Feedback As for that aforementioned SHOOT survey, a series of questions were posed to women who have established themselves in different sectors of our industry. The feedback comes from strong voices articulating thoughts on the state of women in business today as well as personal reflections and observations.
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:
Stacey Mokotoff, CEO/chairman, BBSPrimary Business: TV, interactive, print global advertising production consulting
1. If your business model has changed over time, please briefly tell us about it. Digital and global are a much larger focus than ever before. As BBS is global with a robust digital department we are well suited for this new business model
2. How did you get your start in the business? I was lucky to find a job in 1967, through a friend of a friend and I began my career at a production company as a receptionist–I thought I had died and gone to heaven. Sheer luck. I had just graduated from NYU with a degree to teach speech but had decided I didn’t want to teach. At that time, I thought traffic meant stop and that marketing involved a shopping cart. Answering the phones, ordering lunch and learning everything about production allowed me to remain with the same company for 15 years, eventually rising to be Exec. VP/exec producer. All a truly wonderful experience.
3. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? I was young, na๏ฟฝve and had no idea there was a glass ceiling. I offered to do everything and, although self-taught, ended up with a deep understanding of the business and proved that I could do what I said I could do. When I began in production there were no producers–ADs did the prep and the production company prepped before they came onto the scene. After watching what took place in preparing a shoot, I took on a good deal of it myself. I offered to check the math (calculators, pencils, erasers), became familiar with bid sheets and became the estimator. I was able to attend some shoots and volunteered to sub for the Exec Producer when he went on vacation. Nothing like trial and error but it worked. There were definitely a few role models but it was clear that I had to and could develop my own path. I watched how each phase of the business worked and I quickly saw that the directors had very difficult family lives and that the people traveling with them suffered in the same way. I decided to learn the business from the inside out and once I had achieved that and had become more settled in my life, the travel that came along was then very manageable There were no women running production companies or agencies in those days. Mary Wells Lawrence was the only women in the advertising spotlight – there may have been more but she stands out as the star. I had to push to have my husband’s medical insurance paid while all of the wives were covered. I had to fight for equal pay when my male counter-part was earning more for the same job. I had to stand up to directors, creative directors and executives in general to show that I had enough self-respect and knowledge to do the job as well as a man. Eventually I earned the respect I required to head up large companies and succeed, leveling the field for many women to come. When faced with a dilemma, I developed a silent mantra “what would a man do?” This has served me well During my years in production, I did quite a bit of global work and found that attitudes were still a bit iffy about women in charge – far more than in NA. The rest of the world is definitely a bit uncertain although women are rising to the challenge in all parts of the world and I have the good fortune to work with many of them.
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? You still have to network, use social media and get out there. Offer your services to companies that interest you. If you can afford it, offer to intern to show your stuff. I remember how many people passed through a production company’s doors–many offered to show how good they were and wanted to work for nothing. I often hired them just to see what they could do and many went onto be very successful and, remembering a few of the outstanding PA’s, went on to become famous
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? I know many successful women in the business and I believe that there is a good deal of equality. Despite the dearth of jobs, women seem to be well represented.
6. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? I have known a small handful of women directors and editors but this does not seem to be an area in which women have been successful. This may change with the continuing rise of film school students. The next Sophia Coppola or Thelma Schoonmaker may be just around the corner.
7. Are you married? Yes.
8. Do you have kids – how many, how old? We chose not to have children although we love our friends’ children.
9. Can you share a poignant or funny “being a woman in a man’s world” story with us. When I came to the job interview in September of ’67 at the production company, the woman who hired me told me she was getting married over Thanksgiving weekend. I told her that I had just became engaged and was getting married a week later on December 3. She told me that the men who owned and ran the company assumed that once a woman was married she would then become pregnant and quit. I told her that was not my plan but she suggested that I not tell them about my engagement right away and would I be willing to wear my ring pinned to my bra until such time as we both felt the news could be well absorbed. I remember the day, several months later, when I came in and announced that I was engaged. The reaction was just as she predicted but I convinced them that I wanted to continue to work and that children were in the distant future. I imagine today that would not fly.
10. What’s the biggest challenge in balancing your professional and personal life? It’s always hard to have a “dual” life and my heart goes out to the working moms in particular. The iPhone is always on (early with Europe and late with Asia) – even when it’s off it’s on in my head. Working globally means that the clock never stops as well. In order to balance your life in any way you have to marry the right person. I give him most of the credit.
11: If you could have a do-over, what career would you pick for yourself? I would do it all again! I have loved my work and that is a good thing
12. We all hope to retire some day. What do you want to do in retirement/where would you live? I would like to mentor teens, discussing life’s priorities, self-respect, valuing yourself, how to deal with life’s challenges. I have been fortunate to have had two careers that allowed me to travel to exciting and interesting destinations, yet there is still a great deal to see. I would like to continue to see the world, perhaps not just before and after the pre-pro.
Ramaa Mosley, director, Trio FilmsPrimary Business: I direct commercials.
1. Do you own the company? No, Erin Tauscher and Taylor Ferguson are the EPs.
2. If your business model has changed over time, please briefly tell us about it. When I first started directing commercials 14 years ago, I had just graduated college. That same year I was signed by my first production company. I was 22 years old and directing ad campaigns with budgets of a million dollar. It felt a bit like the Wild West. That doesn’t happen now. I’ve watched the industry change and creative change. Budgets are lower but there’s more opportunities to do truly innovative work. Viewers don’t want to watch commercials that sell them something–they want to watch commercials that are entertainment. The biggest change is towards “viral content” or what I call, emotional impact.
3. How did you get your start in the business? I graduated college and spent a freezing winter in NYC making a music video for my friend’s band. I knew no one who worked in the film industry so I just picked up a phonebook and called people. I was lucky enough to convince an editor at Crew Cuts to help me edit–and without my knowledge, he ended up sending the finished piece out to commercial EPs. Within a week I had seven offers from the top commercial companies at the time. I was raised in a very poor family. We grew up on food stamps and welfare. Suddenly, I was sitting across from producers at fancy lunches, listening to them point at me and say, “You’re going to be a superstar.” It was all very surreal. I learned quickly that the industry has its highs and lows. It’s important not to listen to the hype about your work but to listen to your intuition and creative instinct.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Having access to great creative. The top tier work goes to the same five directors. Understandably people build relationships and want to keep that going. I’m constantly thinking about how I can prove myself so that I can have a chance to direct amazing projects. You can’t stop for a minute. You have to keep pushing forward. Every job needs to reflect a commitment towards doing something special and memorable, even if the script doesn’t start off there.
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 obstacle would be the amount of competition 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? I think there are some incredibly talented female directors. I don’t think there’s a shortage but I think we get sent a certain type of work. For the longest time I didn’t want people to know I was a woman. I wanted them to look at my reel and think that a man had directed the work. I tried to only do sports spots. This lasted a short while. I couldn’t hide my identity. I am obsessed with directing amazing spots that have action and narrative. I think that often women are sent the vignette “lifestyle” boards. Of course, when I see an amazing real people spot, I’m filled with jealousy. I suppose it’s an overall desire to just do fantastic work–and the knowledge that I’m capable but I need the opportunity. I think perhaps being a woman can be a hindrance because agencies don’t think “Ramaa Mosley–Let’s give her that big Heineken spot.” Yet coming off my first feature film, I directed a movie filled with effects and action sequences. I want to bring that to my commercial work.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? Again, I think it’s more about creatives being open to directors. It’s not the “industry” per se. It’s individual agency producers and creatives making the choice to break stereotypes and have a woman direct their car commercial or beer commercial.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? I don’t see a shortage. Everywhere I look there are talented people. I think perhaps there’s a shortage of really good sale reps.
9. Are you married? Yes, I’m married to Cameron Gray, a conceptual artist; he’s the man of my dreams and I’m deeply in love.
10. Do you have kids – how many, how old? A 10-year-old daughter and seven-year-old son. Yes, we started young! No, I don’t plan to have more children unless we adopt.
11. Can you share a poignant or funny “being a woman in a man’s world” story with us. Seven weeks after giving birth to my daughter, I was shooting a five-day Callaway Golf spot. I was pumping milk in the golf cart between set-ups. The sad part is that I didn’t want to tell the agency I had a newborn because I was worried I wouldn’t get the job…and I wanted that job so much. That was a difficult time. Men can have children and not have it change their work or how people perceive them. I was in my 20s trying to balance a new career and having a baby. It was a lot.
12. What’s the biggest challenge in balancing your professional and personal life? The biggest challenge is that I’m ambitious. Family life would be so easy if I didn’t want to compete with the top directors (which I’m not even close to doing yet). I want to do Noam Murro and Lance Acord quality work. I want to be Fredrik Bond. I feel guilty because my children don’t know or care who those people are–and they would be much happier if I were a stay-at-home mom. I suppose if I had won the awards and was directing the top tier work but didn’t have children at this age, I would be extremely depressed. Thank you SHOOT–this is good therapy. I am happy with where I am. I love my family and I’m grateful everyday for my beautiful children. I just want more opportunities to do better creative work.
13. If you could have a do-over, what career would you pick for yourself? I’d work for the CIA or NSA. I’m very good at getting people to do things for me. I would like to be good with weapons.
14. We all hope to retire some day. What do you want to do in retirement/where would you live? I don’t want to retire. That concept feels outdated. Why would I want to sit around and do nothing? I want to be creating until I die.
Mardrie Mullen, executive VP, Clairmont CameraPrimary Business: Professional motion picture film and digital camera rentals
1. Do you own the company? If so, what year did you launch it? No. 1980 (I’ve helped build this company)
2. If your business model has changed over time, please briefly tell us about it. Service from beginning to the end is of utmost priority. Great gear and prices are not enough, making the bean counters happy is just as important.
3. How did you get your start in the business? Receptionist at commercial production house Wakeford/Orloff in Hollywood.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Commanding respect from men; doing an excellent job consistently helps.
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 it is a little easier today than 30 years ago. We have many great women who carved a path for us.
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 feel the mix has greatly improved, but not quite 100%.
7. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? Anything artistic. I’d like to see more women cinematographers and directors.
8. Are you married? No.
9. Can you share a poignant or funny “being a woman in a man’s world” story with us. Probably so many that I can’t think of one, if I come up with something, I’ll let you know.
10. What’s the biggest challenge in balancing your professional and personal life? Not having a personal valet.
11. If you could have a do-over, what career would you pick for yourself? I think I serendipitously landed in the perfect career for I can do a little of everything.
12. We all hope to retire some day. What do you want to do in retirement/where would you live? I don’t want to retire, but I’d love to live by the seashore in a smaller town without traffic.
Liza Near, sr. VP, executive director of integrated production, MullenPrimary Business: Mullen is a full-service (we call it “hyperbundled”) agency. We handle everything: creative development, design, production, media, PR/Social, DM/CRM across all media including traditional, digital, mobile, social and emerging.
1. If your business model has changed over time, please briefly tell us about it. Mullen has evolved from a small creative boutique started in 1970 in to a hyperbundled agency now ranked in the Top-25 in the U.S. based on billings and as a Fast Company Most Innovative Company in 2011.
2. How did you get your start in the business? I did a college internship at a small advertising agency when it looked like teaching jobs were going to be scarce upon graduation. I picked advertising because my grandfather had been a “mad man” and I loved the stories he would tell.
3. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Staying true to myself.
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? I believe it would be easier because there are so many roles in so many more disciplines. Online and experiential work have opened the world up in so many ways.
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? In my own experience, I work with tons of fabulous, talented women in this business. But on a grand scale I do believe there is an imbalance and anytime there is an imbalance it presents a problem.
6. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? I think it’s unrealistic to ever expect the industry to adjust the madness when it comes to hours/schedules/deadlines. But I do think that this is one area in which technology may be our friend as virtual work becomes more widely accepted.
7. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? In my experience I know the fewest female DPs and senior creatives.
8. Are you married? Yes, to the same man for 20 years.
9. Do you have kids – how many, how old? Two sons, 16 and 18, and two stepdaughters, all grown up.
10. Can you share a poignant or funny “being a woman in a man’s world” story with us. I could…but I won’t!
11. What’s the biggest challenge in balancing your professional and personal life? Giving 110% to both.
12. If you could have a do-over, what career would you pick for yourself? I would probably do it all again.
13. We all hope to retire some day. What do you want to do in retirement/where would you live? I dream of taking painting classes in Truro, MA.
1. Do you own the company? If so, what year did you launch it? No. Deluxe is a subsidiary of MacAndrews & Forbes Holdings, Inc. In 2006, I launched Beast Editorial (serving as founder and managing partner), with six editing partners. Beast was purchased in 2009 by Ascent and then purchased by Deluxe in late 2010.
2. If your business model has changed over time, please briefly tell us about it. The postproduction business is constantly changing due to technological advances, fluctuations in the market/economy and demographics. Best Editorial adapted its business model to reflect the demands of the market by offering new services and catering to a multicultural clientele. Recently we’ve launched a Latin Division to focus on the U.S. Hispanic and Latin American markets. In addition, we have partnered with several notable feature film editors to offer our clients a wide range of talent. Essentially, we’re always adapting and adjusting to remain on top of our game.
3. How did you get your start in the business? After receiving my BFA in Film, I was the Academy of Television Arts and Sciences’ Commercial intern. Immediately after my internship, I started working at 2Pop, a commercial editing boutique.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? The biggest challenge I encounter is trying to move businesses forward to meet the changing needs of our clients. In management there are often people who like to slow things down and people who like to move things forward. It’s the push and pull that I find challenging.
5. What do you think would be the biggest challenge or obstacle if you were 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 believe the challenge in starting your career in advertising, film or media is the same challenge today as it was when I left film school–standing out from other qualified candidates. Email makes it even harder to gain personal contact with the staff that makes hiring decisions. You need to be able to differentiate yourself.
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? No, there are many powerful, smart, charismatic women in the advertising community. We can find women in lead roles at agencies, production and postproduction companies.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? We have to remain vigilant in terms of women representation in any business sector but I am proud to be part of an industry that has always had a substantial number of women in charge.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? Perhaps we could see more women directing, editing and mixing but there may be a reason for it that is not necessarily “discrimination” but simply a matter of career preference. I certainly don’t see a shortage of women leading in creative agencies or production or post.
9. Are you married? Yes.
10. Do you have kids-how many, how old? Three children, 17, 13 and 9.
11. What’s the biggest challenge in balancing your professional and persona life? One of my biggest challenges is managing my time as well as my energy. I guess it’s safe to say we all face challenges balancing our professional and personal lives, but it’s crucial to always make sure you make time for yourself. The business is 24/7 and all consuming. It’s important to stay grounded and focused.
12. If you could have a do-over, what career would you pick for yourself? Actually, I think I would choose advertising again. It’s creative and ever changing.
13. We all hope to retire some day. What do you want to do in retirement/where would you live? I hope never to retire but to shift into other areas that I am interested in. Where will I live. That depends on where my children settle.
Susanne Preissler, executive producer, IM (Independent media)Primary Business: Commercials, branded content, television and film
1. Do you own the company? If so, what year did you launch it? Yes. 2000.
2. If your business model has changed over time, please briefly tell us about it. It started as just a commercial company and as things evolved both internally and externally we bridged into other mediums. It was a natural progression.
3. How did you get your start in the business? Working for other production companies including Propaganda. I was a PA, learned to bid, learned sales, worked on both sides: production company and agency. Worked hard. Always loved film.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Gossip was and is always an obstacle.
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 the budgets have gotten smaller, the expectations/demands greater. You just have to find a way to stretch the dollar without loosing the creative integrity. It’s truly a balancing act. One has to be ready to really tear apart a budget and think outside the box. Some people appreciate that and will take a leap of faith with you. You have to be prepared to really follow through no matter what. You take on a job and just have to make sure that it’s done right.
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 and I have been trying to figure out a way of addressing this. I think that there are so many talented creatives that are women. There are so many talented producers that are women. Everyone is a part of the process. I am one that believes that the work stands for itself, but I have come to feel that it’s much more than that, it’s the perception. Women naturally are hard workers, they don’t self promote.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? I think that the clients can’t just demand that agencies use minority companies, hire women, they also have to oversee this demand. There has to be true checks and balances not just the checking off of boxes.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? The shortage is across the board. I think you have a substantial number of creatives, producers….crew is another topic. What I see happening is that there are more female DPs who are breaking through, although it’s taken time.
9. Can you share a poignant or funny “being a woman in a man’s world” story with us. When I was a PA and trying to get a staff job, I went to a well regarded production company that is still around. I was pulled into the office of an “esteemed” EP who proceeded to interview me for a position at the production company (assistant). I remember his words “Susanne, in life there are sled drivers and sled pullers….you will always be a sled puller”. I remember how I felt when I left that man’s office. I knew I wasn’t getting the job……but the residue of those words stayed with me.
Years later, I was an EP at Propaganda and my boss called me and told me I had to take a meeting with a “guy he knew who was looking for work, maybe even a staff position..”. When my boss told me this man’s name, I about fell out of my chair. It was the same man who had crushed me years before…..I took the meeting and didn’t say one thing.
10. What’s the biggest challenge in balancing your professional and personal life? When I get it right, I will let you know. I think I care and invest myself beyond what is expected, but feel that is my job. The result is that you sometimes don’t turn it off.
11. If you could have a do-over, what career would you pick for yourself? Writer/journalist.
12. We all hope to retire some day. What do you want to do in retirement/where would you live? I haven’t gotten that far yet. Maybe I will become that writer journalist and travel a little more. There is something about the coast of Maine that is appealing, as well as the big skies of Montana. Something simplistic about the sound of those two places.
1. Do you own the company? If so, what year did you launch it? Yes, along with Rebecca Skinner and Stavros Merjos. We launched in 1987, Rebecca and I became partners in 2010.
2. If your business model has changed over time, please briefly tell us about it. HSI’s business model is most definitely changing now that Rebecca and I are partners. We are excited to bring something fresh and current to a company that has been around for a long time. Stay tuned.
3. How did you get your start in the business? I was a receptionist at HKM Productions.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? The biggest challenge was my age and being taken seriously. I was very young when I started as a jr. rep but it wasn’t long before I proved myself with my companies and the clients.
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? Funny enough, I think it would be my age again BUT this time too old. Ha. There is so much new young talent these days whether it be directors, creatives, producers etc…. Wow that is such a woman answer. Shame on me.
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? Actually I do not feel there is a shortage. We work with so many amazing women including line producers, agency producers, and creatives. Not to mention our office in particular is a hen house.
7. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? I would say we need more female directors. And to me this is the category where I feel woman would and could really make an impact.
8. Are you married? Yes.
9. Do you have kids – how many, how old? Two boys, 3 months and 3 years.
10. What’s the biggest challenge in balancing your professional and personal life? Time!! I always feel I am failing, either with work or with my kids by not giving the right amount of time to both. I am just now learning the balance. It is very important to me to make sure I am a big part of my children’s lives. This business can take over your life if you let it.
11. If you could have a do-over, what career would you pick for yourself? Same, I love what I do!
12. We all hope to retire some day. What do you want to do in retirement/where would you live? I am excited to eventually move out of L.A.!! It was such a great place to grow as a person and has really made me who I am personally and professionally. BUT eventually would love to move North or who knows maybe even back to Ohio where I am from. I am Midwest girl at heart.
1. Do you own the company? If so, what year did you launch it? Yes. Launched in 1977 by my partner.
2. If your business model has changed over time, please briefly tell us about it. Lively Group’s business model has always been rooted in our clients’ creative needs. What started out as a one-man editorial shop has evolved into six brands, each with their own specialty working across any platform for any screen. Creative Talent and technology in one location might be the new normal, but it is an original element in our business model DNA.
3. How did you get your start in the business? A wonderful woman named Doria Steedman hired me right out of college and mentored me from day one and throughout my career.
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? I think both. Things move at a breakneck speed today providing the opportunity to move up much more quickly. At the same time, from what I observe, the pace does not provide the opportunity to gain the experience and hone the skills that make one successful in the long run.
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, in most key positions. The fact that a “woman owned” company is a classified as minority owned says it all! Restricting access to high-level decision-making power for any reason other than talent or merit supports a status quo mentality, and that ultimately doesn’t benefit the strength of a creative community.
6. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? The more senior the position, the bigger the problem.
7. Are you married? Yes.
8. Do you have kids – how many, how old? One daughter – 23 years. old.
9. What’s the biggest challenge in balancing your professional and personal life? Time is always the key issue.
10. If you could have a do-over, what career would you pick for yourself? Musical conductor.
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.
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
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