FIlm

“Yikes! I think I’m in over my head.” Or…making your first movie.

Camera and Laptop

by

Sheree L. Ross @womenfilmofcolr

Sheree L. Ross

November 14, 2017

So you we wake up one morning from a fevered dream with what seems like a brilliant idea, “I want to make a movie”. And then miracle of miracles, somehow every day you move forward on it. It actually starts to take shape as you call in favors from friends, even the ones from first grade. Everyday it looks more and more like you are really going to make this movie. You do all of the steps, which include writing the most brilliant script ever written. How do you know? Because all of your friends and family who you let read it, say so. You even go one step further and actually let people who know what they are talking about (because you found a writing group in your town) read it and they give you feedback that is sometimes painful (yeah, you cried once…maybe more than once), but you listen, do the adjustments, write a few more drafts – and now you have a solid working script.

And even though you’ve never directed anything before in your life you decide that you are going to be the director. You want to be an Auteur and this film will be your first shot across the bow. But one thing you didn’t know about yourself is that you’re not much for the tiny details and after two days of doing the stuff good producers can do in their sleep you put an ad on Craigslist and take the first person that will call you back.

At this point, of course, you don’t have any money but somehow they’re willing to work with you and wait until you’re able to raise some. And for the first month or so they’re completely on board and you get through most of pre-production. You get casting done, you find locations, and you put together a pretty solid crew. You are feeling great. Now you are three weeks out before you shoot and suddenly the producer gets a gig that will actually pay them their rate and they quit. But hell, you’ve got this. You’ve got everything in place…who needs a producer anyway? You can just add this as another feather in your cap. You’re sure now that you can direct and produce this script better than anybody because you know it better than anybody. You still don’t have enough money but you are moving forward as if you do as…Thanksgiving approaches. And what luck, your favorite aunt – who loves movies – overhears that you are doing a film and says she’ll give you the rest of the money. What a relief! But a week out you call her and she doesn’t remember the promise, blaming it on the several glasses of wine she had before dinner was served.

Now you’re a week out and everybody wants something. The art department is calling you to try to figure out how to do your sets, the wardrobe and prop people need to start shopping. And you get a text from one of your actors asking about rehearsals and blocking. It’s too late to crowdfund, you didn’t even know you should do a rehearsal, and one of the locations that you were promised just fell through. The next night you wake from another fevered dream with a thought that could possibly get you disowned. You have a savings that your parents set up for you with just enough to get the movie shot and you’ll have to edit it yourself. After thinking about the pros and cons of this conversation at Christmas next week, you decide to go ahead and do it.

Yay! You are making your first movie, congratulations! Now this is just one example of how crazy this process can be, and this should in no way stop you from making your first film. If you are in the middle of this process I hope this makes you feel better about what you may be going through right now. If you’ve already finished your first film (web series, short, etc) I hope it made you smile. Filmmaking is not for the faint of heart, and many filmmakers struggle their first time out (and even the second and third time before they find a rhythm). There is no right or wrong way to make a film, web series, or short, etc. If you think you’re in over your head but you keep moving forward and you keep focused on your idea, as well as communicate with everybody as often as possible…more times than not, no matter how crappy things might get, the people that you have brought on board to help you will do their best to help you see your vision come true. People are more forgiving and flexible than you might think, as long as you are honest with them.

The other advice I’d offer is don’t lie about paying people. If you intend to pay people and then your money falls through, be honest about it. You may lose half of your cast and crew (maybe all!) but you’ll maintain your reputation and this industry is smaller than you might imagine. Another bit of advice is that though it is not impossible to produce, direct, and act in your first movie (in fact it might be wise to do so for your first project, you will learn a whole bunch) don’t spend a lot of money on the project. Let this be an experiment that you can share with your family and friends, and maybe put up on YouTube. But the chances that you will be able to sell it or make your money back might be very low so let it be an opportunity to learn. Ultimately, if you’re new to this make a short film. Something that doesn’t cost you over $1000. Maybe you can engage some of your friends over the weekend and feed them for pay. Bill Murray once said (highly paraphrased) that no matter how crappy the movie is, the fact that it has made it into some form of watchable content is a miracle and should be appreciated as such because it takes so many people to make a movie. It can sometimes feels like you’re drowning (you’re not). It’s a lot of balls to keep up in the air no matter how much money you have (or don’t). So learn from your mistakes, learn from your successes, and be proud of whatever you create. And most of all, please have fun. Why do it otherwise? Because it’s just a step in a long line of many steps that will culminate into being your career.

 

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How TV Writer Angela Nissel Is Bringing Her Unique Voice to Tyler

the Creator’s The Jellies, and Why Black Female Writers in Hollywood Need to Be Heard

Angela Nissel; scenes from The Jellies (Adult Swim)

If you took a look at the writers’ room of some of your favorite television shows, you’d be hard-pressed to find a black person, and even harder pressed to find a black woman. But for the last decade, Angela Nissel has been leaving her mark behind the scenes on shows like Scrubs, The Boondocks and, now, The Jellies—Tyler, the Creator’s Adult Swim show, which premieres Oct. 22.

Before Nissel’s foray into scripted television, she was best-known as one of the creators of Okayplayer and for her two sidesplitting memoirs that captured the essence of her formative years, and of being broke and biracial. Both The Broke Diaries: The Completely True and Hilarious Misadventures of a Good Girl Gone Broke and Mixed: My Life in Black and White were heralded by critics, as well as the likes of Oprah Winfrey and Halle Berry, and Nissel became the “it” woman of literature in the early 2000s.

It was those books that set the University of Pennsylvania grad (she graduated with a degree in medical anthropology) on her way to a career in TV. But, of course, Nissel’s ascent into television writing wasn’t easy, especially as a black woman. After being in the game for 15 years, she is still fighting her way into writers’ rooms, and she made it into The Jellies’ room even though she thought she hadn’t landed the gig.

“Me being old enough to be Tyler’s aunt, I said, ‘I’ve heard of him,’ but I don’t really know him. And then I researched him. I was nervous in the meeting, but when Tyler came in, he just wanted to get to know about me. Ten minutes later, the meeting was over. I called my agent and was like, ‘I’m pretty sure I didn’t get that job; they thought I was a total nerd,’” Nissel says.

As luck talent would have it, Nissel landed the consulting-producer-and-writing gig on the series, and so her work began. And, yes, she was once again the only black woman in the writers’ room. As Nissel segues back into animation (after lending her talents to The Boondocks), she notes that writing live action and books is totally different from writing for animation, especially when it comes to the fans.

“In books, everything you write, even typos, it’s your fault. When it’s live-action TV, people tend to realize there’s a writer behind the words,” Nissel says. “But in animation, people fall completely in love with those characters. I’ve never worked on anything quite like animation, where the fans are so into it. And with the way Tyler’s fans are, I can only imagine the response the show will receive,” Nissel says.

To call Tyler’s fans “die-hard” would be an understatement. From his music to his cartoons, they’re nothing if not loyal. Both Tyler and co-creator Lionel Boyce, who make up Odd Future, premiered The Jellies on Tyler’s Golf Media app in 2015. Some may think the premise of a family of jellyfish adopting a human boy strange, but to them, chances are it’s not.


The Jellies follows in the footsteps of cartoons like The Boondocks in that it is created by young black men. But as Nissel lends her comedy and writing expertise to yet another animated series, the question remains: Why is there still a lack of black people, particularly women, in Hollywood when it comes to writing? Veterans in the game, like Nissel, have paved the way for the Issa Raes out there, but it’s still a drop in the bucket.

“I’m usually the only black woman in the writers’ room. I remember I pitched a really shitty joke one time, but Tyler said, ‘No, maybe women will understand the joke.’ He was so good about listening to my point of view, where sometimes, in other writers’ rooms, I would get shut down,” Nissel says. “When you’re immediately shut down, you don’t feel like you ever have the space to speak up again. But he always gave me that space to feel free to speak my mind.”

It’s that aspect of being shut down that many writers have to deal with when they’re in the minority. Earlier this year, Tyler quickly had to shut down a question from a fan during Comic-Con, when he decided to change Cornell, the main character in The Jellies, from a white teen to a black teen.

“How many fucking black cartoon characters is it on TV right now?” Tyler responded. “Name five. I’ll give you time.”

Nissel shares similar sentiments about Cornell’s newfound blackness.

“If you don’t like Cornell being black, color him another color in your head. What is wrong with people wanting to see the representation of themselves on-screen?” Nissel asks. “That’s why I think their generation will do better, and hopefully build on what my old-ass generation wasn’t able to do. Tyler is an outsider coming into this industry and wants Cornell to look like him. I don’t understand how anyone can be upset with that.”


After watching the first two episodes of the new season, I was left wondering one simple thing: “WTF?” And it wasn’t a bad “WTF?” either. More like amazement at how and why jellyfish are living among humans and raising a black kid. Even with Cornell going through his own self-discovery and having jellyfish as parents, shortly after the 15-minute cartoon starts, you actually forget they’re even jellyfish. Especially when it comes to Cornell’s mother, who is a combination of Tyler’s and Lionel’s moms. She definitely has the whole “I’m tired of your shit” down to a T when dealing with her jellyfish husband.

“Cornell’s mom is so tired of her husband,” Nissel says. “He reminds me of my ex-husband, and that’s why it was funny to write her. If you had a husband like that, you’re going to drink just to forget about it. I look at her as the epitome of someone who’s had a hard upbringing and a hard life.”

In The Jellies season premiere, Cornell has to deal with his parents fighting, primarily over his father’s spending habits, and he decides to track down his parents’ favorite R&B singer, who ignited their love for each other.

So where does a teenager go to track down someone who was popular back in the day? The Gangster’s Paradise retirement home, of course. And yes, a life-size statue of Coolio welcomes each visitor. Viewers will also notice little jabs here and there at celebrities, as well as some pretty on-point pop-culture references. Basically, nothing is sacred.

People watching the cartoon will soon realize that the comedy isn’t for the faint of heart. Nissel realizes that and helped set the tone by cautioning against certain things making it from the script into the show.

“Sometimes I would say, ‘This may be going a little too far.’ Even if [Cornell’s mother] is a jellyfish, people might be offended. Sometimes you have to be that person, when you’re the only one in the room, to educate people on how others may view things,” Nissel says. “So, sometimes I’ve had to be the person to say, ‘Yeah, we’re all laughing in this room, but we all have the same type of humor. But when it gets outside of the room, it could be viewed differently.’”


As someone who has watched Nissel’s career and who considers her a black-writer heroine, I know she has experienced it all: from people promising to turn books into movies, to seeing others get their careers catapulted, all because they were social media famous, and most importantly, having to be somewhat of the oracle for everyone who isn’t white.

Adult Swim

“Being forced, till this day, to speak up for everyone who is not white is my biggest gripe. When they turn to you and ask, ‘What do you think a handicapped person would say about this?’ Having that burden of having to speak for everybody, when even among our own community, we all have different points of view,” Nissel relates.

“And then having to hold your breath when something comes out because you realize just because it has ‘written by you’ on it, [but] it has to go through the editor, studio and network, and someone is going to find fault in it. As an artist, you want people to be happy. In this day and age, when outrage sells, you don’t want people to be upset about something you create,” Nissel continues. “There’s not a lot of black women, or women, period, in comedy. We’re just exiting the era of ‘Women aren’t funny.’ We’re just now getting a black woman late-night talk show host. It’s slowly coming around.”

With the success of this summer’s blockbuster hit Girls Trip, the spotlight is now shining on funny black women in front of and behind the camera. And Nissel has some savory advice for the bigwigs in Hollywood.

“I wish more people realize that having one voice in the room sometimes isn’t enough because you’re only going to get one point of view. At the end of the day, I just wish people would go outside of the neighborhoods and make friends with people who aren’t exactly like them, so they can bring that to the room if they don’t have the budget to hire 25 women,” Nissel says.

“I really want to create shows that show that women over the age of 40 still have lives, and they can be messy,” she adds. “To talk about the imbalance of women and men, like my own personal story of paying alimony. I want to tell the richness of women of color over 40 because sometimes I look on TV and we’re all dead, except for Oprah.”

Nissel doesn’t mince words, and as far as The Jellies are concerned, it’s coming out at the right time. Between the doom and gloom of a Trump presidency, sex scandals and everything else shitty in the world, laughter is definitely going to be the best medicine that you don’t need health insurance for.

“I have grown tired of watching TV that shows the bad of the world. You go online and everyone is ranting about something horrible” she says. “The Jellies is a big bowl of WTF. It’s 15 minutes of Easter eggs and fun hip-hop references. It’s like traveling to a world of where jellyfish and humans co-exist. And you can just forget everything for 15 minutes. It’s just pure silly comedy, and I think that’s something comedy has gotten away from.”

The Jellies premieres on Adult Swim at 12:15 a.m. Sunday, Oct. 22.

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About the author

Yesha Callahan

Deputy Managing Editor. Don’t start none, won’t be none.

Lena Waithe Breaks Down …

…What It’s Really Like to Be a Black Woman in Hollywood

Image via Getty

Earlier this year, Lena Waithe became the first black woman to be nominated for an Emmy for comedy writing for her work on “Thanksgiving,” one of the best and most acclaimed episodes of the last season of Netflix’s Master of None. But Waithe is by no means resting on her laurels. She’s also producing her own series for Showtime called The Chi, has a role in the upcoming Steven Spielberg film Ready Player One, and has been getting Whoopi Goldberg on the phone (okay, that’s an old story).

Waithe sat down for an interview with The Atlantic to talk about her career, the challenge in “selling complex minority characters,” and what her experience has been navigating Hollywood. And in true Lena Waithe fashion, she told it the way it was, giving us some really interesting insight on what it’s like for women of color in entertainment:

Honestly, [I learned about] decorum and the way specifically black women have to carry themselves in this industry. You can’t be pissed about a note, you can’t be angry about the way that something is happening, you can’t be unhappy about the creative process. When you handle it, you have to be Claire Underwood in House of Cards.

In that town, there is still a stigma that goes along with being a woman, particularly a woman of color, where people already want to label you difficult or not easy to work with. It’s happened to me. So we ultimately have to navigate this industry in a different way. We have to sometimes be kind to people who aren’t kind to us, we sometimes have to be polite, even when we’re not in the mood, we have to handle dealing with executives in a different way because otherwise we run the risk of being put in industry jail.

We’ve seen the films and shows. We’ve seen the data. We know for a fact that women of color are immensely underrepresented in entertainment, even though Hollywood is (slowly) waking up to the fact that it’s not the people “in charge” who are creating the culture that people actually want. But hearing what the experience is actually like, and what it takes to keep moving forward, is important and makes the success of women like Ava DuvernayGina Prince-BythewoodShonda Rhimes, and Waithe herself all the more notable.

Read the full interview here.

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BlackStar Film Festival

…celebrates filmmakers of color

Six years after filmmaker and curator Maori Holmes started the BlackStar Film Festival as an ad hoc film club for a few friends, the annual event has grown into one of Philly’s most significant showcases of indie films.

Dubbed “the Black Sundance” by Ebony magazine, the four-day celebration of films by men and women of color includes screenings of 12 features and more than 40 shorts — including half a dozen films by local directors — at International House in University City from Thursday, Aug. 3, through Sunday, Aug. 6.

Most screenings include a Q&A session with the filmmakers, who also will be on hand for a panel discussion, several receptions, and even a dance party at various venues in or near University City.

“I’m especially happy that this year we have so many world premieres,” said Holmes, who is director of public engagement at the Institute of Contemporary Art and has curated film programs at Painted Bride Art Center, Scribe Video Center, and Swarthmore College.

Six of the 12 features and more than a dozen shorts will be screened for the first time ever.

“And I’m proud that [Selma director] Ava DuVernay has found time to be with us this year.”

DuVernay, whose film 13th was nominated for an Oscar for best documentary feature, will appear Saturday night to receive the fest’s BlackStar Award.

‘It’s gratifying to see that we have a growing reputation in the industry,” Holmes said.

“I don’t want to sound corny but we got here because we led by intention and not because we’ve been chasing things simply because they are glittery or high profile.”

This year, the festival also includes a comprehensive youth program, a series of screenings of films by directors between the ages of 11 and 23.

Revisiting a revolutionary film

Among this year’s highlights will be a repertory screening of Wilmington 10 — USA 10,000, a 1979 documentary by Haitian-born activist-artist Haile Gerima.

Shot guerilla-style on a shoestring budget, Gerima’s controversial film reexamines the case of the Wilmington Ten, a group of nine men and one woman convicted of arson and conspiracy in 1971 in Wilmington, N.C.

“It will be the first time we will show an actual film print” as opposed to a digital file, Holmes said.

Gerima, 71, who will be unable to attend the screening, said in a phone interview he’s excited that his film, which has never been distributed for the home-entertainment market, has piqued renewed interest.

“It was shown recently in Paris at a retrospective of my work,” said the director, who is best known for his 1993 feature Sankofa, a drama about a narcissistic model who is transported back in time to a plantation in the West Indies, where she has to live the life of an African slave.

“[Wilmington 10] was shown recently at a retrospective of my work in Paris,” he said. “And I think more than anything, people were impressed that the people who speak up in the film about the struggle African Americans have had in America weren’t professors or officials but ordinary people.”

Gerima’s film will screen at 1:15 p.m. Thursday.

Dramatic politics and sexy comedies

Other notable entries this year include Hello Cupid: Farrah, a feature-length spin-off of the popular web series Hello Cupid from Black & Sexy TV cofounders Dennis Dortch, Tina Cerin and Numa Perrier.

“Black & Sexy TV started out as a YouTube channel,” said Perrier, 36, who will attend the screening at 9:45 p.m. Friday.

“Now we’re a full subscription service with original programming, a a black-owned and black-operated network that tells black stories.”

The film stars Gabrielle Maiden (Sexless) as “a very passive, but eccentric virgin,” Perrier said, “who hasn’t learned really to stand up for herself and who doesn’t know what she wants from life.”

Nor, it seems, does the twentysomething heroine know if she wants to have sex with men or women.

Her life is turned upside down when she joins an online dating site.

“It’s a coming-of-age story,” Perrier said. “We follow her story as she goes from being a virgin to dating a variety of men and women, and as she gets a crash course on dating in the modern world.”

Philadelphia voices

Philly filmmakers represented at BlackStar this year include M. Asli Dukan, writer-director of the short Resistance, the Battle of Philadelphia (Prologue), the first part of a web series set in West Philly starring local stage actor Jennifer Kidwell.

“I have been part taking part in activities for social justice and resistance to police violence for years and I’ve been thinking about who to make a film about” the topic, said Dukan, who grew up in Harlem. “I usually work in speculative fiction, horror, fantasy, and science-fiction. I came up with this story set in the future that asks what would police brutality might look like in the future.”

The short is one of six episodes that will follow the experiences of different characters in West Philly as they have confrontations with authority, Dukan said.

The film will screen as part of a shorts program at noon Saturday.

Not everything at BlackStar will be so heavy or so political.

On the comic side, there’s Tales From Shaolin: Pt 1 “Shakey Dog”, which will be shown as part of the same shorts program.

The first part of a planned series of shorts inspired by hip-hop superstars the Wu Tang Clan, the story is the brainchild of director Louis Moore, a Philly native, and writer J. Michael Neal, who grew up in Camden.

“All the films will pay homage to the Wu Tang Clan, and each will be based on different members” of the group, said Moore.

The first part is inspired by Wu Tang’s Ghostface Killah.

“We take the lyrics to their songs and reinterpret them through little stories,” said Moore, who learned the craft at Los Angeles Film School.

The film, he said, “is a comedy about a drug heist gone horribly wrong. … Ghostface takes along a young accomplice and things take a comic turn a that will be totally unexpected to both Ghostface and the audience.”

The BlackStar Film Festival

Thursday, Aug. 3 through Sunday Aug. 6 in University City. Most screenings will be at International House, 38th and Chestnut Streets.
Tickets: All-access pass: $150. Single tickets: $12; $8 students and seniors.
Information:

267-603-2755, blackstarfest.org.

SOURCE

84 Films By and About Women of Color

… Courtesy of Ava DuVernay and the Good People of Twitter

If you were on Twitter recently, you might have seen
director Ava DuVernay’s clever call to social media to name films with “black,
brown, native or Asian women leads” which were also directed by women.

Though it seems like common sense that these films exist,
the question proved to be a serious challenge for Twitter, with many listing
the same handful of titles.

The clear point is that there are too few films that fit the
above criteria, and that those of us claiming to support diversity in
entertainment should do our part to change that. All of this helps bolster the
case for DuVernay’s AFFRM + Array
Releasing
, which distributes black films and is in the midst of an annual
membership drive.

With efforts like AFFRM, the ACLU’s
push for an investigation into Hollywood’s hiring practices
and other recent
initiatives for the inclusion of women and diverse voices in film, change
appears to be on the horizon.

In the meantime, here’s a list of the films that Twitter
came up with starring women of color and helmed by women directors. When
cross-referenced with data sources from The Black
List
, Shadow
& Act
and others, there were about 85 titles that fit the bill.

Find them below. Watch, enjoy and most importantly, support!

“35 Shots of Rum” by
Claire Denis (2008)

“A Different Image” by
Alile Sharon Larkin (1982)

“A Girl Walks Home Alone at
Night” by Ana Lily Amirpour (2014)

“Advantageous” by
Jennifer Phang (2015)

“Ala Modalaindi” by
Nandini Bv Reddy (2011)

“All About You” by
Christine Swanson (2001)

“Alma’s Rainbow” by
Ayoka Chenzira (1994)

“Appropriate Behavior”
by Desiree Akhavan (2014)

“B For Boy” by Chika
Anadu (2013)

“Bande de Filles/Girlhood”
by Céline Sciamma (2014)

“Belle” by Amma Asante
(2013)

“Bend it Like Beckham”
by Gurinder Chadha (2002)

“Bessie” by Dee Rees
(2015)

“Beyond the Lights” by
Gina Prince-Bythewood (2014)

“Bhaji on the Beach” by
Gurinder Chadha (1993)

“Caramel” by Nadine
Labaki  (2007)

“Circumstance” by Maryam
Keshavarz (2011)

“Civil Brand” by Neema
Barnette (2002)

“Compensation” by
Zeinabu irene Davis (1999)

“Daughters of the Dust”
by Julie Dash (1991)

“Double Happiness ” by
Mina Shum (1994)

“Down in the Delta” by Maya
Angelou (1998)

“Drylongso” by Cauleen
Smith (1988)

“Earth” by Deepa Mehta
(1998)

“Elza” by Mariette
Monpierre (2011)

“Endless Dreams” by
Susan Youssef (2009

“Eve’s Bayou” by Kasi
Lemmons (1997)

“Fire” by Deepa Mehta
(1996)

“Frida” by Julie Taymor
(2002)

“Girl in Progress” by
Patricia Riggen (2012)

“Girlfight” by Karyn
Kusama (2000)

“Habibi Rasak Kharban”
by Susan Youssef (2011)

“Hiss Dokhtarha Faryad
Nemizanand (Hush! Girls Don’t Scream)” by Pouran Derahkandeh (2013)

“Honeytrap” by Rebecca
Johnson (2014)

“I Like It Like That” by
Darnell Martin (1994)

“I Will Follow” by Ava
DuVernay (2010

“In Between Days” by
So-yong Kim (2006)

“Introducing Dorothy
Dandridge” by Martha Coolidge (1999)

“It’s a Wonderful
Afterlife” by Gurinder Chadha (2010)

“Jumpin Jack Flash” by
Penny Marshall (1986)

“Just Another Girl on the
IRT” by Leslie Harris (1992)

“Just Wright” by Sanaa
Hamri (2010)

“Kama Sutra” by Mira
Nair (1996)

“Losing Ground” by
Kathleen Collins (1982)

“Love & Basketball”
by Gina Prince-Bythewood (2000)

“Luck by Chance” by Zoya
Akhtar (2009)

“Mi Vida Loca” by
Allison Anders (1993)

“Middle of Nowhere” by
Ava DuVernay (2012)

“Mississippi Damned” by
Tina Mabry (2009)

“Mississippi Masala” by
Mira Nair (1991)

“Mixing Nia” by Alison
Swan (1998)

“Monsoon Wedding” by Mira
Nair (2001)

“Mosquita y Mari” by
Aurora Guerrero (2012)

“Na-moo-eobs-neun san
(Treeless Mountain)” by So-yong Kim (2008)

“Night Catches Us” by
Tanya Hamilton (2010)

“Pariah” by Dee Rees
(2011)

“Picture Bride” by Kayo
Hatta (1994)

“Rain” by Maria Govan (2008)

“Real Women Have Curves”
by Patricia Cardoso (2002)

“Saving Face” by Alice
Wu (2004)

“Second Coming” by
Debbie Tucker Green (2014)

“Something Necessary” by
Judy Kibinge (2013)

“Something New” by Sanaa
Hamri (2006)

“Still the Water” by
Naomi Kawase  (2014)

“Stranger Inside” by
Cheryl Dunye (2001)

“Sugar Cane Alley/Black Shack
Alley” by Euzhan Palcy (1983)

“The Kite” by Randa
Chahal Sabag (2003)

“The Rich Man’s Wife” by
Amy Holden Jones (1996)

“The Secret Life of
Bees” by Gina Prince-Bythewood (2008)

“The Silence of the
Palace” by Moufida Tlatli (1994)

“The Watermelon Woman”
by Cheryl Dunye (1996)

“The Women of Brewster
Place” by Donna Deitch (1989)

“Their Eyes Were Watching
God” by Darnell Martin (2005)

“Things We Lost in the
Fire” by Susanne Bier  (2007)

“Wadjda” by Haifaa
Al-Mansour (2012)

“Water” by Deepa Mehta
(2005)

“Whale Rider” by Niki
Caro  (2002)

“What’s Cooking?” by
Gurinder Chadha (2000)

“Where Do We Go Now?” by
Nadine Labaki  (2011)

“Whitney” by Angela Bassett
(2015)

“Woman Thou Art Loosed: On
The 7th Day” by Neema Barnette (2012)

“Xiu Xiu: The Sent-Down
Girl” by Joan Chen (1998)

“Yelling to the Sky” by
Victoria Mahoney (2011)

“Young and Wild” by
Marialy Rivas (2012)

What are your favorite films that tell the stories of women of color, which are also directed by women?

jai tiggett is a
writer, content creator and curator. Find her at jaitiggett.com

SOURCE

AT&T Hello Lab

launches @SummerBreak and their Mentorship Program this week.

 

Real-time reality series and original YouTube franchise, @SummerBreak, returns for a fifth season with a diverse cast of Los Angeles high school juniors and seniors ready for a summer fueled by creative passions, friendship, college prep, and endless adventure. The social media-driven reality series follows 12 teens and their dreams, stakes, and heartbreaks.

The new season launches June 25 with episodes every Sunday, Tuesday, and Thursday through the end of summer.

@SummerBreak is part of AT&T Hello Lab, a collection of original entertainment created by, for and with Millennial and Gen Z audiences.

Fans can expect to follow and engage with more personal and purposeful content than ever before, as the cast is shooting much more of this season themselves. The series will follow a relatable cast with high aspirations and commitment to social good, including:

  • Nastasya Generalova, a gymnast, on her journey as she trains for a spot in the 2020 Olympics;
  • Amindi Frost, a singer/songwriter working on her debut EP, coming off the success of her first single, “Pine & Ginger
  • Harlan Holdman-Belsma, an artist and illustrator looking to focus on his art before heading to college, also the lead singer and guitarist for The Pavement, a Santa Monica local psychedelic, funk, rock band;
  • Isaiah Wood, an out-and-proud junior and advocate for the LGBTQ community

“This demographic is ever changing. Their value systems, their aspirations, their political agendas are all rapidly evolving. And @SummerBreak as a franchise has always intended to reflect youth culture by putting the story in their hands. this year, for the fifth season, we found an engaging and dynamic group who are changing their communities and chasing creative passions in ways that we hope inspire this audience unlike any year before” says Billy Parks, EVP of Otter Media creator and EP of @SummerBreak

Fullscreen is a streaming over-the-top (OTT, or over-the-internet) service of Otter Media, AT&T’s* joint venture with the Chernin Group.

“When AT&T first debuted @SummerBreak five years ago we knew we’d found something special,” said Valerie Vargas, senior vice president- advertising and Creator Lab, AT&T.  “Every year the cast wows us with their openness and authenticity in a way that helps other teens connect with each other and feel like they’re understood.”

Fans can follow the cast in real-time on the @SummerBreak Instagram and Snapchat, as well as on group text platform, Public. The show will also publish regular content on Tumblr, YouTube, Facebook, Twitter, and Giphy, and as the season progress, Musical.ly.

YouTube and Facebook will continue to be distribution platforms for @SummerBreak, which will also be available on DIRECTV NOW in fall 2017.

Learn more at @ATTHelloLab.

AT&T* Hello Lab, a collection of original entertainment created by, for and with Millennial and Gen Z audiences, has launched its Mentorship Program.  It’s a new initiative that brings together entertainment industry leaders with aspiring filmmakers from diverse backgrounds as they create their signature work. The five filmmakers will debut their short films on DIRECTV NOW in the fourth quarter of 2017.  DIRECTV NOW gives you your favorite premium TV and made-for-digital video content with no annual contracts, set-top boxes or installation.

 

AT&T Hello Lab Announces Diversity-Focused Mentorship Program feat. Academy Award Winning Mentors

The 2017 AT&T Hello Lab mentors include:

  • Academy Award® Winner Octavia Spencer (Best Supporting Actress, The Help, 2012)
  • Academy Award® Winner Common (Best Original Song,Selma, 2014)
  • Rick Famuyiwa (director, Dope, Confirmation)
  • Desiree Akhavan (director/actress, Appropriate Behavior)
  • Nina Yang Bongiovi (producer, Fruitvale Station)

 

In addition, each filmmaker will be supported by a community of industry advisors, including studio and production company executives, agents and attorneys. Each of these mentors have overcome barriers to make important projects that touch on an impressive range of issues and narratives as people of color, LGBTQ community members and women.

 

“There are a lot of film programs out there designed to empower young filmmakers. But the word ’empower’ is a sort of a catch-all, isn’t it? What I love about this program is that it’s tactical. It’s enabling young filmmakers to make actual, physical work. It’s giving them the first crucial part of their reel,” asserts Octavia Spencer, who is mentoring Gabrielle Shepard in tandem with Mike Jackson, who is a partner at John Legend’s Get Lifted Film Co.

 

AT&T Hello Lab will help each filmmaker create a high production quality signature film and provide support as they break into the entertainment industry. Advisers and mentors will counsel the filmmakers on pitching their work, managing budgets, and directing character-driven narratives. The shorts will all celebrate young adults and all tell a unique “coming of age” tale.

 

“I wanted to be a part of this program because opportunity is everything.  Connecting with young filmmakers, such as Nefertite Nguvu, is an honor. It’s the young and gifted visionaries who take the arts to levels we haven’t seen. I am blessed to have the career that I do and hope to be able to support and inspire her artistic vision and goals through AT&T Hello Lab Mentorship Program,” says Common, who is mentoring filmmaker Nefertite Nguvu alongside Shelby Stone, the president of production at his company Freedom Road Productions.

 

“Nurturing the next generation of creative minds is crucial for the entertainment industry,” said Valerie Vargas, senior vice president – advertising and Creator Lab, AT&T. “The AT&T Hello Lab Mentorship Program gives voice to filmmakers that may otherwise be silenced, and we can’t wait to see the ideas this unique group of creators develop.”

 

“We’re beyond humbled to join arms with these industry leaders who have catalyzed change and believe in the importance of supporting and amplifying new voices. The excitement around the films coming from the teams at AT&T and Fullscreen, as well as the mentors, advisors and mentees, is palpable. There is no doubt that this will lead to exciting, important and powerful work,” says Billy Parks, executive producer and EVP of Otter Media.

 

Fullscreen Media, a next-generation entertainment company, is majority owned by Otter Media, a partnership between AT&T and The Chernin Group.

 

Along with their one-on-one mentors, the mentees will receive meaningful guidance from a group of established industry advisors who include Judy McGrath (Founder & President, Astronauts Wanted), Mike Jackson (Co-Founder, Get Lifted), Cameron Mitchell (Agent, CAA), Bianca Levin (Partner, Gang, Tyre, Ramer & Brown), Ivana Lombardi (SVP, Film, Chernin Group), Kevin Iwashina (CEO and Founder of Preferred Content), Roberta Marie Munroe (Producer, Director, Writer), Brickson Diamond (Founder, The Blackhouse Foundation), Emily Best (CEO and Founder, Seed&Spark), Damian Pelliccione (CEO and Founder, REVRY) and James Lopez (Head of Motion Pictures, Will Packer Productions).

 

Program mentees include:

  • Neil Paik (filmmaker)
  • Matthew Castellanos (filmmaker)
  • Nefertite Nguvu (filmmaker)
  • Gabrielle Shephard (filmmaker)
  • Sara Shaw (editor/director)

 

More on the filmmakers and their projects:

 

Candid by Gabrielle Shepard (mentored by Octavia Spencer)

 

LoglineFaced with the memory of her late mother, an aspiring street photographer takes a surreal journey through the city as she reconciles her future and the relationship with her father. 

 

Bio: Gabrielle Shepard graduated as an MFA Film and Television Producing Fellow in the Conservatory of Motion Pictures at Chapman University. She has produced films that have been programmed in the Austin Film Festival, Pan African Film Festival and Cannes Short Film Corner. Gabrielle now pursues fresh and dynamic projects to bring to life as a writer, director and producer.  She currently works in the Motion Picture Lit department at William Morris Endeavor.

 

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Yoshua by Matthew Castellanos (mentored byNina Yang Bongiovi)

 

LoglineA group of outcast teens must flee their hometown of South Central to protect their big blue alien friend from a ban against its kind.

 

Bio: Matthew Castellanos is a Mexican-American filmmaker from South Central, Los Angeles. He intends for his stories to start new discussions and shed some light on humanity. For the past two years, he’s produced and directed twelve digital television shows on artist Tyler, the creator’s network GOLF MEDIA. This August, Matthew’s first linear television show NUTS + BOLTS premieres on the network VICELAND, which he’s serving as both executive producer and director.

 

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The Lost by Neil Paik (mentored byRick Famuyiwa)

 

LoglineThe events surrounding a highly publicized protest altercation are played out from three differing points of view.

 

Bio: Neil M. Paik is a filmmaker and artist from Los Angeles. After graduating from the film school at UCLA, where he was editor of the Daily Bruin, he filmed a documentary on the ground in the Middle East analyzing diverse perspectives in the conflict zone. His short fiction films have garnered several awards while playing at festivals nationwide. Over the last three years, he has worked in development and production at Warner Bros., Color Force, and WME and as a director’s assistant.

 

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The Last Two Lovers At The End of The World by Nefertite Nguvu (mentored by Common)

 

LoglineA future-set, New Year’s Eve wild night’s journey that follows two young lovers as they try to outsmart the end of the world.

 

Bio: Nefertite Nguvu is a graduate of New York’s School of Visual Arts, where she obtained a B.F.A in Film. Her thesis project at SVA won the award for outstanding screenplay. Nefertite is an award-winning writer/director and producer whose work includes, several narrative and documentary shorts, a host of web based programming, and a feature film entitled “In The Morning” which is currently available worldwide via Video on Demand.

 

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How to Bury a Hatchet by Sara Shaw (working title) (mentored by Desiree Akhavan)

 

Logline:After their youngest child is diagnosed with terminal cancer, an estranged family reunites and struggles to overcome their dysfunction. 

 

Bio: Sara Shaw is a director and editor. While attending NYU’s graduate film program at the Tisch School of the Arts, her filmBallarat Ghost Town won the Grand Prize and Audience Award at the Fusion Film Festival. She has edited a number of feature films, including Desiree Akhavan’s Appropriate Behavior (Sundance ’14), Adam Leon’s Tramps (Toronto ’16), Theresa Rebeck’s Trouble (SIFF ’17), and Desiree Akhavan’s forthcoming The Miseducation of Cameron Post.

 

SOURCE

Black Women as Cultural Deities

A Review of “We Wanted a Revolution: Black Radical Women, 1965–85”

When the Combahee River Collective gathered in 1977 for their annual retreat, the Black feminist thinkers, writers, and scholars decided to write a statement of intentionality. The exclusion of women of color from Lesbian Art and Artists, a feminist art journal organized by the Heresies Collective, prompted the response. The collective’s statement explored the erasure of Black women in the Women’s Movement and the Black Liberation Movement. More importantly, the Combahee River Collective pushed for the visibility of Black women.

“We have spent a great deal of energy delving into the cultural and experiential nature of our oppression out of necessity because none of these matters has ever been looked at before,” the collective concluded. “No one before has ever examined the multilayered texture of Black women’s lives.”

Forty years later, Black women are still fighting to be seen. That’s the theme woven throughout “We Wanted a Revolution: Black Radical Women, 1965–85,” an exhibit currently housed in the Brooklyn Museum. It’s one of the final parts of the museum’s “Year of Yes,” a year-long commitment to exploring feminism through art. The exhibit, like Solange transforming lives at the Guggenheim, allows Black women to center ourselves in spaces that pretend we don’t exist. “We Wanted a Revolution” also serves as a course correction. A sign at the entrance of the eight-panel exhibit states that many of the artists included aren’t feminists because of the movement’s exclusion of Black women. The dovetailing of second-wave feminism and the Black Arts Movement merely serves as a historical map of the figures and organizations at the forefront of the exhibit.

Elizabeth Catlett Malcolm X Speaks for Us

 

 

 

 

 

 

 

 

 

 

 

 

It’s a push to make Black women visible. For instance, Emma Amos, the sole female member of Spiral, a Black artists’ collective, is featured at the beginning of the exhibit. Flower Sniffer (1966) is Amos’ self-portrait, which shows her looking at a couple who are in mid-embrace. She’s in the photo, but not of the world it inhabits, a clear indication of how Black women were positioned at the time. We were peripheral, invisible, and overlooked. Invisibility continues to be a theme as the exhibit progresses. Artist Faith Ringgold is prominently featured throughout the eight-panel exhibit. In 1970, she and her daughter, Michele Wallace, forced the Whitney Museum of American Art to include two Black women artists—Betye Saar and Barbara Chase-Riboud—in their Sculpture Annual for the first time.

Now, the Brooklyn Museum is honoring Ringgold’s struggle for equity. Her oil painting For the Woman’s House (1971) shows an array of women at work. Female inmates at Rikers Island used to be able to purchase the painting, though the jail later banned it. Just as she advocated for Saar and Chase-Riboud, Ringgold created the painting to honor Angela Davis, after she was arrested for a crime she was later acquitted for.

“Angela Davis was in jail at the time, and I was very concerned about her,” Ringgold told the New Yorker in 2010. “I thought, One thing’s for sure: I’ll have a captive audience.”

Audre Lorde and James Baldwin Brooklyn Museum

The ways that Black women have historically fought for each other shows up in the exhibit, like the inclusion of Carrie Mae Weems’ photo series Family Pictures and Stories (1978–1984). It depicts Black people in Portland, Oregon, to combat the 1965 Moynihan Report, which suggested that Black women were responsible for the destruction of Black families. Betye Saar’s Liberation of Aunt Jemima: Cocktail (1973) is also featured. It places Aunt Jemima imagery on a Molotov cocktail as an illusion to the bottling of Black women’s rage. “We Wanted a Revolution” also includes Saar’s Colored Spade (1971), a painful video that shows tropes of Black people transformed into imagery of Black empowerment.

There’s also a glass case full of classic magazine covers and newspaper clippings, like the iconic conversation between Audre Lorde and James Baldwin, a copy of Toni Morrison’s seminal 1971 New York Times Magazine piece, “What the Black Woman Thinks About Women’s Lib,” and a profile of Shirley Chisholm during her historic presidential run. The entire exhibit positions Black women as cultural deities deserving of recognition and respect. We should no longer be invisible when we’re in museums.

Catherine Morris, senior curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, told TIME that was her goal for the exhibit. “An exhibition like this is years in the making, so over the course of producing the exhibition, the pertinence and necessity of it seems to have only increased. It certainly speaks to the need people have to talk about the contributions Black women have made to our culture.”

Our contributions are innumerable, immeasurable, and, certainly, not to be disregarded.

“We Wanted a Revolution: Black Radical Women, 1965–85,” will remain at the Brooklyn Museum until September 17, 2017. It will then move to the California African American Museum in Los Angeles from October 13, 2017 through January 14, 2018; to the Albright-Knox Art Gallery in Buffalo, New York from February 17, 2018 through May 27, 2018; and at the Institute of Contemporary Art/Boston from June 26, 2018 through September 30, 2018.

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