TICKETS AVAILABLE NOW FOR THE 4TH ANNUAL
REEL WOMEN INTERNATIONAL FILM FESTIVAL
The fourth annual Reel Women International Film
Festival, featuring films directed by women from all
over the world, will open March 7th with Reservations,
directed by Aloura Charles. Set over a night in a New
York hotel, Reservations unexpectedly connects the
lives of several strangers in startling moments of
passion, friendship and hope. A reception will follow
at the Luxe Hotel Rodeo Drive.
Academy Award winner Helen Hunt's directorial debut
Then She Found Me serves as the Festival's centerpiece
presentation. Adapted from the novel by New England
Book Award winner Elinor Lipman, the film follows
April Epner (Hunt) and her touching journey to
happiness after separation from husband (Matthew
Broderick) and the death of her adopted mother.
Academy Award nominee Bette Midler also stars as
exuberant talk show host Bernice. Reception to follow
at Luxe Hotel Rodeo Drive.
With films from 17 countries, the Reel Women shorts
presentation sheds light on a variety of social and
political issues. In Migration, internationally
acclaimed director Mir Nair (The Namesake) examines
the AIDS crisis in India. Ghosts of Abu Ghraib
director Rory Kennedy looks at how the Iraqi prison
abuses in the fall of 2003 still remain etched in our
national consciousness. In Bling, director Raquel
Cepeda travels with hip-hop artists on an emotional
journey to Sierra Leone where they meet face-to-face
with victims of conflict “blood” diamonds. Featuring
interviews with Kanye West, Big Daddy Kane and
Jadakiss, Bling is a riveting documentary that teaches
the audience the real price of diamonds.
To purchase tickets and view the complete festival
line-up please visit www.reelwomenfest.com
Thursday, February 21, 2008
Sunday, February 17, 2008
Notice: This film was made without physically, mentally, or verbally abusing WOMEN
Violence Against Women
I had a disturbing experience on a film set recently, in which I had to put up with words such as "cunt," "bitch," "pussy," (among others) while working with the actors and crew.
I was accompanying two, male actors in MY heated car (it was an outdoor shoot in the blustery winter), when I couldn't believe my ears: the one actor related his latest difficulties in dating his "fat opera-singing bitch girlfriend" to the other actor, apparently not even noticing, or not caring, that he happened to be sitting in a woman's car.
I turned around, after getting an ear-full, and politely said,
"I hate to interrupt your exciting conversation. But I would appreciate it greatly if you would NOT speak so derogatorily about women while sitting in my, i.e. 'A WOMAN'S' CAR. Thank you."
There was a mild feeling of tension, as well as embarrassment, before he apologized and tried to change the subject to something less abusive.
Of course, only two hours later, after having being asked to take over audio, because the audio technician had flown the coup, I listened with headphones, as the actors, now set up on wireless microphones, proceeded to tell jokes to each other.
"What do you call a dead blond in a closet?"
"I don't know."
"A good screw."
Now, I'm all for passing the time away on film sets with silliness and jokes, but I fail to see the humor in this, especially when they knew that I was in charge of audio.
It was too much. I couldn't take this abuse any more. It put me in a bad place, mentally and emotionally, and totally left me in no mood to work with the actors, pitting me against the wishes of the director, as a result.
To completely honest, after running on "high gear" four days with an average of only three hours of sleep per night, I lost it. I broke down. I caved in.
If animals don't have to put up with cruelty on the set anymore, why do we women?!
Do we really need to generate an honor pledge or oath by all involved to NOT verbally and physically abuse women?
If discrimination is not allowed in any other workplace, why should it be tolerated on film sets or locations?
Of course, I realize that his may just add more fodder for many male filmmakers and film trade workers to say that they'd rather not have women, as a result, on their shoots, at all.
But what era are we living in, after all?
I refuse to give up my love of film-making and directing because I have breasts. I won't see my children has a liability, because they come first. And I cannot abide by such horrible, violent language against the other half of the human race.
I had a disturbing experience on a film set recently, in which I had to put up with words such as "cunt," "bitch," "pussy," (among others) while working with the actors and crew.
I was accompanying two, male actors in MY heated car (it was an outdoor shoot in the blustery winter), when I couldn't believe my ears: the one actor related his latest difficulties in dating his "fat opera-singing bitch girlfriend" to the other actor, apparently not even noticing, or not caring, that he happened to be sitting in a woman's car.
I turned around, after getting an ear-full, and politely said,
"I hate to interrupt your exciting conversation. But I would appreciate it greatly if you would NOT speak so derogatorily about women while sitting in my, i.e. 'A WOMAN'S' CAR. Thank you."
There was a mild feeling of tension, as well as embarrassment, before he apologized and tried to change the subject to something less abusive.
Of course, only two hours later, after having being asked to take over audio, because the audio technician had flown the coup, I listened with headphones, as the actors, now set up on wireless microphones, proceeded to tell jokes to each other.
"What do you call a dead blond in a closet?"
"I don't know."
"A good screw."
Now, I'm all for passing the time away on film sets with silliness and jokes, but I fail to see the humor in this, especially when they knew that I was in charge of audio.
It was too much. I couldn't take this abuse any more. It put me in a bad place, mentally and emotionally, and totally left me in no mood to work with the actors, pitting me against the wishes of the director, as a result.
To completely honest, after running on "high gear" four days with an average of only three hours of sleep per night, I lost it. I broke down. I caved in.
If animals don't have to put up with cruelty on the set anymore, why do we women?!
Do we really need to generate an honor pledge or oath by all involved to NOT verbally and physically abuse women?
If discrimination is not allowed in any other workplace, why should it be tolerated on film sets or locations?
Of course, I realize that his may just add more fodder for many male filmmakers and film trade workers to say that they'd rather not have women, as a result, on their shoots, at all.
But what era are we living in, after all?
I refuse to give up my love of film-making and directing because I have breasts. I won't see my children has a liability, because they come first. And I cannot abide by such horrible, violent language against the other half of the human race.
Tales of Motherhood in Ann Arbor, MI!
It's official: The piece called "Tales of Motherhood" will be making its first staged appearance in Ann Arbor, Michigan this coming May.
More info soon...
More info soon...
Saturday, February 16, 2008
Out and About on a Film Shoot
I was just in New Jersey 1st A.D.-ing on a film by London Film Schooler, Brian Hickey, who is directing his Master Thesis short film on HD with fellow classmate and Director of Photography, Johannes Schaff.
Brian brought the whole cast and crew in for a week to shoot his film, a brilliant take on lessons in life, misery and faith.
Thus, I drove southwest to NJ from the Capital District Region, and noted the snow flurries absentmindedly throughout the drive.
Little did I know. Little did I wonder.
The only thing I feel able to say at this moment is that I've never worked in such cruel weather conditions, in such a bitter, biting cold. I have frostbite on my hand.
And yet, still, never have I had such a marvelous time in the way that only a film-maker can understand. I pushed myself dangerously to the edge -- to the point that my health was in trouble -- without even realizing that I was that close, because I wanted to give the film my all.
Why? I was inspired by my fellow crew members and, above all, the top of the team, my director and his cinematographer.
Now, back at home, away from the perfect chaos, the intense cold, and utter fatigue glossed over by adrenaline, I feel that ache that you go through when you're withdrawing from something you love... almost more than life, itself.
I'm sure that you'll be hearing more about Brian Hickey and Johannes Schaff. And I hope that I do, too.
Brian brought the whole cast and crew in for a week to shoot his film, a brilliant take on lessons in life, misery and faith.
Thus, I drove southwest to NJ from the Capital District Region, and noted the snow flurries absentmindedly throughout the drive.
Little did I know. Little did I wonder.
The only thing I feel able to say at this moment is that I've never worked in such cruel weather conditions, in such a bitter, biting cold. I have frostbite on my hand.
And yet, still, never have I had such a marvelous time in the way that only a film-maker can understand. I pushed myself dangerously to the edge -- to the point that my health was in trouble -- without even realizing that I was that close, because I wanted to give the film my all.
Why? I was inspired by my fellow crew members and, above all, the top of the team, my director and his cinematographer.
Now, back at home, away from the perfect chaos, the intense cold, and utter fatigue glossed over by adrenaline, I feel that ache that you go through when you're withdrawing from something you love... almost more than life, itself.
I'm sure that you'll be hearing more about Brian Hickey and Johannes Schaff. And I hope that I do, too.
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