Here is the full list of questions posed:
Professional:• Do you own the company? If so, what year did you launch it?
• If your business model has changed over time, please briefly tell us about it.
• How did you get your start in the business?
• What was the biggest challenge or obstacle you faced as you made your ascent in the industry?
Opinion:
• What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist?
• Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why?
• And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage?
• In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound?
Personal:
• Are you married?
• Do you have kids – how many, how old?
• Can you share a poignant or funny “being a woman in a man’s world” story with us.
• What’s the biggest challenge in balancing your professional and personal life?
• If you could have a do-over, what career would you pick for yourself?
• We all hope to retire some day. What do you want to do in retirement/where would you live?
Here’s a full rundown of what survey respondents shared:
Cristina Anderlini, owner/writer/producer/director, Girl Factory
Primary Business: A full-service production company that specializes in broadcast and new media creative content for advertisers, brands and gaming companies.
1. Do you own the company? If so, what year did you launch it?
Yes, I own the company. I launched my original company in 2006 under the name A Broad Vision Productions and then renamed the company in 2010 to Girl Factory. The reason I renamed my company is I wanted the name to reflect my deep desire to create a new paradigm for women in media in order to expand peoples’ perceptions of what we are capable of and the limitlessness of our creative abilities. We are not cookie cutter writers/producers/directors/DPs, etc., that are only capable of creating “chick flicks.” It’s such a tired old paradigm that we have keep doing whatever we can to break down the status quo. I think there are a lot of amazing women who are doing terrific work and are strong advocates for addressing the inequities in the business but we need to find a way to channel that into effectively changing the paradigm that directing is a man’s job. We have to create more opportunity for women not only as directors but in all creative fields.
2. If your business model has changed over time, please briefly tell us about it.
My business model has always been: to showcase the power of women directors to create distinctive, top quality creative content whether in advertising, film or TV. I believe women need a larger voice and more opportunity as creative forces and I want to do my part to make that happen. I have cultivated an amazingly talented network of female producers, writers, DPs and editors whom I use consistently on my jobs. It’s imperative we help each other.
3. How did you get your start in the business?
I got my start in production by being a production assistant for top commercial production companies/directors such as Joe Pytka and Bob Giraldi. I learned the ins and outs of production from my time as a PA and then eventually branched out into freelance production work in the music business. As I started to make a name for myself in music, producing/directing “making of” videos, music videos, promos, and webisodes for MTV, VH1, BET, Atlantic Records, Universal Records and others, I formed A Broad Vision Productions so I could dedicate myself to the role of producer/director and build up my clientele. As I expanded into the advertising and gaming worlds, I found that it was still too rare to see female directors breaking into these industries so I wanted to use my platform as a female business owner and creative to continue to challenge the status quo.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry?
The biggest challenge I faced as I made my ascent in the industry is how tough it was to get taken seriously as a female director, and I don’t even think it’s a conscious reaction half the time. It’s the subtle expectation that when you walk on set or into a meeting you couldn’t possibly be the Director. Without a doubt, someone always does a double take. And then there is the subtle challenge to your authority that inevitably comes out in a comment or a reaction to you as the Director. But ultimately, your work will speak for itself so know your craft, always be prepared and never stop learning and pushing yourself creatively. And a sense of humor is always a big plus. That being said, I still think the hardest part is getting a foot in the door before you can build a portfolio and body of work. And there is still a “typecasting” of genres that women can direct that plays a role in the limited number of jobs offered to us.
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist?
I think the biggest challenge if I was starting out today would be the same: breaking through the ingrained idea that directing is a man’s job. It’s still a challenge to change the perception that women can only direct certain “types” of content whether in film, TV or advertising. The statistics are abysmal and it hasn’t changed much over the last several years. I think on some level it might be easier today because of the doors that talented female Directors have already opened. In addition, I think an added advantage we have today is the democracy of the internet and social media. There are no gatekeepers. I can post my work to the internet and get exposure immediately, and that is my and every female director’s responsibility: carve your own path. Promote your work. Shout it from the roof tops. Men are really good at self promotion and we women need to catch up to them in that arena. I think the internet levels that playing field to a huge extent if we take advantage of it.
6. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why?
I do still think there is a shortage of women in both the advertising and entertainment production communities and I think this is a problem because it creates a scarcity issue. I think women find it so hard to establish their careers in either industry that we tend to become myopic and only focus on holding on to the gains we’ve made or how to make it to the next level. I still don’t believe there is a strong enough network of women helping women get ahead and the same challenge can be posed to the men who work in the industry. Our industries are supposed to be about risk taking and pushing the envelope creatively. We need to extend that into the arena of taking more chances on female directors/creatives and setting up a system where they can flourish.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage?
I think steps can be taken to rectify this situation but it has to start with women helping other women, especially with women in positions of power. I make it a point to hire talented women DPs, producers, crew members etc., through my company because I believe we need to boost each other and help each other get to the next level. We all benefit if we’re working together towards a common goal: level the playing field for female creatives.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound?
I think the shortage is in all roles, but I can definitely say it’s in the directing and DP categories based on my personal experience. There seems to be this ingrained belief that women can’t speak to the targeted “young male demographic.” I do a lot of work in the video game industry which is dominated by that young male demographic. The Captain America trailer I directed got 2.5 million hits within the first month of it’s release, over 500,000 in the first day alone. To say that women can’t speak to that demographic is absurd. I think it’s a matter of habit more than anything. It’s tired old assumptions that we need to continue to break down until we see an equal representation of women directing commercials, TV and film. We can’t accept the status quo.
9. Are you married.
Yes,
10. Can you share a poignant or funny “being a woman in a man’s world” story with us.
One time when I arrived on set for a music video I was directing a PA rushed up to me and tried to usher me to the “holding area” for extras. He said, “You can have a seat over there.” My response was, “So, then, I take it that’s where the director sits?” He was so embarrassed he left without saying another word to me for the rest of the day. I laughed it off, you can’t live without a sense of humor in this business.
11. What’s the biggest challenge in balancing your professional and personal life?
The biggest challenge in balancing my professional and personal life happens when I’m in production mode and creating my vision as the director. I get consumed with the job and work tirelessly to push the creative envelope so to speak so I really find I leave little time for anything else. I am “in the zone” and love it but it’s not necessarily a “balanced approach”.
12. If you could have a do-over, what career would you pick for yourself?
I wouldn’t want a do-over; being a director is exactly what I want to be doing.
13. We all hope to retire some day. What do you want to do in retirement/where would you live?
In retirement, I want to move somewhere I can buy acres of land devoted to an animal sanctuary and also travel the world continuing to shoot films/photography. So I guess I really wouldn’t want to retire in the traditional sense. I love the work that I do so I don’t plan to ever stop creating visual imagery and pushing myself as an artist.
Shannon Barnes, director of production, SapientNitroPrimary Business: Broadcast and integrated production
1. How did you get your start in the business? My first job in this industry was working in the front office at Charlex. A tremendous amount of patience and tolerance. Ears open for opportunity, head down when it came to the task at hand. They run a tight ship there.
2. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? I would say I have been the ever evolving object here. And on this journey I have had my share of scraped elbows. Producers are a rare breed. We are first to show up, last to leave and no complaints in between. Each one is uniquely different. Like writers, we find our own personal voice. We capitalize on our strengths and if we are good the very best producers hire those who can fill in for their weaknesses. This is a delicate balance between self-confidence and humility. And I am constantly adjusting my footing.
3. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist? That depends on who my teacher is. I stand on the shoulders of giants. Executive producers who took me under their wing and taught me how to evaluate, elevate and escalate a production. I now share with my producers my experiences and guide them towards solutions. Ways that were taught to me and I now pass on to them. Honestly it is all about having the right mentor who is going to take the time to educate you.
4. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why?
It is my opinion that there is a is a shortage of women on every level, everywhere, especially the executive level. It’s important that we make our personal and professional decisions on where our future careers may reside based on the culture of opportunity that company provides. Not to quote the Beastie Boys but I’m gonna, essentially you have to fight for your right to party.
5. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? I cannot speak for the entire industry, that would be silly but I can speak from the I. This Woman, This Producer, knows that change comes from unity. Every great thing that has ever been accomplished in history is a result of people with a unified vision coming together to achieve a common purpose. And every epic failure has been the byproduct of division. I think unity is the key. And it may start with a community, a group, a call to action or just an article…and I quote my grandfather who used to say “you cannot grab hold of opportunity if you are holding on to your past.”
6. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound?
All of the above…
7. Are you married?
Not anymore!
8. Do you have kids – how many, how old?
No, none that are mine. Do puppies count?
9. Can you share a poignant or funny “being a woman in a man’s world” story with us.
This should be an audio file. I was on a liquor shoot and every night at dinner our client would ask me “Why are you not married? A girl like you should get married.” This would not have been a problem if he did not have a few too many every night, forget he badgered me about my marital decisions the night before at dinner and go at it again the next night. It was like a drunken marital groundhog day inquisition. But hey he was the client.
10. What’s the biggest challenge in balancing your professional and personal life?
Not bringing home the boss
11. If you could have a do-over, what career would you pick for yourself?
I would own a comic book store.
12. We all hope to retire some day. What do you want to do in retirement/where would you live?
I want to live in somewhere in South America or Mexico. Because my money will go longer in the form of a peso and lord knows there will be no SS when I’m ready to retire. And I want to slow down, do something less controversial, maybe go into politics.
Elizabeth Cogswell Baskin, founder & CEO, Tribe, Inc.Primary Business: Internal communications for national and global brand 1. Do you own the company? If so, what year did you launch it?
Yes, 2002.
2. If your business model has changed over time, please briefly tell us about it.
We started as a consumer brand agency, because my background was in television and print branding. Eventually we realized that our most interesting (and profitable) jobs were usually employee communications or culture work in companies like Porsche and UPS. Now we focus solely on internal branding and refer any external branding jobs to other agencies.
3. How did you get your start in the business?
I started as a newspaper reporter right out of college, which was a fantastic first job. My first ad agency job was after I’d gone back to school at Portfolio Center a number of years later.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry?
My biggest challenge was always how to live a life outside of work–while working the sort of hours we worked back in the day. Spending weeks at a time on shoots in LA or New York didn’t help, especially after I was married. Now, I feel like my life is very relaxed and pleasant, but there were many years that it wasn’t at all. (I also didn’t stay married to that guy very long.)
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist?
The biggest challenge today is that there are few companies who can invest the time to train entry-level employees. They sort of have to learn it on the fly. The good news is that Gen Y is great at that. They are much more confident in their abilities than my generation was, and they jump right in fearlessly.
6. Is there a shortage of women in the advertising and entertainment production community?
In marketing nowadays, most people seem to be women, both on the agency and client side. Back when I was in the ad agency world, there also were always a lot of women in whatever agency I worked for. But women directors were rare. For instance, the first time I worked with Laura Belsey in the early 1990s, I didn’t know of any other female directors.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage?
Don’t see it as a problem anymore.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound?
9. Are you married?
Yes, to a guy I worked with in an ad agency 20+ years ago. He was supposed to be a fling.
10. Do you have kids – how many, how old?
Sam is 13 and Cameron is 23.
11. Can you share a poignant or funny “being a woman in a man’s world” story with us.
I remember as a young copywriter going in to show my creative director some copy and him asking me to read it aloud — while he flipped through the latest issue of Playboy. That was just the environment back then. Honestly, I think people smoking in the office bothered me more.
12. What’s the biggest challenge in balancing your professional and personal life?
Remembering to say no to the things that don’t make me excited. Actually, I wrote a book about that too. It’s called “Hell Yes: Two Little Words for a Simpler, Happier Life.” Or something like that. I always get the subtitle wrong.
13. If you could have a do-over, what career would you pick for yourself?
Primatologist working with gorillas and chimpanzees. There was a time when I felt torn between apes and advertising, career-wise.
14. We all hope to retire some day. What do you want to do in retirement/where would you live?
I’d like to be writing novels. I could stay right here in Atlanta or move to the beach. Or both.
EXTRA:
15. Please tell us a little bit about your book “How to Run Your Business Like a Girl”
When I was a young entrepreneur, I started noticing that the women business owners I knew seemed to run their companies differently from the way guys did it. I wrote the book partly to learn more about that. It’s a profile of three very different female entrepreneurs, plus Q&A with about 30 other women business owners.
A few of the major differences I found:
• Women seem to base a lot of their business intuition on intuition. They’ll look at all the facts, but then make a gut call.
• Women said over and over that building strong relationships was key to successful business
• Women seem to start their companies because they want more flexibility. I haven’t asked a lot of men why they became entrepreneurs, but my guess is because they saw it as a way to make more money or that starting a company was like a mountain to climb or an adventure. Women like money and adventure too, but many of them talked about how their own company gave them flexibility–over when and where they worked, whether they travelled, whether they were able to flex their work schedule around their kids’ schedules.
Laura Belsey, director/owner, Shadow PicturesPrimary Business: I’m a “cross-director”, now doing episodic TV, commercials, documentaries and film. 1. Do you own the company? If so, what year did you launch it?
Yes, 2002
2. If your business model has changed over time, please briefly tell us about it.
I’ve streamlined and diversified
3. How did you get your start in the business?
Shortly after I graduated film school (NYU) is did a test spot for a small agency. They liked it so much they hired me to do the real thing.
4. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist?
Both. The field gets more and more cluttered. But there are also opportunities that didn’t exist when I started.
5. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why?
Yes. The statistics are staggering. Obviously, it’s a problem.
6. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage?
That is a tricky issue and there is no easy solution. We know in our business that perception precedes reality. I do not believe that people are consciously discriminatory, but I recently read about a study on bias that was really fascinating. (http://www.nytimes.com/2012/09/25/science/bias-persists-against-women-of-science-a-study-says.html) Science professors, both men and woman, who are theoretically trained to look objectively at data, were equally less likely to offer women mentoring or a job when they were shown identical applications from either “John” or “Jennifer”. This just shows how deep and unconscious these cultural perceptions are.
But I do think change is possible, and every woman who is great at what she does and gets recognition for it, makes it easier for people to go beyond the paradigm of what they consciously or unconsciously expect a person in a position of power to be.
7. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound?
Directors, DPs and Creatives.
8. Are you married?
Yes
9. Do you have kids – how many, how old?
A 17-year old girl
10. Can you share a poignant or funny “being a woman in a man’s world” story with us.
When I first started directing (at the age of 23) people almost always assumed I was a PA. I remember once I had a conference call at lunch, and so by the time I got to the food line, there were no plates. The caterer explained that they had the exact number of plates per person being served, and that there was only one plate left, and that was for the director. I had a hard time convincing him that the plate was in fact being held for me. I simply did not look the part.
11. What’s the biggest challenge in balancing your professional and personal life?
The travel was really hard, especially when my daughter was young. And the unpredictability. You rarely know where you will be in 2 or 3 weeks…
12. If you could have a do-over, what career would you pick for yourself?
I can’t imagine doing anything else.
13. We all hope to retire some day. What do you want to do in retirement/where would you live?
I never want to retire! I hope to be directing into my ’80s and ’90s.
Michelle Curran, founder/creative director, Amber MusicPrimary Business: The production of music and also music supervision for commercials and short films
1. Do you own the company? If so, what year did you launch it?
Yes, 1993
2. If your business model has changed over time, please briefly tell us about it.
My business model has always been centered around producing the best creative product. We have certainly had to respond to reduced budgets and timelines. But basically we try not to let this affect the quality of our music. Technology has allowed us to have a global presence without the overhead of multiple offices. I prefer to put the budget into talent and production value. And I’ve found that I can do that more effectively by operating out of one central location rather than running three offices as I used to do.
3. How did you get your start in the business?
I worked in both an advertising agency as an assistant and then for Island Records and London Records doing promotion and also working on pop promos.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry?
The music industry is very tough and particularly male dominated. I’m not a “yes” person and I think I ruffled a lot of feathers by challenging people who weren’t used to being challenged. I think the biggest obstacle for me was finding people to work with who understood what I was trying to achieve. I really had to prove myself early on. It made me fearless but it can be lonely.
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist?
I do think when I started out there was less competition. However, Amber has been around for almost 20 years and I think that’s a testament to the fact that we know how to stay relevant. The marketplace is very cluttered so you have to be able to stand out in the crowd. It used to be easier to get into agencies to see people and discuss work face to face. That’s the biggest challenge today–getting time with people.
6. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why?
Yes, I think there’s a shortage. I don’t know if it’s a problem per se. But I think the work might be very different if more women were involved in the process. I think women do see things differently and we do approach issues differently.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage?
I think it’s up to every successful woman to be a role model and to encourage other women to follow their dreams. As an industry we need to attract the best talent, male or female, into the industry–but it’s worth asking how we can do a better job of reaching women who may not be considering a career in advertising, and understanding why that is. Perhaps we need to be present earlier in the education system.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound?
All of the above.
9. Are you married?
Divorced.
10. Do you have kids – how many, how old?
None
11. Can you share a poignant or funny “being a woman in a man’s world” story with us.
I was working at a music production company in London and asked if I could have a pay raise. I was still married at the time and their answer to me was, “You don’t need a pay raise because you’ve got a husband.” Now there’s equality for you.
12. What’s the biggest challenge in balancing your professional and personal life?
What personal life? Running a business like mine takes all my time up.
13. If you could have a do-over, what career would you pick for yourself?
The same as I do now or maybe a human rights lawyer.
14. We all hope to retire some day. What do you want to do in retirement/where would you live?
Retire, what’s that?
Fay Dattner, president, Dattner Dispoto and AssociatesPrimary business: Talent agent.
1. Do you own the company? If so, what year did you launch it?
Yes, with my business partner Bill Dispoto. 1987
2. If your business model has changed over time, please briefly tell us about it.
We have expanded from solely representing cinematographers to servicing production/costume designers, editors and producers. Our business has grown from providing talent for spots, music videos and independent films to repping Oscar-nominated feature talent.
3. How did you get your start in the business?
I earned my BA in film and television from New York University. I then broadened my creative perspective working as a producer, director and rep for ad agencies, TV commercial production companies and on New York feature shoots. My forte was representation and I embraced my ability to recognize extraordinary talent and artistic vision.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry?
I never recognized being female as a being a an obstacle. When I am working, my brain has no gender.
My biggest challenge was always to be “in” my time, rather than “ahead” of my time, as I am a forward-thinking creative person.
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist?
I don’t think it would be any different, yet today’s sluggish economy is definitely making things tougher. The sheer amount of information clutter we deal with today can be distracting, but as a business intuitive, I suspect I would identify today’s opportunities, regardless.
6. Is there a shortage of women in the advertising and entertainment production community?
We see a fairly equitable gender balance in the world of producers, costume and production designers. There are certainly far fewer female DPs than there are males. Historically, this has something to do with the physical demands of the job. And there are still fewer female directors who are trusted with sizeable budgets.
7. If so, do you perceive this as a problem and why?
Contemporary lighter-weight cameras mean women can enter the trade on a more even playing field. There is far less sexism in the world of cinematography today.
8. And if so, how can the industry improve the situation?
I believe true talent will always find its way to the top–whether the person be female or male.
9. What steps can be taken to rectify such a shortage?
Improve the economy! The economy has pushed us back to a more old-school “boys club” mentality. When money flows, people are more willing to give opportunities to talented women.
10. In what roles is the shortage most profound?
There are not enough female directors and DPs and sadly, because of this fact, there are not as many stories being told from a female perspective.
11. Are you married?
Yes, to my business.
12. Do you have kids – how many, how old?
My clients are like my children, and if that is the case, I have been a prolific mother.
13. Can you share a poignant or funny “being a woman in a man’s world” story with us.
Back in the old days, while participating in a panel at the ASC clubhouse, I had to ask a number of attendees before someone could point me in the direction of the ladies room. There, a camera man was all set up on his apple box fully blocking the door to the lady’s loo … so it was a struggle to gain entry. Ahhh the good old days – nowhere to pee on set.
14. What’s the biggest challenge in balancing your professional and personal life?
There is no such thing as a balanced life for any successful company owner and agent in today’s entertainment industry. It is extremely difficult to escape the current climate of “instant response.”
15. If you could have a do-over, what career would you pick for yourself?
Inventor of Facebook.
16. We all hope to retire some day. What do you want to do in retirement/where would you live?
I will die with my high heels on.
Madeline Di Nonno, executive director, Geena Davis Institute on Gender in MediaPrimary business: Non-profit 1. Do you own the company? If so, what year did you launch it?
No. Geena Davis launched the non-profit in mid-2004.
2. How did you get your start in the business?
I’ve spent the last 30 years in the entertainment industry beginning with internships during college at ABC in NY. Those college internships led to a full-time position after college graduation.
3. What was the biggest challenge or obstacle you faced as you made your ascent in the industry?
Back when I started, there were very few junior management positions. So, it required a lot of networking to identify and interview for those positions.
4. What do you think would be the biggest challenge or obstacle if you were just starting out today?
I mentor a lot of college graduates, and I advise them to establish their personal brand in terms of having a presence on Linkedin, being a part of other industry related organizations, volunteering. And, most importantly, to be extremely careful how they promote themselves through social media. There have been many instances where people have lost scholarships and jobs because of an inappropriate post from a friend or from themselves on Facebook etc.
Aside from that, given the technology revolution, the graying population in terms of healthcare, I believe there are many new industries that are growing which didn’t exist 20-30 years ago.
5. Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist?
I believe it would be easier. As a creative, you can use the power of YouTube and other social media tools to get your work out there.
6. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why?
Yes. We have the largest body of research on gender images and gender representation in front and behind the camera. Our recent research analyzing all family films from 2006-2009 showed that there is an approximate ratio of five males to every one female working behind the camera. Only 5% of all directors, 13% of all writers and 20% of all film producers are female. Given those statistics, it’s important that women coming up the ranks are networked, find sponsors and mentors to help them move up the rank. I was very fortunate to have male and female mentors along the way.
7. We all hope to retire some day. What do you want to do in retirement/where would you live?
I believe in what Sherry Lansing’s has said “Don’t retire, rewire.” I don’t ever see myself retiring, however, I would continue to serve in the non-profit community.
Nicole Dionne, executive music producer/owner, PrimalScream Music
Primary Business: Original music for all media
1. Do you own the company? If so, what year did you launch it?
Yes. April 1995
2. If your business model has changed over time, please briefly tell us about it.
During the first few years of PrimalScream’s existence, I had hired “commercial” music composers and “commercial” sound designers. Once I was awarded the BMW Films campaign, where BMW and the agency wanted to work with and hired film directors to shoot the commercials, it became interesting to me to match that concept as well as so interesting and exciting to work with bands, singers, musicians, composers who were not specifically commercial composers, but who were creating music already that people wanted to listen to either in buying their music on iTunes, CDs, going to see the bands live, etc. So it was a wonderful expansion and allows me and our PrimalTeam to continue working with our same clients yet keep it fresh, interesting and advancing musically each time. My clients are thus able to have the confidence in our production level from past experience, and at the same time venture out into different genres of music for their brand and picture. As well, our original model started out in Los Angeles and now as artists have expanded their producing skills and studios and moved to different parts of the country, we have expanded to Austin, TX as well. After a decade of working out of Austin and working with Austin artists and musicians in the past, it is now official that PrimalScream is in both cities, which is super exciting.
3. How did you get your start in the business?
I worked for a director at RSA for a while and became acquainted and intrigued with the creativity and innovation with commercials and the advertising industry. Subsequently, I was hired at Machine Head to work with Stephen Dewey, a very dear and talented friend, on music and sound design for commercials, and then started PrimalScream.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry?
The greatest successes in my life have been things where if I had ever known in advance how hard they would have been to do, I don’t know that I would have had the courage to do them. Starting PrimalScream was one of those. It was so challenging, yet it ended up being such a great gift in every way imaginable; professionally and creatively. Although there have been many challenges, one of the hardest was believing in myself as an artist. This lesson came out of the worst obstacle I had been faced with, so even though I had a huge obstacle, that challenge made me step up to the plate and believe in myself rather than only backing others’ talents. I believe without a doubt that a large part of that confidence building was in part because I was a woman, and there was a difference in expectations from a woman in producing music. As much as I can say that I tried to stay naive to the belief that a woman really couldn’t produce music, situations would arise where I was not able to ignore it. For example, I took it for granted that of course I could produce percussion as I have been doing it forever and work with drummers and percussionists on tracks every day. The percussive element in music is such a driving and intense force, and can be so powerful with a visual in a hundred ways. Because I had been doing it for so long and never had any issues come up with the artists whom I was working with, I was very naive as to what others might expect or not expect from a woman. One time I had a male client in the studio with me while working with a drummer from a rock band, and he turned and said to me “I didn’t know a woman could produce rock percussion.” My challenge was to stay focused on my talents and working on them rather than to worry about what people thought or didn’t think I was able to do. And that has been very important to me.
5. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist?
I think that the biggest challenge if I were just starting out today in producing original music for advertising and all media, would be to make an impact as great as PrimalScream is able to make at this time. Being trusted by people who bring me into projects is something that I take very seriously and that as well takes time to build. To really make an impact takes being given trust; such as the responsibility to musically brand 6 channels for Starz, to produce music with incredible up-and-coming bands with the trust of my clients for Fruit of the Looms 30 million dollar rebrand during the Olympics not only for :30 spots but full-length songs as well, and to produce the score and license all of the music for an entire film is a gift of trust from my clients. It is something I most cherish and look to give back with the gift of great music; yet it takes many years of building trust to be able to do that.
6. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why?
Advertising agencies and the entertainment production community all benefit from hiring the best people for the jobs, thus opening our minds to the talents of women is very beneficial for everyone. I don’t know that I am in a position to have an opinion about whether or not there is a shortage of women in the advertising and entertainment world because I am not really hiring for those jobs. For myself, I love hiring women, and have many women who work in the production end of my business. But if you ask me how many musicians and band members, music composers, engineers and producers I work with, I would have to say those fields are male dominant. The important element is that I am truly as eager and as open as can be about working with women in those male dominated fields whom are as talented as the men. And I realize that just because there are fewer women in those fields, that it does not mean that a woman is not able nor less able to be incredible doing that work.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage?
I was invited to attend GSD&M’s Diversity Event last year that their head diversity coordinator, Max Rutherford, organized. At that meeting, I learned that their CFO was very intent on paying it forward and opening up production and creative opportunity for women in business. I learned that there are both small and very large corporations who have found that bringing in diversity vendors is important to their success, and this was a really appreciated idea for me. These corporations strive to give equal opportunity to Women owned businesses. PrimalScream thus became WBENC Diversity Certified, which gives us the opportunity to EARN business. I would never want someone to work with me because I am a woman, just in the same way that I wouldn’t want someone to not want to work with me because I was a woman. I just really appreciated the opportunity to have the exposure to earn business by doing incredible work for our clients, and feel that this is an incredible way for the industry to really advance its exposure to production capabilities and talent.
8. Are you married?
No.
9. Do you have kids – how many, how old?
I have a 3-year old son, Roklan
10. Can you share a poignant or funny “being a woman in a man’s world” story with us.
I was working on a very large and prominent car campaign with incredible footage, where each sound was quite important in terms of the music enhancing the spot and movement, emotion and optimism of the campaign and car launch. I had created in my head “the” sound I wanted for the campaign, and worked with artists on actually recording and mixing that sound in order to bring the music to my clients for the campaign. When our clients heard the tracks for the first time, one guy gave a standing ovation, the other said that he had never heard tracks that were so perfect before, that didn’t need any changes, and the third looked at me and said, “Wow, Nicole, I thought we just hired you because you were cute. I didn’t know you actually knew how to produce music.” He went on to say that I was the best music producer he had ever worked with, which was a huge compliment, yet truly at the same time it was a real eye-opener. I realized then how many things were affected by my being a woman, and how naive I was as to the challenges that others saw in my being a woman, that I actually didn’t see in myself. I wasn’t sure how I could ever show enough people what I could do with creating music, when I might have started out with such low expectations because I was a woman. I have always been thankful to that man for his compliments, yes, but also in opening my mind to how others might expect from a female in my field. I was completely naive before that people might not have high expectations from a music producer who was a woman.
11. What’s the biggest challenge in balancing your professional and personal life?
Up until becoming a mother, I never really had any challenge with balancing professional and personal lives. Before becoming a mother, my professional life really added so much to my personal life. They were fairly intertwined! Because I have always loved what I do and have truly chosen it as my passion and business, the things I tend to do around my career are really fun for me and thus those around me; being in the studio, talking with clients about what they want to do for their campaigns, working with them, obsessing about new music, seeing bands, etc. After I had my child a few years ago, I felt like I needed to discover “we”, because I was no longer a “me”, and that was a new experience. At first I thought it would be complicated to mix the two, but after the first campaign and then film, I realized that having a child actually motivated me so much! I bring my son to music festivals, he is in the studio with me and he is on the road with me when I work and travel with bands, yet the difference is that there is more time where I just work or just be a mother to him. There are sections of my life that are just one or the other more so delineated than before I was a mother.
12. If you could have a do-over, what career would you pick for yourself?
I love my chosen career of producing music to picture so much, that if I had to do it all over again, I would still be a music producer and create music with artists for picture. Yet if I was able to have multiple lives and fulfill another career dream, I would love to be a reporter. I really enjoy meeting different types of people and learning about different circumstances as to what motivates everyone, and I would love to bring that to the surface and fulfill my own curiosities. I am curious in nature about people and our world and how things work, that it is so fascinating to me to learn about… and thus would engage me continually like producing music does now.
13. We all hope to retire some day. What do you want to do in retirement/where would you live?
I have this image/fantasy of having a recording studio on a ranch with horses, attracting new and interesting talent to the studio to record and produce, as well as my son and his friends using it as a hands on tool to bring the kids all over to our house! One of my idols, Roy Thomas Baker, and his wife have something kinda like this now in the Mojave Desert, and I just think that it is so cool. The bands go there, live for a while and record. I think that is why I have PrimalScream’s studios located in famous recording studios, because it is really wonderful to have that “space” to really play and record, to take us to another place creatively… and how cool if we could take off on “Poncho” and ride into the sunset between tracking and recording!
Lesli Linka Glatter, president, Whatever Lola Wants ProductionsPrimary business: Film and television, I am a director as well as developing TV and film projects 1. Do you own the company? If so, what year did you launch it?
It’s a corporation. 1995
2. How did you get your start in the business?
I was a modern dance choreographer and made a short film based on a true story that I knew I had to pass on and I knew wasn’t dance. Ironically, it was everything I was told not to do if I wanted a job in Hollywood- it was 3/4 in Japanese, had flashbacks, narration, was a period piece set in World War II and had only one American character in it–and it was, luckily, nominated for an Academy Award!
3. What do you think would be the biggest challenge or obstacle if you were just starting out today? Would it be easier or more difficult (and why?) to establish yourself professionally and to attain your current role as an executive or leading creative or artist?
What’s exciting for filmmakers starting out today is that if you have a story you are passionate to tell, you can pick up a camera, a 5D, or whatever, get your friends together and make it. You don’t have to wait for permission. You can release in a theatre, on TV or on the internet…..it opens up a huge world of possibilities so that if you want to be a storyteller, you can be. But whatever the time, any filmmaker needs a huge amount of tenacity, a point of view, talent and somewhere , somehow, a little bit of luck.
4. Is there a shortage of women in the advertising and entertainment production community? If so, do you perceive this as a problem and why?
Absolutely! And, I still can’t believe that we are having to have this conversation in 2012. The statistics for women directors are the same as when I started directing, around 11%… totally unacceptable!
5. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage?
Everyone of us who is working has had someone who mentored them. Women have to mentor other women. I was in a meeting where I was actually told by an executive that ‘ We hired a woman once and it didn’t work so we aren’t going to hire another one’!! Can you imagine saying this about a white male director? Men and women who are in a position to hire need to seriously look at their hiring practices and be part of the solution. And, if you need a list of qualified women or minority directors, the Directors Guild has an up to date one….call them!
6. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans?
Directors and DP’s.
7. Are you married?
Yes.
8. Do you have kids – how many, how old?
A 21 year old son.
9. What’s the biggest challenge in balancing your professional and personal life?
It’s a constant balancing act…and I’m still figuring it out.
10. If you could have a do-over, what career would you pick?
I would do what I’m doing,I still love being a storyteller…and even on the bad days when everything goes wrong, I’m still incredibly grateful that this is what I get to do and that they actually pay me to do it. But if I had to pick something else, I would go back to my 5 year old dreams and be an astronaut or a cowgirl!
11. We all hope to retire some day. What do you want to do in retirement/where would you live?
I don’t know yet…can’t imagine retiring but check back with me in 10 years or so.
Click here to go to part 2.
For Women and Minorities in Production, Part III, click here.
For Minorities in Production, Part II, click here.
For Minorities in Production, Part 1 of Survey Responses, click here for respondents Carlos Guiterrez of Magnet Filmworks, Wendell Hanes of Volition Sound Recording, Malcolm Hardiman of Hack Studios, Eric Johnson of Trailblazer Studios, Jackie Lee of Company 3, Dora Medrano of Carbo Films, Jo Muse of Muse Communications, and Juan Pablo Oubina of Grupo Gallegos.
For Minorities in Production, Part 2 of Survey Responses, click here for respondents Bernanette Rivero of The Cortez Brothers, Elena Robinson of R/GA, Erika A. Salter of Salter Entertainment Group, LLC, and Paula Walker of Strato Films.
Does “Hundreds of Beavers” Reflect A New Path Forward In Cinema?
Hard as it may be to believe, changing the future of cinema was not on Mike Cheslik's mind when he was making "Hundreds of Beavers." Cheslik was in the Northwoods of Wisconsin with a crew of four, sometimes six, standing in snow and making his friend, Ryland Tews, fall down funny.
"When we were shooting, I kept thinking: It would be so stupid if this got mythologized," says Cheslik.
And yet, "Hundreds of Beavers" has accrued the stuff of, if not quite myth, then certainly lo-fi legend. Cheslik's film, made for just $150,000 and self-distributed in theaters, has managed to gnaw its way into a movie culture largely dominated by big-budget sequels.
"Hundreds of Beavers" is a wordless black-and-white bonanza of slapstick antics about a stranded 19th century applejack salesman (Tews) at war with a bevy of beavers, all of whom are played by actors in mascot costumes.
No one would call "Hundreds of Beavers" expensive looking, but it's far more inventive than much of what Hollywood produces. With some 1,500 effects shots Cheslik slaved over on his home computer, he crafted something like the human version of Donald Duck's snowball fight, and a low-budget heir to the waning tradition of Buster Keaton and "Naked Gun."
At a time when independent filmmaking is more challenged than ever, "Hundreds of Beavers" has, maybe, suggested a new path forward, albeit a particularly beaver-festooned path.
After no major distributor stepped forward, the filmmakers opted to launch the movie themselves, beginning with carnivalesque roadshow screenings. Since opening in January, "Hundreds of Beavers" has played in at least one theater every week of the year, though never more than 33 at once. (Blockbusters typically play in around 4,000 locations.)... Read More