but ignored, especially in the United States, by a larger critical discourse that has remained tethered to a male-dominated theory of auteurism.”
Craig Hubert Hoorahs The Work Of Anne-Marie Miéville, Overlooking Distribution Issues
“Structurally, these studios and the agencies and exhibitors that orbit them are too sprawling, too slow-moving, and too entangled in a dizzying web of antiquated business practices and associations to respond effectively to the digital era.”
Brent Lang Offers Pre-Cinemacon Thumbsucker On Collapsing Distribution Windows
“Like the surreal legal case that winds through Dickens’ ‘Bleak House,’ this one never seems to reach an end. And every time it resurfaces, it sucks us in — or at least those of us who feel compelled to choose between justice and compassion.”
Stephen Galloway Columnizes Polanski
“You’re saying that if you are a woman or a person of color, you have to hit it out of the park in order to get another chance? What can I do? I do want to understand what someone like me can do, but my thing has always been: ‘If you write it, they will come.'”
Aaron Sorkin Contributes Manfully To Image Of Being Above It All
Aaron Sorkin story could very reasonably run on The Onion
— Lydia Ogwang (@lydiaohh) March 26, 2017
“At this particular time – when things feel strained, and complicated – it felt like an opportunity to think again whether love still is actually all around us.”
Richard Curtis Tub-Thumps His Ten Minute Love Actually Drive-By Episode
“Without nostalgia and without sentimentality, this 73-year-old filmmaker looks to the heart of his own inspiration, his own impulses, and creates a cinema that, with the creative command of his own life experience, feels more exuberantly youthful than that of most Sundance phenoms.”
Richard Brody Has Malick’s Song To Song To Bash Sundance With Today
“This was not a case of winner-take-all, but rather — as our cover story hopefully and joyfully exemplifies — proof that contenders share similar dreams, struggles, and frailties, and in fact can show respect and a generosity of spirit toward one another, whether they win or lose.”
Claudia Eller Offers Rationale
“Women In Film, Sundance Institute and 50 Hollywood Leaders Launch ReFrame to Create Sustainable Gender Equity in Film And Television”Wednesday, February 22nd, 2017
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.
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, 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.
Homegrown PicturesVictoria Alonso
EVP, Physical Production
Pixar Animation Studios
Motion Picture Agent
Motion Picture Agent
Co-President, Feature Animation
Award-winning Actor, Producer and Author
Award-winning Film and TV Writer
Walt Disney Studios
Award-winning Writer & TV Producer
Co-head, Motion Picture Literary
Agent, Motion Picture Literary Department
Mike De Luca
Michael De Luca Productions
EVP, Film & Television
Lionsgate Motion Picture Group
Out of the Blue Entertainment
Former President of AMPAS
EVP, Head of Programming
Co-Head Film Finance and Sales
Founder and CEO
President of Worldwide Marketing & Distribution
Warner Bros. Pictures
Red Hour Films
EVP, Head of Original Programming
44 Strong Productions
President of Production
Lydia Dean Pilcher
Founder and CEO
Madison Wells Media
Partner/Head, Independent Film Group
Director, Feature Film Program
Women In Film, LA
President and CEO
Radiant Films International
Chestnut Ridge Productions
“They only care about bringing me down. I’ve never apologized for anything before and I don’t anticipate doing it again.”
Cynical Media Personality, Breitbart Protege Of Bannon, Says Downfall Over Pedophilia Remarks “Cynical Media Witch Hunt”
“We go to see them, much of the time, in search of something else — the comforting darkness of the theater, the play of light and shadow on the screen, the consolations they offer for some temporary trouble. A lot of the time we don’t give a hoot what’s playing. We are at a public event for private reasons which we don’t always recognize until later, if at all. It is the occasion, the atmosphere, that we crave.”
A Stodgy Times Obit For Richard Schickel
“So obviously I want to talk about women in cinema, but I don’t want to reduce what you’ve done down to just viewing it through that lens. That said, I’ve been thinking a lot about representation, and even though the horror genre has a very embattled relationship with women, people of color, and the queer community, having the opportunity to empower those demographics in the very amplified context that horror provides feels like a really great opportunity. Is that something you consider?”
Karyn Kusama Entertains The Question