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Mar 20 2017

Docs-in-the-Works dazzles and educates next generation of documentary filmmakers

By Jenny Levine.

Considered by many to be the most exciting part of the festival, this year’s Docs-in-the-Works competition was undoubtedly thrilling for those who attended. Trailers cut by undergraduate Film and TV major Thelma Boyiri and graduate students Caitlin Stickles and Giuliana Monteiro Pinheiro were pitched and presented in front of five captains of the documentary world representing HBO, Vice, and Chicken & Egg, with the promise of grant money and invaluable one-on-ones.

What went into each pitch? Tisch professor Sam Pollard workshopped with the three finalists to capture the heart of the film in a short 4-7 minute trailer. For some, their film was nearly complete, while others had ways to go. Each finalist was met with a unique challenge that brought them professional experience. Where Giuliana had previous experience pitching to a room full of 100 professionals, Caitlin was admittedly nervous but told the judges the advice that Sam had told her, “You got to be suave.”

After each screening and pitch, the judges went down in a line and gave their feedback –  a mixture of advice and questions about the direction each director wanted to take her film. After each judge’s feedback, the director tried to answer questions and accept the helpful feedback.

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Each filmmaker had strong subject matter: Thelma’s Sanctity of Sound explored live jazz performance in New York and Berlin, Caitlin investigated capital punishment through the trial and execution of Lisa Ann Coleman in Capital, and Giuliana’s Bento brought viewers to the small town in Brazil that was the site of one of the worst mining disasters in modern history.

While the judges deliberated, spectators were able to ask the finalists’ advice about how to construct a strong trailer and pitch as well as their plans for the future. “This is my future,” Caitlin said. The finalists admitted that the judges commentary was tough but constructive, as they were asked questions about the focus of the film or the marketability of the final product.

When the judges returned, vice-president of Documentary Films HBO Jackie Glover announced the winner: Bento by Giuliana Monteiro. The judges voiced their admiration for the creativity of the angle and the visual poetry Giuliana brought to her pitch.

Without a doubt, the crowd in Docs-in-the-Works wanted to learn. Many were taking notes during the judge’s commentary so they could prepare for when they pitch in the future. Maybe next year we’ll be watching them share their stories.

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Written by Rachel Thaw · Categorized: Articles, Events, News & Updates · Tagged: 2017, Competition, docs-in-the-works, Documentary, equality, festival, Film, Fusion, gender, industry, judges, new media, panel, pitch, TV, women in film

Jan 31 2017

Iyabo Boyd: From Here To There

By Juliana Botelho, Fusion Alumni Relations.

Iyabo Boyd (TSOA ‘2006) is a trailblazer in every sense of the word. A founding member of Fusion Film Festival and Co-Director of the organization for two years, Boyd is an accomplished film producer, director, writer, and founder of the consulting company, Feedback Loop. On November 17th, 2016, Fusion welcomed the Tisch alumna to its “Coffee With Series” where she shared her path from here to there.

After graduating with a BA in Film and Television in 2006, Boyd held positions at distinguished institutions such as the Independent Feature Project (IFP), Tribeca Film Institute, and Chicken & Egg Pictures. Iyabo’s keen eye for talent qualified her to serve on juries for the SXSW’s Women Director Award, DOC NYC, Cinema Eye Honors, and Brooklyn Film Festival’s Pitching Exchange. When it comes to her creative endeavors, Iyabo Boyd possesses a prolific career. She produced the feature Sun Belt Express, which premiered in 2014 at the Champs-Elysée Film Festival, and the short film “Forever, Ally,” based on the poems by Ronaldo V, that she also wrote and directed. Boyd is currently producing the coming-of-age documentary For Ahkeem, set for a 2017 release, with Emmy-winning directors Jeremy Levine and Landon Van Soest.

In 2015, Boyd created Brown Girls Doc Mafia, a collective for women filmmakers of color in documentary, and in 2016, Boyd founded Feedback Loop. Feedback Loop is an organization that provides consulting services for independent documentary filmmakers in the areas of funding, editing, festivals, distribution, marketing, and impact. It was Boyd’s work as a Program Manager for Chicken & Egg Pictures, which supports and awards grants to non-fiction women filmmakers, that paved the way for her own firm Feedback Loop and her collective Brown Girls Doc Mafia. As a Program Manager, she held a leadership position in selecting projects for grants and mentorship opportunities. Despite her ample experience with grant applications, Boyd noted that selecting projects is always a difficult process for there are many talented filmmakers and not enough funds to bring all of their creations to life.

To add to her outstanding résumé, Iyabo Boyd received in 2016 the Impact Partners Creative Producers Fellowship, awarded to the most prominent independent documentary producers, and was selected for the Sundance Institute Documentary Film Creative Producing Lab, which provides emerging documentary-feature producers with mentorship from accomplished industry professionals.

During Fusion’s “Coffee With” event, Boyd expressed how much the experience at Sundance impacted her perception of the entertainment business and enabled her to grow as an artist. For the filmmaker, the key is to aim for longevity and to always think about future projects and creative endeavors. Also, know your audience and their demands. The Fusion alumna advised the emerging artists in the room to stay up-to-date with press releases about current projects being developed because funders are looking for new material and ideas. When asked what she would have done differently as a student at NYU, Boyd confessed that she wished she had established more connections with professors because they open doors into the entertainment industry. Nonetheless, since her days as an aspiring filmmaker at the Tisch School of The Arts, Iyabo Boyd has come a long way.

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Written by Rachel Thaw · Categorized: Articles · Tagged: boyd, change, change the rules, coffee, festival, Film, from, from here to there, Fusion, here, iyabo, new media, rules, series, there, to, TV, with, women in film

Jan 31 2017

Hannah Weddle: From Here To There

By Priya Khanolkar, Fusion Alumni Relations.

Hannah Weddle (TSOA, 2010) was part of a revolutionary time for Fusion. In 2009, when social media and cell phones were gaining traction, Hannah became the Director of Technology for the Fusion Film Festival. Since this was the first year the department was instilled, Weddle was Fusion’s first webmaster. Today, she is a Production Format Specialist and works with front end web development, formatting content for websites and E-readers. This past December, she spoke with Fusion about her journey from here to there.

When Hannah was a sophomore at Tisch, she thought she wanted to be a director. Once she began her Sight and Sound classes, that idea pivoted. She found that she really enjoyed the technical side of film: the lights, camera, and sound. Hannah was fascinated by the science behind it all and why everything worked the way it did. She remembered very clearly how, at this time, she was one of the only girls interested in the technical side of filmmaking. Because of this division, Hannah found that many people would try to pigeonhole her into other categories of the film department, but she stuck with what she loved. Because of her passion for technology, she became a Digital Teaching Assistant on the eighth floor of Tisch where the photography studios are housed. Her work there, along with work she had performed in Fusion, led her to her current career path.

Directly after graduating from NYU, Hannah did freelance film work, but she wasn’t extremely satisfied with the pace of the work. She went to grad school a year after graduation with a concentration in technology. Her first job after grad school was at the John F. Kennedy Presidential Library where she was in charge of digitizing the collection and re-recording phone calls made by John F. Kennedy for a documentary.

Hannah was in college during the digital revolution where cell phones became a regular item to have, television shows began streaming on the internet, and social media began taking off. This was a very critical time for her because she was trying to understand how technology in film would change. How would the industry be impacted by the use of iPods and laptops? She knew from then on that she needed to go in the direction of technology and help answer these questions. She needed to be working directly with tech, and Fusion gave her that opportunity.

Hannah knows the importance of technology as a force that’s driving the industry and she acknowledges how it is changing all the time. This is why she loves working in the fast-paced world of technology. From pioneering as one of the only women to attend a camera class to working solely in tech, Hannah has certainly come a long way from her time at Tisch.

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Written by Rachel Thaw · Categorized: Articles · Tagged: change, change the rules, festival, Film, from, from here to there, Fusion, hannah, here, new media, rules, there, to, TV, weddle, women in film

Jan 31 2017

George Itzhak: From Here To There

By Priya Khanolkar, Fusion Alumni Relations.

After graduating early in December of 2013, George Itzhak (UGFTV/TSOA, 2013) went straight to Sochi, Russia for the 2014 Sochi Olympic Games as a Production Assistant for NBC News. Today, George is the Associate Producer at NBC Nightly News. He was able to sit down with us and explain how he got from here to there.

Itzhak recalls first being inspired to become a TV news producer after a speaker from CBS came to talk to his Producing For TV class. While working as the Design Director in Fusion for many supportive years and an important E-Board member, he was also interning at The Today Show. After shooting and editing his thesis film during his senior year, he began interviewing for many different TV networks.

George was already interning at NBC News when he heard that NBC was hiring people to help cover the Olympics in Russia. Since George speaks Russian fluently, he interviewed for the position and was then sent to Russia for five weeks. George thought this was a wonderful first job because he could work in the field and be extremely active. He was able to not only work with producers but also set up and be a part of many interviews.

George’s first position at NBC News was as a desk assistant. Because of his shooting and editing skills, which he learned specifically in Sight & Sound: Documentary, Sight & Sound: Filmmaking, and Camera 1 at Tisch, he was able to quickly move up in his career. George’s work is not limited to TV though. When he has free time, he works on film projects as well. One project he is currently working on is a feature length documentary about Joanna Stingray, the American godmother of Russian rock music.

George has traveled all over the United States as well as the world for his job and has had a great time doing it. When asked what he would tell himself if he could go back in time and speak to his college self, he replied, “I would tell myself to really focus more on your technical skills and your craft. That’s your work and that’s your value at your job. You have to have both ambition as well as the technical skills you can learn. There will always be creative people out there. You have to be able to back it up though.” George loved his years at Tisch and loved his time at Fusion. He is thankful for everything he learned during his years at NYU.

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Written by Rachel Thaw · Categorized: Articles · Tagged: change, change the rules, festival, Film, from, from here to there, Fusion, george, here, itzhak, rules, there, to

Jan 31 2017

Erika Houle: From Here To There

(Header Image a Still of Gloria Steinem in “Equal Means Equal”)

By Priya Khanolkar, Fusion Alumni Relations.

Erika Houle (Grad Film/TSOA, 2011) works not only in the field but also in the classroom. In college, Erika had many different internships with world-renowned directors such as Terrence Malick, and after graduating she was able to work on many projects. She recently completed her master’s degree in Art, Education, & Community Practice while teaching Camera I at Tisch. Erika knew she always had a passion for teaching as well as an interest in film, so being a part of the 2016 Fusion Film Festival as a faculty judge was perfect. Erika recently answered a few questions, highlighting how she got from here to there.

When Erika first began her undergraduate years at the Tisch School of the Arts, she believed that she wanted to be a music video director. However, her passion quickly pivoted to documentary filmmaking. Documentaries allow Erika to grow close to people all over the world and learn from them. During her time at Tisch, Erika interned on Terrence Malick’s Tree of Life, where she had the opportunity to work on  a professional set for the first time. She noted how everyone on set treated each other with respect but also prepared her for enduring the emotional turmoil and logistical chaos of many low budget shoots. Erika also interned at Partizan, a world renowned production company, which was perfect for her due to her interest in Michel Gondry. She learned most of her skills from working on many student film sets. By the time she graduated, she had made contacts with many people because she had worked on their student sets when she was an underclassman. This is how she found many of her jobs post graduation.

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Still from Erika Houle’s Undergraduate Thesis Film “Last Texas Cowboy”

One of those jobs was as a DP for a documentary starring social political activist and feminist organizer Gloria Steinem. The documentary’s director, Kamala Lopez, was looking for a NYC-based DP to shoot the interview. Erika was put in contact with Kamala through a mutual friend whom Erika had met while working on student film sets at NYU. Erika commented that Gloria Steinem is a wealth of wisdom and experience, and one comment from Gloria that stuck with her was that, “Upon reflection it was naive of her [Gloria Steinem] to believe that simply presenting facts to people would change minds. As a budding activist, that bit of wisdom saved me years of learning the hard way.”

Erika did make a note that as a freelance filmmaker, you face many hard decisions. To do the interview with Gloria Steinem, she had to turn down a well paying commercial, but she is glad that she did. Erika said that, “Sometimes the projects we work on affect more than our IMDb page. They touch our souls.”

Erika is now a member of Local 600 and is currently working on segments for Saturday Night Live and a documentary titled “Equal Means Equal”, all while teaching Camera I: Practices & Principles of Cinematography. When she is not working on her multiple projects, Erika is watching Jeremy Brett’s Sherlock Holmes in between the new season of BBC’s Sherlock. When asked, “If you could go back in time and give your college self any advice, what would it be?”, she replied, “I would ask myself the question I now ask my students: ‘What is your burning question?’” Erika wants students to not be caught up in worrying about a career before they have graduated and take the time in college to experiment and find their voices. “Figuring out your essential question, which can change over time, and answering it helps you find your purpose in your work.”

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Written by Rachel Thaw · Categorized: Articles · Tagged: change, change the rules, erika, festival, Film, from, from here to there, Fusion, gloria, here, houle, rules, steinem, there, to, women, women in film

Jan 31 2016

History of the Women’s Rights Movement: Then and Now

By Paige McCall.

Recently there have been a lot of discussions raised by female celebrities as to the treatment of women in the film industry.  People like Patricia Arquette and Viola Davis have used their platform, upon winning awards, to give powerful speeches targeting unequal pay and the lack of roles for women of color in film and television.  Emma Watson became an ambassador to the United Nations and launched her campaign, HeForShe, in order to try to encourage men to join her in promoting feminism, something she felt the need to do after experiencing sexualization in the media from an early age as a child actress.  Most recently, even the highest paid woman in Hollywood, Jennifer Lawrence, joined the fight, writing an article about the gender pay gap.  She points out that even though she is now the highest paid actress in the country, she still makes only a fraction of what her male co-stars make for the same amount of work on the same films.  With more and more women in the film industry discussing issues of the gender pay gap, lack of diversity in film and television, and the overall minimal presence of women as compared to men in this industry, it is an important time to look back at what has lead us to this point.

  • 1840: The demand for women’s suffrage in the United States first began in the 1840s, a time when women were beginning to advocate for expanded rights in general.

  • 1848: The  movement gained major political traction through the Seneca Falls Convention, the first women’s rights convention in the United States, attended by over 300 men and women. Here, a resolution in favor of women’s suffrage was passed, despite opposition from some of the movement’s organizers, including Lucretia Mott, who thought the idea was too extreme. Elizabeth Cady Stanton  ultimately introduced the 19th  amendment, despite knowing how controversial it would be. Her husband, who initially supported the movement, refused to attend the convention when he learned his wife was going to propose the amendment which he believed was ridiculous. Stanton and many others persevered, with support from abolitionist leader and former slave, Frederick Douglass. The once controversial idea of giving women the right to vote became the core of the women’s rights movement.

  • 1890: The first national suffrage organization was formed– the National American Woman Suffrage Association (NAWSA).  Two organizations that had been competing for over two decades formed to create this group, one lead by Elizabeth Cady Stanton and Susan B. Anthony, the other lead by Lucy Stone.

    • The competition between these two groups emerged largely over how to spend the funds of the group and also whether or not to support the reconstruction amendments following the abolition of slavery.  These would have granted suffrage to former slaves, but it did not include men.  The issue was whether or not to try to focus on both the rights of women and African Americans at the same time.

    • The same lack of intersectionality that could be seen in the division and competition of these two women’s rights groups is not too different from what exists in modern day feminism.  There is currently a similar divide on social issues especially, as there are many feminists who choose only to focus on issues specific to white women, while others, women of color especially, demand intersectional feminism.  This divide is commonly referred to as “white feminism” versus “black feminism.”

  • 1875: The Supreme Court ruled against women’s suffrage.  This didn’t stop the women’s movement, but rather lead to decades of advocating for an amendment to the U.S. Constitution to give the right to vote to women.  Suffragists also began fighting for female voting rights on a state-by-state basis.

  • 1900: Carrie Chapman Catt became the leader of the NAWSA, which now had two million members, and re-dedicated the organization to a national suffrage amendment as its top priority.

  • 1916: Alice Paul formed the National Woman’s Party (NWP),  a militant group determined to pass an amendment to grant women in the U.S. the right to vote on a national level.

  • 1917: A group of over 200 NWP members, dubbed the Silent Sentinels, were arrested after picketing outside the White House.  Some of them even went on a hunger strike for their cause and had to be force fed food after being arrested.

  • August 26, 1920: The 19th Amendment officially became part of the U.S. Constitution, following many narrow votes in the United States Congress.  The amendment read: “The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex.”

  • 1923: Connecticut, Vermont, and Delaware were the first states to formally ratify the 19th amendment after the federal ratification.  Despite the fact that it was now a federal law that women could vote in national elections, there were still many states that took years to officially ratify it.

  • 1980: The number of women voting in U.S. elections finally matched the number of men voting.  In some cases, this was because some women didn’t feel as though they should vote because they had been treated as subordinates for so long.  In others, it was because there were some women still being denied a vote– specifically, women of color.

  • 1984: Mississippi became the last state to ratify the 19th Amendment, 64 years after it had become federal law.

    • To put in context just how long this took, Steve Jobs unveiled the first Macintosh computer in January of 1984.  Mississippi ratified the 19th Amendment in March of that same year.

This lag in progress shows us just how hard and how long women have had to fight to be treated as equals- a fight that continues today  Legally, women have the right to vote, but that does not mean that change comes easily in practice.  The effects of the long history of the subjugation of women did not dissipate because of one amendment, and that amendment didn’t fix the problem entirely.  For many women, especially women of color, they were still denied what had become their legal right.

The women’s suffrage movement and the ratification of the 19th Amendment in 1920 is an extremely important part of American history, but what isn’t talked about as much is that it didn’t focus on all women.

In the 1920s, radical racism was still prominent throughout America, especially in the South.  African Americans, both men and women, were still regularly denied the right to vote in Southern States.  Within a decade of the 19th amendment being passed, black women in the South were disenfranchised, not just by fringe practices or threats from racist groups, but by the implementation of state laws. Racism did not belong just to fringe groups but to Southern government officials as well.

We cannot talk about the U.S. Women’s Suffrage Movement without also discussing the U.S. Civil Right’s Movement of the 1960s, because it wasn’t until after this movement that women in southern states could actually vote.  To say that the passage of the 19th Amendment gave all women the right to vote is a whitewashing of American history.

The suffrage movement was important, but not all-inclusive, not only after its success in gaining women the right to vote, but during the years of attempting to do so.  NAWSA leaders asked black women’s clubs, who wanted to support NAWSA, not to affiliate with them.  There were Southern suffragists who wanted only white women to gain the right to vote.  In a 1913 march lead by Alice Paul’s Congressional Unit, black women were asked to march in a segregated unit.  Ida B. Wells, a prominent African-American suffragist who wrote often of racism and sexism, refused to abide by this request and snuck into her state’s delegation, marching with them in the parade.

While we appreciate the work of the suffragists who fought for women’s right to vote leading up to 1920, we must also acknowledge the imperfection.  After the 19th Amendment passed, the women’s movement went pretty silent for a long time, as if the fight was won.  But it was more than 40 years later that women’s right to suffrage became universal. This same neglect of addressing problems unique to African American women can be seen in the divide emerging in modern-day feminism.

Intersectional feminism is often times overlooked in favor of “white feminism.”  When we remind the world of statistics that women make 78 cents on the dollar we must mention that it is only white women who make even this much.  Statistics show that African-American women still make only 64 cents for every dollar a white man makes; Hispanic women, only 54 cents.  We cannot talk about sexism without also talking about racism.  We cannot talk about the U.S. Women’s Suffrage Movement without talking about the U.S. Civil Right’s movement.

When we look back at the history of this great movement, it is important that we learn from not only its successes but its failures. As feminists continue to fight for more equality today, hopefully intersectionality will win out.  If it is true that those who do not learn from history are doomed to repeat it, I hope that we are able to recognize the lack of intersectionality that has existed for too long in feminism, and open up the doors of this vital movement to all people, regardless of race, so that we may all enjoy the equality we are due but have been excluded from for far too long.

The film industry can do a lot to relay information to the general public.  As women fight to secure a place and equal treatment in this male-dominated industry, they are also creating works that can help them in this fight by informing audiences and encouraging an inclusion of women, as is seen with the film, Suffragette. Now that we have Suffragette giving credit to the history of the first part of the movement that gave women the right to vote, hopefully we will see a new film that focuses on the second important part of women’s history– The Civil Right’s Movement.

Written by Rachel Thaw · Categorized: Articles · Tagged: festival, Film, Fusion, history, movement, now, rights, suffragette, then, women's

Jan 07 2016

Why Submit to the Fusion Film Festival?

By Siena Richardson

Submitting to the Fusion Film Festival is a fantastic opportunity for young women to have their creative voices heard. From professional exposure to incredible prizes, there are so many ways to win just by submitting your work! Here are the top three simple reasons we at Fusion want to see your submissions by JANUARY 15th!

1. Raise your creative voice in this male-dominated industry.

Women’s stories are essential to our culture. We need to hear them told. Women are seriously underrepresented behind the camera in film, television, and new media. We at Fusion intend to change the rules about whose voices are heard in the industry. We are fostering an environment where women are encouraged to succeed and have their work exposed to a network of potential future collaborators. Share your work with us!

2. Win some serious prizes.

Last year’s winners were awarded various prizes, from Canon cameras to FinalDraft and Adobe Creative Cloud software to workshop and production grants. Any college student or recent graduate would be lucky to win these valuable prizes to use on their future projects! This year’s prizes promise to be just as impressive.

3. Everyone who submits wins in some way!

Each submission is viewed by industry professionals as well as faculty judges. Submitting to Fusion gives your work exposure, regardless of whether your submission is chosen as a finalist.

Every year, agents and managers contact our faculty advisor Susan Sandler asking to see the work of Fusion finalists, in addition to the winners! Submitting gets you that much closer to professional representation.

Finalists in our Docs-in-the-Works category get the opportunity to pitch their ideas directly to top executives in the documentary world. They prepare for this experience though an expert workshop to help them perfect their pitch and their trailer before the pitch competition. This year, the workshop will be taught by Emmy and Peabody Award-winning Professor Sam Pollard, who has served as executive producer and editor of numerous documentary films and series, and who worked in collaboration with Henry Hampton’s Blackside productions and with filmmaker Spike Lee.

Submit your work to the 2016 Fusion Film Festival by January 15th, 2016 by visiting www.fusionfilmfestival.com!

Click the following link to go directly to the Submission Form: https://docs.google.com/a/nyu.edu/forms/d/16ti-Q6SM6yjsDV5HmD1wEpNeGJxyov6SGOKJWMaummU/viewform?c=0&w=1

Written by Rachel Thaw · Categorized: News & Updates · Tagged: festival, Film, Fusion, media, new, submit, television

Nov 05 2015

ALUMNI FEATURE: Interview – Elizabeth Bohinc & Kate Zabinsky

By Piera Van de Wiel and Kara Lawson, Fusion Alumni Relations.

September, 29th 2015: We spoke with Elizabeth Bohinc and Kate Zabinsky, Fusion Film Festival alumnae who recently put together a panel in LA for industry professionals to talk about women in the film and television industries.The panel was two years in the making.

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What was your process in creating the panel?

Having been co-directors of the Fusion Film Festival during our time at NYU, we have a history and particular connection with these themes. After graduation we both moved to Los Angeles and began our careers. We continue to be involved with NYU alumni events as well as with other industry professional organizations. Through our experiences, we noticed that there was a dearth of high-level conversations about women working in this industry. There was the standard fare about balancing work and family life or breaking in. There weren’t examples or conversations about mentorship or how to grow your careers once you are in the door (if they manage to get themselves into the room in the first place). We are women in entertainment. Ultimately, we wanted to hear the opinions and advice of people who have careers we’d like to emulate. We thought back on our experiences at Fusion and realized, with the help of NYU, we had the power to put all these people in a room to foster this conversation. So that’s what we did.

Who was involved?

The two of us [Elizabeth Bohinc TSOA ’10 and Kate Zabinsky TSOA ’11], Joanna Puglisi from Tisch Alumni Relations, and Lauren Nisenson from Gallatin Alumni Relations. We had actually previously worked with Lauren on Fusion in 2010 for our first ever alumni panel. Drew Uriarte, Assistant Dean of Tisch, helped get it off the ground. Thania St. John (Gallatin parent) moderated the panel. Thania is a TV Writer/Showrunner, WGA Board Member, and the Co-Founder of the League of Hollywood Women Writers.

The panelists included: Rachel Brosnahan, Maryam Keshavarz, Toni Graphia, and Campbell Smith.

Rachel Brosnahan graduated from Tisch with a BFA in Drama in 2012. After several guest TV and theater roles, she broke out with a guest role in House of Cards, eventually leading to an Emmy Nomination for Best Guest Actress in a Drama Series for “Rachel.” She is also a series regular in WGN’s Manhattan. In addition to her acting work, she works as an Ambassador for Global Citizen.

Maryam Keshavarz is a producer, writer, and director. After graduating from NYU’s TSOA MFA program with a major in Film & TV, she shot her independent feature Circumstance, which explores homosexuality in modern Iran. Circumstance went on to win several festival awards including the 2011 Audience Award. Maryam teamed up with Academy Award nominated producers Anna Gerb, Neal Dodson, and JC Chandor (A Most Violent Year, All is Lost, and Margin Call) and will be directing her sophomore feature, The Untitled Oliver Diaz Story, in February 2016.

Toni Graphia is a television writer and producer, currently serving as Executive Producer on Starz’s hit fantasy drama Outlander. She has been working television for over twenty years, starting as a researcher on China Beach and working her way up the writing ladder on shows such as Roswell, Grey’s Anatomy, and Battlestar Galactica. In 2005, she won a Peabody Award as part of the writing staff for Battlestar.

Campbell Smith is the Head of Television for Carousel Productions. After graduation, she moved to New York, eventually landing at The Daily Show for six years where she met Steve and Nancy Carell (both correspondents at the time).  After writing and producing a number of shows, she teamed back up with the Carells to form Carousel Television. Campbell Smith serve as an EP on TBS’s upcoming comedy series Angie Tribeca.

How did the event go? And how was it received?

The event went incredibly well. The panelists were so dynamic; we could have let them go for hours! We were able to convince UTA (United Talent Agency) to donate their theater for the event. They were very impressed with the event and offered their space to make it an annual event. We plan to do just that.

The audience responded very well. The questions during the Q&A as well as the conversation that continued during the reception were high level, intelligent, and productive.

How has Fusion impacted your careers, and what lessons did you carry over into the business?

Kate: First, actually working for Fusion, organizing logistics and personnel, taught me as much about how to work in the industry as my film classes did. Learning how to collaborate, problem solve, and meet deadlines is just as important as creative instinct once you enter the professional world. As far as thinking about women in the industry, I think Fusion helped me learn to verbalize my questions and concerns. That is to say, I am a woman and I work in film, so it would never have been something I didn’t know about or didn’t think about. But, because I had the experience of Fusion, I am able to look at the challenges that exist and approach them in more productive ways because it’s a conversation I’ve been having since I was a freshman at Tisch.

Elizabeth: I can’t agree more with Kate about Fusion preparing me for the professional world, but I also will say it helped me develop a shorthand with a group of professionals I truly trust to this day. Kate and I obviously work very well together because of our Fusion experience. [It’s the] same with Lauren Nisenson and I. We just know how to collaborate, problem solve, and get it done. Fusion also made me more aware of female industry professionals, which always helped when a development team had to make a list of episodic female directors or writers to staff a show. It’s good to just have a list of diverse, interesting voices in the back of your head at all times. I learned that from Fusion.

Written by Rachel Thaw · Categorized: Articles · Tagged: alumni, bohinc, elizabeth, feature, festival, Film, Fusion, jabinsky, kate, media, new, panel, television, women

Oct 29 2015

INTERVIEW: LEAH MEYERHOFF – WRITER/DIRECTOR OF “I BELIEVE IN UNICORNS”

By the Fusion Editorial Staff.

Leah Meyerhoff is an award-winning filmmaker whose debut narrative feature I BELIEVE IN UNICORNS was released theatrically in 2015 after premiering at SXSW, winning the Grand Jury Prize at the Atlanta Film Festival and additional awards from Woodstock Film Festival, Nashville Film Festival, First Time Fest, Tribeca Film Institute, IFP, NYU, and the Adrienne Shelly Foundation. Meyerhoff’s previous work has screened in over 200 film festivals and aired on IFC, PBS, LOGO, and MTV. She is a fellow of the IFP Emerging Narrative Labs, IFP Narrative Finishing Labs, Tribeca All Access Labs, and the Emerging Visions program at the New York Film Festival. Meyerhoff is also the founder of Film Fatales, a female filmmaker collective based in New York with over a dozen local chapters around the world.  She holds a BA in Art-Semiotics from Brown University and an MFA in Directing from NYU’s Tisch School of the Arts.

(Article header photo of Leah Meyerhoff by: Danielle Lurie)

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What made you want to pursue filmmaking? Was there a specific moment that made you realize this was your passion?

When I was growing up, cinema was an escape and a window into the outside world. Film is also a tool for empathy and a way to take an audience on a journey where they can experience life through someone else’s eyes. I became a filmmaker to tell more stories that I had not seen enough of, specifically those with complex and imaginative female protagonists.

How does Film Fatales help women in filmmaking around the world? How do you collaborate?

Film Fatales is a global network of female directors who meet regularly in local groups to mentor each other, collaborate on projects, and build a supportive community in which to make our films.  We give each other advice, recommend crew, share script notes, provide rough cut feedback, lead hands-on workshops, recommend our films to festival programmers, the list goes on and on. You can find out more about us at filmfatales.org.

Who inspires you? Which women in the film industry do you think have paved the way?

Although I have always been an artist and a storyteller, it was not until I became familiar with the work of Jane Campion, Catherine Breillat, and Andrea Arnold, that I realized directing was a viable career path.  Other role models include Kimberly Peirce, Jill Soloway, Ava Duvernay, Catherine Hardwicke, Debra Granik, Mary Harron, and Alison Anders. Also, I am continually inspired by the work of other Film Fatales, including Marielle Heller, Eliza Hittman, Ry Russo Young, Amy Seimetz, Cherien Dabis, Mora Stephenz, Shaz Bennett, Maryam Keshavarz, and on and on.

The themes of your short films vary greatly from fantasy in “Eternal Flame” to mental illness in “Neurotica.” What kind of themes are you drawn to in a story?

I am drawn to stories with complicated female characters who have a rich interior life and are often struggling to reconcile this with the realities of the exterior world.

Photo by: Joe Tanis

How does working on a short film differ from working on a feature?

It’s a similar process but on a much greater scale. Making a feature film is like making a new short film every day.

What is your casting process like? How do you know when an actor can embody the personality of your character?

I am a firm believer that casting is 90% of directing. With I Believe in Unicorns, it was important for the characters to be authentic, and I was interested in casting an actual teenage girl for the lead. As soon as I met Natalia Dyer, I knew that she would bring honesty and depth to the role. Peter Vack had the right combination of danger and charm, and we were lucky that the two leads had such fantastic chemistry together. I had seen Julia Garner in a short film and knew upon meeting her that she would round out the cast perfectly. The rest of the project came together rather quickly from there.

Do your personal life experiences influence your work? How did this affect your experience with I Believe in Unicorns? Did the idea for I Believe In Unicorns come about when you were a teenager – or later, when you had gained some perspective on being that age?

All of my work is personal in one way or another; it is merely a matter of degree. If I am unable to connect with a project on an emotional level, then I am not interested in working on it. I began writing on the script for I Believe in Unicorns while I was studying at NYU. I drew upon my own memories of that time and also collaborated closely with lead actress Natalia Dyer, who was a junior in high school when we met.

Photo by: David Kupferberg

 In I Believe In Unicorns, you experimented with stop-motion. Why did you decide to do this and what kind of animation techniques would you like to explore in the future? In addition to mixing mediums, such as using both live action and animation, you also shoot on film. Do you prefer film to digital? What prompted you to use both Super 8 and Super 16 for I Believe in Unicorns?

The lead character Davina is an imaginative and dreamy teenage girl, and the film is told largely from her perspective. Thus, all of the aesthetic decisions were made with that in mind, from the choice to shoot on Super16mm and Super8mm film, to the decision to portray her interior world through the use of stop-motion animation.  We wanted to build a world that this character could have created. It is almost as if you can see her fingerprints on the edges of the frame.

What projects are you working on now? What’s next?

I have various projects in development, including a narrative feature with Tangerine Entertainment and a short film with The Bureau of Creative Works. Meanwhile, I am committed to supporting other female directors on a daily basis through my work with Film Fatales.

 What advice do you have for students who aspire to work in the film industry?

Stop waiting for permission to make your films. Give yourself permission, set a date, and start production.  Also, form communities with others who share your sensibilities so that you are not doing it alone.

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Check out Fusion’s video: A Portrait of Leah Meyerhoff: https://www.youtube.com/watch?v=yXW1l6M9whQ

Watch the trailer for I BELIEVE IN UNICORNS: https://vimeo.com/87941679

For more information about I BELIEVE IN UNICORNS, visit the following links:

facebook.com/unicornsthemovie

twitter.com/unicornsmovie (#unicornsmovie, #ibelieveinunicorns)

instagram.com/unicornsmovie

unicornsthemovie.tumblr.com

ibelieveinunicorns.com

For more information about Film Fatales, check out the New York Times profile of the group:

http://www.nytimes.com/2015/08/23/movies/the-film-fatales-collective-trains-a-lens-on-gender-inequality.html?_r=1

Written by Rachel Thaw · Categorized: Articles · Tagged: believe, Director, fatales, festival, Film, filmmaker, Fusion, i believe in unicorns, inspiring, leah, meyerhoff, unicorns, woman, writer

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