It's really about realizing we can own a piece of each other's successes, and in so doing, learn to become successful ourselves. Lois Shelton, Foxglove Films         New study, finds that women continue to lose ground in key above-the-line film positions. By Tatiana Siegel Published June 10, 2005 In the wake of Gail Berman's ascension to the top reaches of Paramount Pictures' food chain, an April 24 New York Times article boldly proclaimed that Berman and other female studio brass “have finally buried the notion that Hollywood is a man's world.” While women continue to make progress in the executive ranks of major studios, San Diego State University professor Martha Lauzen insists that industrywide gender equality is still elusive. “It's very easy to be misled by a few high-profile cases”, says Lauzen, author of “The Celluloid Ceiling”, an annual study assessing women's behind-the-scenes cinematic contributions. The professor, who has analyzed female labor trends in showbiz for more than a decade, instead paints a bleak picture for women in five key areas of filmmaking. Using the 250 top-domestic-grossing films in 2004 as her test sample, Lauzen and her research team found that the percentage of women working as directors, producers, writers, cinematographers and editors dropped from 17% in 2003 to 16% last year. While a 1% decrease might not seem shocking, it is part of a four-year slide, from a high of 19% in 2001. Female helmers, in particular, took the biggest hit, slipping from 11% in 2000 to a paltry 5% last year. “The overall numbers are cause for concern”, says Lauzen, who will publish a companion primetime TV report in August. “The drop in women directors is alarming.” In fact, the 2004 numbers are stagnant or down in most categories when compared with 2000 figures. The share of female writers fell from 14% to 12% and editors from 19% to 16%. Producers were stagnant at 24% in both 2000 and 2004. The two bright spots were cinematographers, up from 2% in 2000 to 3% in 2004, and executive producers, up from 16% in 2000 to 19% in 2004. When it comes to assigning blame, the social scientist and self-described media junkie points to a culture of silence within the industry. “What I'm seeing these days is a lot of denial about the current situation for women in Hollywood and an unwillingness to acknowledge the scope and the depth of the problem”, Lauzen says. “Even as recently as 2001, some of the more high-profile individuals and organizations in the business were more willing to speak out on behalf of women. I have noticed over the past few years an increasing reluctance to speak frankly about the issue.” While Lauzen insists there are no simple solutions, she says it is important to be skeptical of headlines heralding Tinseltown's gender revolution. “Nothing would make me happier”, she says. “But the media are not telling the real story.” Erin Sullivan - Tinsley Transfers A Leader in FX Make-up Photos By Wendy Ashford When Seattle's Akina Films needed realistic torture wounds for their lead character in the film “Bullets, Blood and A Fist Full of CA$H”, they turned to their friends at Tinsley Transfers in Van Nyes, California. Christien Tinsley, the owner of Tinsley Transfers (Oscar nominated for his work in The Passion of the Christ) sent his newest talent Special F/X Make-up Artist, Erin Sullivan. Sullivan is a native of the San Francisco Bay Area and has been doing F/X for Tinsley since November 2003. “I was always fascinated with make up as a child, probably because my mother didn't allow me to have any make up until I was 13 but that never stopped me from some how getting my hands on it.” Sullivan says. “Halloween was my favorite holiday and I loved the fantasy of dressing up and being a different person or creature. When I was in high school, after re-watching favorite movies from my childhood like Labyrinth, Legend, and The Dark Crystal, I realized how wonderful it would be to create creatures that had such a lasting impact on me.” Sullivan has worked on a broad range of low budget, independent films and shorts (“Girl in 3D”, “Abominable”), and since starting with Tinsley Transfers has made prosthetics for Television ( “Nip Tuck”, “The Shield”, “Into the West”) and Feature Films (“Cat Woman”, “The Island”, “Find Me Guilty”). When interviewed by Women in Film-Seattle's Joy Saez about the pros and cons of being a woman in the F/X industry niche, Sullivan responded, “In a lot of ways it's still a boys' club and sometimes opportunities to be taken seriously and prove yourself to be just as capable as the boys are hard to come by.” She further added, “The pros of being a woman in the industry are being able to prove the boys wrong. I get a kick out of the shock expressed when they find out I can lift a 100lb bag of Plaster or that I'm less squeamish than most of the guys when it comes to reference photos of severe injuries. I figure if I can prove my self capable and shock them now maybe they won't blow off the next woman that comes along that says she can do as good of a job, if not better, than them.” Sullivan admires the women who came before her because their striving for success in the industry and venturing into unknown territories opened doors for future generations of women to follow in their footsteps. Legend is her favorite FX movie. “I love the way the make up accentuates the theme of darkness and light, good and evil, winter and spring, also the different creatures and the fantasy world they in turn create.” Sullivan also hopes to be a mentor to young girls who are interested in the F/X niche in the industry. “I was lucky enough to be raised by a very independent, capable, and stubborn woman who at the age of 25 was a single mother with 2 children. Instead of trying to find another man to take care of her, she decided she needed to be self-sufficient and wanted a better life for herself and her children. So, when I was 4 she went back to college and continued on to Medical School when I was 10.” Her mother's greatest gift to her was teaching her the same self-sufficiency and independence. “Watching her struggle against the odds and succeed was a wonderful example to me growing up - that it didn't matter what sex you were, the important thing is your abilities, to strive for bigger and better things, and not to give up just because things get hard. Because of this example set for me as a young girl I've never let being a woman come into consideration in the goals I've set for myself and whether or not I can complete them.” She hopes to set the same example for other women who may have similar aspirations. “I feel example is the best way to mentor young girls, regardless of the field they are interested in. It is extremely important for all young girls to have strong women role models in their lives like I have, and it is our responsibility to provide this for them and to teach them to not give up on things or sell themselves short because they are women.” Sullivan had a great time working with the Akina Films crew, especially since she loves seeing people so eager to “create”. She admired their drive and devotion of time and energy to Bullets because they believe in the film and want to be part of the process, with little more reward than seeing it succeed. Thanks to Erin's expertise, after 3.5 hours of F/X make-up the actor looked badly beaten and Director Sam Akina was thrilled to see his vision come to fruition. Producer Joy Saez felt the urge to vomit at the site of Erin's creation and sat off-set during the shooting of the scene. You'll have to see the film to catch a glimpse of Erin's finished work. AKINA FILMS LLC JOY@AKINAFILMS.COM AKINAFILMS.COM check out the latest project from Akina Films at Bulletsthemovie.com IN OUR ELEMENT Women in Film-Seattle Honors Members With Membership-Election Party The swanky new club Element was charged with the luminous energy of Women in Film-Seattle's members on the evening of February 24, when WIF-S held an appreciation party for its members along with an election of the board of directors for the 2005-2006 term. The complimentary wine and top shelf cocktails were flowing in the swanky Gatsby-esque white leather and marble "Heaven" VIP room as members came together in a gregarious showing of passion and vision for the organization's 2005 agenda. Elected to the 2005-2006 Board of Directors were Natalie Wallace - President; Virginia Bogert - Vice President; Allison Williams - Secretary; Corene Kufta - Treasurer; Joy Saez - Special Events/Professional Development Committee Chair; Sue Feil-Erwin - Membership Committee Chair; Katie Herrick - Communications/Marketing Chair; and Charity Parenzini - Nell Shipman Awards Committee Chair. WIF-S members network After announcement of the election results by WIF-S Secretary Allison Williams, each new board member who was present at the event took the floor to introduce themselves to the members and outline their plans for the year. Committee members were also solicited since the board is in need of the help of passionate WIF-S visionaries to facilitate organizational growth. For Seattle's women film professionals, there is nothing like the energy and vision to be found in the presence of a group of like-minded individuals. The event was a raving success and greatly enjoyed by all in attendance. WIF-S is looking forward to hosting several more of these member appreciation events in the future. WIF/S Special Events Committee Chair Joy Saez addresses the membership with WIF-S extensive event calendar for 2005 Tootie Pie Conducts Principal Shooting Principal shooting of the independent short film, Tootie Pie, was held in Tacoma, Puyallup, and Auburn, Wash. from May 20-26. Directed by award-winning Seattle filmmaker Virginia Bogert of Laughing Dog Pictures and produced by Susan LaSalle, the project has garnered the endorsement of actor/producer Danny Glover and his production company, Carrie Productions. Adapted from a short story by Tacoma writer Rosalind Norflin Bell, Tootie Pie is set in the segregated America of the 1960s, where Tootie Pie and Claressa are best friends. Middle-class Claressa is well-schooled and protected. Disadvantaged Tootie is the soldier, the risk-taker, the one who stands up defending her place in the world. Claressa looks up to the brave and feisty Audrey "Tootie Pie" Moore, while Tootie longs for Claressa's traditional family and perfect world. At a tender age, they must both face life's hard realities, and Tootie Pie must face her own disreputable mother. Tootie Pie illuminates the powerful bonds of both kinship and friendship seen through the prism of childhood. Tootie Pie's predominantly African-American cast hails from Seattle and Los Angeles. Said Bogert of the shoot,"The production was a great success and overcame squalls and the freight trains' mournful wailings. Support and goodwill was handed out by The City of Tacoma, The Town of Ruston, The Washington State Film Office, The Screen Actors Guild, Don and Beth of Don's Ruston Market, The Town of Puyallup, The Erik Sanders Mansion, Tacoma Railway, The Grand Theater, and The Blue Mouse Theater. The production also supplied internships and job-shadowing of the professional crew and producers by students. To all who took part in the making of Tootie Pie, a heartfelt thank you from our soul." To support the final costs of this unique film, tax deductible donations can be made to Tootie Pie through the Independent Film Project/Seattle; or individuals may also invest in the film. Please contact Susan LaSalle at 206.612-0078 for details. Checks may be mailed to: Tootie Pie Productions, LLC 1506 35th Avenue Seattle, WA 98122 www.tootiepie.com susanlasalle@hotmail.com LADY BE GOOD Instrumental Women In Jazz Kay D. Ray – director/producer and former president of Women in Film/Seattle – is in the midst of creating Lady Be Good, a film focusing on women who played jazz during decades when such a thing was truly an exception. The feature-length documentary will illluminate the contributions of female American instrumentalists in jazz from the early part of this century to the 1970s, and examine the development of the all-woman groups. These chapters of the ongoing story of women in jazz show that many were discouraged by prejudice and an unreceptive culture. Their presence, often against formidable odds, constituted carried the powerful message: that women can play jazz. Ray has spent over two years researching and writing Lady Be Good, shooting interviews with more than 65 people around the country. Any film project requires a lot of money, and "documentary-type" films like this one are especially hard to finance. The lack of funding for arts on a local and national level makes this task even tougher. Ray's $350,000 budget is conservative for a film of this type, but a huge portion of it must be raised from private individuals. Ray and her team currently have a two-hour rough cut of the film and are in need of $200,000 for completion funds (music and film copyright clearances, procuring archival film and online editing). Please join the community of donors who have recognized the importance of this burgeoning film - make a contribution to help bring this documentary to completion! Your tax-deductible donation will honor the work of the pioneering and talented women of jazz. Please make your check to: Kay D. Ray Productions 1424 26th Ave Seattle, Washington 98122 Check out the Web site at http://home.att.net/~kay.ray/ladybegood/ Kay D. Ray's recent awards include Emmy nomination for her film Ernestine Anderson; for her filmwork with Experience Music Project (American Association of Museums, regional and national Media Communications Association International, local and national American Federation of Television and Radio Artists): the short film Middle of Nowhere (Palm Springs Film Festival and KCTS) ; the Women In Film Spirit /Nell Shipman Award, and Internet Kiosk with Bill Nye for the Microsoft Museum, among others. Editor Jill Friedberg’s numerous credits include the internationally acclaimed This Is What Democracy Looks Like, Life Beyond Earth (PBS)and Bill Nye The Science Guy (KCTS, Buena Vista). MEMBER FEATURE Jannat Gargi Women in Film Member Jannat Gargi has experienced life in several different worlds, having been born and raised in Punjab, India, moving to Bellevue, Washington when she was ten years old - and embarking in a successful career in the entertainment business. She graduated from the University of Washington in 1993 with a BA in English and film, and has since worked in the entertainment industry in marketing, acquisitions, production, and post-production for everything from commercials and corporate video to feature films, short films and new media. In her early career, Gargi managed the marketing departments at both New Line Cinema and Fox Searchlight Pictures. It was during this time that she oversaw theatrical marketing campaigns for feature films including: The Full Monty, Boogie Nights, Rush Hour, The Ice Storm, Austin Powers, and Wag the Dog. She then moved on to AtomFilms (now AtomShockwave) where she served as the vice president of acquisitions and development. Gargi is currently employed as the director of sales and marketing for Alpha Cine Labs, and has not only expanded AlphaCine's client base, but has been instrumental in revolutionizing the company into a leading resource for new digital film capabilities. In her current position with Alpha Cine Labs, Gargi works to strategically raise the company profile in the independent film community through advertising, film festival sponsorships, promotional partnerships and Web site design. Her primary focus is selling digital-to-film capabilities, but also to promote Alphacine's lab services. In 2003, she brought in more than $1.5 million dollars in new business to the company, doubling her original goal. Among some of the projects Alpha Cine worked on in 2003 were the Sundance Channel theatrical release and transfer of Academy Award Nominated Documentary (2004) The Weather Underground from digital tape to 35mm. Gargi cites working with filmmakers and traveling to film festivals, where she gets to see many great films, as her favorite part of the job. "It's inspiring because this job is all about relationships and trust and the quality of our work. When I see a filmmaker's work and how passionate they are about getting their film made and seen, I want to keep that passion in the work we do for them." In the future, Gargi would love to produce a feature and focus her broad range of skills into one specific project. Another of her future goals includes working as a consultant on a freelance basis for filmmakers, advising them on marketing, distribution, and festivals once their films are complete. Gargi is a recent new member of the Women in Film-Seattle organization. Following the commencement of her career in production 12 years ago, she began to hear great things about the organization and knew several members. When she finally took steps to experience WIF-S on a personal level, she decided to join right away, and has enjoyed being a part of the growing organization. Gargi has been married to Dan Pepper for five years and together they have a 20 month-old son named Milo. The family resides in Seattle and shares their home with an English setter named Riley. Written by Natalie Wallace