As reported in SHOOT, an increasing number of ad agencies and clients have instituted vendor diversity initiatives, a prime example being GSD&M, Austin, Texas, which is actively seeking and in some cases hiring qualified minority and/or woman-owned production houses. Estimates are that some 90 percent of major U.S. advertisers have formal supplier diversity programs. And recently clients have begun requesting that their suppliers–including ad agencies–look to increase diversity spending among their own vendors such as production, editorial and music houses.
During the week of its lead story (8/19) on the agency/client push for vendor diversity, SHOOT posed a survey question to its readers, asking them about their viewpoints. Some 55 percent of respondents characterized the vendor diversity initiative as being “an ill-advised application of affirmative action that will adversely affect deserving companies that aren’t owned by minorities or women.” In sharp contrast, nearly 45 percent described vendor diversity as being “a positive development that potentially could open up opportunities for deserving minority and/or woman-owned companies.”
Finding common ground seems a daunting task. Yet many opponents of diversity measures aren’t opposed to qualified artisans getting a chance–minority or not. In that spirit, an overwhelming percentage of industry respondents would likely view favorably any initiative that trains future generations of capable talent, bringing new blood into the workforce and strengthening industry infrastructure. So no matter what your stance on vendor diversity, a strong consensus can be reached on education and training for those who have the aspiration and aptitude.
In that vein, consider two organizations–Streetlights and Inner-City Filmmakers, which were both born out of the Los Angeles riots in 1992. Founded by producer Dorothy Thompson, Streetlights is a nonprofit job training, job placement and mentoring program which provides industry employment opportunities for economically or socially disadvantaged young minority men and women. Streetlight participants gain experience in entry-level capacities, with many moving up the industry ladder over time. Meanwhile Inner-City Filmmakers was launched in ’93 by editor Fred Heinrich and producer Stephania Lipner to make a positive difference in the lives of youngsters who might not otherwise get the chance to become part of the film community. Inner City Filmmakers has since provided training and experience in different aspects of filmmaking to hundreds of graduates of different ethnic backgrounds and from financially disadvantaged families.
The purpose of Inner-City Filmmakers hit home for Heinrich during its inaugural year when several students brought in their high school video yearbook, which included five obituaries. “That underscored,” related Heinrich, “the need to help create opportunities for underprivileged young people in the inner city.”
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More