The prospect of resuming film, TV and commercial production got a boost yesterday as Gov. Gavin Newsom announced that counties throughout California may reopen to filming as early as June 12.
The go-ahead came in the form of guidelines released by the state Department of Public Health for varied venues, including schools, day care facilities and casinos. Within those guidelines was a paragraph pertaining to film and television, which read:
“Music, TV and film production may resume in California, recommended no sooner than June 12, 2020 and subject to approval by county public health officers within the jurisdictions of operations following their review of local epidemiological data including cases per 100,000 population, rate of test positivity, and local preparedness to support a health care surge, vulnerable populations, contact tracing and testing. To reduce the risk of COVID-19 transmission, productions, cast, crew and other industry workers should abide by safety protocols agreed by labor and management, which may be further enhanced by county public health officers. Back office staff and management should adhere to Office Workspace guidelines published by the California Department of Public Health and the California Department of Industrial Relations, to reduce the risk of COVID-19 transmission.”
At the moment, FilmLA, the nonprofit film office for the City and County of Los Angeles, is not accepting or processing any applications to film in Greater L.A. This underscores the fact that Governor Newsom’s announcement does not authorize the resumption of on-location filming in Los Angeles County. That decision rests with the County, and will be made consistent with the recommendations of the County Department of Public Health.
Clearly, though, jurisdictions throughout the state, including L.A. County, are moving closer to permitting filming as officials on state and local levels establish timetables and terms for production’s safe and responsible return.
FilmLA has asked–and is waiting to hear when–the County intends to reopen to production and on what terms. FilmLA has also asked its partner cities whether they plan to reopen when the County does. The County intends to proceed expeditiously, with FilmLA committed to sharing additional info when it becomes available.
Governor Newsom’s announcement follows the June 1 release of new Health and Safety Guidelines, prepared by the Industry Wide Labor Management Safety Committee (IWLMSC) Task Force. These guidelines serve as a resource to state and local authorities, but do not establish the final terms of reopening. Those Safety Guidelines can be accessed here.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More