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:
1. Do you own the company? If so, what year did you launch it? Yes–isn’t that why I’m being profiled? With male partner in 1996; rebranded with sole ownership in 2001, a WBENC certified company since 2008.
2. If you business model has changed over time, please briefly tell us about it. We started as a one director, regional shop doing corporate and commercial projects and have grown into a national, multi-director company, internationally recognized for creating a myriad of advertising content, feature films and TV shows.
3. How did you get your start in the business? I started as an assistant account executive at BBDO NY in their training program. I was told that I “hung out too much with the creatives” and “dressed too much like one” and would “never move up unless that changed.” I started wearing pumps and pearls and continued to hang with creatives. I got promoted. Yearning for a less corporate experience I landed at FCB/SF as an account exec on Taco Bell where I was hired as AE but ended up playing junior producer to Rob Thomas. There, I much preferred my time on set and in edit rooms…to the tasks of doing decks and strategy. I decided to leave agency life, and had prospects at ILM and a small place called Red Sky Films. I chose small, hoping I’d get more experience. And I did. I went from answering phones (for a day) to assistant to the EP and then got pulled onto a shoot in LA as a coordinator when a job lacked production support for the poor line producer. Two plus years later I left Red Sky as a producer and went traveling around the world. A director I had worked with, Jim Barton, asked me to come back early and produce some jobs for him, which led to our partnership in kaboom. We started a company with no name recognition, a young director (him), located in SF. Needless to say, we didn’t realize we were doing something unheard of. I didn’t know any better. And that proved to be a good thing.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? I think the biggest challenge we faced was being located in San Francisco and convincing people that we were not a regional SF shop, but rather a production company of national merit that happened to be based in SF. Of course none of this struck me as a problem until I “knew better” years later. It did not help that I was a woman, nor had I come up through the ranks in the Los Angeles production business. My other challenge–as a woman–is “spin,” Even today, men are often better at self-promotion–whereas women seem to naturally gravitate to the promotion of others. I work really hard but have had to learn how to be better at promoting myself along with the company and directors. Perhaps that’s why I rely so heavily on my PR gurus at Hype.
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 would never start a production company today. Part of that stems from the fact that I never really set out to start one. It just happened. My then boyfriend had broken up with me after our round the world jaunt together and I needed something to throw myself into and provide a distraction. Enter: kaboom. Having said that, there are multiple challenges that companies face that would be hard to overcome as a start-up today including insane competition and ever-dwindling budgets with the same or higher expectations. Becoming an EP was the confluence of hard work and events that just conspired to create the right opportunity. I don’t know that I would have the energy to build a company today with the myriad of forces working against us. Then again if I stated with the same wide-eyed enthusiasm and lack of obstacles that I did then, maybe I would be able to do 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 recently attended the 3% conference in SF–focused on women creative directors in advertising (and the lack thereof). The same lack of female representation is true in production. Women have decent representation in the EP role, often running those companies for the men who own them. But there are very few women who own their own companies, and even fewer who don’t have a male business partner. Why is that? I think it’s the same reason it happens to women creatives in advertising. It’s incredibly demanding and as women have families and a career, it becomes more difficult to “have it all”. There is a real push for EPs to be available all the time to directors, and running a company is stressful. We all need to a better work life balance, one where men and women are okay having a dynamic personal and work life. I went back to work at week 6 and 5 respectively with my two kids. That’s really not ideal; but it’s what I felt was expected of me. The 3% conference spoke of the “male lens” and how so many images of women and girls in society come from how men perceive us to be. To grow a better human population we need to reflect a lens of advertising which rings true to the reality of the marketplace and society, one that is not all male focused.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? Women mentoring other women, having men create a balance in their work lives so women don’t feel guilty doing it too, encouraging men to lead a more balanced work/home life so they can support their working wives without being emasculated in the process. And need I say it?- hire us! There are many steps being taken by agencies and clients alike including diversity goals, but there is more talk than action. All business is about relationships and then doing great work OR doing great work that opens the door to relationships. But if you can’t access great work or pivotal relationships then neither happens. So we need some forward-thinking folks to break the cycle. GSD&M is an agency on the forefront. I went to a diversity day at the agency where they welcomed women/minority owned companies to meet the decision-makers. Like this experience, we need people to put their money where their mouth is and support giving women-owned companies a shot.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? I think the shortage is most profound in the actual creative people in our business: directors, DPs, editors, composers and so on. kaboom represents ricki+annie–amazing doc directors–but I have had a hard time sourcing more female directors. We don’t do enough to encourage women to engage in these aspects of our industry and we need to. And the more women that enter the ranks of these professions, the more who will feel the door is open to join them. To quote the 3% conference: “you can’t be what you can’t see.”
9. Are you married Yes, but it took me awhile to get around to it!
10. Do you have kids – how many, how old? Yes I have two kids. One girl aged 5 and one little boy aged 3.
11. Can you share a poignant or funny “being a woman in a man’s world” story with us. Here are a few highlights: going to a really grungy strip club with a group of male creatives and their male agency producer (who chose the venue); the trend of male creatives and directors always casting a normal looking guy with a beautiful woman in the role of girlfriend or wife; pumping (breast milk) while still typing emails at my infamously fast two finger typing rate.
12. What’s the biggest challenge in balancing your professional and personal life? My first response to this question is to counter with, “Would a male industry leader be asked these personal questions about children and the balance of work and home life?” Doubtful. But maybe we’d all be healthier if we were more open about our personal lives regardless of gender. The reality is with the 24/7 work week, the ability to work anytime, anywhere using an array of technology; and the use of social media, those two worlds have been blurred in a way that did not happen a decade ago. But to answer the question, the biggest challenge is all of it. Not wanting to let anyone down; family or directors or staff. I think women have this feeling or are pressured to feel that we can do everything and be kick-ass at all of it. Amazing at our jobs, doting mother, great wife/partner….and we need to look good too. Admittedly, it’s hard for many working women to let go of every responsibility. This morning, as I prepared my husband to take over on the day before a sales trip to Chicago, I was prepping him on making my daughter’s lunch and told him how to cut the cheese just the right way. What’s that about?
13. If you could have a do-over, what career would you pick for yourself? When I was in my senior year at Dartmouth, the CIA recruited on campus and I went through the whole interview process. And that seemed cool to me, to be a field officer in the CIA, traveling and being involved on the ground in international geo-politics. Towards the end of the process they informed me that when you do get accepted -no one but your immediate family can know. Everyone else has to be told you didn’t make the cut. As it turns out I did not ultimately get accepted to join the CIA. At least that’s what I am telling you…
Rhea Scott, president/executive producer, Little MinxPrimary Business: Commercials. Music videos. Branded content. Short films. Segue into films.
1. Do you own the company? If so, what year did you launch it? Yes. 14 years ago, while pregnant with my daughter Cuba. I had nausea from both the new business and the new baby at the same time.
2. If your business model has changed over time, please briefly tell us about it. I started with music videos, which is what I knew from my Propaganda Film days. In fact, it all started with a multi-million dollar Janet Jackson video and then segued into commercials. My directors were interested in making films, and making commercials was a better way to open the door into films.
3. How did you get your start in the business? I was 24 years old when Propaganda asked me to run their music video department, because they had heard of this persistent girl who kept knocking on people’s doors. From representing a few little-known directors, I went into representing 50 top directors, slamming right into the job as David Fincher was finishing a huge Madonna video that went over budget. It was terrifying.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? For one thing, I had no idea what I was doing, so I had to learn production on the spot. I also had such a huge roster to deal with and all the problems and conflicts that came with that. Some directors had been sitting on the roster for a long time and needed some resurrecting, and some no longer fit aesthetically in my opinion–but I had to try to sell them all. For those who know me, that was tough, as I am fairly transparent. But I had good instincts, so I kept at it.
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? There is no way I could start a company today making videos, no matter how big, because the multi-million dollar jobs that a lot of companies were built off the back of just don’t exist. Starting today is very tough, unless you have a name director attached, and even then the competition is fierce with strict budgets. Even now, with the support of an incredible company like RSA, it’s tough today to break new talent. Starting a business in the current economy would require even more stamina and persistence. I don’t think gender has much to do with it, though – we are surrounded by smart women here at RSA and I sometimes feel a little sorry for the men around us. It’s like a city of women here.
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? There are so many smart women in our industry that I respect and admire, I’m not sure that I feel that we are shortchanged of them. From Jules Daly or Kai running RSA, to Jackie at Park, Mindy at Epoch, Lisa at Smuggler, I feel that women have a strong voice in the industry. But there is a visible imbalance still, and I think that is because first and foremost, we are all running businesses, and there is already a clear path carved out for men in many roles. Most of the time, we do what feels comfortable and what we think will ensure success. It may not consciously come into play, it’s just a fact. The other thing is that there are simply not as many women available to fill these jobs, for one reason or another. Perhaps it is that they are perceived as more male dominated or unsteady and women just back away from them in school or in beginning training.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? The situation is continually being improved, if you can even call it that, by the strong women first of all just going out and DOING IT, whatever it is that they are inclined to do, pushing past any imaginary boundaries and making people pay attention. That is always the first key to success. I am a strong believer in advocating for other women in the industry, and in simple awareness of the imbalance. I belong to Mad Women Of Advertising, a networking group of some fabulous female leaders in the industry started by my friend Jacquie Boznak from Idealogue, and that has been a great source of inspiration to me.
8. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? It does seem that women are quite well-represented in the more “mother figure” role–producers, executives, managers, taking care of talent and getting things done in production and on the agency side. On the creative side the pendulum still leans toward men, and that is especially true with directors, DPs, editors, post-production, creative directors. It takes a certain kind of confidence and persistence to break down the doors to becoming a director, for example, and you also can’t do it alone. You have to find a producer or a company that is willing to stand behind and support you for the long haul. This is happening more and more. It just takes time.
9. Do you have kids – how many, how old? Four kids.
10. Can you share a poignant or funny “being a woman in a man’s world” story with us. The most poignant image I keep in my mind was a meeting when I was at Propaganda. We were all in the round conference room and Jan Wieringa, who ran the commercial side was really being read the riot act, but she was so well-spoken and completely holding her own. I remember watching her with a kind of awe, and then looking around the table at all these men flaring up, and in a surreal moment of clarity I realized they all had goatees! Fincher, Romanek, Golin, Dickstein…even our accountant. To this day, I hate goatees.
11. What’s the biggest challenge in balancing your professional and personal life? With four kids, I have to have the right help at home. When my nanny takes a few days off, I am in big trouble.
12. If you could have a do-over, what career would you pick for yourself? Landscaping, something with horses, and go straight into making cool independent films, which we are doing this year at Little Minx – and it is so inspiring.
13. We all hope to retire some day. What do you want to do in retirement/where would you live? Move to India, live in a very small cabin on top of a hill, go swimming naked every day. And then go back to civilization and take care of the grandkids.
Shari L. Shankewitz, production agent, William Morris Endeavor (WME)Primary Business: Managing the careers of directors of photography, production designers and costume designers for commercials and music videos
1. Do you own the company? No.
2. How did you get your start in the business? After graduating from college, I worked at MTV for a couple of years. I moved to LA in 1998 and was introduced to Tony Basile, who had been an exec producer for Tony Kaye, Peter Nydryle and Palomar Pictures,. Upon learning we grew up in the same Brooklyn neighborhood , he immediately took me under his wing and mentored me through commercial production. Several years later someone suggested I contact Devin Mann, the below the line commercial agent at Innovative Artists, who was seeking a commercial agent to work with. Coming from the rugged world of production, repping cinematographers seemed so smart and civil and glamorous to me. I sent him a cover letter oozing with enthusiasm and we had a meeting and he hired me right away.
3. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? I grew up in Brooklyn–my accent was my biggest obstacle! In all seriousness though, I think that New York roughness to my voice, coupled with my oh-so-blunt demeanor actually helped. Men were less likely to hold their tongue around me because it was clear that I could hang with a very male crowd. I can’t think of anything anyone could say that I would find too offensive to handle, in fact the more they cursed and made inappropriate jokes, the better I fit in!
When I got hired by WME I was immediately partnered with Stacey Karp who, like me, has a young child. We bolster each other in that struggle to find the perfect balance where you strive to give your best to your family and your clients, and then of course, just to stay sane, a wee bit to yourself. While I have always enjoyed working with the men who opened the doors and kicked me through them, I really appreciate the kinship of having a female partner to travel the winding paths of careers and parenthood, and all those intersections where they meet.
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? In my position as an agent I think the opportunities are shrinking given the state of the economy and the expenses associated with full-time employees. Fewer agencies are operating, fewer artists are getting agents and it is more difficult than ever for small businesses to thrive. With the hardcore competition out there for the fewer opening positions that do exist, I feel fortunate to have entered the industry when I did. That being said, I am hopeful that among the changes we are experiencing new opportunities will eventually emerge for the next generation.
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, there is definitely a shortage of female DP’s. Part of that might be because it is a masculine type of job in that it’s labor intensive and requires carrying around a lot of heavy gear. Also, I don’t think young girls typically aspire to become cinematographers because there is not enough exposure given to the role models out there; they are not in the public eye as much.
6. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? That’s a tough question, because I don’t believe there’s one simple solution to the issue. I think that a concentrated focus on female cinematographers in the media and stronger recruitment efforts would better highlight what’s going on behind the camera. If girls are lucky enough to venture into film school, it’s there that they would most likely discover their love of the visual elements to film. I’m hopeful that social platforms such as YouTube will plant the seeds in more young girls minds that they can become filmmakers and that it’s a do it yourself community: you can write a concept, shoot it, direct it and edit it. The good news is that becoming a filmmaker is much more attainable than ever to not only women but other groups who may not be otherwise exposed to our industry. I am fortunate that I work for a company that regards women as a force. Last year WME sponsored a women’s retreat that boasted an unbelievable line-up of some of the top women in their fields including Sheryl Sandberg, the COO of Facebook. We had workshops and lectures and received lots of good advice that not only instilled a stronger sense of camaraderie but also allowed us to see how other females within our industry and outside of it blew through that glass ceiling. I’ve never worked for a company that did anything like this. We also have a number of female agents within WME who are huge supporters for mentoring programs and higher education initiatives. I am always inspired by women like Nancy Josephson, who is one of the most generous and outspoken volunteers in our business. At the same time she maintains a client base that any talent agent would give his left, ummm, arm for.
7. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? There are not enough female DP’s in commercial and feature production! WME represents two outstanding cinematographers, Uta Briesewitz (“Hung”, “The Wire”) and Caroline Champetier (“Of Gods and Men”). Things are changing quickly and I am betting that in 10, 20 years from now we will see more women DP’s.
8. Are you married? Divorced.
9. Do you have kids–how many, how old? One son, Milo, 4.5 years old.
10. Can you share a poignant or funny “being a woman in a man’s world” story with us. In my first ever assistant job, I was hired to work for the powerful owner of a small entertainment based company in NYC. I was informed that one of my job duties was to literally wash his dishes. Since I was barely out of school and was still eating on paper plates, I wasn’t the most skilled dishwasher out there, nor was I too happy to be given such a degrading task (and one that none of my male counterparts were given). So I found an easy solution to the problem – I threw his plates away! He never asked me to wash his dishes again, and in the end I think he respected me more for not being a pushover.
11. What’s the biggest challenge in balancing your professional and personal life? My personal life is dominated by my almost 5 year old son who doesn’t understand why I have to take calls at night and make set visits on weekends. I try to squeeze in as many social events and screenings as possible but at the end of the day it’s never enough. This is a generic problem that I am sure all working moms have.
12. If you could have a do-over, what career would you pick for yourself? I would probably be a still photographer. It’s unfortunate that I wasn’t born with this talent but I certainly appreciate the craft.
13. We all hope to retire some day. What do you want to do in retirement/where would you live? I hope to live in a beach house where I can watch the ocean and sip rose while writing the memoir of my brilliant career tentatively titled, “The Last Stop on The L Train”…
Liz Silver, president/executive producer, Believe MediaPrimary Business: TV commercial production
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. I could write a book on how our business model has changed!
3. How did you get your start in the business? My first job was as a production assistant on a music video for Cyndi Lauper. It was at N. Lee Lacy Associates (one of the first production companies in the global market). I was very lucky to be taken under Lee Lacy’s wing, while in film school at Columbia University in NYC during the late ’80s.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? When I first started my career it was difficult to be taken seriously as a woman in the production world. I soon learned that I had to work twice as hard and twice as long, to prove myself worthy of a job. I was able to move up the production ladder from PA, to coordinator, line producer, AD and ultimately executive producer/owner fairly quickly through my persistence and exhaustive dedication to filmmaking. I first found success in music videos, which was a fledging industry when I entered the business. As music videos were so new in the late eighties-early nineties I was able to learn while on the job. I had no idea what I was doing, but no one else did either. It was a really exciting, experimental time to build a career as a producer. By the mid-90s advertising agencies were looking to music videos as inspiration for television commercials. Agency creative and clients took more chances and as a result I was able to break into some of the most exciting brands. My first commercial was out of Wieden+Kennedy for Nike with director Zack Snyder. The second was for Nintendo.
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? There are fewer and fewer creative opportunities in advertising today. Although technology has opened up many possibilities, it has also opened up the floodgates for everyone with a cellphone to become a director and producer.
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? There is a shortage of women in many areas of advertising and in the entertainment production community. I think this is clearly prevalent in specific categories such as in technology and finance. On our global director roster, 6 of 25 are women. If you look at the crew on a commercial set, it is more rare to see a woman on it, outside of the glam squad. This is changing all the time. I think we all have a perception that males are physically stronger than women. However, I believe women tend to be more patient and have greater endurance. I believe that every individual should be judged by their own merit and not biased by their sexuality.
7. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? I have found that it is women who tend to be the greatest supporters of fellow females in the workplace. It is really important to reach out to mentor young women wanting to learn the ways of this crazy business. I make an extra effort to build friendships with women I work with. These relationships are my most valued.
8. Are you married? Yes.
9. Do you have kids – how many, how old? Yes, two daughters.
10. What’s the biggest challenge in balancing your professional and personal life? Trying to be in 10 places at the same time!
Jo Steele, co-owner/executive producer, STEELE Studios (formally STEELE VFX)Primary Business: Visual effects, graphics, animation, color grading, stereo 3D
1. Do you own the company? If so, what year did you launch it? I own the company along with my husband Jerry Steele. We launched our company in 1996.
2. If your business model has changed over time, please briefly tell us about it. When we first started out we did mainly conform, graphics, online effects and beauty for commercials and music videos, which then broadened as we grew to include color grading, animation and visual effects for short and long form projects, and more recently Stereo 3D for broadcast. These changes came as a result of clients wanting to find a complete resource under one roof and our desire to continuously broaden our scope to more cutting edge mediums.
3. How did you get your start in the business? I got my start in postproduction completely by accident filling in for my best friend who was going on her honeymoon, working for the owner of a post facility. I had never worked in post before and loved it! My background consisted of working as an executive assistant for the head of Sony, several divisions of Columbia and Tri-Star Pictures and then eventually working on Wall Street.
4. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? My biggest challenge was, and still is, getting men to take me seriously. It was especially hard when I took the giant leap from Administrator to Producer as my husband and I formed our own company. At that time, women were mainly schedulers, in sales, or held administrative roles. I was mild and meek, and in this specialized arena that was dominated by men, I was eaten up alive. I cried many tears until I realized that if I was going to succeed, I needed to get “rhino skin,” and stop allowing people to run over me. This was a huge challenge for me with my small Texas town upbringing, but I wasn’t about to give up. My obstacle was transforming from mouse into lion. Of course the label “bitch” soon came with that, but there you go… I’m still not happy about it, but it comes with the territory of owning and running a post production facility, overseeing jobs, clients, budgets, employees and all that comes with it. As our company grew and I started dealing with the really big boys, I had to become even more resilient. Believe me, I’d rather be the mild and meek mouse.
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? Through the years, I’ve started noticing women coming up in the ranks, taking on more substantial roles and I can’t tell you how uplifting it was and still is. Women by nature are great organizers, multi-taskers, and orchestrators so producing, managing people and projects comes naturally for us.
6. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? What I’d like to see is more women in creative roles. Some of the best artists I’ve seen have been women. They are very meticulous, fast and pay extreme attention to detail. They bring a different viewpoint to artistry and find it easy to think outside the box.
7. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? There are presently more jobs openly available for women in the industry than ever before, thanks to all the women who have paved the way for others in production and post. However, not only do we still have a way to go in the creative arena as directors, cinematographers, music and sound, but also in obtaining more creative positions in advertising agencies and networks. Finding work and building careers has always been a daunting undertaking for all women alike and the present economic climate makes this even more challenging. The upside is that women can offer alternate perspective that can be refreshing and new, which may be what is needed to carry an operation to success.
8. Can you share a poignant or funny “being a woman in a man’s world” story with us. I’m very lucky to be where I’m at today. It took a lot of hard work and perseverance in a field that is constantly changing. Overall, this is a lot more fun than my first job, working in the blistering hot Texas cotton fields, making 50 cents an hour.
Yet even to this day, I still get from so many people on hearing my voice for the first time “Oh, I thought you were a man.” I think of it as a compliment.
Cami Taylor, president, Crossroads FilmsPrimary Business: Film production
1. Do you own the company? If so, what year did you launch it? Yes. 1989.
2. How did you get your start in the business? Independent features.
3. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? People frequently assuming that my ex-male partner was actually my boss.
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 starting out today would be harder given the state of the economy both domestically and internationally and the negative changes in the commercial business overall (impossible payment terms, reduced mark-ups, less work shared by more directors, etc.). I do believe currently that women as company owners are more readily accepted.
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 feel that women have made many inroads and there isn’t the disparity there once was between the number of men and women on the agency and production side of the business.
6. Are you married? Yes.
7. Do you have kids – how many, how old? One daughter turning 19.
8. If you could have a do-over, what career would you pick for yourself? I love what I do.
9. We all hope to retire some day. What do you want to do in retirement/where would you live? I can’t imagine being retired.
Monica Victor, director of integrated content production, TracyLockePrimary business: Creating content that drives commerce
1. If your business model has changed over time, please briefly tell us about it. There’s been a paradigm shift in our industry driven by the changing media behaviors of consumers. We’ve been on a parallel track based on the unique role TracyLocke fills for our clients. We continue to evolve our production department to align with that. Our client’s budgets have shifted towards a more integrated approach to how their content is used, with a deeper appreciation for outlets beyond broadcast. TracyLocke has been lucky to have been producing content for many different platforms for awhile now, so we welcome this shift. There is now greater opportunity to resonate with consumers with contextually relevant content.
2. How did you get your start in the business? I was an unemployed NYU film school graduate, co-directing an off-Broadway play called “Christmas on Hell Island”. It was a hit, but wasn’t paying the bills, so a good friend of mine, Sarah Holbrook, told me there was an open producer position at Saatchi and Saatchi, and encouraged me to interview for it. Unbeknownst to me, I had the background that they were looking for at that time. Until that point the typical career path for a female producer was to graduate from a secretarial position, and be trained on the job to be a producer. They were looking for candidates with a film school background, and also some practical experience at a film production company, which I had. So out of 60 candidates, I was chosen. At the time I didn’t know that, and I asked to start two weeks later so I could go spend time in France. Luckily, they still hired me.
3. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? I always wished that I were older in order to have more clout as a producer. The irony now is that I wish I were a bit younger in order to be closer to evolving technologies. Being young in this climate I think makes it easier to keep pace with technology, innovation, and change, but having a passionate interest in this discipline is also important, and that keeps me current, as well as tapping into my amazing team of producers.
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 there is so much opportunity in this changing climate, and it’s an extraordinarily exciting time to be just starting out in advertising as a young producer. On the other hand, it must be in some ways more difficult than the days when everything was essentially produced for television. When I was a junior producer, there was one final output, one aspect ratio, one resolution. That made it easier to hone your craft, to become an expert in your field.
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’ve always wondered why there aren’t more female directors out there. I think that many women don’t even think of it as an opportunity for them. In advertising, there are certainly more women today than ever before, which I think is great, but there is still room for more. Women have natural strengths, such as empathy, that are important attributes of great directors. Many topics benefit from a female perspective in order to capture the authentic voice and capture the hearts and minds of a female audience.
6. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? It’s important to highlight role models, such as you are doing in your publication. Up-and-coming women in the field need to be made aware of the variety of creative career paths available to them and how to get the necessary experience. We all need to keep an eye out for young talent and give them opportunities for learning and exposure.
7. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? At TracyLocke we are often targeting a female shopper. It’s beneficial to have female creatives involved in all roles. Having more women in leadership roles in marketing and advertising would help to speak to (as well as depict) women in a more powerful way. Much media is still dominated by images of women in less flattering roles/stereotypes. There’s more work to be done to improve this.
8. Do you have kids – how many, how old? I have a daughter who is 8 years old, and already drawing storyboards. It’s terrifying!
9. Can you share a poignant or funny “being a woman in a man’s world” story with us. I was the first female producer to work on Budweiser Superbowl ads. They had thought that the climate would be too “rough” for a woman, but I found it to be a lot of fun. The clients, creative team and account team were all male, but I think my presence actually made them behave themselves!
10. What’s the biggest challenge in balancing your professional and personal life? I tend to think more in terms of fulfillment. I ask myself if my loved ones and I are content and happy, and I make sure that what I do in my day-to-day life supports myself and my loved ones feeling connected and fulfilled.
11. If you could have a do-over, what career would you pick for yourself? A horse whisperer, which is not as far away from production as it sounds.
12. We all hope to retire some day. What do you want to do in retirement/where would you live? I’m interested in exploring women’s issues, and would love to have the time to focus on producing some documentary ideas that have been on the back burner forever. Being able to use my skill set to have a positive influence in this world would be amazing.
1. How did you get your start in the business? I kinda fell into it. I needed to find flexible work while I was competing on the international fencing circuit (no, I did not make that up). My first job was on a commercial, actually; I was the noodle wrangler on a frozen pasta commercial. Needless to say, I fell for the glamour.
2. What was the biggest challenge or obstacle you faced as you made your ascent in the industry? Keeping my own films going while learning how to make a living as a director. I think you always have to have your passion projects to keep the fires burning.
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? I’d like to think it would be easier for a starting filmmaker, as the tools of the craft are more accessible and affordable. I’m a big believer in the power of DIY. But as a woman on the more corporate side of the business, it might not be as much of a change as one would hope. In TV, for example, the number of female episodic directors are still woefully low.
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? There’s been slow progress, but sure, it’s a big gap to close. There’s a lot of competition, and often a conservative approach to hiring. I think it’s a problem if talented women are not given a shot because it seems “riskier” to give them a chance. But it’s not easy to pinpoint bias.
5. And if so, how can the industry improve the situation? What steps can be taken to rectify such a shortage? I can only speak anecdotally to this. I got my break in episodic television because John Wells made a commitment to hire women and people of color as directors on his shows. I came out of the indie doc world, which could not be more different from the world of The West Wing. His company gave me access to the process–I shadowed for months–and a guarantee that I could helm an episode. They made sure that I had the opportunity to get myself ready. No way I was gonna screw that up! Fear was my friend. Likewise, in starting out with Nonfiction Unlimited, I was blessed to work with a company that was willing to invest in launching my commercial career. You need execs and creatives that are willing to take calculated risks based on their assessment of someone’s potential. It’s a systemic issue too, though, as a lot of execs do not have the autonomy to make those choices.
6. In what roles is the shortage most profound? Directors? Producers? Executives? Creatives? DPs? Editors? Post artisans? Music/sound? Directors. There are some really talented female DPs out there, but again, the proportion is not high in comparison to men in those jobs. Music/sound is low too (with maybe the exception of music supervisors).
7. Are you married? Yes.
8. Do you have kids – how many, how old? Two girls, 8 and 11.
9. Can you share a poignant or funny “being a woman in a man’s world” story with us. On one of my first episodic directing jobs, I was told to park right up next to the stage. As I pulled in, an elderly security guard came trotting up to my window. “Excuse me, ma’am,” he said. “But that’s where the director parks.” “I know!” I yelped. “It’s weird for me, too!”
10. What’s the biggest challenge in balancing your professional and personal life? Being away from the kids when I’m on location. I used to be able to take them with me more, but now they have that pesky thing called school.
11. If you could have a do-over, what career would you pick for yourself? I honestly do not have a second runner-up.
12. We all hope to retire some day. What do you want to do in retirement/where would you live? I really can’t imagine retiring, nor wanting to retire. Which could be quite pathetic when I am at doddering age: my kids will have to humor me by placing a tripod in front of my rocking chair and letting me croak “Action!” at the TV every once in a while. **********
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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