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    ECA & Directors Series’ Parallels

    By SHOOTUpdated:No Comments3510 Views

    By Robert Goldrich

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    The Emerging Cinematographer Awards (ECA) ceremony held at the DGA Theater in L.A. last month was in some respects a microcosm of SHOOT’s Directors Series with its director profiles, its close-up look at up-and-coming talent, and a Cinematographers & Cameras feature exploring not only DPs and their choice of equipment but also their collaborative relationships with directors. 

    All these elements were present in the ECA opening remarks. Kicking off the event was Steven Poster, ASC, president of the International Cinematographers Guild, which honored the work of the ECA competition winners for the 20th straight year. Poster in turn introduced director Richard Kelly who hearkened back to his feature directorial debut, Donnie Darko, and the good fortune he had to secure Poster as its cinematographer.

    Kelly recalled that as he was considering different DPs for Donnie Darko, he ran across Poster and his credentials, including 2nd unit on Steven Spielberg’s Close Encounters of the Third Kind, additional photography on Ridley Scott’s Blade Runner and then serving as DP on Scott’s Someone to Watch Over Me. 

    Kelly said that as a young director starting out, being able to secure Poster for Donnie Darko was “a huge blessing,” adding that cinematographers of Poster’s caliber can turn a no into a yes when it comes to helping to realize certain aspects of a director’s vision.

    The value of such collaboration is evident in this issue’s Fall Directors Series lineup of profiles which includes: Jeff Nichols discussing his working relationship with cinematographer Adam Stone, most recently on Loving; and Garth Davis extolling the virtues of Greig Fraser, ASC, who shot the director’s first feature, Lion.

    The industry lifeblood of new talent—like Kelly back in the days of Donnie Darko—is also front and center in our Up-and-Coming Directors feature which centers on four filmmakers who have landed their first spot production house roosts.

    And our Cinematographers & Cameras story delves into the bond between DPs and directors. As Poster said when addressing the ECA gathering, he remembers and cherishes having “so much fun arguing” with Kelly on projects about camera positioning and assorted other creative and technical considerations. It’s the type of arguments that bring people closer together, smiled Poster. 

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    Gloria Colangelo joins Identity as managing partner

    Wednesday, November 20, 2024

    Production company Identity has brought Gloria Colangelo on board as managing partner.

    Having spent decades in the production industry in senior roles, including a lengthy tenure as executive producer at companies Assembly and MacGuffin Films, Colangelo brings a wealth of experience to her new position at Identity, which marks a professional evolution of her own. “After an incredibly fulfilling career, I reached a point where I was ready to take on a new challenge and pursue a longtime goal of becoming a partner--playing a more direct role in shaping a company’s vision, fostering talent, and driving meaningful growth,” she said.

    As managing partner at Identity, Colangelo effectively reunites with former colleague, EP Molly Mitchell, and assumes a more hands-on role in shaping the company’s vision and trajectory. “Molly and I are deeply involved,” said Colangelo, “in every aspect of production, from sales and bidding to overseeing shoots and wrapping jobs. This approach feels natural to me, as I’ve always thrived in a role where I’m engaged in all stages of the process. I’m also extremely grateful for the opportunity to be working with owner/EP Joe Masi, someone who I’d admired from afar, and having the support of his belief in our vision.”

    Along with her day-to-day operations, Colangelo is also playing a pivotal role in bolstering Identity’s already strong roster of directing talent. For the new managing partner, however, it’s important that connecting new and existing storytellers occur rather naturally. “I didn’t come to Identity with a set roster,” she explained. “Instead, as I made the decision to embark on this new journey, a few directors I’d worked closely with expressed a strong interest in joining... Read More

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