forward to the timely film Freeheld,
starring Julianne Moore as a terminally ill woman fighting to have her pension
benefits transferred to her domestic partner (Ellen Page). It’s based on the
documentary by Cynthia Wade, which was funded in part by the 2007 NYWIFT
Adrienne Shelly Foundation Grant. The first
trailer was released this week.
Maslany finally earned her first Emmy
nomination this year for playing not one but six leading roles on Orphan Black, one of my favorite shows.
for thought: Teo Bugbee points out in this
piece for The Daily Beast that, with the exception of Amy Schumer
in Trainwreck, most strong women
making waves at the recent box office appear in science fiction.
to arms: Homeland
director Lesli Linka Glatter says that Hollywood
must proactively address the “disconnect” that occurs at the
hiring level when it comes to giving jobs to women. She is one of only two women
nominated for an Emmy for directing a narrative series this year.
U.S. women’s soccer team received $2 million dollars after winning the World
Cup for a third time. The men’s team earned $8 million for losing in the first
this petition and tell FIFA to pay women fairly.
Disney CEO Michael
Eisner says that a woman who is beautiful and funny is “impossible
to find.” He’s just not looking hard enough.
Wonderful: Saw I’ll See You in My Dreams this weekend. An amazing
performance by Blythe Danner in a well-made and well-written film.
NYWIFT PANEL DISCUSSION: YOUR FIRST CO-STAR AUDITION
New York Women in Film & Television presented Your First Co-Star Audition, an all-star
panel of casting professionals on May 18, 2015 at Madiba Harlem. A “co-star” is
generally a one-to-two-line credited television role which can provide
excellent exposure for an actor and often represents the next big step in her career.
The room teemed with excitement as the panelists filed in. Five
casting directors and one talent agent participated in the event, each one
sharing his or her own perspective on the audition process. Those who sat on
the panel included casting directors John Andrews (The Good Wife, Person of
Interest), Rosalie Joseph (The
Mysteries of Laura, Body of Proof),
Kim Miscia (Gossip Girl, Gotham, Mad
Men), Kimberly Skyrme (House of
Cards, Unsolved Mysteries), Meredith Tucker (Veep, Boardwalk Empire, Unbreakable Kimmy Schmidt) and talent agent
Shirley Faison. From props to kissing scenes, the speakers covered a wide range
of “dos and don’ts” every actor should know when fine-tuning her strategy and
honing into her inner waitress, bartender or flight attendant.
The definition of co-star varies from project to project,
depending more on budgeting concerns than the size of the role. Many co-star
roles are in fact multidimensional characters representing a wide breadth of
challenges, allowing actors to demonstrate and explore their own range. As
panelist John Andrews suggested, casting talent is often akin to finding “a
needle in a haystack,” and as a result, a wide range of individuals may be seen
for a given role. In this instance, courtesy goes a long way when standing out
from the crowd. Arriving early, printing out your sides in advance, and waiting
to put on your coat and other belongings once you leave the audition space can
go a long way in any casting director’s book.
Much as it is essential to prepare for an interview through
research, learning about the project beforehand is crucial to scoring a great audition.
Learning the correct pronunciation of major characters’ names and understanding
the mood of a program not only signals an actor’s commitment to the role, but
may also guide her choices when delivering lines in the audition space. Many of
the panelists stressed the importance of watching the program before coming
into the audition, as it is nearly impossible comprehend the essence of a show
without first experiencing it as an audience member. Additionally, dressing to
acknowledge the time period or role may help further convince a casting
director that the actor is good fit for a particular project. This is not to
suggest, however, that an actor should arrive wearing a hoop skirt and
pantaloons. Instead, choosing smart pieces that could work for multiple
different roles, like a simple blazer for a lawyer or a business woman, is
enough to suggest a commitment to the part without taking out a second
mortgage. Panelist Rosalie Joseph suggested that certain simple props, such as
a water bottle or cell phone, can also aid an actor in painting a more colorful
picture during an audition, so long as it does not ultimately detract from the
Once an actor has chosen her wardrobe, and perhaps a
tasteful prop, what then? Portraying a character can often be challenging, especially
when the character is limited to one or two lines. “Every actor at every level
can succumb to nerves,” offered panelist Kim Miscia. To aid in this, a casting
director or assistant may suggest an activity or give insight as to what a
character was doing moments before, to ease an actor into a more natural
performance and state of mind. Many of the panelists also suggested memorizing
the sides when possible. As long as the actor does not completely depart from
the script, improvising a few lines to lead into the scene may also be
acceptable. Of course, it is important for the actor to make a strong choice as
to how to represent a character, but remain flexible to suggestions when they
are given. “Don’t be married to your choice, [be ready to] make adjustments” panelist
Meredith Tucker said. If a callback is granted, don’t use it to deviate from
the original performance: a callback is usual given because a casting director saw
potential during the original read.
Finally, conduct outside of the audition room can make or
break an actor’s reputation within the casting community. Submitting yourself
to projects or roles is frowned upon, but sending an occasional postcard with
your headshot is a good way to keep in communication with casting directors
without overwhelming their office.
While walking into an audition room may be intimidating, it
is important to understand that for a casting director, casting is what Miscia
called a “personal business,” one which depends on mutual respect, appreciation
and collaboration. Hard work pays off in the end, even if you don’t always book
the part. As panelist Kimberly Skyrme suggested, “You may not be right [for the
role] today, but you will be remembered for the next time.”
Terry’s Picks: Doc on Industry Bias, Jessica Williams Talks Money, Meryl Streep Writes to Congress
26-minute documentary from Bloomberg Business sheds a harsh light on the institutional bias
against women in the film industry.
point: The Daily Show’s Jessica
Williams reminds us that while it might be nice to see a woman’s face
on a $10 bill, real change is measured by how much money women earn.
Meryl: Meryl Streep, who funded our Writers Lab
for women over 40, sent
a letter to every House rep and senator asking
them to make gender parity a part of the US Constitution by putting the Equal Rights Amendment
(ERA) back on Congress’s agenda.
stop listening to Lauryn Hill’s cover of “Feeling
Good,” one of many great Nina Simone covers that will be released
along with the documentary What Happened,
Miss Simone?, which hits Netflix on Friday.
done: Another great film with a female lead breaks records! Inside Out, a coming-of-age tale that follows five
anthropomorphic emotions inside the mind of a young girl, had the highest-grossing
for a Pixar movie this weekend.
Financing Day Follow Up: We had a great discussion about the different
distribution windows that now exist for independent filmmakers at our Film
Financing Day event on Saturday. Brian Newman of the Tranparency Project let us
know about this great distribution glossary they have developed.
It’s always a challenge to
see all the films you want to see at a film festival, but it’s also difficult
figuring out which films you should
watch- many are making their world premieres and have yet to be reviewed. I attended
Press & Industry (P&I) screenings with my TFF Industry badge. I also watched
some films online after their premieres as well as on my mobile devices during
my commute. (Though very few of the features were available online, most of the
shorts were.) One drawback to not seeing a public screening, however, is the
loss of community from a shared audience experience. P&I screenings also
didn’t include the usual Q&A with the director and cast.
Even with the various outlets
to watch them, I still didn’t see all the films I wanted to see. But here are
some of my favorites:
I watchedIn My Father’s Houseat
a P&I screening and I was instantly taken by the journey of rapper/artist
Che “Rhymefest” Smith as he tries to reconnect with his estranged father.
Sadly, he discovers that his father is homeless and an alcoholic. The story is moving and heartwarming, as
Smith faces challenges helping his father while struggling with his own
fatherhood. Directors Ricki Stern and Annie Sundberg did an excellent job of storytelling,
using Che’s powerful songs and Paul Brill’s exhilarating score as an integral part
of the film.
I saw The Wolfpackat a sellout
public screening. After a chance meeting in the Lower East Side, director/cinematographer
Crystal Moselle filmed the Angulo family’s six boys over four years. The
documentary filmmaker in me was intrigued by their story, which had all the
elements of a successful character-driven doc. Locked away from New York City by
their overprotective father and homeschooled by their mother, they were rarely ever
allowed outside. They entertained
themselves by watching movies, including Batman:
The Dark Knight and Reservoir Dogs,
and acting them out with elaborate homemade costumes and props. After the oldest
boy turned 15 and started to rebel, they finally went out to explore the “real
world” beyond their apartment. Moselle revealed she had shot over 500 hours of
footage, which she and her editor, Enat Sidi, had whittled down to the
82-minute final cut.
Director Camilla Nielsson’sDemocrats,
the TFF Award-winner for Best Documentary, is thecompelling story of two politicians from rival parties in Zimbabwe
who help create provisions for the country’s new democratic constitution. As you’re
taken on this captivating journey, you’re often left wondering if one of them
is going to be “taken out” at any time because of perceived disloyalty to the
existing corrupt authoritarian leadership. Nielsson and
producer/cinematographer Henrik Bohn Ipsen filmed for over three years with
unprecedented access to these key players.
Baseball fans will enjoy
director Jonathan Hock’s documentary Fastball. The film weaves the history
and technical details of a “fastball” with interviews with some of the great
fastball pitchers and hitters. I learned a lot and now appreciate the enormous
amount of skill it takes for a batter to hit a fastball. I had never been much
of a baseball or sports fan; however, since the major leagues are scouting my
nephew, I wanted to learn more about the game!
I had the most surreal
experience watching Albert Maysles’ wonderful documentary,In Transit. The random,
engaging conversations captured from passengers on the Empire Builder,
America’s busiest cross-country train route, ranged from inspirational to
poignantly sad and sucked you in. There are touching scenes of an elderly man who
knew Martin Luther King Jr. speaking with a young man about being a good father.
You can feel the young man’s pain as he talks about his abusive childhood. Later,
a female passenger confesses her marriage is in transition. She’d always been a
wife, a mother, or “somebody’s something,” but on the train, she says, “I was
just me…I came cross-country to find myself… and I wish I could get back on the
train.” The film, Maysles’ final project before his passing, won a TFF Special
Jury Award. I had the pleasure of meeting Mr. Maysles a few years ago at a TFF
party. It’s hard to believe we no longer have the privilege of seeing more of
his amazing, unparalleled work.
Meadowland is a heartbreaking story, with outstanding
performances from lead actors Olivia Wilde and Luke Wilson as the parents of an
abducted child. I could not hold back my tears in one gut-wrenching scene where
Wilde’s character learns the fate of her son. A very talented supporting cast,
including Giovanni Ribisi, Elisabeth Moss, and John Leguizamo, were also
fabulous. Director/cinematographer Reed Morano’s dual talents shine in making
this story come to life. It is one of those films that will stay with you for a
Lily Tomlin gives one of her
best performances yet inGrandma and Julia Garner is
excellent as her granddaughter who unexpectedly shows up on her doorstep in
need of some cash. An urban road trip unfolds
as they visit old friends and old flames to come up with the money. Supporting
actors Marcia Gay Harden and Sam Elliott further enrich this moving family
drama, directed by Paul Weitz.
Anesthesiais an enticing New York storyfromactor/director/writer
Tim Blake Nelson, a fellow New Yorker himself, who gives a strong performance
playing one of his own characters. The talented cast, which includes Sam
Waterston, Glenn Close, Gretchen Mol, K. Todd Freeman, Michael Kenneth
Williams, Kristen Stewart and Jessica Hecht, are all on top of their craft here.
The story follows the chain of events leading up to the mugging of a popular
Columbia University philosophy professor (Waterston), revealing how the
characters’ lives intersect.
This year was one of TFF’s
best for shorts, in my opinion, and I watched them in all ways available- theater, iPhone, iPad, and on my home
computer. These are my favorites:
TFF offers more than
just movies! Some other events I had the pleasure of attending included:
NYWIFT Tribeca Tea Talk – NYWIFT President Alexis Alexanian,
President of Production at Locomotive, spoke with Jackie Lee, Senior VP,
Features Business Development at post-production services firm Company 3,
and Brunella Lisi, Director of New York Marketing at payroll
company Entertainment Partners about the challenges of independent film
production. One of the main takeaways from their conversation was to always
bring people onto your project who have more experience than you do.
Tribeca Film Institute’s Sloan Works In Progress Scene
Readings – The actor in me is always interested
in readings of projects “in the raw,” and I very much enjoyed the scene
readings from these grantees’ screenplays. Skillfully directed by Abigail Zealy
Bess, the talented actors included Ellen Burstyn and Remy Auberjonois. The four
titles read were The Catcher Was a Spy,
Deep Sea Divers, House of Tomorrow, and The
Man Who Knew Infinity; Picking Cotton,
still in development, had an oral and visual presentation. I’m looking forward
to seeing all these films come to fruition.
The event was part of the Alfred P. Sloan Foundation/TFI partnership to
develop and produce new feature films with science and technology themes and
characters. The Imitation Game, winner
of the 2015 Academy Award for Best Adapted Screenplay, is a project that came
out of this program.
Lost, an Oculus
Story Studio Experience - Wow! This was an awesome immersive virtual
reality experience. You’re led into a small room, where a special viewer and
headphones are placed on your head. A six-minute animated movie starts and you
are magically transported into a forest where a small robotic creature is
trying to find its way. A giant robot appears and searches for the smaller one;
you can feel the ground shake as it walks. The giant robot looks down at you
and suddenly, it’s right in your face! This was a very cool way to end my time
WEEKLY ROUNDUP: DRAMA’S QUEENS, LIFETIME’S NEW THEME.
Bravo! The Broadway production Fun Home made feminist history this week when Jeanine Tesori and Lisa Kron became the first all-female writing team to win Best Original Score.
Oh, please: 37-year old Maggie Gyllenhaal was turned down for a movie because she’s “too old” to play the love interest of a 55-year-old man. “It made me feel bad, and then it made me feel angry, and then it made me laugh,” she said. At least she can laugh…
Loved the final episode of Mad Men. Happy that Joan, the real feminist in the group, is starting her own production company. There are women in New York that started production companies at about the same time. NYWIFT members. Sorry that Peggy didn’t join in. But loved the cut from Don Draper’s hippy-dippy meditation scene to the “I would like to teach the world to sing in perfect harmony…” coke commercial. Someone had to think of that…why not Don Draper
Storm the gates! That’s Transparent creator Jill Soloway’s advice for women filmmakers from her keynote speech at the AFI Conservatory Directing Workshop for Women. She said change will come “when we’re all wilder louder, riskier, sillier, unexpectedly overflowing with surprise.”
New York Women in Film & Television includes many powerful, dynamic and diverse entertainment industry leaders among its membership. As we celebrate our Spring Membership Drive – with 50% off our initiation fee now through May 15 – we’re spotlighting several members this month.
Second in our series spotlighting NYWIFT Board Members is an interview with Eileen Newman. Eileen is currently the Executive Director of the Center for Bronx
Non-Profits and previous to that served as Managing Director of the Tribeca Film
Institute, Executive Director of the National Board of Review and Senior
Director of Programming at the Independent Feature Project. She also earlier in her career served as the Executive Director of Film/Video Arts. Active in the New
York film community, she serves on the Boards of the New York Production Alliance,
Manhattan Neighborhood Network (Board Chair) as well as on the Advisory Board of NYWIFT.
She often speaks on panels about independent media and has been a juror and
panel member for the Miami International Film Festival, the Jerome Foundation
and the Department of Cultural Affairs.
When did you join NYWIFT? What was
happening in the industry at that time and where were you in your career?
can’t remember when I joined, it was so long ago! I was working in a junior
high school as a librarian and running a visual literacy program using
independent films with students. It was a program funded by NYSCA in
partnership with a wonderful place called the Media Center for Children. I was
on the board of that organization and another board member said that I “had to
join New York Women in Film” (it didn’t include television then), so I did. The
industry was not going through the huge changes that came later and led us to
where we are now. I was also teaching film at Adelphi University, and had to
carry the 16mm projector from the film office to my classroom.
Can you share the top three things you get out of your membership?
always been the community, the community, the community for me. Even when I
first joined and I wasn’t as entrenched in the film community as I became
later, I loved being able to work on programs with other women who loved film
and were committed to finding ways for women to have a voice. It is still the
relationships with terrific women that make me value my membership.
What excites you about the network
of women you’ve met?
I think it
is the diversity of the kind of work they do, everything from making their own
films, to working for Planned Parenthood to include their message in various
media, to the below-the-line women, to television executives – many of these
women I would never have met without NYWIFT.
How has NYWIFT helped your career
and professional development?
directly responsible for my going from part-time work in the sector to running
Film/Video Arts. Beth Dembitizer was the president and I was on the board, she
was on the Board of Film/Video Arts and asked if I would meet with people from
F/VA to give them suggestions on grant-writing. I spent some time doing that,
then was asked to join the board, then became president of the board and
eventually became the Executive Director. In true New York six degrees of
separation fashion, I worked closely with Duana Butler who is now working at
NYWIFT as the Program Coordinator. From F/VA I worked at IFP and eventually at
Tribeca Film Institute.
Have you worked on committees?
Yes, at a
certain point early in my membership I realized that I wasn’t meeting as many
people as I wanted to, so I joined the Program Committee so that I could work
on programs and meet new people. I loved it and it totally changed my relationship
with the organization, leading to my being asked to run for the board. I have
also over the years been on the Membership Committee.
How has NYWIFT been involved at
different stages of my career changes?
When I was
working directly for film organizations, my membership had a constant connection
to my work. Now I am running the Center for Nonprofits at Hostos Community
College in the Bronx. I work with nonprofits across all sectors from social
service organizations to arts organizations. I have been able to bring some of
my contacts and expertise to bring films and filmmakers to the college. It’s a
fun part of being here.
Can you share an important NYWIFT
moment with us?
always been a huge fan of the Film Forum and when I was on the board years ago,
I lobbied with another board member to have Karen Cooper, the ED, receive a
Muse Award. When she received her award, I was sitting next to her on the dais
and she told me how happy she was that there was a fan on the board.
Where do you see the opportunity
for women in the industry today?
is not an easy road, but I think women who are using a variety of ways to raise
money to get their work done (Kickstarter, etc.) have a better chance of having
their voices heard. And yay for organizations like Tangerine Entertainment and the long
standing Women Make Movies for helping women make their work and have the work
seen. In some ways, what works is “doing it for ourselves.”
What are your thoughts on all the
recent buzz around the dearth of women in front of and behind the camera? How
would you shake things up?
This is a
regrettably tough time for women in the media. I am happy that at least there
seems to be some attention being brought to the fact that the numbers are awful
in terms of women working in the business. I am glad that organizations like
Tangerine Entertainment and other organizations dedicated to work by women exist and I hope
that NYWIFT becomes an even louder, more aggressive voice advocating for
Want to join New York Women in Film & Television as we fight for equality in the entertainment industry? Meet and network with amazing members like Eileen? Visit nywift.org/join now through May 15 and take advantage of our special Spring Membership Drive discount.
WEEKLY ROUNDUP:MOTHER’S DAY MOVIES, LIFETIME OPPORTUNITIES & IT’S NOT “SWOOZY”
A Must Watch: Tina Fey, Julia Louis-Dreyfuss, Patricia Arquette and Amy Schumer tell it like it is about women of a certain age in Hollywood in this very NSFW sketch.
Enjoyed: how the tables are turned during press for The Avengers: Age of Ultron, Cosmopolitan asks Mark Ruffalo all the sexist questions the press usually saves for Scarlett Johansson, while letting Scarlett talk about her stunt work. #AskHerMore
York Women in Film & Television includes many powerful, dynamic and diverse
entertainment industry leaders among its membership. As we celebrate our Spring Membership Drive –
with 50% off our initiation fee now through May 15 – we’re spotlighting several members this month.
First up: Annetta Marion. An award-winning
director, Primetime Emmy-nominated producer and current NYWIFT board member, Annetta
Marion’s experience in television and film includes documentary and reality
television, as well as narrative film, commercials, music videos, and internet
content. Marion is currently directing the acclaimed TV series Oprah’s Master Class, profiling entertainment icons
including Tim McGraw, Vanessa Williams, Cicely Tyson, Berry Gordy, and Lenny
Kravitz. She was the showrunner on season three of the series when it was
nominated for a Primetime Emmy, a first for the network. Annetta’s
producing experience includes ESPN’s 30-for-30
feature documentary You Don’t Know Bo,
which earned the highest-ever rating in the network’s history. She’s a
graduate of AFI’s Directing Workshop for Women and a member of both the Director’s
Guild of America and the Producer’s Guild of America.
When did you join NYWIFT? Where were you in your career?
joined NYWIFT in 2006. I had just gotten home after a year in LA at AFI’s Directing
Workshop for Women. I was working as a line producer mostly at that point, but
working hard to transition to working as a director.
Do you feel joining NYWIFT has helped your career? What are the top things you get from being a NYWIFT member?
biggest thing for sure is getting to know the other members. Now that I’m more involved with NYWIFT as a Board member, I think it will help my career and professional development more and more. The best thing you
can do is work on a committee to really get to know other members. I’m currently on the membership committee and I really like what we’re doing. I like the panels
and screenings too.
Where do you see the opportunity for women in the industry today?
Our industry, as well as many others, has a long way to go. Parity is when the average woman can get as far as the average man with the same amount of effort, and we’re totally far from that.
What are your thoughts on all the recent buzz around the dearth of women in front of and behind the camera? How would you shake things up?
I’m glad there’s all this buzz, but I really want something tangible to come from it, not just more lip service. I’d take a play from the NFL’s playbook (haha sports metaphor!) and require the showrunners, networks, etc. to interview women candidates for director spots.
What excites you about the network of women you’ve met?
are so amazing and so accomplished. I’m learning so much.
Can you describe an important NYWIFT moment for you?
around the table at my first Board retreat and thinking “Wow, I’m so stoked to
be a part of this group!”
- EILEEN NEWMAN
Want to join New York Women in Film & Television as we fight for equality in the entertainment industry? Meet and network with amazing members like Annetta? Visit nywift.org/join now through May 15 and take advantage of our special Spring Membership Drive discount.
Loving NYWIFT Members: NYWIFT board member Maura Kelly
interviewed member Erin Day about her work as the Festival Director
of the New York Television Festival. This interview is part of Maura’s
“Disruptive Women” blog series for The Huffington Post.
Totally Agree: Shonda Rhimes isn’t “diversifying” TV. She’s “normalizing”
This Has Got My Vote: Focus Features will distribute
director Sarah Gavron’s film about the early-twentieth century battle
for women’s voting rights in the U.K. Carey Mulligan, Helen Bonham
Carter and Meryl Streep will star.
Can’t wait: to see Marisa Tomei play Gloria Steinam in HBO’s new miniseries. Steinam herself will consult on the project, which centers on the creation of Ms. magazine and the feminist movement of the ‘60s and ‘70s.
Up & Down The Big Apple: Press Day with a Publicist
An average day in the life of an entertainment publicist is filled with stressful emails, phone calls, eager filmmakers, anxious clients, busy journalists and binding deadlines. It usually begins w/a coffee and ends w/a glass of wine.
An average press day at MSophia PR usually begins with a full day of vitamins and ends with a full bottle of wine. I thought I’d share mine with you to help prepare you for your next press day.
After months of working the PR campaign for the independent film, Medeas, starring Oscar nominee, Catalina Sandino Moreno (Maria Full of Grace), the press day has finally arrived. It’s Friday, January 16, 2015 and Catalina is in NYC for one day, and so begins our journey together.
9:00am - We meet at Paul Fox hair salon in Soho with my go-to stylist, Jessica. I quickly brief Catalina on the media schedule and prep her for each interview. The conversations turns to my allergy induced hospital visits, and I worry I’m freaking her out.
10:15am - Coffee in hand, we hop into a cab heading mid-town for our Fox News Latino segment. In the taxi, I am tweeting, texting and emailing, while we chat Catalina’s roles in Medeas and A Most Violent Year, the lack of strong roles for women in Hollywood and Oscar snubs, in which she expresses how Oscar Isaac deserved a nomination for his role in A Most Violent Year. A blissful conversation until, “Here we are!” shouts the driver.
10:40 - Walking in, the producer immediately whisks us onto the set. Catalina’s in the chair and cameras roll. I tweet the producer and briefly chat with another journalist. Before you know it, she’s done and everyone wants photos. On our way out Catalina asks me for hand lotion and laughs as I hand her Benadryl cream.
11:10am - “Taxi!” We head downtown to the NY Daily News office for our next interview. This time our taxi cab confession featured family life, home-remedies for colds, NYC life vs. LA life, cultures, movies and more movies. She chats about her upcoming role in TV’s Falling Skies and I express my excitement for her upcoming role in The Godmother with Catherine Zeta Jones. She offers me gum and I decline because I’m allergic.
12:20pm - Traffic! Catalina takes a phone interview in the cab with NY Magazine blog Bedford and Bowery to discuss her role in Medeas. They chat the film, Oscars, the east village… and we hop out and run to our next interview.
1:10pm - We are late and El Diario has been waiting for us at the NYWIFT office so they go right into their story. I quickly catch up with my other clients, send more film clips, take more photos and tweet, tweet, tweet.
1:20pm - Behind schedule, I call our next journalist and push the interview back 15 minutes. NYWIFT Program Coordinator Duana Butler and I discuss lack of diversity in the Oscar nominations.
1:35pm - I tweet while Lee Hernandez asks Catalina about the Oscar snubs. After the interview, we take photos at NYWIFT, tell everyone, “come to the screening and Q&A tonight!” and run out the door.
1:55pm - Phew! We’re on time for our broadcast segment with Arise TV 360. “Okay, we are on!” shouts the producer. We rush onto the set and see photos of Medeas beautifully displayed all across the wall. Catalina goes on and I take photos while chatting with the producer about another segment topic, “How about the lack of women in the industry?” I ask. “Yes!” #Awesome
2:45pm - One more interview to go. “Let’s get soup!” I blurt out. Catalina agrees. I make a dash across the street ‘Frogger NYC-Style’ when all of a sudden, I hear cars honking. I almost killed our star.
3:00pm - I push our last interview back so Catalina can get over the trauma I just caused her. She takes a quick call from director, Andrea Pallaoro, while I chat with the studio about the evening’s agenda. I show her the day’s photos, “Send me those, please!” she says with glee. The phone rings…
3:30pm - Catalina takes her last interview with Disc Dish. They chat about the film, her career, favorite moment and I email, tweet, facebook, vine, instagram and my soup gets cold.
3:50pm - The final interview over, the media tour has ended and now it’s time to part ways. “It was so lovely to meet you, Catalina, I hope today wasn’t too painful.” Catalina smiles, gives me a hug, assures me it was not so bad and runs for a taxi.
4:15pm - Heading back to the office, I reflect: “Catalina was so professional and lovely - The only drama queen around here is me.”
5:00pm - The day ends with more social media, a left over sandwich in my purse and a bottle of wine waiting at my friend’s house. It’s all over in a New York minute.
March is Women’s History Month – our kinda month! Don’t miss out on any of the amazing panels or screenings happening for NYWIFT Members. Sign up today.
NYWIFT Night Out - Monday, March 9th, 2015 6:30 - 8:30 pm Writers Guild of America, East 250 Hudson Street, Suite 700 No RSVP required. Are you a member of this great organization? Interested in becoming one? Join us for a very special monthly NYWIFT Night Out where we will mix and mingle at a Women in the Arts and Media Coalition (WAM) Cross-Organization Meet-and-Greet bringing together the memberships of New York Women in Film & Television (NYWIFT), Writers Guild of America, East (WGAE), and Women Make Movies (WMM) in an informal setting on March 9th at 6:30pm. More.
How to Make Your Screenplay or Novel Better … Fast! - Tuesday, Mar. 10, 2015 6:30 PM to 8:30 PM $15 to NYWIFT members $25 to Nonmembers NYWIFT Conference Room 6 East 39th Street, Suite 1200Screenwriter and bestselling novelist Marilyn Horowitz knows her way around writing screenplays and books, and in an intensive seminar at NYWIFT she’ll give you the map to reach writing glory too! In this intensive seminar, Horowitz will show you how to get the necessary “hook” to make your work commercially viable yet original. Take it from Horowitz, who, using her own trademarked writing system, has taught hundreds to write a screenplay in 10 weeks or less! More.
NYWIFT @ the ReelAbilities Film Festival: Screening of Mimi and Dona - Monday, Mar. 16, 2015 6:30 PM to 8:30 PM Special Discount for NYWIFT members. Use the code NYWIFT7. JCC Manhattan, 334 Amsterdam Ave (between W 75th St and W 76th) NYWIFT is pleased to co-present the New York Premiere of Mimi and Dona by Sophie Sartain at the 7th Annual ReelAbilities: NY Disabilities Film Festival. What happens when love runs out of time? For a 92-year-old mother, Mimi, who has cared for Dona, her daughter who has an intellectual disability, for 64 years, it means facing the inevitable: she will not outlive her daughter and must find her daughter a home. Discounted admission for NYWIFT members. More.
Lunchtime Skills Workshop: Becoming a Skillful Negotiator. The Agent’ s Strategies for Success - Thursday, Mar. 19, 2015 12:30 PM to 2:00 PM $10 to NYWIFT members $20 to Nonmembers NYWIFT Conference Room 6 East 39th Street, Suite 1200In this workshop, hear the agent’s tips on being centered, confident and persuasive throughout a negotiation. This interactive workshop will teach you the skills to take control of the situation, how to maximize your results and the best strategies to get what you really want. Learn to fully express your own brand of negotiating which embraces your personality, experience and values. This workshop is for anyone who wants to shed their shyness and feelings of intimidation and overwhelm to become a truly skillful negotiator. More.
Filming on the Frontlines: How to Manage Risky Situations - Tuesday, Mar. 24, 2015 6:00 PM to 8:00 PM Pricing:$15 to NYWIFT members$25 to Nonmembers RSVP by prepayment online Arthur L. Carter Journalism Institute 20 Cooper Square This panel, produced by NYWIFT’s Documentary Committee, will examine the danger to filmmakers and their subjects when filming in volatile situations and regions. Are filmmakers taking extra precautions in filming given the fact that the press has become a target today? What are the advantages and disadvantages for women filming under these circumstances? These questions and others will be explored by an esteemed panel of filmmakers who will share and discuss their experiences in the field. More.
NYWIFT Member Screening Series: The Last To Know - Tuesday, Mar. 24, 2015 7:00 PM to 9:00 PM$6 for NYWIFT members $8 for students, seniors, Women Make Movies, DCTV, IFP, Center for Communications, Shooting People, IDA, Imagenation, AAWIC members $10 general admission Tickets can also be purchased on the day of the screening at the Anthology Box office. Cash Only-No credit cards at the box office. Anthology Film Archives 32 Second Avenue at 2nd Street The NYWIFT Member Screening Series provides members with the opportunity to show their work in a theatrical setting. The screenings take place at Anthology Film Archives, followed by networking at a nearby bar. Join us for this month’s NYWIFT Screening Series feature: The Last To Know directed by member Bonnie Friedman and To Make It To the Strip of Sunshine written and directed by Kinga Kulcsar and executive produced by Joanna Plafsky. More.
Adaptations: The Nuts & Bolts of Translating Source Material - Thursday, Mar. 26, 2015 6:30 PM to 8:30 PM$15 to NYWIFT members $25 to Nonmembers Location: TBA Agents, hollywood producers and publishers are always searching for the next great story. But not all writers start from scratch. Oftentimes, ideas come from the things we see, read, write and hear. The challenge for many is how to transition these materials from their original form of a book, article, and story into a full-fledged viable screenplay and adaptation for other mediums. Watch, listen and learn during this interactive session as savvy industry professionals demystify the process of adaptations. More.
SWAN Day (Support Women Artists Now) Day Screening and Reception - Saturday, Mar. 28, 2015 2:00 PM to 6:00 PM Free RSVP online SVA Theatre 333 West 23rd Street Beatrice Theater Join NYWIFT, SAG-AFTRA, School of Visual Arts Film department, Women in Arts and Media Coalition, and HerFlix at the SVA Theater for a screening and reception in recognition of SWAN (Support Women Artists Now) Day, an annual event on the last Saturday of March that celebrates women artists. There will be a Q&A and reception following the screening. More.
WEEKLY ROUNDUP: OSCAR RECAP, PHYLICIA RASHAD RETURNS TO TELEVISION & NEW RESUME RULES
“Big Girl,” part of the NYWIFT Member Screening Series: Shorts Program on February 24 at Anthology Film Archives.
New York Women in Film and Television’s February programs are filling up fast, so make sure to RSVP soon.
Women Who Run the Show February 5, 6:30-8:30 PM Tribeca Film Center 375 Greenwich Street (Between N. Moore and Franklin) What does it take to run a successful non-scripted show today and stay ahead of the competition? Savvy, enterprising women executive producers from various television genres will discuss what it takes to get a show made and on the air. Whether you are a novice producer just starting out or a seasoned producer looking to run a show of your own, you will have plenty to take away from this discussion. More.
NYWIFT Night Out February 9, 6:30-8:30 PM Pranna, 79 Madison Avenue at 28th Street Are you a member of this great organization? Interested in becoming one? Join us for our monthly NYWIFT Night Out, where you can mix, mingle and get to know our dynamic and talented members and staff in an informal setting on February 9th at 6:30pm. More.
Lunchtime Skills Workshop: Reducing Stress, Taking Control of Your Life February 11, 12:30-2 PM NYWIFT Conference Room, 6 East 39th Street, Suite 1200 The good news is that stress is self-created. The better news is that there are easy ways to turn stress into being centered and calm. This interactive workshop will give you the tools and insights on how to take control of your life. Learn how to respond rather than react, set boundaries with others and yourself and see choices in every situation. Create a plan to achieve the right mix of your entertainment career and personal life to give you more energy for both. More.
International Focus: Nigerian Cinema and Culture February 17, 6:30-8:30 PM MIST Harlem, 46 West 116th Street (between Lenox and Fifth Avenues) NYWIFT’s International Focus is a quarterly series that celebrates the artistic, cultural and historic contributions of global cinema. This month the series will feature the evolution of Nigerian cinema throughout the diaspora. Nigerian cinema, oftentimes referred to as “Nollywood,” celebrated its 20th anniversary last year and is the second largest film industry in the world. Join us for a lively conversation and celebration with talented actors, musicians, producers and directors as they share their journey and films. More.
Documentary Storytelling and Advocacy February 23, 6:30-8:30 PM Arthur L. Carter Journalism Institute, 20 Cooper Square, 7th Fl. This panel examines the rise of Impact Distribution as the trend for documentary filmmakers. Over the past several years, the prominence of social issue-oriented films has raised several questions. Do documentarians today need to also become activists and advocates for social issues? Or does the option still exist for filmmakers to simply create compelling stories that benefit society and culture in more diffuse and subtle, but, perhaps, no less impactful ways? Join us for what will be an energetic conversation on the present state of documentary storytelling. More.
NYWIFT Member Screening Series: Shorts Program February 24, 7-9 PM Anthology Film Archives, 32 Second Avenue at 2nd Street Join us for this month’s NYWIFT Member Screening Series featuring short films. Featured filmmakers are Lisa Melodia (“Big Girl”), Felicia Bradford (“January 30th”), Angela Tucker (“The Three of Us”), Joan Caspi (“Dumped”), Melissa Haizlip (“You’re Dead To Me”) and Diane Bradshaw (“Despairity”). The filmmakers will be available for a Q&A immediately following the screening. More.
Interactive Media and the Audience as Collaborator February 26, 6:30-8:30 PM LOCATION TBA Today, filmmakers tell stories with the use of mobile and online tools that encourage audience participation and collaboration in the process. This panel will explore the creative ways that producers have employed interactive media in their storytelling approach through collaboration with media tech experts, selection of the right content for different platforms, and forging collaborations that push the reach of projects. More.
(Edited on Feb 3, 2015, at 4:35 pm EST.)
Weekly Roundup: SAG Awards, Hollywood's Problems & Procrastination
Opening on February 2 at MoMA, the series will run through February 13, 2015 and feature films such as Susan Seidelman’s Desperately Seeking Susan, Sofia Coppola’s The Virgin Suicides, Sarah Driver’s When Pigs Fly and Bette Gordon's Variety, while short films include Matrimony’s Speed Limit, by Alice Guy-Blaché (the first woman director), Illusions, directed by Julie Dash, and Meditations on Violence, by Maya Deren.
Admission is free for the first 20 NYWIFT members who arrive at the theater with their membership card for all screenings. To print out your membership card, please log into your member profile and select Print Member Card.
The series will present over 50 short and feature-length films, sourced mostly from MoMA’s vast film collection and jointly curated by Anne Morra, Associate Curator, Department of Film, MoMA, and NYWIFT’s Women’s Film Preservation Fund Committee. All films have been carefully chosen for their significance to women’s film history and the language of cinema itself.
“This series and the extraordinary breath of work it represents comes at a significant time when women filmmakers are still struggling for acknowledgement and equal footing in an industry dominated by men,” says Terry Lawler, Executive Director of New York Women in Film & Television. “We are proud to continue our commitment to preserve the accomplishments of women filmmakers and hope the Carte Blanche series will move this mission forward and engage women, the film community and general audiences as well.”
Since its inception, the WFPF has provided cash grants, as well as in-kind post-production services generously provided by Cineric, Inc., to preserve or restore films in which women have played a significant creative role. The WFPF programming committee members are Ina Archer, Kirsten Larvick, Susan Lazarus, Raquel Salazar-Foster and Kim Tomadjoglu. To date the WFPF has preserved a remarkable spectrum of more than 100 American films, including works by early feminists, women of color, social activists and artists. The film represent a unique and irreplaceable part of our nation’s cultural legacy. Films already preserved range from Barbara Koppel’s Harlan County USA (1976) and Cinda Firestone’s Attica (1974), to productions by pioneering early film directors Lois Weber and Alice Guy- Blaché.
Highlights Include: Opening Night: Monday, February 2 Matrimony Speed Limit by Alice Guy Blaché; Desperately Seeking Susan by Susan (Seidelman (Seidelman will be present.)
Closing Night: 4:00: Sage-femme de première classe (1902) by Alice Guy Blaché; Harlan County, USA (1976) by Barbara Kopple 7:00: Mister E. (1959) by Margaret Connelly; Dogfight (1991)by Nancy Savoka
Friday, February 6 Tributes to Mary Lea Bandy ModernMonday, February 9 An Evening with Barbara Moss, founder, WFPF
Thursday, February 12: Premiere of the newly preserved print of Student Nurses (1970) by Stephanie Rothman
Screenings take place at: The Roy and Niuta Titus Theaters The Museum of Modern Art 11 West 53 Street
Composer and NYWIFT member Wendy Blackstone recording a score. Photograph courtesy of Wendy Blackstone.
I find myself: asking the same question. Where is the progress? Women directors worked on as many Hollywood films in 2014 as they did in 1998. Check out the new Celluloid Ceiling Report by Martha Lauzen.
Terry Lawler is NYWIFT’s Executive Director. Tune in every Tuesday for her picks.
Client: Venice Family Clinic Common Ground
PSA (public service announcement)
Client: Bagel Brigade, Los Angeles, CA PSA
B2B promo video
Client: Lifescript.com Writing, editing, content development
Copywriting (flip to spread 2)
content management & outreach
content management & outreach
Client: New York Women in Film & Television
Communications and social media strategy, content development, and writing
Client: Split Rock Films Outreach, audience engagement, and fundraising for documentary
Client: NYWIFT (Seven Women, Seven Sins)
Outreach, audience engagement, and fundraising to preserve 1986 film
Client: New Jersey Life magazines
bio & resume writing
bio & resume writing
I work with creative types, entrepreneurs, and execs to craft their professional bios (website/social media bios, filmmaker statements, artist profiles, executive summaries) and resumes. If you'd like to create a profile that tells your story, I’d love to hear from you.
Writing and Editing | Greater New York City Area, US
Editor and writer with experience supervising/coordinating editorial workflow and staff.
2015 - Present
Senior Editor / Concentric Health Experience
Lead editor for specific brands. Work with team on content, referencing, and scheduling. Help coordinate editorial workflow and train staff. Copyedit and fact-check promotional materials for healthcare professionals from manuscript through print or digital production. Create and maintain style guides.
2004 - Present
Senior Editor & Writer / Freelance
Copyedit marketing and patient education materials for health care and consumer advertising agencies (CDMiConnect, H4B Chelsea, PaceInc., Group DCA, The Mixx). Write marketing and editorial content for websites (Lifescript.com), among others:
— Instructor, University of California San Diego Extension, 2011–2013 (part-time) Led online copyediting courses. Created lesson plans and conducted class discussions.
— Copy Editor, New Jersey Life Health+Beauty Magazine, Lambertville, NJ, 2008–2011 (part-time) Sole copy editor for 40,000-circulation consumer magazine. Created style guide and fact-checked articles. Also a copy editor for New Jersey Life and NJL Weddings.
— Assistant Editor, Visions Magazine, Red Bank, NJ, 2007–2009 (part-time) Managed production, coordinated freelance writers, edited and proofread articles, and wrote marketing copy to publish Product Development & Management Association’s trade magazine. Reported to the Editor in Chief.
Senior Medical Copy Editor (staff, 6/2013–12/2013; freelance, 12/2013–11/2014) / The CDM Group
While on staff, I was the lead editor on multiple brands, and I worked with the team on content, referencing, and scheduling, and created and maintained style guides. Copyedited and fact-checked promotional and educational materials for health care professionals and patients from manuscript through print or digital production.
Communications Coordinator / New York Women in Film & Television
Managed internal and external communications for 2,000-member media industry association. Helped direct interns and freelancers. Led social media program and organization's marketing presence at events. Wrote, edited, and produced newsletters, articles, and emails, among other marketing materials. Reported to the Executive Director.
Interim Editor / Lifescript
Wrote, top edited, and researched articles for women’s lifestyle site. Wrote headlines, teasers, and ledes. Developed content, including helping to build content channels.
Medical Copy Editor / The CDM Group
Copyedited and fact-checked print ads and web content for health care advertising agency.
Medical Proofreader / Baxter International Inc.
University of California, Los Angeles
Professional Program in Screenwriting